two women, one sitting one standing, wearing blue with a brown background

two women, one sitting one standing, in a sitting room, with colours of yellow and blue

Vogue‘s former Fashion Features Director Harriet Quick, and former head of personal shopping at Harrods Sukeena Rao have partnered to create Luminaire, for high-class, tailored personal shopping. They talk to LUX about sustainability, AI, and exclusive upcoming projects.

LUX: How did you come together to start Luminaire?

Harriet Quick: Sukeena and I first met in the mid-noughties when she was then heading up personal shopping at Harrods and I was working as fashion features director at Vogue. I was writing a profile on Nicholas Ghesquiere at Balenciaga and came to Harrods to attend a special trunk show. Luxury retail and luxury magazines can often seem like church and state but here was a moment to witness how Rao was introducing clients to the brand and all the magic that happens in the styling suites at the point of ‘try on’.

clothes

Luminaire, launched in mid 2022, draws on the combination of expertise from personal shopping and fashion journalism.

LUX: What’s the biggest misconception people have about buying clothes?

Harriet Quick & Sukeena Rao: We can all get swept away by brand, hype and the incredible mise en scène and storytelling of a catwalk show. However, when it comes down to our own sense of style, it really is proportions that matter most – finding the shapes and looks that suit your body shape, work with your lifestyle and chime with your aesthetic preferences. As Miuccia Prada has pointed out, it takes practice and patience. Luminaireco.com is a navigator and catalyst in that process.

LUX: Harriet, as a former fashion features director at Vogue, how do you think that the largest fashion magazines will change in 10 years, compared to now? Will they still hold a lot of influence on fashion trends, or are they fading?

HQ: We now receive fashion information at multiple ‘nodal’ points whether digital, on social, in print, a podcast, Substack or via an experience. I think there will always be room for a beautiful magazine like Vogue but it no longer has the absolute authority, the first word on fashion, that it exerted in the pre-digital era. Readers and viewers go to the voices and visions they find exciting and relevant not just one source: media is individualized.

At Luminaire, we distil the bigger meta themes into highly curated shopping edits, flag the integrity of the design and provide a 360 view that reaches out art, design, escape and to experts in beauty and wellbeing. We’ve always seeking to hyper connect clients and readers with exceptional finds.

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LUX: Would AI make a good personal shopper?

HQ: I think there are some fun styling tools but the advice for now is lowest common denominator. Maybe because of super intelligence and the revolution in AI, clients are seeking ever more personal advice – we desire the human touch – the intelligent viewpoint – a real conversation. To that end, Luminaire is hosting a series of summer events with Burberry bringing together clients over picnics, and guided store tours.

LUX: What was your earliest memory of being conscious about the clothes you were wearing?

HQ: Maybe age 5, I became fixated choosing a Liberty floral fabric for a sundress my mother was making for me. I used to go with her to Harvey Nichols, pour over copies of Vogue and that opened by eyes to this dizzying and wonderful world of fashion. After studying for a post grad in journalism at City University, I became dedicated to all areas of design journalism then became more specialist in fashion at The Guardian, The Frank Magazine than Vogue.

9 images of people in nice places wearing nice clothes

Luminaire’s summer series features Barbara Stürm, Lou Lou de Saison and Pierre Augustin Rose

LUX: How you adapted your business model alongside increased concern for sustainability and slow fashion?

HQ: Our general maxim is buy less, buy better and work with what you already have in your wardrobe. The shopping team often has to advise against repeat buys and steer clients towards accessories or pieces that really will make a difference and that might be a fine jewellery piece, an Hermès handbag or lovely staples from Toteme or Wardrobe NYC. The gifting suggestions are also excellent.

LUX: Name a trend that Luminaire are keen on at the moment.

HQ&SR: All eyes are on Chloé and so called ‘boho’ but how does that translate? A flowing chiffon blouse in a Chloé dune shade, is a great multi-tasking starter. The skirt suit is re-emerging after seasons of trouser suits and that looks so elegant in tweed and plaid wools from brands including Chanel, Petar Petrov and Loro Piana.

Read more: Giambattista Valli on the love for beauty

LUX: Rao, what made you want to break away from Harrods, Harvey Nichols, and consult houses to begin your own company?

Sukeena Rao: Although I continued to work with private clients, I took a break to have my two children. I had always wanted to join the dots between personal shopping and editorial offering up a 360-view combining shopping, sourcing and inspired advice.

LUX: Where do your views differ in terms of fashion and your business model?

SR: We approach fashion from complimentary and contrasting angles with Harriet EIC attending the bi-annual fashion shows looking to future trends and shifts, and myself as Chief Commercial Officer concentrating on the collections as they arrive on the shop floor.  There is a constant desire to edit and find the very best. Olivia Scanlon, the CEO, based in NYC comes from a legal and finance background and that bedrock is vital in growing a business in a measured strategic manner.

LUX: What next? Do you have any exciting new projects you could tell us about?

HQ&SR: In September we are launching a newly designed website. It’s super intuitive to navigate and there is a dedicated Private Client portal where each client can view their own personalised mood boards, wish lists and shopping history; book experts including sessions with the Luminaire team and be alerted to invitations to Luminaire events and happenings. But you don’t have to be a private client to dive in and shop the themed edits and benefit from styling suggestions. We want to take the endless scroll out of shopping and go beyond the overwhelm of hype and the selection/browsing process a reward and delight – that’s what luxury is about.

 

See More:

luminaireco.com

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A blue and red zig zag on white shoes

Fashion designer Manolo Blahnik is something of a legend within the shoe industry. His career truly kicked off in 1969 after meeting US Vogue Editor in Chief, Diana Vreeland; after that, he devoted himself to designing shoes, opening the first Manolo Blahnik store in Chelsea, London, the next year. He speaks to Trudy Ross about his design philosophy, dressing for yourself and looking to the future

LUX: You’ve said before that shoes are in your DNA. Can you share the story of how you first decided to spend your career designing them?
Manolo Blahnik: It was all thanks to Mrs Vreeland. When I met her I was in a state of catatonic nerves; I grew up with Mrs Vreeland, with Harper’s Bazaar. I had presented some sketches to her of set and theatrical designs and she told me to design shoes. She said “Young man, stick to the extremities and make shoes!”. She gave me the advice I so needed to hear and paved the path for me to follow.

I took a hands-on approach and learned from the best shoemakers in Italian factories. To this day, working in the factories is still my favourite part of the job.White and red leather shoe point with blue and red dots

LUX: Tell us about how you opened your first store in the 1970s.
MB: The 1970s was such a fun time in London. It’s funny, the ’70s are absolutely much clearer than the ’80s. We opened the store on Old Church Street in London and that was the very beginning. I didn’t have anything to put in the shop! A friend of mine called Peter Young found the place. He said, ‘There is a wonderful place, far away from everything with no other shops on the street except a pastry shop.”

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I loved it and I took it, not thinking about how I didn’t have any people, customers, nothing. I used to live in Notting Hill and cross the park on a bike. I would come to the shop every day. We used to open at 10 o’ clock. I ate some cookies at the pastry shop and then we would call Italy and get the shoes done.Two colourful heels displayed against a 1960's style sign

LUX: What is your favourite part of the design process?
MB: Without a doubt, working with the artisans in the factories. I have been working with the same artisans for over 35 years. Craftmanship is in their blood, passed down over generations. The team there know exactly what I am thinking and strive to bring all my creations to life, even the most intricate and embellished designs, always pushing boundaries to ensure the complete perfection and the attention to detail required in each of my collections.

Developing seasonal styles with the artisans and spending time in the factory is truly my favourite part of the job. It always has been and always will be.

LUX: Can shoes be a work of art? Can they be more than a work of art?
MB: Shoes can be inspired by art. I am always inspired by art. Francisco Goya did the best shoes in his paintings! I think I would collect all his art if I could. It has hugely inspired me throughout many of my collections and I can’t count how many hours I have spent staring at his works in the Prado museum.

I want my shoes to embody personal style and creativity, pieces of art for your feet.Leg in suede black boot against a background of white and red stripes and lights

LUX: How can one stay ahead of the fashion curve?
MB: By not following trends. Staying true to who you are and dressing the way you want is, in my opinion, true style. It is a physical attitude that cannot be bought.

I’ve never been one to follow trends. If I see too much of something, I change it. What’s the point of people wearing the same dresses and the same shoes? Everybody ends up looking like clones and I hate that. Individuality is what makes us all unique. I like independence and I love eccentricity. If you like something, buy it. Find your style and stick to it.

LUX: Style or comfort?
MB: I believe you can have both. I spend a lot of time with the artisans testing the comfort of our shoes. Elegance and comfort go hand in hand, you must be comfortable to appear elegant, one cannot exist without the other. There is nothing charming about a woman who cannot walk in her shoes.Red white and black kitten heel on a light up sign

LUX: Women’s or men’s fashion?
MB: Both! What’s wonderful is that people are starting to dress up again. In London, men and women alike are now dressed up and going to Savile Row to have suits made.

So long as we are human, we will want to be decorated—for ourselves; not for other people so much. When I wake up in the morning I say, “I’m going to wear happy colours today,” and that is for myself!

LUX: What does it take to create a truly iconic brand identity?
MB: Be true to who you are and believe in what you do! I think the most important thing is the product. That should always remain at the centre.

But for me, it’s not about being a big brand or ‘iconic’! I just want to be healthy and keep doing things. I don’t want anything else. I have everything I want, and I have wonderful memories.

LUX: In the age of e-commerce and social media, how has the digital landscape affected the Manolo Blahnik brand?
MB: You must move with the times or else you will get left behind. Our e-commerce website and social media are a crucial part of the business. When we started to work on The Craft Room, I wanted it to be online so that anyone, anywhere in the world can access this virtual world. It’s exciting! It’s wonderful to be able to connect with the world in this way.

LUX: What does sustainability mean to you?
MB: We don’t use the term ‘sustainability’ because I feel that sustainability is misunderstood. It’s binary: you either are or you are not. We use the term ‘responsibility’ because it is a journey.

My personal philosophy, which was passed down to me from my parents, is that you buy the best quality you can afford and look after it. Mend garments and shoes, have things altered as necessary and upcycled when the time comes. I detest waste and think that overconsumption is unnecessary and lazy.

LUX: In 3 words, how would you describe the world of Manolo Blahnik?
MB: Timeless, colourful and elegant!

Read more: Blazé Milano’s Corrada Rodriguez d’Acrci on creating iconic style 

LUX: Where do you predict your brand will be in ten years’ time?
MB: I am so lucky to have my niece, Kristina, as CEO. She has been working on building foundations to protect the brand. We are a family business with a family mindset and it is wonderful we are able to keep it this way. I hope that people continue to enjoy our shoes. We aim to create beautiful handmade pieces that last and make people smile.

Find out more: www.manoloblahnik.com

All images are from the Winter ’23 Collection

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Reading time: 6 min
A white horse wearing a black cape with white flowers on it
A white horse wearing a black cape with white flowers on it

From the Durazzi Milano AW23 presentation

In the eighth part of our Italy art focus series, curated by Umberta Beretta, LUX speaks to Ilenia Durazzi who worked for major fashion brands including Margiela before establishing her luxury womenswear brand, Durazzi Milano, in Milan, championed by artist Maurizio Cattelan

LUX: What is your design philosophy?
Ilenia Durazzi: I design clothes with an architectural approach to the study of physical volumes in tailoring. I love minimal models with essential lines, made special by a detail, an accessory, in which I concentrate the most unconventional part of my creativity.

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LUX: What cultural figures influence your work?
ID: My latest collection is dedicated to inspirational women from artists to scientists. For aesthetic inspiration, I would cite 1930s architecture, Meret Oppenheimer, Laurie Spiegel’s music. The common factor is non-conformism.

A woman with brown hair wearing a black turtleneck top

Ilenia Durazzi

LUX: Has Parisian style influenced your work?
ID: Paris is where I was trained and taught to express myself. It gave me the chance to create unique experiences in maisons that have written the story of fashion. But I was born in Urbino, a city of Medieval and Renaissance buildings. And when you are born in a region like this, it shapes how you see things. I believe our DNA recognises its roots, but changes with the world it inhabits.

LUX: How do the masculine and feminine interact in your brand?
ID: The essentiality of my creations derives from my experience of creating menswear and my fascination for men’s uniforms. Another point is the attention to function and detail, materials and craftsmanship in menswear. In women’s fashion these elements stay in the background. In my collections, they play a key role.

A woman wearing a tweed pink an red cot with red boots and holding a white bag

From the AW23 collection, by Durazzi Milano

LUX: Has Maurizio Cattelan
’s style influenced Durazzi Milano?
ID: Maurizio’s faith in my talents and support for the company have been fundamental. I couldn’t say Maurizio’s poetic approach has influenced its style, but his way of seeing reality is a source of inspiration. From artists we learn to look further.

Read more: Italy Art Focus: Edoardo Monti

LUX: Has your vision influenced Maurizio’s work?
ID: Maurizio and I are at each other’s perimeter, we have shared experiences and supported each other in our creative journeys. It would be naive to assume that this hadn’t had an impact.

A black cape for a horses back

From the AW23 presentation by Durazzi Milano

LUX: What changes will we see in Italian art and fashion in the next few years?
ID: I imagine a future that is fluid and democratic and so will be art and fashion. They already are. We have to be able to handle evolving situations, social, political and environmental. To go forward, the world has to go back, to produce less but better. It is the core of Durazzi Milano’s identity.

durazzimilano.com

This article comes from a section of a wider feature originally published in the Autumn/Winter 2023/24 issue of LUX

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Reading time: 2 min
diamond drop earrings on a purple background
diamond drop earrings on a purple background

For romance, drama and style, look no further than the latest in high jewellery. Compiled by James Gurney

diamond necklace

Deco delight: The platinum Claustra necklace was presented this year as part of Cartier‘s Le Voyage Recommencé collection, which reaches back tot he Art Deco creations of Louis Cartier and Jeanne Toussaint. This brilliant piece is built around white diamonds, openwork spaces and onyx. The Claustra’s geometric perfection makes colours around it more intense under its cool fire.

cartier.com

 

 

 

A gold and orange diamond brooch

Hear me roar: Two of Coco Chanel‘s obsessions, tweed and her Leo star sign, inspired this Gabrielle ring. Patrice Laguéreau, Director of Chanel Fine Jewellery Creative Studio, makes a leonine statement with yellow sapphires adn garnet set in gold and platinum. These, and an intricate woven texture, make for a standout piece from Tweed de Chanel High Jewellery.

chanel.com

 

 

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blue watch with diamonds on the face

Close watch: Pure water inspired Metaphoria, a new Piaget collection. The Undulata, a limited edition of eight watches, matches watery colours with marquetry, gems and an ultra-thin, hand-wound visible watch movement. Cased in white gold, with an alligator strap and set with diamonds, the watch has a straw, wood, elytron parchment and leather dial by Rose Saneuil.

piaget.com

white gold bracelet with Dior written on the inside

Modern romance: new designs for the Gem Dior collection from Dior Joaillerie’s Creative Director, Victoire de Castellane, are unabashedly romantic. Its declaration of love is built on a geometry of irregular shapes, as of mineral strata, creating a tactile rythm. In this bracelet, set in white gold, the surfaces of the diamonds reflect the elemental forces that drive their creation.

dior.com

gold round pendant necklace

Golden year: Chaumet’s Liens collection celebrates connections of love through geometric motifs drawn from the archive, symbolising the joining of destinies that mark true devotion. This Jeux de Liens Harmony engravable medallion features a gold sunburst radiance that highlights the diamond links joining the two halves together – a bond to represent two souls united for eternity.

chaumet.com

Diamond and white gold bracelet half open with flowers on the edges

Fresh as a daisy: The Miss Daisy collection from Bond Street Jeweller, David Morris takes inspiration from the summers of English childhood memory – bright skies, playful games and joyous nature. In this ear cuff, diamond petals and an Akoya pearl, all set in white gold, combine to create an elegant, romantic piece of surpassing charm and lightness of touch.

davidmorris.com

 

This article first appeared in the Autumn/Winter 2023/24 issue of LUX

 
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Reading time: 5 min
Women standing together wearing big pink and black puffy dresses with petty coats
Women standing together wearing big pink and black puffy dresses with petty coats

First looks, Giambattista Valli Haute Couture 25

Giambattista Valli moves as easily in the classical world of haute couture as in the contemporary world of social media and in the boardroom as CEO of his brand. Harriet Quick talks to the modern couturier as he prepares to take his maison to the next level

Environments have a way of seeping into the psyche of a designer and a brand. Rome-born designer Giambattista Valli is currently in the throes of bidding adieu to the wood-panelled, fresco-ceilinged lateral space in Paris that has been home to his brand since its inception in 2005. “It’s my historical space. When we first moved in, it seemed huge, a big undertaking and commitment. But now it feels small,” says Valli of the elegant, characterful HQ that lies on the rue Boissy d’Anglas in the 8th arrondissement, near Place de la Madeleine.

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The office has witnessed the brand move in ebbs and flows since its inception, which was funded by Valli himself. The mid noughties were a volatile period in fashion, with extremes of bling and the highest of heels usurped by post-Lehmann brothers stealth wealth, as luxury brands clipped their wings and aesthetics to suit sober times. Now we are amid a new wave of financial crunches and the impact of the environmental crisis, triggering a new wave of quiet luxury.

Yet Valli is a deft hand at riding the waves and telling his own story in chapters that evolve and twist over time rather than chase hot trends. It means his company has been able to evolve and adapt, to the point where it is now time to upgrade and move his company of around 50 colleagues under one roof. Groupe Artémis, the Pinault family-owned company, has a stake in the brand, which in 2022 turned over an estimated $6.4 million. Valli himself has had an influence on fashion proportionately far greater than mere turnover numbers may indicate.

A man wearing a white t-shirt an jeans with his hands in his pockets

Portrait of Giambattista Valli

The new Valli offices are just up the road from the old, near Opéra, but offer two floors of light-filled space to house everything from the showrooms, atelier, PR and communications office, the commercial team and a VIP haute couture suite. “It is almost a townhouse, as we have our own entrance. The structure is good and there is beautiful stuccowork and frescoes,” says Valli of the interior, which features clean white “boxes” he has designed himself. “We always have so many prints, volumes and textures – I needed it to be neutral,” he explains.

With his dark thick hair, big eyes, fashionably deep yet sharply sculpted beard, Valli appears like a Renaissance artist transported into our times wearing a black T-shirt and chain necklace, instead of a doublet and ruff. He reserves his treasured 17th-century Mughal “good luck” pearl necklace for special occasions. “It is very rare,” he says. The pursuit of beauty in people, objects, environments and in fashion has been Valli’s lifelong pursuit. Soon he will be receiving VIP clients into his new showroom to choose from his latest haute couture offering, which was shown in Paris in early July 2023.

“I love to have the level of excellence that comes from pushing the boundaries of the atelier and the research required to propose new ideas of beauty. I approach haute couture in a classical-modern way, and each collection is like a new chapter of the same story,” says Valli, who frames himself as a romantic poet but is also CEO and an astute brand director, with a vision that appeals to a collective sweet spot.

The tradition of creating one-off gowns for an elite clientele who might attend three fittings before a garment is finalised might seem an anachronism in a click-and-produce era that can see whole collections turned around in a matter of weeks. But the experience offers an unparalleled luxury for both creator and client alike, a transcendental experience that sees centuries-old savoir faire reimagined for today. “Haute couture is the extreme side of this fantasy. It is also a practice that nourishes ready to wear, so what we see in the shapes, volumes and techniques filters through from a couture dress to a T-shirt or a knit piece,” says Valli of the osmosis. “When creating haute couture, ‘real’ time seems to stop and you float into another time zone.”

A woman wearing a long green ball gown that is long at the back and short at the front with a black bow around her waist

Look 09, Giambattista Valli Haute Couture 25. The maison describes the collection as “celebrating the modernity of classics and the timeless art of Atelier”

The 57-year-old couturier intertwines the many threads of his upbringing into his metier. Valli attended secondary school at a strict Vatican liceo near the Vatican Museum, took a degree in art, studied fashion at the Instituto Europeo di Design in Rome and in 1987 did an illustration course at Central St Martins in London. In 1988 he entered high fashion as an assistant for Roberto Capucci, the designer known for his opulent colour and sculpted gowns, who became a magnet for Roman high society during the 1960s and enjoyed a renaissance in the 1980s.

“From Roberto Capucci, I can say that I learnt the philosophy of not being trendy; I learnt to step a little bit out of the spot of the moment and also to keep the human side intact,” says Valli. He went on to Fendi, which had Karl Lagerfeld at the helm, then Krizia in Milan. In 1997, he moved to Paris and the haute couture atelier of Emanuel Ungaro where, as first assistant, Valli learnt about the arts of flou and tailleur and the rituals including passing the pins in complete hush. Ungaro was so impressed by Valli’s light, fresh work that he made him Creative Director of ready to wear and the stores adored what he did.

Valli channelled that love of volume, of light, fresh romantic designs into his own label and started making a name for himself attracting socialites, creative types, young women and older women into his fan-club circle. Count in there Priyanka Chopra, Marina Ruy Barbosa, Eugenie Niarchos, Bianca Brandolini, Giovanna Battaglia Engelbert (Valli made a macramé minidress with organza-chiffon cape for the party of her cliff- top Capri wedding in 2016), as well as more actors and royalty. They, in turn, became the best ambassadors for the brand and for its joyous, “go big or go home” dress-up daring.

“When I launched, all the houses had big stars, but we were independent and every cent counted. It’s almost like the Valli Girls chose us, We did not pay them to get dressed. They continue to be people who inspire me and they capture l’air du temps and I am nourished by that,” says Valli of his famously mercurial, nomadic, cultured muses and champions.

A man wearing a brown jacket, black top, necklace and sunglasses standing next to a woman with his arm round her wait who is wearing a green and black coord crop top and trousers

Giambattista Valli with muse Bianca Brandolini

In her 2013 book, Giambattista Valli, curator and fashion historian Pamela Golbin wrote of the designer, “Here is a story of duality, in which the exuberance of his Italian roots is artfully coupled with the formal rigour of the French.” She adds, “Complicity with women – through their body language and the gestures they adopt – is central to Valli’s practice because like a film director he directs his models as if they are actresses.”

In store and online that fantasy continues to seduce. “I have bought Giambattista Valli for most of my career. The brand consistently offers amazing and diverse occasionwear, from beautiful romantic floral gowns to tweed or bouclé suits and dress coats, which can be styled with a cute ballet pump or a sophisticated kitten heel depending on the occasion,” says Liane Wiggins, Head of Womenswear at Matches. “Giambattista Valli has a strong DNA and our customers continue to return for these well-cut, flattering pieces.” The store recently launched an exclusive capsule collection with the brand, which includes a floor-length silk fil coupé gown.

The current Giambattista Valli autumn/ winter 2023 line up finds raw-edge sleeveless tweed jumpsuits, semi-sheer tiered prairie dresses and a series of pieces including tunics and floral embroidered outsize jackets that were worn by men on the catwalk but are designed for every gender. “I do think there is fascination with beauty and how far one can push the fantasy,” says Valli of the zeitgeist. “The social-media message might be dreamy, critical or creative, but the platforms are a more democratic way to learn about this universe that was previously closed off and exclusive. It gives a chance for people to understand the work behind fashion.” He laughs as he adds, of his gowns that burst from the Instagram frame, “Image-wise, well, I have always loved big volumes, so that fits very well!”

Read more: Maryam Eisler’s photography series at legendary Parnham House 

From his new Paris HQ, Valli will lay the groundwork for the next chapter. “I would love the maison to sit alongside institutional houses like Dior and Chanel and to have that presence beyond my lifetime,” he says. “I want the brand to be coherent with a 100 per cent DNA that is about excellence and savoir faire. To do that, one has to move with consistency.”

With his 10-year-old son, Adam, Valli also has a young future to look after. “Right now, he is 100 per cent football! But he is very gentle, inquisitive, surprising, and I learn a lot from him,” says Valli. “How do I see myself age 70? Curious, still able to receive energy from beauty and wanting to share it. I hope I am going to surprise him, too.” This Roman in Paris knows his road.

Find out more: giambattistavalli.com

This article first appeared in the Autumn/Winter 2023/24 issue of LUX

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Reading time: 8 min
clothes on a rack
clothes on a rack

Step into Autumn with an edit from personal shopping service luminaire.com. Compiled by Harriet Quick and Isabel Froemming

grey gloves

Elbow room
Opera gloves are the accessory for now, perfectly bringing a touch of haute couture elegance to casual looks. This above-the-elbow pair by stealth-luxury brand The Row are cut from the softest lamb leather and lend a soignée touch to the simple slip dress. Think Audrey Hepburn in breakfast at Tiffany’s and add a cocktail ring on top.

therow.com

A gold necklace with a black flower and diamonds in the centre

Adorn me
Emblematic costume jewellery from Virginie Viard‘s Métiers d’art collection for Chanel creates a strong statement with the Byzantine motifs that Coco Chanel adored. The collection was shown in Dakar, Senegal, celebrating the vibrant culture and craft of the region. Combine and layer chains for a custard décolleté or simply clasp over a plain T-shirt.

chanel.com

a woman wearing a black and white gingham short sleeve shirt and mid length matching skirt

Crinkle cut
Dior’s short-sleeve gingham skirt suit with its mid-calf hem and crunchy techno cotton fabric can be rolled in a suitcase and will solve many a style dilemma. Inspired by chanteuses such as Juliette Gréco and Edith Piaf, Creative Director Maria Grazia Chiuri‘s AW23 collection tactfully strikes the balance of combining elegance and everyday ease.

dior.com

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A woman wearing a brown blazer, burgundy skirt and boots

A fine vintage
The tailored skirt suit with an echo of pure 1980s glamour comes back into its own this season. Bruno Sialelli delivers a powerful version for Lanvin with a strong-shouldered single-breasted jacket and button-through mid-thigh skirt in rich Bordeaux red. Dare to wear with tonal thigh-high boots to the boardroom and beyond.

lanvin.com

A hair tie with a green ball and blue cube on it

Blowing baubles
Boucheron Creative Director Claire Choisne channelled her love of the playful and unexpected in the new geometric High Jewellery collection, presented in Memphis-era boxing ring in the Boucheron private apartment in Paris. These sapphire and mother-of-pearl hair bubbles are set in lightweight titanium and are a spectacular way to decorate your ponytail.

boucheron.com

A blue lace maxi skirt

Reveal and conceal
Pieter Mulier, Alaïa’s Creative Director, excels in body-glorifying silhouettes and intelligent sexiness. This semi-sheer lace maxi skirt is juxtaposed with a silk-dupion hooded bodysuit for quietly powerful after-dark dressing. This season’s exposure is all about reclaiming the body and putting your physique directly on show.

maison-alaia.com

This article first appeared in the Autumn/Winter 2023/24 issue of LUX

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A raw diamond in someone's hand
people walking in builder outfits through a mine

Petra Diamonds – Cullinan Diamond Mine – Boodles Site Visit

Boodles, the globally-renowned sixth generation family business, is pioneering sustainability in the diamond and jewellery industry, using technology to trace each diamond and working closely with their workers and the mines to ensure a healthy environment for both the community and the land. Here, Honour and Jody Wainwright, descendants of the founders of Boodles, speak to Samantha Welsh about the company’s values and commitment to sustainable practices

LUX: What are Boodles’ values that make you a leader among the ‘best of British’ luxury brands?
Honour Wainwright: and Jody Wainwright: Boodles’ principal point of difference is that we are a sixth-generation family business in operation since our founding in 1798. I am the sixth generation and my twin brother and two cousins also work for the business. We prioritise looking after our clients and host up to 250 events each year for them. Events give us an opportunity to entertain our loyal customers, allow the Directors to get to know them, to give them a lovely day out and to thank them in person for their loyalty. We also value design and currently have six in-house designers, two based in our flagship New Bond Street store, and four at Head Office in Liverpool. We launch a High Jewellery collection each year, this year’s concept being ‘A Family Journey: Around Europe in 10 Days’ inspired by a trip our Chairman, Nicholas Wainwright undertook to buy stones, meet suppliers and gain inspiration for the collection, in so doing replicating the trip taken by his father in 1962.

A raw diamond in someone's hand

Craftsmanship is at the core of Boodles. All Boodles jewellery is designed and hand-finished in the UK at our London workshops. We also use Single Mine Origin gold in all of our jewellery, which comes from the Yanfolila mine in Mali. Boodles know that sustainability and traceability is extremely important. Inevitably, our younger customers value this more and we therefore regard it as something that is essential for our own peace of mind, but also an investment in the future of our business. We also launched a high jewellery collection called ‘Peace of Mined’ featuring diamonds from the Cullinan Mine extracted only weeks before the collection launched.

LUX: You share Boodles’ passion and reputation for offering inimitable stones; what are the primary considerations when selecting a stone?
HW & JW: Boodles are unique as when sourcing stones we usually buy the rough diamonds direct from the mine. At Boodles we are looking for exceptional gemstones, Jody Wainwright, our Director of Precious Gemstones and Diamonds, says a stone has to ‘talk’ to him.

A mine with cranes and scaffolding

© Ben Phillips

LUX: What is your ‘mine-to-market’ process that transforms a rough mineral into a personal treasure?
HW & JW: At Boodles, this process begins with our directors hand-picking and sourcing stones from mines and suppliers, whom we have been dealing with for many generations. They are then taken to our London workshop where they are cut by Boodles’ master diamond cutter, Clive, who we call our ‘5th C’ extending the traditional 4Cs grading system. The stones are skilfully polished, set by our in-house designers, and transported onward to our UK showrooms for display

LUX: How has the Boodles approach to partnerships succeeded in creating an influential U/HNW ecosystem?
HW & JW: From gallery exhibitions to horse racing, Boodles is known for the sheer variety of its events and their number, – we hosted 250 events last year. After a fantastic inaugural year in 2022, our partnership as lead sponsor for the Boodles Cheltenham Gold Cup was renewed in 2023. At the home of Jump Racing, the Boodles pink logo was omnipresent throughout the Festival’s ITV broadcast. This year’s partnership was launched through a photo shoot with 2022’s Gold Cup Winner Rachael Blackmore on London’s iconic ‘Bond Street with previous Gold Cup Winner, Native River. As the first female jockey to win the Gold Cup and BBC’s World Sport Star of the Year in 2021, Rachael is the perfect embodiment of a Boodles Brand Ambassador. It is no surprise that Boodles will be partnering with the Gold Cup again in 2024 to celebrate its highly anticipated centenary. It provides a special day out for our clients and an opportunity for them to attend a world-renowned sporting event whilst allowing the Boodles team to really get to know their clients and their families.

A rose gold and diamond ring

2023 also saw Boodles present our third garden at the Chelsea Flower Show, in collaboration with esteemed British garden designer, Tom Hoblyn. ‘The Boodles Best of British Garden’ was awarded a Silver-Gilt medal. Post-Covid, sports events resumed: Boodles’ warm-up for Wimbledon concluded its 19th edition within genteel surroundings at Stoke Park, we had a successful pop-up tournament at Quinta do Lago Resort in the Algarve, and The Boodles Boxing Ball returned, raising more money than ever for charity, and the list goes on.

LUX: How did the partnership between Boodles and the Cullinan Mine begin?
HW & JW: The Cullinan mine is very special to Boodles. It was visited by my great uncle, the late Anthony Wainwright, during one of his many expeditions overseas in search of fine stones. He found it magical, laden with mysteries — and shared tales of the jewels in its depths with his grandson, my cousin. When Jody was just a small boy, Anthony died and his son Nicholas followed on in his footsteps, visiting the mine in the mid-1990s. He returned equally enchanted — and his experience of the Cullinan Mine inspired Jody with a new suite of legends.

people standing in helmets and white outfits in a mine

Petra Diamonds – Cullinan Diamond Mine – Boodles Site Visit

I went down the Cullinan Mine with my parents last February and had an amazing experience. They don’t open the mine to anyone other than principal shareholders. My twin brother and cousins have also recently visited the mine and seeing the process of mining a Cullinan diamond has been fascinating.

The story is fantastic and Boodles have a passion for these stones. Each stone is securely helicoptered to the Johannesburg Head Office, then onward to our London diamond cutters, then into our shops, so there is a total chain of custody.

We find that customers love to know that their Boodles piece featuring a Cullinan diamond was mined only 6 months ago. We create a lovely book charting the progress of the stone through all the stages of refinement into the final finished piece of jewellery.

A boiling gold pour

LUX: What can you share about upcoming developments?
HW & JW: We have discussed opportunities for potential international event partnerships in Florida, Texas, Bermuda and Barbados. We are partnering with a third gold mine which opens up in Guinea in Q4, and Jody will attend the official launch. This, together with Yanfolila Mine mentioned earlier in Mali, and Ity Mine in Côte d’Ivoire have each received independent certification to an internationally recognised responsibility standard, so that every ounce of Single Mine Origin (SMO) gold comes with a fully auditable QR code that traces its origins and journey. We are working towards all our diamonds being fully traceable and currently we have a large selection from the Cullinan Mine in South Africa. A number of our larger diamonds now also come from mines such as the Kao Mine in Lesotho, South Africa, and the Gahcho Kué Diamond Mine in Canada. We are also beginning to look at some new mines that uphold high sustainability standards and share their efforts through their respective websites.

Find out more: boodles.com

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The back of a metal watch
The back of a metal watch

Every watch collector knows you can’t just walk into a luxury boutique and expect to buy an in-demand timepiece, any more than you can walk into a gallery and pick up the latest Richard Prince. The space between demand and supply can be acute, and some watches acquire a status beyond value or taste. Here are six of the best compiled by James Gurney

 

A metal watch with a red face

An icon returns: Demand for Zenith’s heritage re-issues such as this Defy Revival is intense. It’s easy to see why. The faceted octagonal case and 14-sided bezel combined with the steel ladder bracelet, gives the £6,100 Defy a character as unique today as it was radical at its 1969 launch.

zenith-watches.com

A black watch with a tech style silver face

Go faster: If ever a watchmaker could adopt the ad slogan “reassuringly expensive”, it is motor-racing favourite Richard Mille. The 1.75mm RM UP-01 Ferrari, created with Ferrari, is the thinnest watch ever designed. All 150 watches to be made are reportedly reserved, at £1.88m.

richard-mille.com

a blue watch with a blue face and strap

Blue blood: François-Paul Journe set up as a watchmaker nearly 25 years ago, after restoring antique clocks. That tradition, combined with a modern aesthetic, has collectors content to wait for years, even for the simplest creations such as the Chronomètre Bleu, which retails for just under $40K, but resells for upwards of $50K.

fpjourne.com

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A blue strap watch with a silver face with a hint of blue

What is the world: Greubel Forsey raises watchmaking to an art form by preserving and reviving craft skills. That the brand is looking to bring prices down to below £200,000 (the covetable GMT Balancier Convexe is around $400,000) and reduce waiting times to under two years tells you all about demand.

greubelforsey.com

A silver metal watch with three black dots in the face

Classic cool: The value of the most sought-after vintage Rolex watches can reach absurd extremes. With others, such as the 1971 pandadial Daytona, the perfection of the design was enough to justify an estimate of up to €500,000 euros at Sotheby’s March 2023 Fine Watches sale.

rolex.com

A silver watch with a blue square face

Dreaming on: Demand for key Patek Philippe designs exceeds supply, reaches fever pitch for Nautilus variations and is beyond reason ($6.5m in 2021) for the Tiffany blue-dialled 5711/1A-018. For a white gold 5811/1G (£58,391), you might have a chance in a few generations.

patek.com

This article was first published in the Spring/Summer 2023 issue of LUX

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shops with brand flags over the entrances on bond street
shops with brand flags  over the entrances on bond street

Bond Street’s finest. Photo by Gary Knight

LUX selects the best fine – and high – jewellery pieces that are as big on style as they are on bling. Compiled by James Gurney

gold and black sunglasses

Eyes on you: An alfresco lunch meeting demands a soupçon of city cool, and bejewelled sunglasses edge up the glamour. From Cartier to Boucheron to Pomellato, luxury houses offer divine takes on summer shades. Designed around house motifs and with the artistry of the main collections, the crystal-embellished Divas’ Dream by Bulgari are a glittering example.

bulgari.com

a rose gold friendship bracelet with a ladybird and flower on it

Good natured: It takes a jewellery maison with the cultural heft of Van Cleef & Arpels to credibly give way to whimsy, as the Lucky Spring collection demonstrates. Exquisitely crafted, designs include plum blossom, ladybird and lily of the valley rendered in precious metals and stones. This five-motif bracelet is in rose gold, white mother of pearl, carnelian and onyx.

vancleefarpels.com

A heart shaped rose gold ring

Lines of beauty: What constitutes modern romance? Paris-based Italian jewellery house Repossi has a fair idea. This year marks the tenth anniversary of its signature Antifer collection, whose Antifer Heart ring creates a contemporary-classic form. The occasion sees the new Antifer Heart necklace and two hoop earrings, all featuring that iconic sharp tip.

repossi.com

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A gold ring with a pearl in the centre

Linked In: Japanese jewellery house Tasaki celebrates the never-ending possibilities of gold, pearls and diamonds with new additions to its Fine Links collection. Across seven pieces by Thakoon Panichgul, Akoya pearls rest on yellow- gold and diamond link shapes. Two rings, two pendants, two pairs of earrings and an ear cuff offer plenty of modern styling options.

tasaki.co.uk

A rose gold wavy bracelet

Stem subject: Christian Dior’s passion for roses is reflected in additions to the Bois de Rose collection that includes bracelets, rings and this modern ear cuff, all by Victoire de Castellane. Symbolising attachment, the abstract stem design comes in white, pink and yellow gold, with or without diamonds, and wraps organically skin, solo or stacked.

dior.com

gold cufflinks with the Louis Vuitton logo on a box with coloured logo symbols on a black surface

Ear candy: Earphones become jewellery at Louis Vuitton. Part of the Horizon Light Up collection, the wireless earphones come in a charging case featuring a Connected monogram that animates via LED backlighting. The silhouette of earphones and case are inspired by the Tambour watch case, and the earphones have a polished sapphire top disc. In five colours.

louisvuitton.com

This article was first published in the Spring/Summer 2023 issue of LUX

 
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Model in padded silver jacket and matching silver boots walks the runway
Model in padded silver jacket and matching silver boots walks the runway

Lucrezia Grazioli’s design on the runway

Istituto Marangoni unveiled the collections of its ten most outstanding designers in their graduate showcase this month. Trudy Ross spoke to School Director Valérie Berdah Levy and Designer of the Year Hyun Jik Yoo on sustainability, creativity, and digital fashion

If you were anywhere near Pennington Street last Tuesday 11th of July, you would have caught sight of a number of impeccably dressed young people, formidable in dark glasses, loose bold cuts and striking accessories, walking the streets of East London. There would be no need to ask where they were going.

Unit 2, 110 Pennington Street, E1, was buzzing with the sexy and stylish milieu of London in anticipation of Istituto Marangoni’s graduate showcase. The large queue was slowly brought into the dark, industrial chic venue, lit by huge digital screens and pumping with music, to await the uniquely ‘phygital’ fashion show, also being streamed live in the Metaverse.

Natalie Kabelacova’s design on the ruway

Ten students from the renowned fashion school were chosen to have their collections debuted to the audience, with each creating six designs engaging with the theme DISTORT/DISRUPT. The chosen few, all with their own unique style, were Angelynne Viorenique Andersen, Anna Savchenko, Giju Kim, Hammotal Blair Hen, Hyun Jik Yoo, Jiaxi Zhuang, Lucrezia Grazioli, Natálie Kabeláčová, Rudraksh Singh, and Ummehani Kanchwala.

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As the models, prepped and preened by The London Academy of Freelance Makeup and Unite Haircare, walked the runway, the walls behind them projected digital interpretations of the designs they wore, featuring shots and videos of the models edited into colourful and dramatic landscapes. This, compounded by the sea of mobile phones snapping and streaming the event, marked a clear step into the realm of the digital experience, even in the physical space of the show.

Design from Anna Savchenko’s ‘Not Broken’ collection

When asked about the future of digital fashion, Director of the Istituto Marangoni London Valérie Berdah Levy told LUX: “…the Metaverse is the future. We started having fashion shows on the Metaverse just two years ago. We opened the school in Dubai last year and we had the first show on the Metaverse; it’s definitely the future for this. Even at school level, shortly we will have classes on the Metaverse and in the Metaverse.”

Angelynne Andersen walking the catwalk alongside a model wearing her design

The show also engaged with sustainability and responsible fashion, with Anna Savchenko from Russia using paper as the primary material in her designs, while Czech student Natálie Kabeláčová used only sustainable fabrics in her sherpa-inspired designs, and Angelynne Viorenique used scrap fabrics and yarns from the university to create her colourful and extravagant collection ‘Shedding’. The Istituto is introducing a new MA in Responsible Fashion this October; Valérie Berdah Levy noted the importance of teaching students to be both responsible and creative.

One of Designer of the Year, Hyun Jik Yoo’s designs

The winner of the Designer of the Year Award was announced as Hyun Jik Yoo, who completed a lap of the catwalk to roaring applause, accompanied by the model wearing his favourite design. His dramatic, brooding collection was inspired by Jack the Ripper, the East London murderer who Hyun Jik told us has lived near his home in Whitechapel, not far from the show’s venue. He explained that he was playing with ideas of concealing and revealing in his designs to speak to the murderer’s desire to be known and feared, while also hidden and anonymous. This translated into the use of sheer fabric and rips in his designs, working alongside thick layers and dark hoods.

Read more: Kering’s Marie-Claire Daveu on the Future of Sustainability

Hyun Jik Yoo walking the catwalk after being announced as Designer of the Year

Hyun Jik shyly told LUX that he was “really proud” of himself, and said his next steps were to rest up and then, “if I have a chance, if someone wants my brand name, I would like to set up my own brand.”

Find out more: www.istitutomarangoni.com

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A blonde woman wearing a white jacket and a watch with bracelets
A woman working with an older man in a workshop

Carolina in the Florence atelier with her father

She shot to success when Sarah Jessica Parker wore her brand’s Lucky bracelet in Sex and the City in 2002, and she has gone on to fuse playful designs with her family’s fine- jewellery tradition. Carolina Bucci talks to LUX’s Samantha Welsh about creating and developing her own brand vision

LUX: Were you expected to join the family business?
Carolina Bucci: My family has made fine jewellery in Florence since 1885, and my father joined the business in his teens. He was clear there was no obligation for us to join, but that if we were interested he would ensure we had a proper apprenticeship. My brother and sister declined, but I was keen. Even before I studied jewellery design at the Fashion Institute of Technology, New York, I had spent time watching our jewellers work, understanding how precise and physical making jewellery is.

Follow LUX on Instagram: luxthemagazine

LUX: How did your vision set you on another path?
CB: Growing up, I was fascinated by costume jewellery: the colours, the shapes and the experimentation. I thought traditional Italian fine jewellery was stuffy and I couldn’t understand how my family heritage could be relevant to my style. In creating Carolina Bucci, I fused these two worlds. Our jewellery is made in the same traditional workshops, but we push our craft to create colourful, unexpected silhouettes that don’t feel formal. We like to say that we make gold do things that it shouldn’t do.

A diamond and sapphire bracelet with CARO weaved into it

diamond and sapphire Color Field bracelet by Carolina Bucci

LUX: How did your brand adapt during COVID-19?
CB: We are small and family owned, so, whether it was the early restrictions in Italy, safety issues or moving business online, we were agile and I am proud of what we did. We closed our London store before there was any mandate from the UK government to do so; we donated to charities; we tried to keep this non-essential item uplifting. Our FORTE Beads seemed to capture the moment, and we found new ways to tell that story.

LUX: Who is the Carolina Bucci woman?
CB: There are so many voices to our brand. That is why we created La Catena [“chain”] on the website. I wanted a place for them to speak. Whether that is filmmaker Reed Morano talking about her creative process or art dealer Sarah Hoover on motherhood, there is an authentic passion, and I hope that is what we convey. I love designing jewellery and I love aligning myself with people who share that spirit in whatever they do.

A woman taking a photo with a camera

Filmmaker Reed Morano for the brand’s website

LUX: Are you involved in content creation?
CB: I design our jewellery, and I am also involved in everything we do: the smell in our stores, the paper and ribbon we use, our digital comms. It is my name above the door, so it is my responsibility to sign off on whatever we send into the world.

LUX: Are you tempted to be more active digitally?
CB: Jewellery is and always will be a tactile category. We have an active, growing online platform, but we couldn’t be a predominantly online brand. Our presence online is just another way for people to interact with our pieces, but it can never replace our stores. We are building a new store in Florence, and one of its most exciting aspects is how it helps us think in a fresh way about our online store. I love how that dialogue happens both ways.

A cartoon of a woman in a multi coloured dress walking up the stairs in high heels with nappies falling out her bag

An illustration from Sarah Hoover’s take on motherhood from the Carolina Bucci website

LUX: What is your social-media strategy?
CB: The word that strikes me when I think of social-media strategy is “fatigue”. I think some people design with one eye on how products will look on phones. I am at the other end of the spectrum. If the design is good, those who buy the pieces are your best ambassadors, and whether they tell friends at lunch or post photos for strangers, I am happy for that interaction to take on its own life.

A blonde woman wearing a white jacket and a watch with bracelets

Carolina Bucci wears her own designs and a watch from the Audemars Piguet collaboration

LUX: What about your collaborations?
CB: Our long relationship with Swiss watchmaker Audemars Piguet has been phenomenal and brought us to a new audience. It started because I owned a 1970s AP man’s Royal Oak watch. It was perfect and I didn’t think it could be improved on. I redesigned it for women through a chance meeting with the brand’s CEO, François-Henry Bennahmias in 2013. It helped that we had shared values and ideas – both fourth-generation family businesses, focused on craft before anything else.

Read more: Cindy Chao on heritage and emotion in jewellery

LUX: What is your next move?
CB: We make jewellery, and I don’t plan to make anything else. At the same time, I love collaborating with best-in-class manufacturers… we have made glass in Murano with Laguna B, and stationery and leather goods in Florence with Pineider. I love this ability to inhabit other worlds, particularly in the service of Italian crafts.

Find out more: carolinabucci.com

This article was first published in the Spring/Summer 2023 issue of LUX

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Reading time: 4 min
People looking at fabrics on a table
materials hung up mannequins

Sustainable samples at Kering’s Material Innovation Lab, Milan

When Kering, the French luxury conglomerate that owns Gucci, Saint Laurent, Balenciaga and Bottega Veneta, introduced a radical sustainability programme just over ten years ago, the rest of the industry was bemused. Now the group is seen as visionary. Marie-Claire Daveu, the group’s Chief Sustainability and Institutional Affairs Officer, who oversaw the programme and introduced the first EP&L in the luxury industry, speaks to Darius Sanai about what happens next
A blonde woman wearing a black turtle neck and a white coat

Marie-Claire Daveu

Darius Sanai: How has fashion progressed in sustainability in the past ten years?
Marie-Claire Daveu: I see a big difference. I joined Kering in September 2012 and I think [Kering CEO] François-Henri Pinault was really pioneering. We were a little bit alone when we spoke about this topic and about how we can measure what we do. For us, from the start, it was really key to have the same approach to sustainability that we have for financial commitments – to have KPI metrics and competitive targets. Now, if we look around, we can see more and more that there is better awareness from many companies. The data and the challenges linked with climate change and biodiversity are now well known and recognised by the majority of companies.

The outside window of a Gucci store

Gucci, one of Kering’s iconic brands

DS: Are words being backed up by action?
MCD: Yes, and we need to act operationally. Here are two examples. First, the Fashion Pact [a fashion-industry initiative created by French President Emmanuel Macron and François- Henri Pinault, presented at the G7 in 2019]. We now have more than 250 companies involved, and we have been able to put in place a Collective Virtual Power Purchase Agreement, to buy renewable energy together. Another example is the Regenerative Fund for Nature that we created with Conservation International, linked to regenerative agriculture.

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DS: Will regenerative agriculture become mainstream in fashion?
MCD: It is difficult to say what the future looks like, but I hope so. I think it’s reasonable because you have positive impact on the environmental side and you take the community into account. It’s different to conventional agriculture, and also to organic agriculture, which sometimes can be challenging for communities. You have to accept it takes time because the transformation takes at least three years. For companies like ours, that use cotton, silk and wool, you have to also create a sustainable supply chain.

People looking at fabrics on a table

The Kering Material Innovation Lab team at work in Milan

DS: How can companies with fewer resources match your idealism?
MCD: I don’t think I am idealistic. I’d say I am optimistic, not idealistic. I try to be pragmatic. I am conscious about the challenges, about the issues. My strong conviction is, if you are a company and you do not include this topic in your strategy, I think it is questionable whether the company will survive. Take energy, for example. Energy is crucial to a business model. If you don’t think about efficiency you will have a problem. So we link back – if more and more investors and analysts pay attention to this topic, it will be a challenge to have access to credit if you do not. You will be able to compare companies against each other with metrics.

DS: President Biden just overturned the recent Congress ban on using ESG metrics in investment. Is there still a danger that support will just be in the EU?
MCD: One of the key criteria is that all over the world, consumers are speaking about these things. We won’t have the choice. It is better to anticipate and be well prepared. It is very interesting to see that even in some countries where the regulation and the policies are different, private companies themselves are investing in what we call ESG criteria. Even in countries where the regulation is different, it is still in their interests.

A forest with a stream running through it

View of a Kering reforestation programme in Guyana

DS: So what is the biggest challenge?
MCD: The big challenge is the question of speed. How fast will we be able to transform the business model to make the ecological transition and to really integrate and scale the topic? I don’t have the answer today, because I think it will take us a few years to do this.

DS: Is there a governance issue in less developed economies?
MCD: We have to maximise our operational involvement on the ground for our projects. Each time, we identify an NGO that is global but also local to follow the project and to be really involved, so we can ensure that what we have planned is really implemented on the ground. That’s not a perfect answer, but we want to be sure that what we decide to do becomes a reality. It’s really key to identify the right partner to do this. If I am in Mongolia, I need to know I have the right partner on the ground and, if not, I will come in from Paris and check.

The outside of a Balenciaga store

Balenciaga, another of Kering’s most renowned brands

DS: Do luxury consumers make decisions based around sustainability?
MCD: I am convinced that, for the luxury customer, sustainability is part of the quality, part of the reason they buy a luxury product. For them, it is important that the raw materials are being produced in a way that pays attention to people and the planet.

Read more: Fausto Puglisi Interview: Refashioning Roberto Cavalli

DS: Do consumers understand, say, the link between biodiversity and climate change?
MCD: Do people always make those connections? No, but they are very aware of climate change – they see and live it. It is now something that has already happened. True, sometimes there can seem a distant connection between buying a product and the impact on the environment or biodiversity, and some people will say that their impact is nothing compared to that of a factory. But really, I see a change. The new generation are afraid of what is happening, and we speak more and more about what is happening. It was not the case before, but today, everyone has something to say about the topic.

Find out more: kering.com/en/sustainability

This article was first published in the Spring/Summer 2023 issue of LUX

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A woman standing on a small white stage wearing a leopard print dress
A man wearing a navy t-shirt and black and white jacket

Fausto Puglisi, Creative Director of Roberto Cavalli

Fausto Puglisi, Creative Director of Roberto Cavalli, has revitalised the Italian fashion house, which found high-octane fame in the 2000s, turning it into a hot-ticket brand for Gen-Z. Puglisi talks to LUX about glamour, passion and reimagining Cavalli for a more inclusive age

LUX: You have always had strong links to the Roberto Cavalli brand. What made you join it fully in 2020?
Fausto Puglisi: Roberto Cavalli is a brand I am totally comfortable with. It has always been a brand linked to women’s freedom, to seduction. The seduction that Roberto Cavalli represents today for women is not to please anyone but herself. It is, above all, linked to freedom, empowerment and dynamism. The Cavalli woman is sexy and glamorous- she owns her own body. I love seeing my Cavalli far away from any ideas of misogyny, closure and armouring. These do not reflect my woman, who is free and always advocates for freedom.

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LUX: Roberto Cavalli has a particular place in fashion history in dressing music stars. Is this a legacy you with to continue?
FP: Everything began with music in my career. My biggest supporters have always been music stars and I will continue to support them with Roberto Cavalli. The brand represents a continuous bond with music and so it will remain in the future. It comes to me spontaneously and naturally.

A sketch of Jennifer Lopez wearing a zebra print dress with comments around it

Sketch for a custom-made pieces by Roberto Cavalli, with Puglisi’s comments for Jennifer Lopez in 2022

LUX: How is Cavalli best worn- as a prize piece or as a full outfit?
FP: Cavalli can be both a full outfit and a prize piece. I think of different women and aesthetics when I imagine the pieces I develop for my collections. I am thinking of women who could wear a Cavalli total look, but also of those who could be defined as “not for Cavalli”, but who would be able to wear a beautiful pair of Roberto Cavalli trousers – perhaps combined with vintage knitwear pieces for their parents, or even a Cavalli biker jacket with a splendid skirt by another famous brand.

LUX: What are your favourite pieces from the SS23 collection>?
FP: I love all of them. In particular, the slip dresses in the Wild Leda print, which I wanted to name in honour of Cavalli’s wild heritage. Also from the new collection I love all the flat folds on the clothes that recall old Hollywood, a sort of Babylon in Puglisi Sauce.

LUX: Any print you are particularly fond of?
FP: I love the Wild Leda print. Roberto Cavalli started out as a painter, and, as he transitioned into fashion, he continued to design his prints by looking at art and historical paintings, and interpreting them in his own way. Wild Leda is a celebration of beauty as a female superpower. It is a celebration of spontaneous sensuality, of pleasure in nature, à la Cavalli.

A woman standing on a small white stage wearing a leopard print dress

An image from the Roberto Cavalli SS23 campaign

LUX: Who are the ultimate Cavalli women to you today?
FP: For sure, I would say J.LO, Miley Cyrus and Taylor Swift.

LUX: Do you feel that the Y2K trend has been good for the brand?
FP: Absolutely. The kids who grew up with Roberto Cavalli are now about 25 years old and experience the brand as a beautiful memory linked to Britney Spears, Destiny’s Child, Beyoncé of the early 2000s and Jennifer Lopez. There is certainly a very strong bond between the new generations and that of Roberto Cavalli in the early 2000s.

LUX: How do you feel about revisiting iconic eras, such as the 2000s, through clothes?
FP: I love it. I was living in the US in the early 2000s when Roberto Cavalli was the big superbrand. First I live in NY, then I moved to LA. Roberto Cavalli was Hollywood, the maximum glamour possible. It was blaring music, a supercar that races tirelessly.

A sketch of Taylor Siwft wearing a sparkly purple long sleeve crop top and maxi skirt with comments around it

Sketch for a custom-made pieces by Roberto Cavalli, with Puglisi’s comments for Taylor Swift in 2023

LUX: What are your thoughts on consumerism in fashion?
FP: I believe in everything that is done with the heart and with passion. Therefore, I do not believe in unbridled consumerism for its own sake.

Read more: Donatella Versace Interview: Doing It Her Way

LUX: Do you like the idea of passing clothes down from generation to generation?
FP: I believe in quality and emotion. Fashion must convey an emotion, so it is right that if a garment is beautiful, well made and able to excite and last over time, it can be worn through various generations. Our latest collection has an example of this in the kaftan, which recalls the famous ones worn by Marta Marzotto. The piece was reworked and adapted to modern times. It represents an ideal, inclusive piece that can be worn by one woman, and then reworn by her daughter or granddaughter who uses it to go dancing in Ibiza. The cuts and shapes of the dress change slightly with the times, but the attitude is the same.

Find out more: robertocavalli.com

This article was first published in the Spring/Summer 2023 issue of LUX

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women in white ad red sparkly outfits and a man wearing a white suit with another in a black jacket and white t shirt

K11, the multidisciplinary art, culture, retail, fashion and design organisation created by Hong Kong mover and shaker Adrian Cheng, is staging a show in the city celebrating 200 years of couture, together with the V&A.

It’s an auspicious occasion: Cheng has just been given the responsibility to reestablish the territory’s reputation as an international cultural hub, after three years of isolation caused by COVID. During that time, the cultural and touristic pendulum has swung towards Seoul, with the opening of Frieze Seoul, Singapore, which has seen much incoming financial and cultural capital, and Bangkok. It’s a big ask, but if there’s anyone who can do it, it is Cheng, scion of one of Hong Kong’s biggest dynasties and also a cultural statesman and innovator with a visionary understanding of east, west and the future.

Meanwhile, The Love Of Couture: Artisanship In Fashion Beyond Time curated in collaboration with the V&A and production designer, William Chang Suk Ping, aims to to bring together Western European traditions with eastern innovation, highlighting the extraordinary creativity, history and craftsmanship of couture.

The opening of the exhibition was celebrated at K11 Night with some of the most influential people in Asia, particularly from the fashion industry.

Follow LUX on Instagram: luxthemagazine

a man in a white shirt lifting his glass at a dinner
two women with their arms arund their waist and one is wearing diamond ear muffs
people standing for a photo at a party
two men and a woman at a dinner

K11 collaborated with with the V&A, assembling a team of revered industry veterans and emerging fashion designers, who, within the exhibition, explore the evolution of fashion across time and space and celebrate the next generation of designers.

Read more: Adrian Cheng On Brands To Watch In 2023

Cheng says, “Fashion throughout history is reflective of how traditions, craftsmanship, creativity and societies continue to evolve. I am thrilled to present this exhibition in collaboration with the V&A and work with our brilliant designers who have all in their own individual way, reinvented and modernised history with their unique perspective and talent. This collaboration truly reflects my mission to create a deeper cultural exchange between east and west by providing a platform for next generation talent.”

The Love of Couture: Artisanship in Fashion Beyond Time Exhibition is on until Sunday 29th January at the K11 Art & Cultural Centre

Find out more: www.k11experience.com/love-of-couture

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A ginger model with a wearing a white shirt with a camera next to her head
A ginger model wearing a brown and grey robe with her hand on her head

A portrait of the multitalented Lily Cole

The model and campaigner talks to Ella Johnson about environmental action, NFTs and how fashion can never be truly sustainable

1. What was your first piece of eco-activism?

Without it being intentionally connected to environmentalism, I guess it was campaigning against fur and turning vegetarian as a kid.

2. Why are you an “accidental entrepreneur”?

I’ve never resonated with the idea of business or entrepreneurship. I just have ideas and business has been a good vehicle for executing them, so it’s “accidental”. Perhaps “incidental entrepreneur” is a better way of saying it, as it’s an incidental by-product of following ideas.

3. What is the aim of your 2020 book and ongoing podcast, Who Cares Wins?

To draw attention to climate solutions and to foster a culture of diversity, dialogue and collaboration.

4. Who would be your ultimate guest for the podcast?

Thich Nhat Hanh. Aware it is too late for that.

Follow LUX on Instagram: luxthemagazine

5. Why should we take an intersectional approach to environmentalism?

Because all our issues are interconnected and interwoven, both social and environmental. And because the key to embracing biodiversity involves embracing diversity on all levels, such as cultural diversity and diversity of thought.

6. The Queen asks you what to do. What do you tell her?

I ask her to listen to, support and champion indigenous voices. 

7. What was your greatest revelation while researching your book?

That we could halt global warming, draw down more than 15 years of carbon emissions, enhance global biodiversity and essentially stop the sixth mass extinction through a very simple, and technically possible, action: stopping most animal farming.

A child sitting on a sofa with tights on and a sign over her neck that says 'Don't Wer Fur'

Cole, aged around 10, with an early activist fashion statement

8. Can we really stop global heating?

As above, and through many other solutions I look at in Who Cares Wins. Although it might not be possible to stop global heating in the short-to-medium term, we can potentially stop it in the longer term. And we can lessen the extent at which it accelerates, so it’s not too late to do something.

 9. Fashion can never be sustainable. True or false? 

If Adam and Eve swapping out fig leaves for, say, maple-tree leaves, was fashion, then yes, it can be. If most fashion remains made up of petrochemicals – 70 per cent of new fabrics are composed from plastic – and using non-circular business models, then no, probably not.

10. Why did you move to Portugal?

My daughter’s father is Portuguese and it felt like a good move to be closer to his family during the pandemic. Then I fell in love with the country: good nature, weather and people.

11. Have you ever bought an NFT?

Interesting question. I nearly did, as one was originally attached to a tapestry artwork I bought by Éva Ostrowska.

12. What’s your favourite building?

Sant’Ivo in Rome. The floor plan has a weird shape, like a bee. When Borromini drew the plans, he had to put the centre of the compass outside the ecclesiastical space to make it, which some interpret as a nod to the new idea that Earth was not the centre of the universe.

13. Tate Modern or Pompidou?

Tate Modern.

14. Is success about talent or effort?

It takes both, I’d think.

15. Which fictional character would you most want to have dinner with, why, and where?

Ada, from the novel by Nabokov. To pick her brain and play her games. On a sun-kissed beach.

Read more: An Interview with KAWS

16. What next, creatively?

Writing, writing, writing more.

Season 2 of Lily Cole’s Who Cares Wins podcast is available to stream now: lilycole.com/podcast

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

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A woman wearing a white dress standing next to a lit up tree in a desert
A woman wearing a white dress standing next to a lit up tree in a desert

Build your future-facing autumn wardrobe with these innovative eco pieces. Compiled by Ella Johnson

A pleated nude colour bag

Founded in 2019 in New York, vegan brand Alkeme Atelier combines the four elements (earth, water, fire, air) to make something new. This Water Moon Satchel is made from a scratch-resistant vegan leather, with a polyester lining made from 10 recycled plastic bottles.

A white shirt with a dark pattern on the sleeves and sides

This silk-twill Chloé shirt was designed with the National Museum of Natural History in Paris, the print inspired by an agate from its archives. It was made in partnership with Madagascan supplier Akanjo, certified by the World Trade Fair Organisation for prioritising employee pay.

chloe.com

Wide leg blue jeans

The New-York based, Uruguayan-born sustainable-luxury designer Gabriela Hearst has teamed up with E.L.V. Denim – a London brand that upcycles post-consumer waste denim – to create the chic 1970s-inspired Foster Jean, produced in East London.

gabrielahearst.com

off-white trainers with writing on the side

These genderless grape-leather sneakers by digital-native sustainable brand Pangaia are made with waste from the Italian wine industry. Responsibly produced in Portugal using water-based glue, their natural cotton laces come with 100 per cent recycled plastic tips.

pangaia.com

red cropped puffer coat

British label Stella McCartney – a mainstay of the ethical and sustainable fashion scene – has created this stylish puffer jacket, the fabrication of which majors on 100 per cent forest-friendly viscose. It looks as cool in the city as it does in high-performance environs.

stellamcccartney.com

red sunglasses with transparent lenses

Based between Byron Bay, LA and Paris, vegan eyewear label Velvet Canyon makes its frames from acetate, which is derived from cotton and wood pulp. These retro sunspecs come with recyclable lenses, a vegan-leather pouch and one per cent of profits go to charity.

velvetcanyon.com

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

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woman walking in the snow
woman walking in the snow

Get set to hit the slopes in new-season sustainable style. Compiled by Candice Tucker

A black puffer ski suit

This sleek, high-performance Prada ski suit is made from a two-layer technical nylon with goose down and proprietary graphene padding, which comes with high thermoregulation capacity. It all makes for the perfect combination of fashion and function on the slopes.

prada.com

A pleated khaki neck cover wit a zip

Bogner‘s bust front is the essential item for your ski bag. With its hi-tech materials, this weightless, head-turning piece will keep you warm for those all-important hot- chocolate breaks. Sometimes you just need that extra layer.

bogner.com

A wooly grey and cream coat

This Lindley cotton-blend knitted coat by Isabel Marant is snug and cosy but effortlessly stylish – just the thing for walking around the village in Zermatt after a long day of skiing, or enjoying a pizza with friends at Chesa Veglia in St Moritz.

isabelmarant.com

A black and green turtle neck jumper

A strong contender for the turtleneck of the season comes from the iconic Moncler Grenoble collection. This wool and cashmere knit is ideal to wear for strolling around an alpine village, enjoying fondue in the chalet or to shrug on under your suit for some ski action.

moncler.com

 

wooden skis

Rossignol has launched Essentials, a recycled and recyclable ski range. While conventional skis have an average recyclability rate of just 10 per cent, over three-quarters of these ski materials can be recycled. So you can be both eco aware and performance conscious, too.

rossignol.com

black leather helmet with yellow visor

As Fusalp knows, safe doesn’t have to mean boring, and the brand has a reputation for chic, high-quality skiwear. Available in black and white, this helmet, with its leather band across the top, will match any ski suit and ensure you stay secure while looking the part.

fusalp.com

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

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purple and red background with a model with his finger to his lips in a leather outfit wearing glasses and a man wearing a suit in the background also wearing glasses
deck chairs and a pool on a roof terrace looking over the city of Hong Kong

Image courtesy of Rosewood Hong Kong

Adrian Cheng is a leading tastemaker, founder of cultural-retail destination K11 MUSEA, art collector and investor in innovative companies. Here he outlines brands catching his eye for 2023

Jewellery

A wooden jewellery store with products on display

Image courtesy of K11 MUSEA

Brands that bring creativity and self-expression to the mainstream always attract my attention. That is why I find L’ÉCOLE School of Jewelry Arts interesting. Starting in Paris and now expanding into Hong Kong (at K11 MUSEA, above) and Shanghai, their studios provide amazing courses for people wanting to learn and create jewellery in all forms.
lecolevancleefarpels.com

Fashion

A black and white photo of a model on a catwalk wearing a black vest and large angled trousers

Image courtesy of Keystone Press/Alamy

Like many others, I’m watching Schiaparelli (above, in 1978), to see what happens next. Having met creative director Daniel Roseberry and hearing about his love of savoir-faire and mixing old and new, I’m really excited to see how he continues to evolve the brand. I have a feeling there are many exciting things to come.
schiaparelli.com

A man wearing purple shorts, hat, vest and shirt on a dark runway

Image courtesy of Reuters/Alamy/Benoit Tessier

AMI Paris is a brand to keep an eye on as it rapidly expands. I love its mix of casual and chic – it’s so great for everyday wear. The brand has a mission to make luxury fashion accessible and that really resonates with me, too. I’ve also been very impressed with its collaborations with Moncler and Eastpak.
amiparis.com

Retail

Whiskey on a shelf by a window overlooking the sea

Image courtesy of Stephen Grant/Alamy Stock Photo

I’m a huge fan of Arbikie’s whisky (above), which is grown, distilled and bottled on a Scottish family farm with a 400-year history. The distillery is fairly new, and it is making waves because of its ‘field-to-bottle’ approach. Sustainability is very important to me. Plus, the flavour is second to none.
arbikie.com

purple and red background with a model with his finger to his lips in a leather outfit wearing glasses and a man wearing a suit in the background also wearing glasses

Image courtesy of Keystone Press/Alamy

I’m always on the lookout for what’s hot in the tech industry. I’ve been really impressed with the London start-up VITURE. The brand’s VITURE One are XR smart glasses with a virtual screen so you can discreetly stream and game while wearing. They are super lightweight (and look just like classic sunglasses, which I like). I am a sucker for anything that combines fashion with technology.
viture.com

An entrance with white stone and trees

Image courtesy of AJL Photography Ltd/Rosewood Phuket

Asaya Wellness is a concept by Rosewood Hotels that the group is expanding across its properties, including Hong Kong. It combines therapies, meals and experiences to support physical and mental wellbeing. I may be biased, as Rosewood is family-run, but its Chi Nei Tsang treatment in Phuket, Thailand is mind-blowing.
rosewoodhotels.com

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

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A man wearing a navy blue suit presenting an award
A bald man wearing a black t-shirt and blazer

Norbert Stumpfl, Executive Design Director at Brioni. Image courtesy of Brioni

Until recently, Brioni was a menswear brand in flux, a 20th-century Italian formalwear legend that hit a couple of bumps as it tried to swivel to appeal to sneaker-clad millennials and Gen-Z dudes. But everything is rosy again, as executive design director Norbert Stumpfl explains to Darius Sanai

Modern yet traditional, supremely relevant yet trend averse – Brioni’s understated, logo-free luxury is appealing to a new and established global audience, from twentysomethings to the over seventies. Under Norbert Stumpfl’s expert eye, the brand welcomes Jude Law and his son Raff as its spring/summer ambassadors and rises to the challenge of creating a comfortable, stylish and sustainable wardrobe for the modern man.

Follow LUX on Instagram: luxthemagazine

LUX: How will recent times, with people staying at home, affect menswear in the long-term?
Norbert Stumpfl: This is something we ask ourselves in the studio all the time. I think that there will be some kind of change. People will change their habits a little bit. Or there might be pockets of people who are more interested in something more meaningful – this is where we can step in, with something not ‘throwaway’ but something a man can build on in his wardrobe, something not so trend-driven. I am very positive in my feelings for the future. Also, we are all watching a lot of sport, which involves T-shirts and sweatshirts, and many designers are working in this direction. But in the long run, people might find that they have too much of this in their wardrobes and that they want to change again. There’s always a pendulum in fashion: sometimes it goes more traditional, sometimes it goes sportier, and the two influence each other much more nowadays. We, for instance, in our fabric research, are being more influenced by sportswear and new technologies. Our fabrics are now crease-resistant, they have a natural stretch, a lightness. So, we are evolving as well.

Jude Law holding his jacket over his shirt

Jude Law, currently one of Brioni’s brand ambassadors. Image courtesy of Brioni

LUX: Will markets in Asia, where sport-influenced fashion dominates, become interested in tailoring?
NS: Brioni’s not very strong in the Asian market – we’re doing well in Japan, but not in China. Our Chinese clientele is the youngest; it’s 30- plus, whereas, worldwide, we are more in the 50-year-old bracket. But, recently, there has been an explosion of people wearing it there. A lot of actors wear Brioni tuxedos or suits to events, and if these people are wearing Brioni, people will be interested. Also, in the past few years, our Chinese clientele has been the one that picked up on our new directions the quickest; while in the US or Russia, we have a slow change – they like the collection, then it takes a season or two to pick up certain garments.

LUX: Brioni has been perceived as a sophisticated tailoring brand for wealthy gentlemen. Is that changing?
NS: When I was hired, François Pinault [CEO of Kering, which owns Brioni] asked me to give the brand a modern approach. Our clients are loyal, they enjoy the suits, the comfort, the lightness – and that nobody knows it’s Brioni, just those in the know. It’s a personal luxury. So, I approach modernisation very gently.

A boy with his hand over his face wearing a blazer

Raff Law, currently one of Brioni’s brand ambassadors. Image courtesy of Brioni

Of course, the high-ticket sales are coming from tailoring, and from bespoke clothing. However, recently, we’ve seen a change: with the collection picking up high-ticket sales, as well. This means that our traditional client is also really enjoying the new direction, because it’s not groundbreaking, but it is modernising just a little bit. In China, we’re showing the more modern man of Brioni; our imagery is going in this direction, because our typical client, who is maybe 50, 60, 70, is not looking at the images on Instagram or on the runway. So in the new imagery it’s always on younger models. There is a new Brioni, but it’s inspired by the old Brioni.

LUX: What’s your view on e-commerce?
NS: For me, the digital side is very important. It’s going to be challenging to sell our tailoring online. I prefer to go to the store, have the proper fitting and look around. Yes, it’s getting more important, but for our type of garments, which need to fit well, it’s much easier to be in a physical store. There’s always a tailor in our Brioni stores, who is trained in Italy, to give this kind of service. Nevertheless, I think e-commerce needs to be our shop window to the world.

LUX: How did you choose Jude and Raff Law as Brioni’s new ambassadors?
NS: Jude is a master of his craft and Raff is following the footsteps of his father. They are both fascinating characters. The most interesting aspect is the interaction between father and son – both equally at ease in Brioni. Their natural elegance comes through.

A man wearing a navy blue suit presenting an award

Brioni’s designs and tailoring have been favoured for decades by Hollywood royalty including Samuel L Jackson. Image courtesy of Eddy Chen

LUX: You’ve used the word ‘modern’ a lot – does that mean appealing to younger people?
NS: No – what I consider modern is just a way of cutting the pieces, maybe using a more modern colour palette, working on the fabric technology, making the garments lighter, water-repellent… It’s just for a modern man. I see my design as invisible, but it’s there to make the life of the Brioni man easier.

When you touch a Brioni garment I want you to say, “Wow!” It puts you in a good mood because you’re enveloped by this super-soft material, and I think this is where the modernity lies. In our lookbooks, we also show a lot of tonal dressing – the colours are more modern, they are inspired by the Roman palettes, they are inspired by the Roman streets. There’s a modernity in me, as a designer, staying in the background to allow Brioni men to shine.

LUX: Is it hard to balance your choice of materials with a drive for sustainability?
NS: Yes, sometimes it’s quite hard. Our clients expect the best materials. It’s been a long journey, even finding our sustainable partners and getting something that is what you would expect from Brioni. There have been a lot of steps forward, and the quality of the sustainable products are getting much better. It’s something that is, personally, very important for me. I’m on the same side as Mr Pinault, who really pushes us on this. I’m a designer who wants to make garments that have a use in the world and does not damage it. For sustainable fabric, I always go to auctions.

A man wearing white trousers and a cream jacket, standing by a stone wall

A look from the Brioni SS22 menswear collection. Image courtesy of Brioni

We made a big step forward by making almost all of our denim sustainable, which means using sustainable fabrics and sustainable metal pieces. What is not sustainable, at the moment, are the threads and the leather patches. But we will push this everywhere. For instance, the cotton for our T-shirts is sustainable, and we also have sustainable rules – it’s very important that there aren’t thousands of sheep that destroy the land then move on. We are trying to take more categories into sustainability now. It’s not easy. For instance, cotton can’t always be sustainable – you can see a lot of black dots, which is not acceptable for us. We’re working with the mills to really explain what we expect.

LUX: What do you personally take the most pleasure in designing?
NS: I really like the process. It all starts with an idea. I like creating the product together with our tailors, because they are truly talented people. I like challenging them. We did this jacket for Brad Pitt, for instance, which was a super- light, double-splittable cashmere sports jacket using a fabric that is really nice, but it has to be split in half with a scalpel and stitched back together. In the beginning they said it was too difficult, but they found a way. So, working with them and their 75 years’ worth of knowledge at Penne [where Brioni has a factory and a tailoring school], and with my modern approach, we can create something very impressive.

LUX: Is Dior Homme your main competitor?
NS: I wouldn’t consider Dior Homme as a competitor – I think of Dior as a brand that is much more fashion-oriented, which we are not. We’re a luxury brand that moves very slowly. Maybe, with our product, the art is more important, the way of making it. My viewpoint is also less important – I want to be in the background. With designers like Dior, it’s more about a strong style – if a person stands 50m away, you will still recognise it as Dior. I like to let the person shine, but with designer clothes, you’re showing that you can afford them.

A man getting his suit fit by a tailor

Clark Gable being fitted in a Brioni suit. Image courtesy of Chris Pizzello-Pool

LUX: You mentioned some Italian tailors, but you didn’t mention Savile Row.
NS: Savile Row is definitely on the same level, but Brioni tailoring is between Savile Row and southern Italian tailoring. We have the appearance of Savile Row, which is very constructed, very precise, with strong lines, but with constructed interfacing. Brioni has more of the flavour of southern Italy, with soft shoulders and almost no construction inside.

LUX: You originally planned to be an architect. Are we going to see any Brioni hotels?
NS: No. For now, we have to work on our boutiques. They’re very different, they’ve been through different periods. Together with our CEO we are trying to bring the same visuals to all our boutiques, and this takes time. We might have one store design in Milan, another one in New York, another one in London, which I think is one of the most beautiful. It has the feel of extreme luxury, but also feels very human inside. It doesn’t shine, it’s not all marble.

LUX: What do you think the well-dressed man will be wearing in 2022?
NS: There are so many possibilities in the collection. I know what I’m going to be wearing – a beautiful constructed coat, with a very soft cashmere sweater and some relaxed trousers from Brioni. It’s about just being able to put things on that feel almost weightless.

A man wearing a suit, shirt and tie holding an award

Denzel Washington accepting the Hollywood Legacy Award in 2017 wearing Brioni. Photo by Photo by Alberto E. Rodriguez

LUX: And how will professional men dress in 30 years’ time? In T-shirts, chinos and jeans?
NS: It’s a really good question: will they be wearing tailoring? At the moment, they still do. When you go to the bank or to a lawyer’s office, they wear suits. There might be a trend for more separates, as well. I’m trying to move Brioni in a way that, as I said before, fits the modern man’s wardrobe. So we are working on innovation, so that we don’t find ourselves, in 20 or 50 years, disconnected from what’s happening with men.

Read more: Donatella Versace Interview: Doing It Her Way

This is really important – to always think of ourselves as innovators. I was asked if I think of Brioni as a heritage brand, and I said: absolutely not. Brioni was born as a super-innovative brand – our founders used new materials, they were thinking outside the box, they were putting men on the catwalk, they were the first to do trunk shows. I think we might have lost this spirit a bit, in the past 20 years or so, but we are moving forward again. Brioni will, or should, represent the modern man. This is my challenge.

Find out more: brioni.com

This article appears in the Summer 2022 issue of LUX

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A woman in an oversized black jumper and black jeans
A woman in an oversized black jumper and black jeans

From trash to treasure, these stylish, innovative pieces are crafted by designers with an eye on the environment

gold necklace with leaves

London jewellery designer Anabela Chan uses laboratory-grown gemstones to create durable, wearable pieces of art. The whimsical design of this 18k-gold vermeil ‘Diamond Galatea Collar’ necklace, from the Mermaid’s Tale collection, pays tribute to the delicate floral shapes of coral.

anabelachan.com

navy Prada dress with a belt

Prada’s  Re-Nylon project is the result of a partnership with Italian textile company Aquafil, which developed ECONYL®, a nylon yarn made from recycled plastic from landfill sites and oceans. This dress is one of our favourites, combining panels or Re-Nylon with fluid crêpe.

prada.com

green handbag

All of BEEN London’s products are handcrafted in East London by a team of women artisans, using recycled materials. This ‘Cecilia’ cross-body bag, in an eye-catching rainforest green, makes use of recycled tannery offcuts that would have otherwise been discarded.

been.london

brown blazer

Nanushka focuses not only on reducing its environmental impact, but also on educating its consumers. Each garment has a QR code on the label, via which you can learn about its journey. We love the rich shade of burnt red and retro-style collar of this ‘Alvah’ double-breasted jacket.

nanushka.com

black swimsuit

Swedish designer Agnes Fischer set up her sustainable swimwear brand, Fisch, after seeing the effect that waste was having on the island of St Barths, where she spent her childhood. The ‘Rajalin’ swimsuit, like all of her products, is crafted from regenerated ocean waste.

fischswim.com

Yellow wide leg trousers

These Stella McCartney trousers are made from responsibly sourced wool, which the brand selects for its biodegradability and durability. The sherbet-yellow shade and branded elastic waistband harks back to the experimental aesthetics of Y2K music subcultures.

stellamccartney.com

This article originally appeared in the Summer 2022 issue.

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woman wearing a pink skirt holding sandals on a beach
woman wearing a pink skirt holding sandals on a beach

This season, look to recycled, upcycled or handmade artisanal details to update your summer wardrobe

swimming trunks with blue and orange flowers on them

These playful swim shorts by British designer Paul Smith are cut from a recycled polyester that’s produced from the plastic waste retrieved from landfills across the globe. The bold print, featuring splashes of orange and turquoise, is guaranteed to turn heads on the beach.

paulsmith.com

 

A beige bamboo grass woven beach bag

New York-based designer Gabriela Hearst’s collections pay homage to her rural upbringing, on a ranch in Uruguay, with a strong focus on sustainable materials. This ‘Mcewan Raffia’ bag is hand-woven from 100 per cent bamboo grass, with a reinforced base for extra durability.

gabrielahearst.com

pale blue shirt with pattern on the breast area

Foday Dumbuya’s fashion label, Labrum London, aims to ‘bridge the gap between Western and West African cultures’. This blue bib shirt is part of a collaboration with Browns, featuring a print inspired by the Mende people of Sierra Leone, where Dumbuya was born.

labrumlondon.com

 

 

printed scarf earrings

Justin Thornton and Thea Bregazzi of Preen continue their punkish sensibility by upcycling materials to create innovative designs. These porcelain ‘Etsuko Earrings’ were made in collaboration with costume jeweller Vicki Sarge.

preenbythorntonbregazzi.com

a white dress with a colourful pattern

Bethany Williams champions both environmental and social activism through her bold designs that not only use upcycled materials, but also give back to local communities. This dress is made from deadstock tulle and screen-printed fabric using non-toxic inks.

bethany-williams.com

blue shirt with a white pattern

Niyi Okuboyejo’s fashion label, Post-Imperial, pays tribute to the African diaspora through fabrics hand-dyed by artisans in Nigeria. This ‘Ijebu’ shirt, cut from lightweight cotton, is a perfect summer addition.

post-imperial.com

 

This article originally appeared in the Summer 2022 issue.

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Donatella Versace standing on a runway

Donatella Versace at spring/summer 2022 Versace show, featuring a backdrop of the brand’s iconic foulards. Image courtesy of Versace

Identifiable by her first name alone, Donatella Versace is unique among designers. The creative director gives LUX the lowdown on what it’s really like being a woman at the top, how she is dipping into the metaverse and why the future of her super-sexy Italian fashion house is all about breaking new ground – and those safety pins. Interview by Fara Bashorun

LUX: How important was it for you to make your own mark on Versace, considering the lack of women designers at the top of the fashion industry?
Donatella Versace: It’s crucial, and I feel responsible – but not just because I am a woman. But because I care. I care that Versace is successful, that my teams are happy. At the beginning it was harder. No one really believed in me. They have always seen me behind the scenes and I was happy to keep doing what I was doing. But then, you know, I didn’t really have a choice – and to give up has never been an option. Because I was a woman – and my surname didn’t matter – I had to work harder than anyone to prove that I was capable. That’s why I think that the change must start from us.

In fact, today, within Versace, women represent 64 per cent of the employees; and 48 per cent of those are executives. Regardless of all the progress that’s been made, women still have to prove themselves more than men have to; women have to fight harder to have their voices heard. I think there is still a problem of credibility when it comes to women in positions of authority: it is still hard for them to have their opinions and actions validated by others. I say this from my own experience. As said, I was the only woman at the helm of the company. It took me a long time to really be heard, trusted and recognised as being capable within my own company.

A catwalk with all the models walking down in black dresses

Image Courtesy of Versace

LUX: “If you want to be comfortable, stay at home in your pyjamas.” You made this statement in 2011: do you still stand by it, despite the shift towards casual luxury?
DV: I think that the most important thing is to be, and express, yourself by wearing whatever you want to. In particular, nowadays, after two years of the pandemic, with social distancing and working from home, the way we dress has changed a lot. And fashion can only adapt to this change. Think of street style and how impactful that was on fashion.

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Glamour, like style, just has different characteristics according to the times. For example, I have been wearing heels every day to go to the office since the day the total lockdown in Italy was lifted. It feels good. High heels are the quintessential symbol of femininity, a tool for women to feel stronger. The minute we wear them we walk in a different manner, we feel taller, we feel different, we can be whoever we want to be. That is the meaning of fashion anyway. It’s not just about covering ourselves in something warm, but wearing an armour that allows us to express ourselves without fear.

A woman holding a lime green bag wearing purple tights, a green skirt and orange top standing in front of a Versace print scarf

Image courtesy of Versace

LUX: The spring/summer 2022 collection is a confluence of legacy and futurity – iconic foulards, the return of those safety pins… Does this signal a new vision for the brand?
DV: The main inspiration behind the spring/ summer 2022 collection is the iconic Versace silk foulard. It is a fundamental component of Versace’s heritage and DNA. The foulard has been with us since the very beginning of the brand, but for SS22 it turns everything on its head – it is no longer fluid or dreamy, the scarf is provocative, sexy, wound tight for both men and women.

I’ve noticed that there is a fascination for the fashion of the past in the younger generations. They are discovering older treasures, since for them a lot of the fashion from the 1980s and ’90s is new. That’s why I keep bringing the codes of Versace into the world of today, remaining authentic to what they are, but never in an obvious way. There is a story to tell, and I see that people are interested in that story. Versace is always true to its DNA, but at the same time not a slave to it. It keeps on changing and evolving, because I listen to what people want and desire.

LUX: How have you adjusted to working under the ownership of Capri Holdings? Do you still feel that you are in charge?
DV: What has changed is the fact that, being part of a group with larger resources, Versace can tap into them and invest in technology, manufacturing, a larger base of employees. We’re opening new stores. Ultimately, Versace is growing to the next level. Thanks to Capri, I see big opportunities in accessories for sure, but every part of the business is growing.

Dua Lipa wearing a pink coord sticking her tongue out

Image courtesy of Versace

LUX: How important are brand collaborations, such as Fendace (Fendi x Versace)?
DV: As a designer, it gave me the opportunity to use my creativity on something new. It was also a way to create unity, and a sense that fashion houses can work together to offer people something unexpected. It doesn’t matter how designers decide to achieve this goal, but that the creative conversation goes above and beyond one’s own four walls, so to speak. There have been a lot of collaborations, but never a complete swap of designers.

Read more: Durjoy Bangladesh Foundation: Bridging Global South And North

I became the designer of Fendi and they [creative leads Kim Jones and Silvia Venturini-Fendi] became the designers of Versace. I did Fendi how I see Fendi. We saw it like a game, and that allowed us to be free to express ourselves. It’s never happened before. I’d like to underline that a collaboration is one thing, but swapping designers is a totally different thing. They trusted me enough to give Fendi to me and to translate it into my vision. I trusted them enough to hand over Versace.

Donatella Versace with Gigi and Bella Hadid

The new Versace women’s SS22 campaign, featuring Donatella flanked by supermodel sisters Bella and Gigi Hadid

LUX: You once described London as being the heart of new design, rather than Paris or Milan. Why do you think that is?
DV: Because of its energy, its ability to reinvent itself and to be unconventional! It is always new, always fresh. London is one of my favourite cities in the world!

LUX: As fashion brands begin to explore the metaverse, what’s Versace’s take on it? How important is it to you?
DV: I think the metaverse must be explored. My team and I are still learning about this universal virtual world, but I’m happy to embrace new ideas if they fit Versace. I’m fascinated by technology and I love to get to know all the newest and coolest experiences. For example, in 2020, we joined ComplexLand, a digital interactive experience, a first-of-its-kind immersive virtual destination featuring fashion, art, musical performances and cultural conversations. It was my first time as a virtual identity and I found it super modern, and absolutely in line with the brand’s aesthetic and current approach. It was fun to develop my virtual alter ego!

This article appears in the Summer 2022 issue of LUX

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Reading time: 6 min
Canada Goose logo on a wall in a factory where a woman is sewing with a machine
A bald man in a suit standing in a factory

Dani Reiss, Canada Goose CEO

Heritage, authenticity, design pedigree, celebrity – Canada Goose has all the elements of a fashion success story. So how did a family brand that made functional fur-trimmed down parkas for the local police become the multimillion-dollar powerhouse it is today? We talk to CEO Dani Reiss on the rise of outerwear.

In fashion, a lot changes in 25 years. Dani Reiss, the CEO of Canada Goose, began working at the brand – originally owned by his parents – in 1997. At the time, the company’s famous down jackets were worn by those who worked out in the cold: members of the Ontario police force, film crews and actors on set, and Canada Goose was part of a successful family business bringing in $3m in revenue a year. Fast-forward a quarter decade and things are a little different. In 2017 there was a $391m IPO. And in 2021 Canada Goose reported revenue of $186.69m, in the second quarter alone. This turnaround is perhaps thanks to an unlikely style success story – that of Canada Goose’s down jackets, with their trademark red and white logo on the left-hand sleeve. These jackets are now worn – on and off film sets, crucially – by Emma Stone, Daniel Radcliffe, Angelina Jolie, Daniel Craig and Rihanna. They’re also bestsellers in the outerwear category at retailers such as Flannels and Net-A-Porter, and the global shopping platform Lyst saw searches for Canada Goose go up 71 per cent year-on-year in December 2021.

Kate Upton wearing a brown gilet with the sun behind her

Campaign star Kate Upton in an SS20 look

Speaking to LUX recently, Reiss is candid that this wasn’t an overnight change. The marketing budget was non-existent when he took over and the team worked hard to create an organic buzz around the brand. “One thing we did have at the time was a relationship with the film industry,” he says. “And so, we used them as role models and made sure our products appeared on screen like in National Treasure, where people were out in extreme climates.” Reiss surmised – correctly, as it turned out – that this authentically rugged association would appeal to urbanites. The real success came when these customers invested in the jackets – and found them to live up to the hype. “Ultimately it comes down to having an amazing product,” he says. “They thought they were warm because they bought a similar jacket, but they weren’t actually warm. That’s where the urban legend came to be, where people say, ‘All you need to wear is a T-shirt under a Canada Goose jacket’, which is actually true.” Canada Goose has grown in stature through its association with the cold, and Canada – a place where the weather system can plummet to -30C (-22F) – is part of that.

An old image of a man working in a factory

Dani Reiss took over the family business from his father, David, pictured above, in 1970

‘Made in Canada’ has long been part of Reiss’ strategy. The brand has the largest supply chain in the country and employs 20 per cent of Canada’s apparel workforce. He describes the ‘Made in Canada’ label as “a huge differentiator for us. Like a Swiss watch made in Switzerland, you see the word Swiss before you see the word watch and so you can’t separate the two.” As a young man, Reiss was resistant to joining the family business. Studying English literature and philosophy at the University of Toronto, he initially made an exception to earn some money to go travelling. While at the company, he says, he realised the power of this brand he had grown up with. “What I learnt was that people loved our products,” he says. It was this connection between customer and product – a story, in a way – that made the aspiring writer change his mind and, indeed, excel at his job. He was CEO four years after joining, at the age of 27. A balance of fashion nous and product-led authenticity form the narrative that has helped Canada Goose become the success story it is today.

Canada Goose logo on a wall in a factory where a woman is sewing with a machine

A glimpse inside the Canada Goose factory in Toronto

Ben Hurren, head of men’s elevation at Flannels, sees the combination as essential. “Authenticity and craftsmanship undoubtedly remain key drivers for our customer,” he says. “But, more importantly, what really speaks to our customer is Canada Goose’s relevance in the world of high fashion and their ability to embrace modern trends; not just in the design process, but in their approach to marketing, too.”

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Canada Goose – with its 60-odd-year history – has the heritage and design pedigree to back up any modern marketing. “I think that today, more than ever, people want authenticity, they don’t want fake brands,” says Reiss. “Brands with heritage and history that have a reputation behind them – I think that’s important.” But he’s aware fashion is part of the story, too. “If you look back 20 years ago… you bought a jacket, you wore it in the snow, you didn’t pick it when you went to pick your outfit, the way you would pick your shirt and your shoes or your blazer,” says Reiss. “Outerwear has now become a category.” The brand is exploring categories, too, adding knitwear in 2017. In its Fiscal 2022, the brand saw its non-parka revenue grow by more than 70% – driven in large part by lightweight down, vests and apparel.

Jordin Tootoo standing on a piece of ice in the sea with a power line and green house behind him

Jordin Tootoo in the FW19 Campaign

Next is footwear. The brand bought the outdoor shoe company Baffin for $32.5m in 2018, and launched Canada Goose footwear at the end of 2021. The CEO is keen to keep the company relevant moving into a new era, with a new generation. The campaign for the footwear range is a case in point – it features indigenous Canadian activist Sarain Fox, the hockey star Jordin Tootoo and Romeo Beckham. “They have to be a Goose Person; they have to be authentic,” says Reiss. “All of our brand ambassadors use our products in the field, and they are all authentic people with authentic stories.”

Read more: Frieze pays tribute to New York’s cultural ethos

Beckham is described as “a compelling addition, and he also does resonate with a younger demographic.” Pierre Lavenir, a cultural specialist at Lyst, says alliances like these have helped the brand’s success. “Teaming up with relevant community stakeholders can also help Canada Goose reach a greater audience,” he comments. “We can expect the brand to strengthen its partnerships with outdoor enthusiasts – such as explorer Aldo Kane – and to team up with more streetwear brands to earn its place in the zeitgeist.”

Romeo Beckham in a pink gilet, beige trousers and white boots crawling

Campaign star Romeo Beckham modelling the brand’s first ever footwear offering

Canada Goose’s relevance to a new generation goes beyond campaigns, to how the company is run. The longtime use of fur on the hoods of parkas was problematic – particularly for Gen Z and millennials, demographics with sizeable vegan cohorts. In June last year, Canada Goose announced that it would be going fur-free, and cease manufacturing with fur by the end of 2022. The focus has instead moved to a more sustainable way of working: the brand launched the Standard Expedition Parka in 2020, which is made using 30 per cent less energy than any other Canada Goose product, and recycled nylon is part of the Cyprus and Crofton collections.

A man in a black coat and red boots squating over the snow

Campaign star Jordin Tootoo modelling the brand’s first ever footwear offering

Lyst’s statistics already demonstrate that there is appetite for these pieces – in December 2021, searches for Canada Goose fur-free items were up 75 per cent year-on-year and pieces made with recycled fabrics were up 73 per cent. Net-a-Porter, meanwhile, reports that the brand is now on the radar of more conscious consumers, who are purchasing these designs as ‘buy now, wear forever’ investments. Despite these pieces being more expensive to produce, Reiss is committed to making the change. “This is the future of outerwear for Canada Goose,” he says. “Part of our mission is to make the world a better place. You can’t be a company and just take from the world without improving it at the same time.”

Find out more: canadagoose.com

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Reading time: 6 min
a woman in a gold dress
A woman wearing a black top and gold sparkly skirt with a slit in it

Edeline Lee embraces femininity and female empowerment through her clothes. Photo by Nick Thompson.

As Fashion Weeks comes to a close, we’re celebrating designers who are paving the way for a more sustainable and ethical fashion industry. Here, Edeline Lee tells us why sustainability makes such a difference to the quality of her brand,

LUX: You’ve mentioned before that you design with the “Future Lady” in mind. What does that mean exactly?
Edeline Lee: The Future Lady is an idea that I made up to encompass the woman that I am designing for.  Female identity is in flux in our generation.  Modern women live hectic, collaged lives.  We can’t automatically subscribe to the identities that have been laid out for us historically.  Women now are more beautiful, more powerful, more free, stronger, more aware, more capable than any other time in history.  Yet, we still have a way to go before we fulfil our true potential.  How does the Future Lady dress?  What is it to dress with true power, grace, beauty and dignity in today’s world?

My overarching concept has always been a conversation about this journey as a woman with the women who wear my clothes.  It’s easy to be fooled into thinking that fashion is all about more and more: younger, thinner, cheaper, taller, louder, sexier.

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I’ve spent a lot of time dressing with women in changing rooms.  My experience is that women are well aware; they are not blind fools.  They can feel the difference when something is made with quality and meaning, fits well, and is designed with a soul, to lift the best out of you.  Once they experience what it feels like to put it on, they don’t need to be convinced to buy.

LUX: How did your time at Central Saint Martins impact your approach to design?
Edeline Lee: My time at Central Saint Martins taught me that you can design a collection from anything. At the beginning of every season, I try to connect back to the source.  What do I find interesting, meaningful and beautiful around me?  What makes me smile or makes me curious?  It’s important that the source is pure, because then others will respond to it too.

A woman standing in a black dress underneath the skull of a bull

Edeline Lee. Photo by Mars Washington

LUX: Was there a particular turning point when you felt you’d discovered your distinct design language?
Edeline Lee: Femininity is a huge part of my design language. The problem I’m always trying to solve is: how does a woman dress with power and authority, whilst still being feminine? The two should not be mutually exclusive.

I design to help women express their higher purpose, but I also make clothes that resist wrinkling so that women can actually function at a high level in the clothes.  The tricky thing is to strike the perfect balance between something that is flattering and appropriate, but just special enough to draw out what is individual and special in the woman wearing it. Thinking women deserve clothes that think.

LUX: Are there any designers or perhaps, design movements that have influenced your practice?
Edeline Lee: I’ve been very much influenced by the practice of the Weiner Werkstatte with their philosophy of the Gesamtkunstwerk or “total work of art”.  I love the idea that every element in an environment can be harmonised and unified whether it be art, decorative arts or design.  They believed that it was better to work 10 days on one product than to manufacture 10 products in one day.

A woman wearing a gold sparkly dress with a white collar

Edeline Lee Autumn Winter 2022. Photo by Nick Thompson.

LUX: How do you think the brand has evolved since its inception?
Edeline Lee: The label really became a “brand” when I learned how to define and project my purpose out into the world. If you know what your purpose is, the rest becomes so much easier.

LUX: Edeline Lee has been celebrated for its sustainable approach to luxury fashion. What’s your personal approach to sustainability? And do you think attitudes are changing in the fashion industry?
Edeline Lee: It startled and worried me when we were named in the top 4 sustainable brands at London Fashion Week by Good On You. It takes a lot of research and commitment to try to source and work sustainably and ethically, and we’ve been doing our best. Yet, I know that we still have such a long way to go.

My personal approach is that we must all take responsibility for our actions. Just as we producers need to take responsibility for the choices that we make, it’s important for customers to be empowered by their choices, and realise their power to purchase sustainably as well.

LUX: There has been much discussion around the unsustainability of fashion week. What are your thoughts?
Edeline Lee: I don’t think that it is necessary for everyone to relentlessly travel around the world, all the time. In that sense, the relentless churn of global fashion weeks isn’t sustainable. If anything, Covid 19 has taught us that we could all probably take a breather and be more selective in our choices.

a clothing stand with chairs and a table

Edeline Lee retail space at Harrods, opened in 2022

LUX: You’re also an advocate of community-made fashion. How does that work in practice? And why is it important?
Edeline Lee: We dye our fabrics in Yorkshire, and design, cut, sew and finish all of our pieces in London – not because good craftsman don’t exist elsewhere in the world, but because of quality control. It means that I’m always the final eye cast over each piece before it ships. It means that I know personally each hand that touches the clothes, I truly believe that the love and care that is put into the making of a garment lends it a soul.  It is visible to me when I look at a dress.

Read more: All-access rundown of Ozwald Boateng’s return to London Fashion Week

When your mother gives you a dress that she wore in her youth, aren’t you able to see or feel the soul in that garment?  It is something like that.  A dress is more beautiful when it is made with love, and that humanity in it becomes more powerful if every part of the dress is made within a community, by a team.

LUX: What are your goals for your company this year, and in the longer term?
Edeline Lee: We’ve just opened our first branded retail space inside of Harrods – so I am enjoying the process of developing and improving that. Please visit and take a look!

Find out more: edelinelee.com

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Reading time: 5 min
clothes on a rack
clothes on a rackJane Shepherdson is the woman behind the early success of Topshop, the fast fashion behemoth where she served as Chief Brand Officer in the 2000s. After this and her subsequent role as CEO of retailer Whistles, however, Shepherdson found that her complicity in one of the world’s biggest polluting industries was overriding the joy she once found in fashion. Here, the Director of the London Fashion Fund talks to Ella Johnson about her pivot to luxury rental start-up My Wardrobe HQ, and why rental is key to bringing the fun back to fashion

LUX: You are often associated with Topshop’s success as one of the early pioneers of fast fashion.
Jane Shepherdson: I always wanted to be a buyer – to structure and create ranges without actually designing them, and to work closely with designers. I got into Topshop at the very bottom, starting in the accessories department, and moved up to the jersey department, which was the biggest. It was where you could make the biggest impact, because you had responsibility for tens of millions of pounds worth of the company’s money. We travelled an awful lot in those days, and we did not worry about the environmental aspect. It was hard to beat as a lifestyle.

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LUX: When did you start to think about the environmental and social side?
Jane Shepherdson: We started our drive to better understand the supply chain at Topshop in the 1990s. We brought in a team of experts to do it, but Topshop had thousands of suppliers: it was very difficult to start establishing exactly what the supply chain was from the beginning like that.

It wasn’t until I moved to Whistles in 2008 that we really started to address the environmental side of things. We were a small business and we got to know each of our suppliers as well as we could, working with them to improve their practises. But it is still difficult to be completely sure that the factory you’re using is doing everything you expect them to be doing.

Two girls jumping in a field in white dresses

LUX: You are now Chair of fashion rental platform My Wardrobe HQ. What prompted your move to the rental fashion sector?
Jane Shepherdson: I left Whistles in 2016 because I was unsure that running a fashion business was something I could continue to do. I started looking at the possibility of creating a platform to display sustainable fashion, but I realised that I couldn’t find enough credible fashion brands that were sustainable. There is no point in endorsing fashion brands that I don’t think are any good: their practises may be perfect, but if the garment that comes out of the other end comes out as a hair shirt, there is no point doing it.

I had also just come back from a year travelling around America in Airbnb virtually every night. Fifteen years ago, you would never have considered sleeping in a stranger’s bed for the night. Now people are far more relaxed about renting apartments, cars, scooters. Why not fashion?

LUX: How have luxury brands responded to the rental proposition?
Jane Shepherdson: In the beginning, they were slow. They couldn’t see how rental worked within the luxury world, with the feeling of exclusivity. But in the last year we have started to have conversations directly with the luxury players – including Burberry, Liberty London and Harrods – because they are starting to realise that rental is not going away.

Think about it from the designer’s point of view. Most of their catwalk pieces end up just being that – catwalk pieces. The wholesalers don’t buy the avant-garde or brightly coloured pieces because they are too risky. Conversely, it has been proven that people are much more experimental when it comes to what they rent: consumers are much more likely to rent something that is covered in feathers or bright yellow than they are a black dress.

A blonde wearing a pink blazer with green leaves on it

Jane Shepherdson, Chair, My Wardrobe HQ and Director, London Fashion Fund

LUX: Has that been true of your own experience of renting clothes?
Jane Shepherdson: I have spent a lifetime trying to dress myself for events, typically spending £1000 on something that was quite discreet, in navy or black, and assuming that was my sense of style. When I was first introduced to rental, however, the first thing I wore was this floor-length lilac Sharon Wauchob dress that was covered in feathers, with a matching tailored coat. Lisa Armstrong then called me one of the best dressed women of the year – the first time that has ever happened to me! It was completely different to what I had ever worn before, but it felt completely me – because I was allowed to experiment. Rental brings fun back to fashion.

LUX: Can second-hand ever be incorporated into ‘mainstream’ luxury?
Jane Shepherdson: The stigma associated with second-hand clothing is becoming less every single day. Most of our marketing and social media is really based on showing the beautiful, over the top creations that don’t look like they have come from a charity shop and are a bit more glamorous. I hope people will get that feeling and then prefer to rent a few pieces that were beautifully made that made me feel amazing, rather than have a wardrobe of cheap clothing that cost the same and they aren’t going to wear again.

LUX: Some say that rental perpetuates the appetite for newness which drives overconsumption in the first place.
Jane Shepherdson: I think telling people that they can’t do or have something is tantamount to saying to them ‘go on, do it again’. You have to find ways of allowing people to have fun, but in a different way.

Rental isn’t perfect, and I know that. There are plenty of environmental factors that I am still trying to overcome, like ozone cleaning and having to dry clean clothes all the time. But I hope it changes people’s mindset and relationship with fashion. Rental slows you down: you have to plan ahead.

LUX: How important is diversity to My Wardrobe HQ’s offering?
Jane Shepherdson: We want to be accessible to as wide of an audience as possible. That is difficult, though, because the individuals who lend us their wardrobes tend to be in small sizes. It is easier with the clothes we get from brands, because they give us a full size range. But we are continually trying to get a broader selection of clothes on the site.

two girls in yellow and pink dresses lying on the grass

LUX: Is there scope for designers to bring out collections for rental alone?
Jane Shepherdson: We have to think of different ways of doing things. I have had many conversations with [sustainable fashion designer] Patrick McDowell about how designers might do that with deadstock. If rental takes off and we get to some kind of scale, then it would certainly be a business model that designers would be happy to adopt. Think about the difference: designers selling their product to a wholesaler get back about 30% of retail price; if they rent it, they have only got to rent it out two or three times to have made more money than they are going to get from the wholesaler.

Read more: All-access rundown of Ozwald Boateng’s return to London Fashion Week

LUX: In what other ways are you seeing fashion innovate itself?
Jane Shepherdson: I am Director of the London Fashion Fund, which is funded by the Mayor’s office to find environmentally and socially responsible businesses who will be the future of fashion. We are currently looking at one business that is growing cotton hydroponically, which uses 90% less water. There is another which is looking at creating garments that photosynthesise when you wear them. They are alive, since they have these microbes, so instead of putting your jacket in a dark wardrobe, you hang it on the back of the chair in front of the window. They claim that one square metre of the cotton jersey they produce absorbs as much CO2 as a 100-year-old oak tree, and are talking to a high-street retailer about putting a collection together.

It is early days for a lot of these things, but there is so much that is happening that makes me feel optimistic. At least we can mitigate some of the damage. I am so desperate that someone doesn’t come along and say, ‘you can’t have fashion anymore: it is too trivial’. We have got to find ways.

Find out more:

mywardrobehq.com

fashion-district.co.uk

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Reading time: 7 min
handbag
handbag

The ‘Evering Small Tote’ by BEEN London

This month, we’re celebrating designers who are paving the way for a more sustainable and ethical fashion industry. Here, Genia Mineeva, the founder of innovative London-based handbag brand BEEN London, discusses her mission to rescue waste materials, support artisanal techniques and preserve our planet’s biodiversity
woman sitting on stairs

Genia Mineeva

Previously a political journalist for the BBC newsroom and a campaigner for the likes of the UN and Change.org, Genia Mineeva’s entrance into the world of fashion was somewhat unconventional: via her frustration at throwaway coffee cups.

Initially fired up by the idea of making better use of these recyclable objects, she began researching the potential of waste materials and eventually, enrolled on a course in Sustainable Value Chains at Cambridge University followed by a degree in Accessories Design at London College of Fashion.

Follow LUX on Instagram: luxthemagazine

Her brand, BEEN London, was launched, amidst the pandemic, on Kickstarter in 2020 and has since been named as ‘one of the most innovative companies in the world’ by British Vogue. Their product range includes handbags, laptop cases, make-up bags and totes, all made from waste materials and handcrafted by local craftspeople in East London. Here, Genia explains why sustainability is so much more than ticking boxes.

LUX: Your bags are made from a variety of recycled waste materials including apple skin leather. How did you go about developing these?
Genia Mineeva: It all started with a mission to rescue as much waste as possible from going to landfill. And the rest is a story of collaborating with likeminded people and material innovators around the world who are equally passionate about changing the way we make things. Some of our key partners are an Italian fabric mill turning discarded clothes into luxury cotton, a Dutch social enterprise collecting used corporate uniforms from the likes of IKEA and making really beautiful felt, and a team that turns used fishing nets which are polluting our oceans into a stunning regenerated nylon. What we do is develop practical and well-designed everyday accessories that help our customers have a real impact on the things they care about.

backpack

The ‘Islington Backpack’ in three different colours

LUX: How would you describe BEEN London’s design aesthetic?
Genia Mineeva: British Vogue once described our style as ‘Scandi meets Greek island chic’ which I think is pretty accurate! Clean, colourful but most of all practical. We make bags for real people who need a good quality product.

Read more: All-access rundown of Ozwald Boateng’s return to London Fashion Week

LUX: What guides your decision to use a particular material for a specific design or collection?
Genia Mineeva: We have a very clear set of principles here. Firstly, the material has to actually rescue waste, that’s why we wouldn’t use mushroom leather for example or cactus leather – where a plant is grown specifically to make the material. There are some brilliant brands doing it, but this is not our mission. Secondly, we we only work with materials that have a recognised certification (such as Global Recycled Standard 0r Blue Sign) and thirdly, we consider the impact of the material. We look at CO2 emissions, water consumption and even the end of life of each of our bags, we take everything into consideration!

designer's studio

Genia with one of BEEN London’s artisans in their East London workshop

LUX: Each of BEEN London’s bags is handcrafted by artisans in East London. How did you go about finding your team of makers?
Genia Mineeva:
It’s all a bit of luck, people recommending other people and a definite gut feeling. My dream is for BEEN London to become the central hub for preserving the disappearing skills of leather makers. How cool would that be to merge artisanal training with innovative materials? All under one roof!

LUX: Why was it important for you to support craft methods?
Genia Mineeva: I think we seem to have lost the connection to how things are really made. A lot of the time, the things that we buy are made somewhere far away and we don’t give a second thought to the person who’s behind it and how their lives are affected by the work they do. To me, it’s about both human rights and wellbeing as well as the slow, beautiful process of making products entirely by hand, with a lot of love and skill put into it.

white handbag

The ‘Cecilia Crossbody’ bag

LUX: What inspired your decision to start planting trees in Peru? And how does the project work in practice?
Genia Mineeva: We always wanted to expand our impact from reworking waste to include regeneration. The Amazon, being the largest and the fastest disappearing rainforest on the planet, was an obvious choice. The challenge was to find the right partner. So many tree planting programmes are a bit of a box ticking exercise and plant mono-cultural forests (using the same plants all over) but it was very important to us that we planted them properly in order to preserve biodiversity.

Read more: Justin Thornton & Thea Bregazzi, founders of Preen, on their intuitive design approach 

LUX: How has your understanding of sustainability changed since you started?
Genia Mineeva: I had a degree in sustainability when I created BEEN London, so the fundamental education was there but as the science and research is forever changing, there is always a lot to learn! It’s about the learning mindset and measuring everything in order to see the brands progress and impact.

fashion shoot

The ‘Monier’ bag in black and white

LUX: What’s the biggest challenge of running a sustainable luxury brand?
Genia Mineeva: Time!

LUX: What are your future ambitions for your company?
Genia Mineeva: We want to become the go-to brand for a trusted, genuine approach. A collaboration from start to finish, we work hand-in-hand to combine traditional craftsmanship with innovation. We believe it’s so important to support local skills and techniques that have stood the test of time. For us, it’s a real dream to really preserve these artisanal techniques and to help train others.

View the collections: been.london

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Reading time: 5 min
models waiting to go on the catwalk
models waiting to go on the catwalk

On Monday London bore witness to a storm of ages; and no, not Franklin, but Ozwald Boateng’s historic return to the fashion week fold after a twelve year hiatus. Fara Bashorun, one of the designer’s models and LUX contributor, shares his backstage report and photographs

One couldn’t think of a more befitting setting for Ozwald Boateng’s London Fashion Week comeback than The Savoy hotel. Upon arrival I was warmly welcomed by doormen who casually ushered me through to the ballroom, our backstage, just as if it were any other studio in Shoreditch. Catering was headed up by Açai Girls, who prepared a palatial assortment of fruit bowls, pastries and avocado toast for breakfast and an equally impressive feast for lunch.

Follow LUX on Instagram: luxthemagazine

breakfast

Starting the day with breakfast served by Açaí Girls

model photographs

Putting the finishing touches to styling

clothes rails

A tribute to Jamal Edwards

Rehearsals in the Savoy Theatre

From arrival until rehearsals at around 6pm, the hair and make-up teams did their demos while stylistic genius’ ArtComesFirst put the finishing touches to the looks and figured out the run-order. From my experience, rehearsals can be quite anxiety inducing, but the vibe from the choir’s soundcheck helped put everyone at ease while we practised navigating through the hotel’s cloisters to get from the ballroom to the Savoy Theatre where the show would eventually take place.

Devoid of divas, egos and general industry malarkey, there seemed to be a subconscious agreement that we had all come together to be a part of something truly iconic and greater than self. I’ve genuinely had greater struggles at landing a chair at Bruce’s barbers in Burnt oak than cheekily squeezing myself into the queue for the onsite barber between Pa Salieu and Goldie. A star-studded yet familial essence made up the atmosphere; the juxtaposition a true testament to Ozwald’s ability to cultivate culture.

Read more: Patrick McDowell on why sustainable fashion and social impact go hand in hand

This energy underpinned not only the show but the whole occasion right through to the night’s end. Talent was instructed to walk however we felt comfortable, a touch of class demonstrative of Ozwald’s genius. Usually high fashion can be overwhelming, with the outfits wearing the people as opposed to vice-versa. Ozwald implored us to really own the moment, understanding that you look the best when you feel the best and creating an infectious sense of pride.

My look was a phenomenal velour dinner jacket pair with flared velour trousers, black round-framed sunglasses and grey Chelsea boots. Embodying the Ozwald’s afrofuturist design language, the jacket’s elaborate print drew inspiration from the Dinka tribe of South-Sudan with classically luxurious western silhouette.

Read more: Sol Golden Sato on Art & Identity

The show was an artistic myriad of poets, brass musicians, drummers, singers and other performers, closing with Idris Elba and a choir-led grand finale. The euphoria the crowd witnessed on stage wasn’t rigidly engineering, nor mere coincidence, but artisanally intentional: the result of meticulous design.

The feelings on stage were packaged up, ubered over and reverberated through the Annabel’s hosted after-party which saw generations of creatives, their friends and family shake body to amapiano till the early hours. The DJ set played by Kim Turnbull, Places +Faces founder Ciesay and Jimmy Vivendii was the perfect end to a night that shook the paradigms of London Fashion Week and reminded us of the ingenuity it had missed for so long.

View the collection: ozwaldboateng.co.uk

Backstage during rehearsals

Ozwald Boateng with one of the show’s models

My look featuring a velour jacket and trousers

Getting ready for the final performance

The after-party at Annabel’s

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Reading time: 7 min
woman lying on sofa in red dress
As fashion week kicks off in London, we’re celebrating designers who are paving the way for a more sustainable and ethical industry. Here, Justin Thornton and Thea Bregazzi, the founders and creative directors of cult fashion label Preen, discuss their collaborative design process and instinctive approach to sustainability
man and woman

Justin Thorton & Thea Bregazzi

Justin Thorton and Thea Bregazzi have been upcycling and recycling materials since well before ‘sustainability’ became a fashion world buzzword. The couple first met as teenagers on an art foundation course on the Isle of Man, where they both grew up. They moved to London in 1990s after university to launch their label Preen in a small shop in Portobello, the creative hub of the time.

Follow LUX on Instagram: luxthemagazine

One of their first design hits was drainpipe trousers, made famous by Kate Moss, and over the years, they have continued to draw a celebrity cult following. Their pieces have been worn by the likes of Beyoncé, Alexa Chung, Scarlett Johansson and Michelle Obama.

Today, the brand maintains its punkish sensibility, but with a grown-up edge of sophistication. With a focus on longevity and practicality as well as beauty, many of their pieces are made to be worn in different ways. A mac coat from their Pre-Fall 2022 collection, for example, comes apart into a cropped jacket and a gilet dress while a double-layer dress of red stretch tulle and acid green floral print can be worn together or as two separate pieces. Here, the duo talk through some of their recent inspirations.

two models in dresses

LUX: How would you describe Preen’s design ethos? And has that changed at all since the brand’s inception in 1996?
Justin Thornton & Thea Bregazzi: We have a very organic approach to designing. There is a certain irregularity to all that we do. We have developed and grown throughout the years but “darkly romantic” has all ways been our style.

Read more: Patrick McDowell on the social impact of sustainable fashion 

LUX: What’s your typical process for designing a new collection? Do you each play specific roles or do you work collaboratively throughout?
Justin Thornton & Thea Bregazzi: Every time we design a new collection, we try to open ourselves up to experience as many things as possible. We talk a lot about what we are loving and what’s inspiring us, and then we start to edit our inspirations and draw from those. We work very collaboratively throughout the designing and creating processes.

LUX: How do you think your experiences of living and working in London and then, New York have shaped your design thinking?
Justin Thornton & Thea Bregazzi:
Showing our collections in New York really made us focus on being an international brand. However, living and working in London is so inspiring to us, it’s such a multicultural, creative city.

LUX: You’ve said before that you pay some consideration to how your clothes will photograph. How do you think image-based social media platforms have impacted the fashion industry?
Justin Thornton & Thea Bregazzi: When we design it’s important to consider [how the garments will appear] on all platforms, but at the heart of it, what we’re trying to create is an emotional reaction whether that’s in person or through a screen.

Read more: Olivia Muniak’s Guide to the Best Restaurants in Los Angeles

LUX: You’ve been upcycling fabrics more or less since the beginning and are now on a mission to become a 100% sustainable brand. What does that mean exactly?
Justin Thornton & Thea Bregazzi: We’ve never considered ourselves to be “a sustainable brand“, but we try our best to offer as many sustainable, recycled and organic options within our collections as possible. It’s important that all designers make an effort to produce a product that doesn’t destroy our planet.

Two models wearing dresses

LUX: What was on your mood-board for the Summer & Resort 2022 collections?
Justin Thornton & Thea Bregazzi: We were greatly inspired by the work of [French artist and photographer] Guy Bourdin: his bold colours and strong graphic lines. We also looked at dance – in particular [Scottish dancer and choreographer] Michael Clark’s work.

View the collections: preenbythorntonbregazzi.com

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Reading time: 3 min
fashion designer
fashion designer

Patrick McDowell in his studio at the JCA London Fashion Academy. Photograph by Aaron Bird

As the world’s fashion capitals gear up for fashion week, we’re celebrating designers who are paving the way for a more sustainable and ethical industry. Here, Patrick McDowell meets with Ella Johnson in his new studio at the JCA London Fashion Academy to discuss how sustainable fashion and social impact go hand in hand

Liverpool-born, London-based designer Patrick McDowell captured the world’s attention in 2018 with his graduate collection made from old Swarovski crystals and Burberry fabric donated by Christopher Bailey. Proving that sustainable fashion need not be synonymous with mundanity, McDowell was soon after nominated by Anna Wintour for the Stella McCartney Today for Tomorrow Award, and he subsequently went on to host London Fashion Week’s first ever Swap Shop.

Today, the 26-year-old has just been named the inaugural Designer in Residence at Professor Jimmy Choo’s JCA London Fashion Academy, where he will continue to make one collection a year under his eponymous label while carrying out sustainability advisory to other brands. But far from becoming a global brand overnight, McDowell is preoccupied with elevating other underprivileged creatives through scholarship programmes within the industry. Here, he explains why there is no time to waste.

Follow LUX on Instagram: luxthemagazine

LUX: Your first interaction with upcycling was when you created a bag from an old pair of jeans at 13. Was that a consciously sustainable act?
Patrick McDowell: It was the defiant act of a child who had been told ‘no’. Typically, in very working-class areas, your school uniform is bought three sizes too big so that you can grow into it. I was just sick of this really long satchel bashing against my knees, so I made one that was shorter out of a pair of jeans I knew I was never going to wear. Nowadays, it’s quite cool for kids to chop and make stuff, but back then it was all about buying. So, while I had made the bag with a needle and thread, people didn’t believe that I had made it. I quite liked that reaction, because I thought I must be alright [at fashion] if people thought I’d bought it.

It was crazy, really: I was this curly haired, 13-year-old child – nobody could tell if I was a boy or girl – walking around in this very sad uniform with these elaborate handbags that I had been making! It was a very working-class suburb of Liverpool, and looking back, I suppose it must have been quite unusual.

fashion shoot

LUX: Your ‘Catholic Fairytales’ collection addresses some of that disillusionment.
Patrick McDowell: I had a very Catholic upbringing. Every day started with a prayer. As a gay person growing up in that, it was quite challenging to realise that everything built around you was disagreeing with who you were. At 13, my Religious Studies teacher told me that it was OK to be gay, so long as I didn’t act on those feelings.

So, it was quite therapeutic doing ‘Catholic Fairytales’. The final irony of that collection is that what I did is way less avant-garde than actual priest robes, which have months and months of handwork. The recent history of the Catholic church is, on the whole, one of extreme extravagance. I did this very big, phallic hat for my collection, which people were surprised that I hadn’t invented – there was a papal tiara that shape, which they got rid of in the 1950s because they thought it was too over the top.

Read more: Patrick Sun on Promoting LGBTQ+ Art in Asia

LUX: What was your experience of joining Central Saint Martins as a northern, working-class, queer individual?
Patrick McDowell: I almost quit in the beginning. I somehow managed to get in without a foundation course, which is not meant to happen, and I failed the first year. I had such a panic because I’d spent six years trying to get there, but never considered what I’d do when I got there. All that self-limiting stuff comes from the class system and growing up working class. The school system is awful. It’s one of the reasons why I’m now such an advocate for creative education. I experienced how beneficial that kind of education can be, but also how hard it can be if you don’t do the ‘right’ things in the ‘right’ way.

fashion shoot

LUX: Do you feel a responsibility to elevate others in the industry?
Patrick McDowell: I’m very aware of how privileged I am, but my journey, from where I came from to where I am now, was a lonely one. I embody that journey, but at the same time, I graduated from one of the world’s best fashion schools with a collection made from Burberry fabric donated by Christopher Bailey, and old Swarovski crystals, with a British Fashion Council scholarship. All of those things opened the doors for me. That’s why I cried every day for two weeks, walking across Hanover Square, when I first came [to the Jimmy Choo Academy]: I was so overwhelmed. But I’ve realised that by letting myself get so overwhelmed, I wasn’t doing anything productive. When I started looking into it, I was shocked that there aren’t more scholarships available in schools. It’s so easy and inexpensive for brands to do it, plus there’s no bad press for starting one. That’s why I built a scholarship programme into my next contract with Pinko. It’s also why I’ll always push for as many social and educational initiatives as I can. It’s usually something people come to later in their career, but in my view, there’s no time to waste.

LUX: You say that it is not only a designer’s responsibility to ‘create beautiful clothing’, but to also ‘redesign the systems they sit within’. How are you doing that from a sustainability perspective?
Patrick McDowell: I was already sustainability ambassador for the Jimmy Choo Academy, and now I’m also Designer in Residence. I only do one avant-garde collection a year. I’ll be doing my next collection in September so there’s no rush, which I appreciate: I can do it when I want to do it.

The rest of the year, I work with brands, schools, and Graduate Fashion Week. I mentioned Pinko, with whom we have a social corporate and sustainability focus. I’m about to do my fourth collection with them, but this year we’ve expanded it so that the business is also committing to 30% of this overall product having a sustainable attribute. We’re also starting a social sustainability programme to start scholarships and a stronger internship programme.

I’m not interested in constantly producing thousands of the same dress in slightly different colours because that’s how you grow a brand through a wholesale business model. I’m not desperate to become a global brand overnight. The impact I’ve made with all the projects I have done has been way bigger because I’ve worked with bigger organisations to make it happen, rather than going at it alone.

fashion designer at work

Photograph by Aaron Bird

LUX: This disinterest in building a brand overnight, is it personal to you or common among your peers?
Patrick McDowell: These days, it’s definitely more common for Central Saint Martins students to say they want to do less or fewer collections. Richard Malone is a great example of someone who has a very successful business that he’s intentionally keeping at a certain size, and making beautiful pieces that a certain type of person wants to buy or order. He has a made-to-order service in Selfridges. I never thought I’d see that!

Read more: Markus Müller on the Importance of Global Sustainability Standards

LUX: Would you say that sustainability is a modern day luxury?
Patrick McDowell: I think it is a version of luxury that we see now. For a long time, harm was  fashionable. ‘How many exotic animals are in your Birkin? Mine’s got four’ – that kind of thing. Now, people take pride in saying ‘my jacket didn’t harm anything’. That’s an interesting shift. But it’s complicated, because for some people, wearing an outfit from a fast fashion company is their only way to feel like the person they want to be. I’m not going to be the person sitting in this Mayfair studio telling them that fast fashion is wrong. If that’s something that keeps that person going, then they need that. It always goes back to education and class systems, and to the fact that this country is set up to stifle the majority of the people that exist in it. And remembering too that it’s not sustainable either to completely change a business that supports thousands of people, because those people would then have no jobs.

LUX: What has the response been from the brands with whom you work on sustainability initiatives?
Patrick McDowell: It can sometimes be difficult going into a brand and disrupting the whole way they work. A brand is used to working in a very linear way, and then I go in and start asking people to work with each other who would never usually each other. But all those connections are exactly what businesses will need to grow and survive. I hope that I can do these things with brands and then, once I leave, there’s the infrastructure in place for them to do the work themselves.

LUX: It’s as though brands need external disruption to make change.
Patrick McDowell: It can’t happen with the teams as they already exist. Everyone is so busy; it just doesn’t work. But they’re going to have to start somewhere, so that’s where my consultancy approach helps. I’m not locked into these crazy fashion cycles. We have to rethink everything right now, to find creative solutions for everything from journalism to mathematics, science to fashion. It’s an extremely modern way to be working – to be passion- and emotion-led. It’s what resonates.

LUX: During London Fashion Week in 2020, you collaborated with the Global Fashion Exchange to host the first Swap Shop. What was that like?
Patrick McDowell: It was the first Swap Shop for any major fashion week, and we re-circulated 500 garments in 3 days. I always think that fashion weeks should be idea hubs; you don’t have to have it fully formed – just show an idea. We digitally tokenised all the swaps through QR codes, and we didn’t know if it was going to work, but now everyone’s doing it!

fashion photography

LUX: Is this pressure for perfection holding fashion back sustainability-wise?
Patrick McDowell: Sometimes we’re so scared of making everything so polished – especially with sustainability, where there is so much anxiety. We’d rather say nothing, because if we say something, people are going to criticise everything. But we all have a responsibility to just let people try things out and make mistakes. People think businesses are these holy grails of perfection, but the fact is they’re made by people, and people make mistakes.

LUX: It sounds like we need to put the fun back into fashion.
Patrick McDowell: Yes, you have to do sustainability in a way that’s fashion. It’s still fashion week, and it has to work for fashion week. It has to look great. Don’t be lazy. Just because you remade something doesn’t mean it can look bad, it still needs to be aspirational!

That’s one of the reasons my graduate collection went so well, I think, because it was all made from this old Burberry fabric, and it was glam, fab, and clean. It’s an easy message to get your head around: old stuff, turned into new stuff. I haven’t reinvented the wheel, or spent 20 years trying to get the spider make silk. Not everything has to be life-changing.

LUX: Can you tell us about your next collection?
Patrick McDowell: Marie Antoinette.

Find out more: patrickmcdowell.co.uk

All fashion images: Patrick McDowell’s ‘Catholic Fairytales’ collection, photographed by Aaron Bird

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Reading time: 10 min
Fashion campaign for menswear
Fashion campaign for menswear

With recycled materials and artisanal craft, being at home never felt so stylish or so responsible

gold earrings

Inspired by natural forms and imperfections, Carolina de Barros employs traditional craft methods, lending each piece of her jewellery unique characteristics. The Lia earrings are handmade from recycled sterling silver plated in gold with reclaimed freshwater pearls.

carolinadebarros.com

black and white tartan shirt

Mother of Pearl is one of the most sustainable and wearable luxury brands out there. This voluminous Tegan shirt is crafted from responsibly sourced fabric that’s made from natural fibres, with the addition of eye-catching gold knot poppers on the cuffs.

motherofpearl.co.uk

pearl necklace

Ethical jewellery designer Pippa Small works with artisans in Myanmar, Afghanistan, India and Bolivia to create unique, handcrafted pieces. This golden torque necklace is set with rainbow moonstones that were hand-cut by Jaipur-based maker Om Prakash.

pippasmall.com

jumpsuit

Brunello Cucinelli’s tailored jumpsuit is a flattering all-seasons piece, made from camel-coloured twill with a contrasting canvas belt to define the waist. Designed exclusively for Net-a-Porter, all of the sale profits go to wildlife habitat conservation charity Space for Giants.

net-a-porter.com

flared jeans

Pioneer of sustainable fashion Gabriela Hearst recently took over as Creative Director of Chloé and these chic high-rise flared jeans are from her first collection. Cut from recycled denim with a braided waistband, they look great with a tucked-in blouse or cropped jumper.

net-a-porter.com

black watch

Ulysse Nardin shows its commitment to ocean conservation by recycling fishing nets into watch straps and supporting marine conservation. The sleek, functional design of the new limited edition Diver Lemon Shark pays homage to the vulnerable shark species.

ulysse-nardin.com

This article originally appeared in the Autumn 2021 issue.

Featured image: Looks from Brunello Cucinelli’s AW21 Menswear Collection. Courtesy Brunello Cucinelli

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Reading time: 3 min
fashion shoot
fashion shoot

Get into the seasonal hues and get out into nature with a clear conscience with these sustainably made treasures

gemstone earrings

De Beers has been increasing its efforts to support responsible practices that are sensitive to both the environment and local communities. These earrings from their Swan Lake collection pay tribute to Tchaikovsky’s ballet with a variety of ethically sourced diamonds.

debeers.co.uk

lemon jacket

London-based brand Rejina Pyo carefully selects materials based on aesthetic, durability and sustainable attributes. This eye-catching, lemon-coloured oversized Tate jacket is made from organic cotton and has a wide collar, cuff straps and horn-effect buttons.

rejinapyo.com

pink handbag

Mashu not only uses innovative, sustainable materials for its vegan bags and accessories, but the brand also plants five trees for every item purchased. This elegant Cassiopeia bag is made from Piñatex, a natural leather alternative produced from fibres in pineapple leaves.

mashu.co.uk

leather cowboy boots

Brother Vellies was founded in 2013 with the aim of preserving traditional African design practices, and supporting artisan makers across the globe. These striking Eve Doodle boots are handmade and hand-painted by artisans in Mexico.

brothervellies.com

watch with green canvas strap

IWC Schaffhausen’s timepieces are made in a state-of-the-art manufacture in Switzerland, designed to minimise its environmental impact. This watch, featuring a sporty textile strap and sturdy black ceramic case, comes from the Top Gun range of their Pilot collection.

iwc.com

wool jumper

Made from responsibly sourced Shetland wool, this chocolate-brown crew-neck jumper from Acne Studios makes a cosy winter wardrobe staple. Designed for a relaxed fit with ribbed cuffs and a wide hem, it can be worn with pretty much anything.

acnestudios.com

This article originally appeared in the Autumn 2021 issue.

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Reading time: 3 min
shoe campaign with red heels and trainers
man sitting in chair

Legendary shoe designer Christian Louboutin. Copyright and courtesy Christian Louboutin

Superstar shoe designer Christian Louboutin, whose signature red-soled pumps with vertiginous stiletto heels are the de facto shows for glamourwear, has dominated luxury footwear since the nineties. Harriet Quick speaks to him about his long career, his charity work with actor Idris Elba, Kate Moss and sailing down the Nile

Good ideas take time to mature and, when entwined with hope and empathy, they can flourish. Such was the situation when Christian Louboutin picked up the phone to his friend, the actor Idris Elba, after the tragic murder of George Floyd in May 2020. Both were in deep shock, amplified by the isolation of lockdown, and wanted to do something, to take action. Louboutin, remembering his friend enjoyed sketching designs for shoes, proposed a philanthropic venture: Walk a Mile in My Shoes. In essence, a capsule collection of shoes with 100 per cent of the profits going to benefit charities fighting oppression and advancing racial justice, equal rights and access.

Follow LUX on Instagram: luxthemagazine

Elba immediately said yes and proposed the idea to his wife Sabrina on her birthday. She was over the moon. “Not to act, to remain silent was not an option – I knew this in my heart,” says Louboutin. “We decided that if there is a message – it has to be optimistic. I don’t want to emphasise the toughness of reality and we picked organisations that are proactive. We want to show that we can all do better and drive optimism,” says Louboutin.

model wearing black trainers

The 1988SL high-top sneaker designed by Idris Elba from the Walk a Mile in My Shoes collection. Copyright and courtesy Christian Louboutin. Image by Julien Vallon

The friends got to work choosing designs for the collection, which was launched in June 2021. It includes the 1988SL sneaker designed by Idris, a suede calfskin pump with the Walk a Mile message embroidered in signature Louboutin red on the upper, and a birds-of-paradise print skate shoe and stiletto. The phrase was chosen by Elba and references Kim Abeles’s 2014 public artwork dedicated to Martin Luther King in Los Angeles. “I wanted to make sure the styles were already in my collection, as this is about giving money to people and not using funds for design and research. Sabrina really drove the charity side, choosing organisations that have a positive impact,” says Louboutin of the beneficiaries, including the Somali Hope Foundation, Purposeful in Sierra Leone, which supports marginalised young women, Gathering for Justice in the US founded by Harry Belafonte, the Be Rose International Foundation’s work in Sierra Leone, and Immediate Theatre in east London.

Read more: Emilie Pastor & Sybille Rochat on Nurturing Artistic Talent

The scale and scope of the initiative is impressive and inspiring. While charitable products often fall short on desirability, here is a collection that one would be proud to wear, as it is infused with the wit, optimism and elegance that is part of Louboutin’s DNA. The French Egyptian designer, now 58, has always been driven by passion coupled with a deep knowledge and expertise in his craft. Louboutin became fascinated with shoes in the mid-seventies. A visit to the Musée national des Arts d’Afrique et d’Oceanie on the Avenue Daumesnil in Paris was a turning point. It was there that he saw a sign from Africa forbidding women wearing stilettoes from entering a building for fear of damage to the wood flooring. Louboutin was enraptured by the poster image of a stiletto and set out to create designs that made women feel empowered and not embarrassed or compromised. “I could not believe the elegance of these shoes and became obsessed with them,” he remembers.

tote bag

Small tote bag from the Walk a Mile in My Shoes collection. Copyright and courtesy Christian Louboutin.

With no formal training, Louboutin learned by sketching and by studying the craft until he was hired by Charles Jourdan and, later, the highly inventive shoe maestro, Roger Vivier. By 1991, Louboutin had opened his first store in the Galerie Véro-Dodat and went on to sell internationally, building fame and fortune around his bestselling black patent, red-soled stilettoes that rose to 120mm and showed off ‘toe cleavage’. Indeed, it was Louboutin who became one of the first superstar shoe designers building a brand that became associated with fetish and fantasy. He has been to court on numerous occasions to protect the trademark red sole that over the decades has been widely copied. To balance and dance gracefully on these leg-lengthening, needle-thin points was, and still is, considered the quintessence of chic, a triumph of style over the quotidian. Like Manolo Blahnik, Guiseppe Zanotti and Vivier, Louboutin excelled in making the shoe an object of wonder. “My wardrobe is brimming with Louboutins,” Kate Moss told Vogue in 2014. “The classic Pigalle stiletto in patent or matt-black leather is my go-to shoe. I have so many pairs that Christian designed a style with a sharper point and nail-thin heel which he named the So Kate.”

extravagant shoe design

Louboutin’s reworked Double L sandal for the Oiseaux du Paradis capsule collection, launched in September 2021

As we all adopted Birkenstocks and trainers during 2020, it might not have been a great year for heels but it was a significant year for Louboutin. He spent much of it in his home in Portugal, blessed by the fact he could enjoy his garden and the company of his children. “There was a form of solidarity as everyone was in deep shit. Businesses were drowning and it was happening across the board. I understand that I could not get too pissed or angry if I had no control over the situation. Why beat your own head? I was not locked in a small apartment, and I took measure of the levels of comfort and privilege that surrounded me. I took the upside: there was no way to complain about my situation,” says Louboutin, who talks energetically and whose conversation is constantly punctuated with smiles and those inimitable French hand gestures and raised eyebrows. “It slowed my pace and that’s a good thing. I had more time to think and concentrate. I took it as a message, an opportunity to reformulate, and go into ideas, develop creativity. You realise nature is constantly replenishing – after three months the air was cleaner, the waters were clearer in Venice and Paris, and animals returned to the city. If we give nature a chance, it will recover much more quickly. We all experienced that reality,” he says of the learning.

Read more: Prince Robert de Luxembourg on Art & Fine Wine

Out of adversity, there come opportunities. Louboutin also had the chance to weigh up and analyse the future of his business, which encompasses sales through approximately 150 department stores in more than 35 countries, a beauty line that he launched with nail lacquer in 2014 (it is now licensed to Puig), men’s and women’s collections as well as accessories. A promising suitor came in the shape of Exor NV, the luxury group owned by the Agnelli family in Italy. In March, Louboutin sold 25 per cent of the business for €541m, a figure which gives a clear indication of the value and promise of the brand which has seen remarkable success in Greater China where there are six stores. Exor, which is chaired by chief executive John Elkann, also has investments in Ferrari, PartnerRe, Shang Xia and Juventus FC.

shoe campaign with red heels and trainers

The Hot Chick pump and Fun Louis sneaker from the AW21 collection. Copyright and courtesy Christian Louboutin

“The best business partner is one that enhances your way of thinking. We will remain the same and no one wants to interfere with how we do things – we have the same team and now we have solid partners who are great thinkers. The Agnellis are a family of entrepreneurs and I respect that,” says Louboutin, who works alongside his business partner, Bruno Chambelland.

“In the next five years, we will ‘muscle’ digital. We already have a successful e-commerce [side of our business] but digital is a bigger world encompassing operations and logistics. And we will also be looking at sustainability but not as a trend. In these matters, because sustainability is a complex science, you need to practice precaution and responsibility and have the time to take the right measures. It’s not about jumping on the first idea – this is a serious issue, and you have to be accurate,” says Louboutin, taking a balanced approach to fashion’s hot topic.

designer trainers

The Loubishark Flat trainer from the AW20 collection. Copyright and courtesy Christian Louboutin

Louboutin has a fresh outlook. He also sees great potential in the gaming world and has created a dematerialised Loubishark sneaker with a Pop Art graphic shark-tooth-style sole for sites. “Gaming has an interesting aesthetic and there is a distinct visual language which I find so fascinating. Since I was a teenager, I have liked calligraphy and optics and this is like learning a new code,” he says. Take a tour of the brand’s Instagram feed and its website and you can see playful virtual and augmented realities in the LoubiFuture world. The retro-futuristic vibe is playful and dynamic, just like the vibrantly coloured collection. There was also the chance to immerse yourself in Louboutin’s imagination at ‘L’Exhibition(niste)’, a monograph show at the Palais de la Porte Dorée in Paris in 2020 where the designer’s sense of showmanship and theatre were celebrated.

Read more: Molori Designs Founder Kirk Lazarus on Ultra Bespoke Luxury

His own sense of luxury is more shaped by the real world. He owns a 13th-century château in the Vendée and a beautifully restored 100-year-old sailing boat which is moored on the river Nile. When visiting the boat, he says, “by the second night, the stress of the city has evaporated. I’m looking at this beautiful panorama at a pace that is caressed by the wind. There is no motor, so if there is no wind, you stop. I love to sketch on the river with the landscape passing by. Everyone is affected by stress – even if you adore your working life, it’s important to extract yourself,” says Louboutin.

man on camel

Christian Louboutin in Egypt, 1999. Copyright and courtesy Christian Louboutin

“Luxury – it has to create a form of reverie. Yet, it’s a huge word and belongs to so many territories. My luxury is not to buy expensive things – I see luxury as a door, an exit that allows for the freedom of mind and identity. And to have that escape is necessary for wellbeing,” says Louboutin. Being able to realise his own dreams has also made him something of a role model for a younger generation. If his twenty-year-old self could see his fifty-something self now, what would he see? “I would see a man living through his dreams. I would look at that person and see someone who tried not to live through preconceived ideas and who has a voice and that means someone who also listens,” says Louboutin. “Success is an added value.”

Christian Louboutin on how male/female fluidity is affecting his design thinking

“Something that has affected my design in recent years is the shifting of identities and the fact that I was compartmentalised between men and women before. That has dissolved for me into another way of thinking about male and female identity. Now, I have a freer way of designing. Outside of the traditional stereotypes, there is a bit of the showman in every man, and this is a new discovery.”

Find out more: christianlouboutin.com

This article was originally published in the Autumn/Winter 2021 issue.

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Reading time: 9 min
jewels hidden in flowers
jewels hidden in flowers

This is the season for classic style with just a touch of whimsy and gold to brighten the days

romantic style shirt

This 70s-inspired shirt by Gucci is made from lightweight organic silk with an oversized collar and romantic, billowing sleeves. The pale pastel yellow tone adds to the vintage aesthetic, while the sheer fabric adds an appealing sense of allure.

gucci.com

pendant necklace

All of House of Benney’s creations are sustainably handmade to order in the UK, using traditional craft techniques. This elegant necklace from the brand’s Constellation collection features three textured gold pendants that evoke the celestial light of the night sky.

houseofbenney.com

grey woollen coat

Founded by Hungarian designer Sandra Sandor, Nanushka creates luxurious wardrobe staples with a focus on conscious materials. The Soa reinvents the practicality and elegance of a classic trench coat with double wool construction for extra warmth and structure.

nanushka.com

woollen trousers

Stella McCartney’s autumn 2021 collection is said to be the brand’s most sustainable to date. Inspired by ‘J is for Joy’ from the designer’s A to Z Manifesto, the pieces embrace soft, sensual, silhouettes. Versatile and timeless, these Kaiya Wool Trousers are our top pick.

stellamccartney.com

earrings

Anabela Chan uses laboratory-grown gemstones to create ethical, unique pieces of fine jewellery. These earrings are set with a vibrant array of emeralds, tourmalines, sapphires and diamonds, with delicately carved mother-of-pearl flowers and hand-painted detailing.
anabelachan.com

anabelachan.com

gold wristwatch

Since 2018, Chopard has used entirely ethically produced and responsibly mined gold across all of its collections. We love the simple elegance of this men’s L.U.C XPS self-winding timepiece with 65 hours power reserve, a chain-link strap and hand-crafted finishes.

chopard.com

This article originally appeared in the Autumn 2021 issue.

Top image: Van Cleef & Arpels jewellery photographed by Japanese photographer Mika Ninagawa as part of the brand’s ‘Florae’ exhibition. 

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Reading time: 3 min
jewellery designer's studio
drawings of jewellery designs

Pomellato’s Kintsugi collection brings the old Japanese technique of repairing broken ceramics with lacquer and gold dust to the upcycling of broken gemstones. Courtesy of Pomellato

Continuing our focus on sustainability in line with COP26, Torri Mundell explores how jewellery house Pomellato’s latest collection makes use of broken, upcycled stones
portrait of a man

Vincenzo Castaldo. Photo by Angela Lo Priore

Sustainability and ethical practices are a constant challenge for the jewellery industry. On the one hand, customers want the most desirable products and are willing to pay what it takes, so jewellery very rarely ends up as landfill. On the other hand, the sector is beset by reports of unsustainable practices and labour scandals.

Pomellato, the Italian jeweller known for its whimsical and colourful creativity, has set up camp firmly on the ESG (environmental, social and corporate governance) side of the jewellery industry. The company is part of Kering, the French luxury giant run by François-Henri Pinault which has long made a virtue of its ethical endeavours (it was the first luxury group to introduce an environmental profit & loss account and expects its brands to follow it).

Follow LUX on Instagram: luxthemagazine

Vincenzo Castaldo, creative director of the brand, is at the heart of the company’s challenge: how to continue its trademark originality and freshness of design, while ensuring everything is produced via a supply chain strictly internally audited for its ESG credentials.

“With its timeless nature, a jewel carries the message of sustainability like nothing else,” says Castaldo. He says the pandemic has strengthened his customers’ resolve to shop more conscientiously. Fine jewellery is no longer simply about “the intrinsic value of materials and craftsmanship but about ethical and cultural values… The events we have recently experienced are addressing us to a more conscious luxury. Our clients are more and more interested in the story you are telling, the ‘behind the scenes’ narrative.”

jewellery set with necklace, earrings and ring

A selection of pieces from the collection. Courtesy of Pomellato

Establishing supply chains for precious metals and gems is the industry’s biggest challenge. The chains are notoriously murky, mainly because raw materials often originate from some of the poorest places in the world and pass through many countries and hands – miners, cutters, refiners and dealers – before they arrive to market.

In 2018, five years after its acquisition by Kering, the Italian jewellers achieved 100 per cent responsible gold purchasing – valuable because gold-sculpted pieces set with colourful precious stones as well as bold, chunky chains have been central to the brand’s relaxed, modern aesthetic since its founding in 1967.

jewellery designer's studio

The atelier where the collection is made. Courtesy Pomellato

three rings

A selection of rings. Courtesy Pomellato

The market for coloured gemstones and diamonds is even less regulated than that of precious metals. The brand has been collaborating with the Responsible Jewellery Council to develop their network of diamond suppliers. Brokering a direct relationship with a mining company is another way to establish the provenance of gems: lapis lazuli stones sourced ethically from an artisanal mine in Chile were used in the brand’s earlier, made-to-order Denim Lapis Lazuli collection.

Read more: Two designers on sustainable luxury design

When it comes to design, Castaldo says, “the biggest challenge is to keep alive the conversation between creativity and sustainability.” The Kintsugi collection, using upcycled stones, benefits from a “cross pollination” between the two. Castaldo was inspired by his visit to Japan in 2019, where he became captivated by the tradition of reassembling broken objects with lacquer and decorating the original fracture with a seam of gold. “I was drawn to the elegance of Japanese thinking and the idea of something broken becoming more precious through this ritual of repairing,” Castaldo remembers.

Slightly flawed stones have been used by Castaldo in previous designs, but the Kintsugi collection showcases gems that are actually broken: damaged pieces of jet and kogolong which would normally be discarded. A female kintsugi artist repairs the gems in Tokyo before they are brought to Pomellato’s craftsmen in Milan; the collaboration yields minimalist rings, earrings and pendants that tell a story through the gold seams streaking across former cracks and fissures in the gems. “Each jewel is truly one of a kind,” he says, “and this, to me, is the real essence of preciousness.”

Kintsugi is an ancient craft, but for Castaldo, “the idea of celebrating your scars as a sign of strength through healing is a very contemporary philosophy”. So, too, is the movement to reorder our priorities and shop more conscientiously.

Find out more: pomellato.com

This article was originally published in the Autumn 2021 issue.

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Reading time: 3 min
red choker necklace
red choker necklace

Enjoy luxury with a conscience with pieces that keep the sustainable and ethical sourcing of materials in mind

gold and crystal ring

Alighieri prides itself on its sustainable approach to every aspect of its jewellery making. The Shattered Moon Ring, inspired by the rocky terrain of Dante’s Inferno (the brand’s muse), is handmade on commission and features diamond shards cast in a gold band.

alighieri.co.uk

elaborate hat pin

London-based designer Anabela Chan makes delightfully eccentric wearable art pieces crafted from lab-grown and created gemstones. This padparadscha parrot bloom pin is part of her floral-inspired collection, utilising recycled aluminium as the base metal.

anabelachan.com

delicate gold necklace

All of Octavia Elizabeth’s jewellery is made by hand sustainably and is designed to be worn every day. Part of the label’s Nesting Gem collection, this dainty necklace features five diamonds on an 18ct gold chain. It looks great worn solo or layered.

octaviaelizabeth.com

diamond earrings

Founded by former sculptor and performance artist Wing Yau, New York brand WWAKE uses recycled and fair-mined gold in its jewellery. These Posy earrings are a contemporary take on a classical aesthetic, with a trio of diamonds hanging from a vivid blue sapphire at the centre.

wwake.com

ruby earrings

The jewellery of VanLeles uses gemstones ethically sourced from African countries. These bold stiletto earrings from their Out of Africa collection are one of a kind, with white diamonds and vibrant Mozambican rubies and rubellites intricately set in 18ct rose gold.

vanleles.com

gold bracelet

All of Futura Jewelry’s products are made with 100 per cent certified Fairmined Ecological gold, which is mined with no toxic chemicals, protecting both the miners and the environment. This intricate Elena bracelet features an ancient motif known as palmette.

futurajewelry.com

This article originally appeared in the Summer 2021 issue.

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Reading time: 3 min
designer in his studio
designer in his studio

Brunello Cucinelli in his study

Brunello Cucinelli has built a multibillion-euro clothing empire out of nothing and revived an impoverished community in central Italy. The king of cashmere speaks with Darius Sanai about responsibility, humanitarian capitalism and learning from the Persian empire

Brunello Cucinelli cuts a suave figure with a sweep of silver-dark hair, sitting on a chair behind a large table. The initial view on the Zoom call is wide angle, taken from a camera across the room, a huge space with cathedral-like ceilings. This is his famous office, in the restored medieval village of Solomeo that is now home to his company.

Behind him as far as the eye can see are bookshelves. Not the pretentiously prearranged shelves of politicians preened to show where their interests lie, or the by-the-yard, untouched bookshelves of an oligarch. These are shelves from which the books have plainly been taken in and out, referred to constantly. Some books are standing up, others are at a diagonal, others on their side in piles next to gaps.

Follow LUX on Instagram: luxthemagazine

There seems to be a lot of history, philosophy, art and photography from what I can make out when the camera zooms in a bit closer to him. To his left, slightly incongruously, is a bowl of what look like basketballs.

Cucinelli is no ordinary Italian fashion magnate. He may be the founder of a family company with 7,000 employees and a turnover of €200m, but during the course of our 90-minute conversation and interview he barely once touched on the subject of the garment industry, merchandising or marketing.

The son of an impoverished factory worker, Cucinelli started his company in 1978, and is now synonymous with highly contemporary cashmere.

italian villa

italian estate

The Scuola dei Mestieri (top) and the valley below Solomeo (above)

He is also something else: an old-fashioned benevolent capitalist (he calls it “humanitarian capitalism”), driven by civic duty as much as profit, in the mould of the Cadburys and Heskeths of Victorian Britain who built housing, hospitals and churches for their workers.

He has used millions of his own funds to build his company’s headquarters and factory in what was the declining hamlet of Solomeo, south of Florence. He has built schools and a theatre, restored the 12th-century church, and revived the local wine and food artisans.

Read more: Artists in residence at Castel Caramel in the south of France

In our opening chat, he was more interested in engaging with me about my namesake Persian king and his relative, Cyrus the Great. This was no PR-manufactured pillow talk either – Cucinelli is an avid self-taught polymath in philosophy and history and his citations, darting between philosophers of different eras and cultures, were more than a match for this Oxford University-trained philosopher.

But in the era where the private sector’s role in and responsibility for people and the planet have never been more important, it was this fundamental aspect of his business, humanitarian capitalism, that we engaged on.

menswear campaign

The spring 2021 menswear campaign was shot in the Sibillini Mountains in central Italy

LUX: Why did you choose cashmere for your business?
Brunello Cucinelli: I decided overnight to do cashmere. I didn’t know anything about this kind of material, but I knew one thing for sure – I wanted a product that you would never throw away but hand down to the next generation. I loved this idea of being able to act
as a guardian and of something you can reuse and hand down. It is a very contemporary idea, but I was there years ago. I wanted to work with cashmere, because it never gets thrown away. And I wanted to make a profit, but a fair one with a fair relationship to giving back. I wanted it to be made with ethics, dignity and respect for the moral code. And I didn’t want to bring harm to anything that was around me.

LUX: You began following these principles years ago and they are now common in corporate culture. What has changed?
Brunello Cucinelli: I have always wanted my employees to earn a bit more than the average, and for them to work in beautiful surroundings. I also decided they should work only for eight hours a day, the German way if you wish. I didn’t want them to be working online after work or at the weekends but to be extremely focused during the day. I wanted to achieve this balance so that you can have enough time for your mind, and then time to work, and I wanted to promote the idea of living in harmony with everything around you, with other people, with the land, with the water, with the air.

Read more: Speaking with America’s new art icon Rashid Johnson

LUX: How can a business find time to be both profitable and responsible, because many businesses would focus just on profit?
Brunello Cucinelli: To be credible, you must be truthful both when things are going well and not going well. Everybody knows about the profit that your company makes, and everybody must be put in a position to earn a fair amount. This is a responsibility towards other people, towards wildlife, towards the land. Here, we grow our grain, our olives, our wine; it all goes into the company canteen, but we don’t call this ‘organic produce’, we just say this is produce grown with respect to nature.

LUX: How does this philosophy add to the future of the company?
Brunello Cucinelli: I believe that young people will increasingly want to know where and how a product has been made, what harm if any has been caused during the production process. If they find out that a preposterous profit has been made out of something, they will decide not to buy a specific product. Profit must be balanced and fair, where every link in the chain each makes their own profit, from the shepherd with the goats to the investors and the bankers, to the workers, everybody. When I went public, I said to the potential investors that if you want a company that is making a fair profit and also helping the local community, then you can invest in my company. But if you are looking for a company that delivers fast growth, then this one is not for you.

public monument

The monument ‘Tribute to Human Dignity’

LUX: Does your philosophy only apply to your company or could others learn from you?
Brunello Cucinelli: There are 7,000 people in the company, with 2,000 direct employees and 5,000 subcontractors or indirect people who work with us and we make a normal profit. Even in 2020, we only had a 10 per cent dip in our revenues and you still saw my workers going out of their way to design the best collections ever because probably it is precisely in a time of sorrows and pain that you release your creativity. It is definitely possible to make a profit and at the same time respect human dignity. Even in my own life, for example, I’ve always told the banks managing my assets that they need to invest them in companies that respect the human being.

Read more: The rise of millennial art collectors

LUX: What is the future of physical stores compared to online retail?
Brunello Cucinelli: E-commerce is extremely important for the brand image, but physical stores are just as important, if not more so. I want to go in a physical store, I want to be met by a caring salesperson who may ask after me and my family, and I want to see and touch things with my own eyes and hands. And especially after this pandemic, we are craving physicality. Jeff Bezos, who was here visiting, said that with Amazon he is not able to create emotions; he is basically just providing a service and when you receive your parcel at home, you own it, whereas when you go into a store you have this human exchange with the salesperson. They are both important worlds.

LUX: Would you have sold your company to the likes of François Pinault or Bernard Arnault if they had offered to buy it?
Brunello Cucinelli: We are majority shareholders of the company and I like very much the idea of this being a company with the family involved because this has always been my dream. Being public in the Italian way is different to the American idea – for us having a company is like nurturing your own child. I feel protected by the fact that we are a public company because this way you need to be able to listen to those who might give you advice, investors, analysts.

womenswear fashion campaign

The spring 2021 womenswear campaign

LUX: With cashmere, what is more important, the design or the quality?
Brunello Cucinelli: Both. I have always wanted to procure the best quality material. Although I didn’t know anything at all about cashmere at the very beginning, I just went out there and said I want the best quality available. I’ve always tried to pursue quality and craftsmanship, first and foremost. It is something I never sacrifice and when you wear a garment that we have made I want you to know of all the people who have worked for it. But it must also be a very modern product because quality is not enough by itself. For example, when I was younger, I was looking at the UK because of the way they knitted their cashmere sweaters, but I wanted fresher colours, more pop colours. Taste is important as well as quality, otherwise you would not have a contemporary product.

LUX: What was your biggest challenge in all the time you have run your company?
Brunello Cucinelli: I would say March 2020, because overnight we had to make huge decisions such as not to lay off anybody, and to maintain everyone’s salaries. Nor did we ask for any discounts from our suppliers or landlords because this is not the way we behave, and especially in a pandemic. We also made sure that all the excess goods that were left in the store because of the closures were donated. My structure nowadays is even stronger than what it was a year ago because we were able to do everything sooner than expected. I have written to my employees, thanking them for what they have contributed to the company in this tough time, and tomorrow I’m meeting them in a video call just to thank them. It has been a very poignant time, one that has been hard both on our body and on our soul but at the same time, from the spiritual point of view, I would also call it one of the best times.

LUX: Our magazine works with a lot of artists. Do you work with many artists or support the arts around the world?
Brunello Cucinelli: I have always been surrounded by young, creative people and I have always liked them. The first thing I look for in a human being is their soul, as they must be kindred souls. I have always believed in a universal humanism regardless of race and religion. I’m a bit like Cyrus the Great, so to speak, and I am also convinced that if you show a human being esteem, regard and dignity, they will pay you back with great creativity.

Find out more: brunellocucinelli.com

This article was originally published in the Summer 2021 issue.

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Reading time: 9 min
man sitting with bags
man sitting with bags

Jonathan Riss has designed a collection of bags exclusively for One&Only

Belgium-born designer Jonathan Riss is the founder of JAH AHR, a luxury brand which transforms authenticated vintage designer bags through embroidery techniques. His latest collaboration with One&Only Resorts – a collection of limited edition custom-designed vintage Louis Vuitton Keepalls – is inspired by the local heritage and culture of each of the brand’s destinations. Here, Abigail Hodges speaks to the designer about his creative process, sustainable fashion and the future of travel

1. What led you to start re-crafting iconic vintage fashion pieces?

We live in a society of significant over-production and if you analyse consumer behaviour, you quickly see that people prefer iconic pieces, not because of their value, but because of the work and effort to perfect these pieces over time so they too reflect the values and desires of society.

Follow LUX on Instagram: luxthemagazine

Today, there is an increasing demand for sustainability as well as individualisation. The idea that we not only take vintage objects and give them a new lease of life, but also to continue to work on them. To be part of this pursuit of perfection, but at the same time to continue to reflect the wants of society by offering singularly unique pieces is very interesting.

gorilla bag2. Can you tell us your favourite story about one of the bags you’ve sourced?

There are so many stories across the different mediums that we are transforming. One that springs to mind for the Keepall collection is a bag we sourced in Moscow that was originally made in 1991, on which we placed the USSR flag as this was the year of the dissolution of the Soviet Union.

Another bag we found was in Hong Kong that was made in 1997 which was the year of the historic handover so we imprinted this bag with the Hong Kong flag. We also sourced some bags in Tehran which have our Persian rug design reflecting the philosophy of our collections, which is to highlight the imprint of the local culture where the object was used or sourced.

 

designer in the studio

Riss at work in his studio

3. What does your design process typically involve?

The most important aspect of what we do is not the design itself, but the narrative that sits behind and around each piece. So the provenance often leads the design as the actual story of each object is much more interesting, and the design is an extension of the story, but of course, exploring different techniques of texture is a vital part of the design process enabling the execution of the narrative.

Read more: Win two life coaching sessions with Simon Hodges

4. How did your collaboration with One&Only come about?

This is a beautiful topic. One&Only owns a stunning portfolio of unique properties all over the world that really reflects the philosophy of our collection. The opportunity to create a bespoke heritage collection that allows us to showcase the cultural, social and natural aspects of each destination was an incredibly exciting opportunity as this is exactly what we do with all of our collections.

bag and kangaroo

5. When deciding how to celebrate each destination, which elements were particularly important for you to highlight?

There are almost too many elements to consider, so again, we were often led by the bag itself. For example, for Cape Town we had a bag that was originally made in 1994 which was the first year of Nelson Mandela’s Presidency so we created a design celebrating the great man himself.

Similarly, we had a bag for Rwanda that was from 2002 which is when the new Rwanda national anthem was officially inaugurated so we placed the lyrics from the anthem on an interpretation of the national flag. For Dubai, we wanted to showcase the incredible architecture as well as the importance of Islam so we overlaid a blessing on the Dubai skyline. In Mexico, we are fascinated by the contrast of the colour and vibrancy of the Dia de los Muertos with meaning behind the celebrations. In Malaysia, we loved the romance of discovering ancient statues and carvings in the jungle. The breadth of inspiration is also important to us.

6. What’s inspiring you currently?

Given what has happened in the past year, I am getting excited by the future of travel, and how the quality and experience of travel will evolve. As we have seen, anything can happen that impacts society in a dramatic way so what is interesting is to see how we elevate ourselves and I am working on a new project thinking about this, so watch this space.

Follow Jonathan Riss on Instagram: @_jay_ahr_

To purchase one of Jonathan Riss’s bags for One&Only email: [email protected]

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Reading time: 4 min
emerald ring
emerald and diamond ring

A ring design by Katherine James

Collector and dealer of modern, vintage and antique fine jewellery Katherine James runs her eponymous brand from her home in London. Here she talks to Abigail Hodges about social media, her experiences of working in traditionally male-dominated industry, and creating a nail varnish from crushed gemstones

woman wearing blue ring

Katherine James

1. Do you remember when you first became interested in gemstones?

I grew up in London in the eighties when the jewels were physically bigger, and they completely captivated me. My Dad was pretty terrible at buying presents, so he would give me jewels, and so I was hooked from a young age. I even used to sell mood rings at school. To this day I still get a funny feeling when I look at a beautiful gemstone – jewels draw me in like magnets.

Follow LUX on Instagram: luxthemagazine

2. What made you want to deal jewellery and how did your business start?

In some ways, jewellery is like a sparkly bank account; buying it can feel guilt-free because you are investing. Jewellery is also a way to connect. A lot of people come to us when they have lost someone, and that doesn’t necessarily mean buying heavy Victorian mourning jewellery. I had a woman who wanted an aquamarine to match her deceased husband’s eyes. Jewellery is an object that can express a personal feeling, and it can represent important milestones in people’s lives. It’s wearable art that gets passed down through families.

The business started on Facebook and grew to Instagram with some persuasion from my kids. It is usually a male-dominated industry, whereby everyone is very matter-of-fact about things, but I was selling as I bought in, and it gave me the freedom to talk about how much I personally loved a piece. It grew and grew on Facebook, and we are now at about 15,000 people. Before it was heavily a female demographic, but we are now also dealing with male clients, which is very exciting!

3. What has your experience been like working in a traditionally male-dominated field?

The jewellery trade is a funny old place; it is a singular sort of profession. You don’t have a shop as you are mainly trying to source jewels, and as I have been social media-based, I tend to build a relationship with people very quickly, in a personal way.

Read more: Château Mouton Rothschild’s artistic collaboration with Xu Bing

It was initially daunting for me at the fairs. People always assumed that I was part of the public rather than a dealer. I am lot younger, and most of the people I deal with in the industry are men. It was necessary for me to be taken around and given an introduction, and it was from there that I was able to build relationships.

4. Do you think your position as a younger woman accounts for your online success?

A lot of the old guard don’t use the internet at all, and it is the kids that are taking social media on, and doing really well. Unfortunately, I have heard that recently quite a lot of the old trade has had to shut up shop. The internet is taking over, but at the same time, it gives women a safe space in the jewellery world. So you could argue that going forward, women are going to have an advantage over men in some ways. As a woman, I wouldn’t want a shop as you inevitably put yourself at risk; I don’t know anyone in the trade that hasn’t been robbed in some way.

5. Have you noticed any jewellery design trends emerging recently?

Yellow gold is coming back with a bang! Whilst there has certainly been a big demand for platinum in the modern day, it is almost impossible to work with as it has to be heated to such a high temperature. There is also a trend towards minimalism in terms of materials; contemporary consumers want the thing to be the thing that it says it is.

6. What’s next for you?

For years, my nails were always shocking because I couldn’t see beyond the ring I was wearing and so we decided to make a nail varnish. We are going to crush up gemstones and use them to make a nail varnish which also doesn’t chip. You can have nails to match your ring and vice versa. It also means you can get an emerald on every finger for way less than the price of an actual emerald. We are trying to recreate that magnetism that comes from being in the presence of a great gemstone, but with nail varnish.

View the collection: kjj.rocks

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Reading time: 3 min
fashion shoot image

The Circular Fairisle Sweater from Connolly’s Autumn/Winter collection. Photograph by Robbie Lawrence 

Practical design does not have to mean dull looks. What about these subtle and elegant yet useful must-haves?

Originally a saddler and shoesmith, Connolly now enjoys cult status for its minimalist designs and luxury tailoring. Crafted from soft blue denim with a relaxed fit, the 4 Pocket Safari Jacket is the result of a collaboration with Neapolitan tailoring brand Finamore.

connollyengland.com

The Natural Dior short-sleeved dress is a hallmark piece of the French maison. Cut from beige and black tussah silk in a houndstooth pattern, it makes for an elegant and timeless addition to a workwear wardrobe. Accentuate the waistline with a simple black leather belt.

dior.com

The Sweet Alhambra timepiece is one of the latest additions to the Van Cleef & Arpels signature Alhambra collection, featuring the maison’s emblematic icon of luck in yellow gold with an interchangeable glossy-blue alligator strap.

vancleefarpels.com

 

Brother Vellies was founded to support traditional African design. The brand’s luxury handbags and shoes, including these chic Lauryn boots, are handcrafted in South Africa, Kenya, Mexico, Morocco, Ethiopia, Burkina Faso, Italy, Haiti and at home in New York City.

brothervellies.com

Moynat’s new collection of ‘across straps’ were designed by artistic director Ramesh Nair to transform the brand’s handbags into stylish hands-free versions using a special jacquard weave. We love this bright herringbone graphic variation paired with the green Réjane model.

moynat.com/en

Celine has long embodied Parisian chic with its contemporary minimalist aesthetic. This camel Chesterfield revives a classic design with an elongated cut and subtle detailing. Wear it over a sharply tailored suit to achieve a look of nonchalant formality.

celine.com

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

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Reading time: 2 min
woman in jumper

Palermo poncho by Aessai

London-based sustainable knitwear label Aessai was founded by Argentinian designer Rebecca Kramer in 2017 to celebrate and support South American craftsmanship. The brand works with local communities and female collectives to create its collection of shawls, sweaters and ponchos, using traditional weaving techniques and fine merino wool. Following the brand’s exclusive launch on MatchesFashion.com, Candice Tucker speaks to Rebecca about her design inspirations, working with small producers and the importance of conscious consumption

woman in white shirt

Rebecca Kramer

1. How was the concept for Aessai conceived?

Aessai was born out of the desire of doing something meaningful; creating a brand with a purpose. The name Aessai is derived from the phonetic spelling of ‘essay’ inspired by a series of interwoven memories and journeys between my Argentinian identity and my European adulthood. Weaving is a very symbolic practice throughout South America, which is where both the brand and myself come full circle with our roots.

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The label embraces the skills of South American artisans entrenched in sustainability and transparency. It possess a social conscience at its heart with ethical and sustainable values that aim to make a positive impact on the life of the artisan producers and their communities.

2. What inspires your designs?

Aessai designs are inspired by indigenous artisans – they are their designs! I watch them braving the snow dressed in a poncho or weaving a beautiful alpaca blanket to sell in the market. I am the one who interprets their designs and essentially writes “the essay”

woman in pink scarf

Condor wrap by Aessai

3. As you’re based in the UK, how do you ensure that ethical practices are being upheld in your South American workshops?

Our producers are small enterprises with responsible managers who are also part of the same communities; they all share the credentials of having a low environmental impact, being members of the World Fair Trade Organisation, and carrying out cruelty free practices. When a co-operative becomes too big or too overwhelmed we tend to diversify our production and look out for a smaller collectives helping to contribute to their growth.

model wearing scarves

Rosa blanket and La Paz scarf by Aessai

4. Sustainability has become something of a buzzword in the last few years, how can consumers ensure what they’re buying is actually sustainable?

Some brands are using the word as a marketing tool, some have sustainable ideas, some are pioneers and invest in the research for developing new textiles and fibres… I suppose if someone is really concerned about the sustainability and origins of a product they should always do a bit of homework and do the research before simply adding another article of clothing into their wardrobe.

Read more: Nadezda Foundation’s Nadya Abela on running a children’s charity

5. Do you think there’s a disparity between younger and older generations in terms of their attitudes towards ethical consumption?

I believe that today the average consumer has more acquisitive power and choices than ever before. However, they are also more informed and conscious about the environmental and social damage caused by over consumerism. The older generation were more careful about their consumption choices as the “fast fashion phenomena” simply did not exist.

woman wrapped in blankets

Grace blankets by Aessai

6. What’s your five year vision for the brand?

We’ve been growing organically for the last three years consistently working on building a name for Aessai in a very saturated and competitive market. I think the time has come for the industry to promote and invest in small ethical brands. I do hope Aessai will be an established brand in the next five years and be in the position whereby it can have an influence on the consumer and be globally recognised for its quality products and work ethics.

View the collection: aessai.com

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women on the red carpet
women on the red carpet

Caroline Scheufele (left) and actress Julianne Moore at the 2019 Cannes Film Festival wearing Chopard.
Photo by Eamonn M. McCormack/Getty Images

Chopard’s Artistic Director Caroline Scheufele speaks to Torri Mundell about the Swiss company’s new Magical Setting range, aimed at creating a whisper-light collection of jewellery to be worn anywhere, anytime

diamond necklace

emerald ringWhen Chopard’s artistic director and co-president, Caroline Scheufele, developed an innovative technique to render the setting of gemstones nearly invisible, magnifying their light and lustre, she knew she wanted to apply the technique to everyday pieces as well as show-stopping designs. “I imagined this collection for a chic day-look and easy-to-wear style,” she says. “Chopard pieces are works of art that come to life when they are worn; I want women to feel as free as the light of the diamonds, and to be able to wear their jewellery with an evening dress as well as with a pair of denim jeans!”

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blue diamond ringThe custom of saving something for best may have fallen out of favour and after several months of lockdown and the tedium of staycations and leisurewear, it holds even less appeal. Created around traditional clusters of diamonds, rubies, sapphires and emeralds with a modern, ‘barely there’ setting, Magical Setting necklaces, bracelets, earrings and rings add a dash of sparkle to the most ordinary of days.

woman wearing red lipstick

model on the red carpet

Lea Seydoux (top) and Natalia Vodianova at the 2019 Cannes Film Festival wearing Chopard

Read more: Halloween thrills on the slopes in Andermatt

Scheufele knows that versatile design is the key to conceiving fine jewellery that can be worn every day. She even designed pieces such as earrings that convert from “long earrings for special occasions” to “stud-like cluster earrings for a more day-to-day basis”. She also advises her clients to follow their instincts when it comes to choosing jewellery that will stand the test of time. “Some women are ‘emerald people’ while others are ‘exclusively diamonds’,” she says. “When I am with a client buying a piece, I want to make sure the jewellery she is buying is true to her, that she can see herself wearing it tomorrow, as well as in 10 years, for any kind of occasion.”

View the collection: chopard.com

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

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pink diamond

The Spirit of the Rose pink diamond, will be auctioned by Sotheby’s on 11 November

In celebration of an upcoming sale of an ultra-rare Russian pink diamond known as The Spirit of the Rose, Sotheby’s invited fashion editor Carine Roitfeld to style a contemporary ballet performance of the Ballets Russes’ acclaimed 1911 Le Spectre de la Rose. On the eve of the auction, Sotheby’s jewellery specialist Benoit Repellin discusses the historic relationship between jewellery and dance

‘Dance is an art and I think jewellery can also be seen as a form of art. As I generally say to clients, there are three things to look at when admiring a jewel or thinking of buying one at auction: nature, art and provenance. Nature being the quality of the stone; art being the jewel and the craftsmanship involved in the cutting of a stone or the making of a piece of jewellery; and provenance being the history of the piece.

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There are several links between the different worlds of art, fashion, dance and jewellery. Between 1909 and 1929, the Ballets Russes really engaged all the disciplines and brought together artists from the different fields to work on a ballet. It was a social phenomenon, and jewellery designers attended ballet performances and took inspiration from the movements, the costumes and the decors to bring new vocabulary and motifs into jewellery.

women in changing room

three women

Carine Roitfeld (middle) with ballerinas Bianca Scudamore and Naïs Duboscq from Opera National de Paris

Charles Jacqueau, the main designer at Cartier, attended ballets, took details from the performances, inspiration from the dancers, the costumes, the colours, and translated them into amazing jewellery pieces. Van Cleef & Arpels took the motif of the ballerina and made brooches set with gemstones, in the late 1940s, and it is still one of their most popular design. I think the beauty and poetry of dance and jewellery are meant to be linked and it appeals to a lot of connoisseurs.’

rough pink diamond

The rough diamond was originally named Nijinksy after the ballet dancer. It was later renamed ‘The Spirit of the Rose’

‘The rough diamond mined in Russia in 2017 was named Nijinksy, a testimony and homage to one of the most famous Russian ballet dancer from the Ballets Russes company. The best-known performance and the one that’s most strongly associated with Valslav Nijinsky is Le Spectre de la Rose (The Spirit of the Rose), which premiered in Monte Carlo in 1911. This is the name Alrosa, the diamond company which mined and cut this exceptional, ‘fancy vivid’ purple-pink diamond, gave to the faceted stone.’

Read more: The Art of Listening with the APERIO Headphone System

‘The occurrence of pink diamonds in nature is extremely rare in any size. Only one per cent of all pink diamonds are larger than 10-carats and only four percent of all pink diamonds are graded ‘Fancy Vivid’ and display a rich, vivid colour. Having the opportunity to offer a large polished pink diamond of over 10-carats and with the richness of colour and purity of The Spirit of the Rose is, therefore, truly exceptional. The diamond’s character and immense presence is further enhanced by its oval shape. It is a truly mesmerising stone; a natural wonder, steeped in Russia’s century-long diamond tradition and cultural heritage.’

‘We’ve been wanting to work with Carine Roitfeld in some capacity at Sotheby’s for a while. A fashion icon and visionary creative, her voice was something that we wanted to bring to Sotheby’s in a way that would be disruptive and new. With this in mind, when the Spirit of the Rose came to us, we thought of Carine instantly. Not only is she half Russian, but she herself was once a dancer and her favourite ballet is in fact Le Spectre de la Rose, which was a favourite of Karl Lagerfeld’s as well. Bringing her eye and visual sensibility, we asked her to style Le Spectre de la Rose as a tribute to The Spirit of the Rose and to bring this magnificent diamond to life. It has not disappointed!’

Watch the teaser video of the ballet performance below:

The Sotheby’s live auction of ‘The Spirit of the Rose’ takes place on 11 November at 8:30 PM CET. To register and for more information visit: sothebys.com

 

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render of a swimming pool
woman wearing jewellery

Sophie Toh represents several luxury brands, including House of Garrard (pictured above)

Sophie Toh began her career in London’s luxury PR industry before moving to the United Arab Emirates where she established her own agency TOH. Last year, TOH was acquired by leading global luxury communications agency PRCo, placing Sophie at the helm as Group Director. Here, she discusses marketing trends, misconceptions, and the influence of media

business woman1. What first drew you to the world of PR and specifically, the luxury industry?

Growing up, I was heavily influenced by the eighties vogue for big phones, big hair and bigger egos. My first choice for a career was therefore advertising, which struck me as encapsulating the glamour, gloss and unashamedly commercial spirit of the era. I mellowed a little by the time it came to university, where, as a new politics student, I was fascinated by the focus on communications in the Blair cabinet, and decided to become a ‘spin doctor’. I diligently applied to all the political PR agencies in PR Week and found one woman ready to give me a month’s paid trial. The only small issue was that she wanted me to work on the Harvey Nichols and Bureau de Champagne accounts. Undeterred, I accepted, and I suppose subsequently fell into the luxury world.

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2. How have marketing trends changed in recent years?

We’re now speaking to consumers who learned to swipe iPhones before they can speak, and who can spot a direct sales pitch or #sponsoredpost a mile off. That’s the beauty of what we do – it’s so adaptable and fluid, strategies can change direction in line with consumer trends as quickly as you need them to. And currently, in the pandemic era, we’re seeing a huge amount of pivoting by brands and individuals trying to stay on top of the socio-economic context. I truly believe that there will always be a role for communications professionals.

men outside a cafe

Luxury tailors Atelier NA Paris are also on Sophie’s client list

3. What’s the biggest misconception about the industry?

I suppose that we’re all still busily running around promoting Harvey Nichols and champagne houses! Public relations is so much more than press releases and parties, and I think people underestimate how much experience and knowledge it takes to deliver a successful communications strategy, and equally how much influence the media and digital worlds have – good and bad.

Read more: Activist José Soares dos Santos on environmental responsibility

4. Do you have a formula for success, or do your processes change according to the project?

Our most successful work has come from a mixture of deep experience for the specific sector the client operates in, and a creative approach that can only come from real passion and insight. Enthusiasm for a client can certainly grow, but when it’s there from the start, it’s hard to beat.

render of a swimming pool

fluffy white handbag

SHA wellness clinic in Alicante, Spain (above) and handbag designer Tyler Ellis are amongst Sophie’s luxury clients

5. What’s the most valuable lesson you’ve learnt over the course of your career?

That it’s a race, not a sprint. And to never compare – either past successes with today’s, or yourself with other people. I am always immensely grateful for every day and every opportunity it brings, even on the worst of days and in times such as now. There’s no point committing to a career if you can’t also commit to finding the fun in it.

6. Where do you dream of travelling to when the world reopens?

So many places… I have a need to completely roam the world. But first to London, where my large, unruly but brilliant family awaits….

Find out more: prco.com

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man listening to music with headphones
man listening to music with headphones

Warwick Acoustics’ flagship headphone system, the APERIO, promises the ultimate listening experience. Image courtesy of Warwick Acoustics

British company Warwick Acoustics has developed a reputation for innovating and producing innovative audio technology. Their flagship headphone system, the APERIO, takes both sound quality and product design to the next level with a 24 karat gold hand-finished limited edition. Here, LUX discovers how the ultimate listening experience is achieved

Numerous studies have shown that listening to music can positively impact your mood, well-being, sleep quality and cognitive ability, reduce stress, and even ease physical pain, but is there such thing as a perfect listening experience?

‘Sound is definitely a subjective experience and what is considered ‘perfect’ for one person may not be for another,’ says Martin Roberts Director of the Headphone Business Unit at UK-based audio technology company Warwick Acoustics Ltd., whose products are designed to achieve an exceptionally high level of sound clarity. Their recently unveiled flagship headphone system, the APERIO (named after the Latin word meaning to uncover or reveal), follows the company’s Sonoma Model One (M1) electrostatic headphone system, and is the result of three years of extensive sound exploration and technical development carried out in their Warwickshire workshops.

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‘Simply put: the APERIO is designed to reproduce audio content as pristinely and accurately as possible – revealing the details and complexities in the original recording without colouration or alteration,’ explains Roberts. A review in Hi-Fi News claims that the system possesses the ability ‘to deliver rare insights into your music.’ Whilst this level of sound quality is naturally more geared towards professionals in the music industry, the company hopes the product will also appeal to music-loving high-net-worth individuals as a high-functioning collectible item.

design workshop

Each APERIO is assembled by hand in the company’s Warwickshire workshops. Image courtesy of Warwick Acoustics

In terms of design, the company believes in American architect Louis Henry Sullivan’s ethos that ‘form follows function’, and aspire to create products that have a timeless appeal.

Read more: Why it’s important for banks to incentivise sustainability

The standard version of the APERIO, for example, is understated in sleek black with soft sheepskin leather and stylish detailing such as the curved metal patterning of the headphone grilles, which visually evokes undulating sound waves.

headphones

The APERIO standard version. Image courtesy of Warwick Acoustics.

The limited-edition Gold APERIO is more flashy, crafted from 24 karat gold (including the headphone grilles, hardware and Amplifier front panel) in England’s historic jewellery quarter in Birmingham. Limited to 100 units globally, the system is now available to buy in the UK exclusively from Harrods in Knightsbridge, London.

It’s not just the design that has been upgraded, however, the Gold system also utilises the highest grade Balanced-Drive HPEL Transducer (the component that determines the quality of sound reproduction) innovated by Warwick Acoustics to guarantee outstanding performance. That level of quality doesn’t come cheaply though; the Gold model retails at a cool £30,000/US$35,000 whilst the standard version is priced at £20,000/US$24,000.

gold headphones

The Gold Aperio is limited to 100 units, available in the UK exclusively at Harrods, London. Image courtesy of Warwick Acoustics.

But how exactly is audio performance or sound quality measured? Each APERIO undergoes rigorous testing, including at least three human listening tests, before the product is released from the company’s Warwickshire facility. ‘The APERIO is about listening to music as if you were there,’ says Roberts. ‘I remember when I visited a very famous recording studio in Los Angeles and a mastering engineer listened to a remastered recording by the great Frank Sinatra… He listened intently to the same track several times then just sat back and said, “Wow.”  When I asked him how his experience was he said, “Amazing, I have literally listened to that Sinatra track a thousand times and this is the first time I have ever heard him smacking his lips in the pauses between verses of the song…Simply astonishing detail”.’

Read more: Artist Yayoi Kusama’s designs for Veuve Clicquot

sound testing

Warwick Acoustics’ anechoic chamber where the headphones are tested. Image courtesy of Warwick Acoustics.

Attention to detail is at the heart of Warwick Acoustics’ engineering philosophy. The whole system is designed to work harmoniously together, rather than piecing together disparate components and technologies. In many ways, it’s a similar process to the development of a supercar or ultra-high-performance watch, and ultimately, that’s what you’re paying for: the experience. Listening to music is, after all, a process of immersion, of gradually getting closer to the sound, of being slowly transported into another place, self, or way of being.

For more information visit: warwickacoustics.com/headphones, or contact [email protected]

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underwater photographer diver
underwater photographer diver

An underwater photographer wearing the Blancpain Bathyscaphe Flyback Chronograph. Image by Harald Hois

Swiss watch brand Blancpain has long championed the exploration and conservation of our oceans through their Bathyscaphe range of innovative underwater timepieces. Chloe Frost-Smith takes a closer look at the collection’s newest additions

Widely recognised as the luxury watchmaker for the underwater world, explorers, oceanographers and underwater photographers have worn Blancpain since their creation of the first modern diver’s watch, Fifty Fathoms, in 1953. The Swiss brand’s latest additions to the Bathyscaphe line delve into its deep-sea history while continuing its long-standing commitment to the protection of the oceans.

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The Bathyscaphe Day Date Desert Edition and the Bathyscaphe Flyback Chronograph introduce an earthy aesthetic into the collection’s previously nautical palette, with two new colours in beige and green featuring on the strap and face of each model respectively.

underwater watch

The Bathyscaphe Flyback Chronograph

While the sandy tones of the Day Date Desert Edition might not immediately conjure up a connection to the ocean, they have been designed to evoke the Nevada Desert where Ernest H. Brooks II, a pioneer of underwater photography and contributor to the Edition Fifty Fathoms project, made a spectacular dive in 1962. Descending into the depths of Devils Hole in the infamous Death Valley in Nevada, Brooks photographed an endangered species of pupfish exclusively found in the Devils waters for the first time.

leather strap watch

The Bathyscaphe Day Date Desert Edition

Although vintage in appearance, the Day Date Desert Edition is undoubtedly modern in mechanism. Boasting a five-day power reserve and a 43mm satin-brushed steel case which is water-resistant to 30 bar, the latest Bathyscaphe model comes with all the essentials for a diver’s watch which are also useful for daily wear.

Read more: Nadezda Foundation’s Nadya Abela on running a children’s charity

watch on man's wrist

shark underwater

The Bathyscaphe Mokarran Limited Edition timepiece (above) and researchers with a great hammerhead shark. Image by Thomas Pavy

In addition to the brand’s annual support to expeditions and major oceanographic projects as part of the ongoing Blancpain Ocean Commitment, Blancpain is now dedicating a diver’s watch to the protection of the Great Hammerhead shark. The conservation-themed Bathyscaphe Mokarran Limited Edition is limited to 50 pieces, with $1,000 of each sale donated to the Mokarran Protection Society, a non-profit organisation that is committed to researching great hammerhead populations in French Polynesia. Fitted with a display caseback, the tropical green Mokarran is engraved with a hammerhead on the rotor of its caliber 1318 movement.

Find out more: blancpain.com

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As the days get shorter and the light begins to fade, mark the seasonal changes with these warm-toned essentials

Founded by sisters Mary-Kate and Ashley Olsen, The Row is renowned for understated silhouettes inspired by the minimalist aesthetic of 1980s New York. Following this form, their mustard-yellow Ulmer sweater is knitted in soft cashmere with raw edges at the cuffs and hem

matchesfashion.com

Cartier’s iconic panther motif, dating from 1914, has been reimagined many times to reflect different facets of the animal’s character. Here, the feline appears languid and graceful on a delicate 18k yellow-gold bracelet set with diamonds, tsavorite garnets and onyx.

cartier.com

Known for her avant-garde menswear designs, Grace Wales Bonner’s collections are full of references from cultural research, mixing motifs from black culture with British tailoring techniques. These navy blue trousers with a velvet green stripe are one of our favourites.

walesbonner.net

Crafted from beige canvas with a tan leather trim, this Cassandra shoulder bag by Saint Laurent takes inspiration from classic safari style. The gold-top YSL plaque opens to a tan suede interior with two spacious compartments and additional zip pockets

ysl.com

This playful multicoloured gilet by Gucci is made from a patchwork of gingham, polka dot and tartan fabrics. Embroidered lettering on the back reads “Gucci Band”, referencing the brand’s focus on togetherness. With a relaxed fit, it layers well over a jumper or jacket.

mrporter.com

The Giona dress by Roksanda is inspired by the silhouettes of early 20th-century Gibson Girl images. In an eye-catching scarlet-red crepe, the dress falls in gathered tiers to a romantic floor-sweeping hemline with a high ruffled neck accented by burgundy velvet ties.

matchesfashion.com

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

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fashion shoot

Build your autumn wardrobe from the collections of ethically and environmentally minded designers

Mara Hoffman’s Catalina jacket evokes a tropical mood in a vivid red hue with lightly padded shoulders and a flattering plunging V neckline. The jacket is crafted from a blend of linen and a sustainable rayon fibre, and it features a tie at the front for a customisable fit.

net-a-porter.com

In 2020, Rosh Mahtani of Alighieri became the first jewellery designer to win the Queen Elizabeth II Award for British Design for her poetic, ethically produced, handmade pieces. These Infinite Song earrings in gold-plated bronze are inspired by Eliot’s ‘The Waste Land’.

alighieri.co.uk

Stella McCartney has long championed sustainable design through the use of innovative processes and materials. This stylish saddle-shaped bag is made from the brand’s signature vegetarian leather with a woven canvas strap that sits cross-body or on your shoulder.

net-a-porter.com

French brand Veja has a strong focus on social and environmental responsibility. All of the brand’s trainers are made from organic or recycled cotton, wild rubber and recycled plastic bottles. We especially love this pair’s striking navy blue and white colour palette.

veja-store.com

Crafted from a recycled wool mix with a slim-fit cut, these gender-neutral tailored trousers by sustainable brand Riley Studio make an elegant and versatile wardrobe staple. As with all of the brand’s products, they are designed to last years of wear.

riley.studio

These Kallio sunglasses by London-based brand MONC are crafted in a workshop in Italy using bio-acetate frames and mineral-glass lenses, both of which are highly durable as well as bio-degradable. The design for this pair is inspired by an artistic district of Helsinki.

monclondon.com

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

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singer wearing glitter dress
man with glitter

Fashion designer Kevin Germanier. Image by Alexandre Haefeli

As the fashion industry comes under scrutiny for its environmental credentials in an age of sustainability, one young designer is showing a way forward. Paris-based Kevin Germanier designs high-end clothes with upcycled fabrics and beads he culls from other brands. Far from being earnest and worthy, his designs have real sizzle, as Kristina Spencer discovers

The fashion industry is one of the world’s biggest polluters. It emits more carbon than international flights and maritime shipping combined. While the high turnover and volume of production of fast fashion is a major contributor, how do luxury brands affect the environment? With some maisons producing as many as eight collections a year, it seems inevitable that the sheer amount of output must produce waste. However, as consumer values change and conscious consumerism is on the rise, a new generation of designers is paving the way for a sustainable approach to glamorous, daring fashion. Kevin Germanier is one of them.

Follow LUX on Instagram: luxthemagazine

Germanier is only 28. The Central Saint Martins alumnus showed his first collection in 2017 and it was immediately scooped up by MatchesFashion, the London-based luxury e-tailer. It comes as no surprise: Germanier’s high-octane collections are as sustainable as it gets, with everything from zippers to buttons sourced from materials discarded by other designers and brands. His garments are covered in crystals, a deadstock (unsold stock in new condition) supplied exclusively by Swarovski, who has collaborated with Germanier since he launched his eponymous label.

Growing up in Valais, Switzerland, Germanier always knew he wanted to be a fashion designer, spending his childhood draping fabrics over his siblings. His foundation year was spent at Geneva University of Art and Design, but it was London-based Central Saint Martins he pined for. Germanier applied, having told nobody but his flatmate at the time, and after seven interviews, he was in. “My first thought at the time was, ‘Oh God, I have to tell mum and dad!’” he laughs. His parents allowed him to go, but under one condition – he must finance his studies himself. Over a summer, Germanier saved up enough money and moved to London.

model wearing glitter dress

Image by Alexandre Haefeli

His sustainable approach did not come about as the result of a practical PR decision; it was merely a way to make ends meet as a student. Instead of buying expensive calico, Germanier went to Brick Lane in east London and found old duvet covers, and his flatmate gave away her deadstock. Some classmates rolled their eyes, but Germanier thrived. “It is harder to find beauty in trash than to go to Shepherd’s Bush, where I can buy anything. I needed to be creatively challenged.”

Read more: Singer-songwriter Ruth B. on poetry, social media & BLM

The industry has changed since Germanier’s first year at Central Saint Martins. These days, sustainability is in vogue. “When I started, nobody cared, and now everyone is an upcycler and a sustainability student, which is a good thing,” he admits. “But when people use sustainability as a marketing tool, that’s when I find it problematic. It should be the norm; what I am doing is normal.” It was hard to source materials at the beginning, but as the word spread, his social media was flooded with messages. “People frequently offer 25 metres of organza or 25 buttons, and I say yes to everything – and find a way to make it work.”

Now in his sixth season, Germanier continues to create feminine, unapologetically glamorous silhouettes with a disco aesthetic. There are glitter-strewn dresses, sculptural jackets and statement coats, sparkling with rainbow-hued Swarovski crystals. There is a strict ‘no black’ rule, despite always wearing black himself, because “no customer is coming to Germanier to buy black trousers”. While fashion schools are frequently criticised for the lack of business education, Germanier has managed to strike the delicate balance between creativity and pragmatism, which, by his own admission, must be due to his Swiss roots.

singer wearing glitter dress

Björk wearing a Germanier outfit at the We Love Green Festival, Paris, 2018. Image by Santiago Felipe/Getty

His adaptability is another asset. “It is one of my biggest strengths – I am very flexible,” he says, remembering how quickly he got rid of trousers that had beads on the back. A friend wore them for a day and could barely sit. “I learned to adapt the fantasy in my brain to the reality of my customer.” Germanier has had his fair share of the red-carpet moments – he has dressed Björk, Taylor Swift and Kristen Stewart, amongst others – but ultimately, the voluptuous Björk dress cannot be worn in an Uber and even celebrities change into comfortable clothes after pictures get taken at the Met Gala. “There are two ways of conceiving your business; there are your press outfits and commercial pieces, but they can still be extremely creative. You have to play on both sides, and I love it.”

The 2020 coronavirus pandemic has exposed the fashion industry’s vulnerabilities: retailers have filed for bankruptcy, brands have sold stock with unprecedented discounts, and designers came together to decry the never-ending global tour of fashion weeks. Germanier barely bats an eyelid because he does not carry any stock. “The calendar is not relevant at all. I don’t follow seasons. When it’s hot in Hong Kong, it is cold in Alaska. And we don’t follow trends. We use leftover fabric that was trendy in 2017. Eight collections a year is just too much product, and a good product takes time… People still need to get dressed, but they don’t need seven bags per week from the same brand.”

So, what is next for Germanier? “The launch of our website, the presentation of the new collection in September,” he says. “And we have made six new looks for Sunmi, the K-pop superstar. I am also currently working on an amazing order and Germanier is going to continue its slow ascent. It is hard to predict what will be next but we are fortunate enough to be able continue what we have built so far.”

View the collections: kevingermanier.com
Follow Kevin Germanier on Instagram: @kevingermanier

This article features in the Autumn Issue, which will be published later this month.

 

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woman wearing black dress and diamonds
woman wearing black dress and diamonds

Penélope Cruz at the 2018 Cannes festival wearing Atelier Swarovski jewellery. Courtesy Swarovski. 

Penélope Cruz brings her renowned energy to philanthropic and charitable work – and now she is designing jewellery for Swarovski. LUX speaks with the Spanish-born Hollywood superstar

LUX: Where do you call home?
Penélope Cruz: Madrid. I grew up in a place called Alcobendas, a suburb of Madrid, with my sister Mónica and our parents and after with my brother Eduardo. My earliest memories are of being in my home every Sunday, everybody cleaning the house. There was always music, and everybody was dancing. My mother ran a hair salon, and between the ages of five and 12, I would go to the salon and listen to the women. I don’t know why but women in a hair salon share their deepest secrets. They would share everything with everybody. That was the first acting school for me.

Follow LUX on Instagram: luxthemagazine

LUX: Tell us how your collaboration with Swarovski came about?
Penélope Cruz: The whole process evolved very naturally. I had worn some beautiful Atelier Swarovski pieces at various events. But it was when I met Nadja Swarovski and she spoke in depth about Swarovski’s work with sustainability that I became inspired to work on a collection with her. I really care about having a positive impact on the planet, and Swarovski has a rich history of putting sustainability at the heart of what it does.

LUX: What interested you in working with Swarovski Created Diamonds in particular?
Penélope Cruz: Before speaking with Nadja, I didn’t realise that it was possible to create stones in a lab with a low impact on the environment. As soon as I became aware of Swarovski Created Diamonds and other lab-grown precious stones, I wanted to start designing pieces and use them.

woman in diamond necklace

Courtesy Swarovski.

LUX: Your jewellery designs seem to have a vintage Hollywood feel. Have you always been drawn to the aesthetics of the era?
Penélope Cruz: My fine jewellery collection has a classic red-carpet aesthetic and I always go back to that – they are timeless pieces that I would always choose to wear. I think there is something for every woman in what we have created.

Read more: How we created the Ruinart Frieze lounge experience at home

LUX: What is the most important thing you learned from this collaboration about how to bring a design concept to life?
Penélope Cruz: It has been an amazing learning experience. I’m very lucky that Nadja and the team have given me such creative freedom. I begin the design process by pulling together images and references of things I love, and then spend hours with the designers to distil the clippings from movies, novels, paintings, ballet dancers and vintage markets into a jewellery collection that tells the story.

party picture

Cruz with Vogue editor Edward Enninful and Nadja Swarovski, 2019. Photograph by Nicholas Harvey

LUX: Would you encourage a young person to pursue a career in acting?
Penélope Cruz: It has been an incredible honour and pleasure to build a career as an actor, and to be surrounded by so many brilliant artists in theatre, film and television. Sometimes it can be a huge challenge, but I would encourage any young person to follow their dreams, listen to their heart, work hard and stay away from drugs – whether that is in the creative industries or beyond.

LUX: When you aren’t working on a film, what personal or creative projects do you focus on?
Penélope Cruz: From the age of seven I loved redesigning the clothing and jewellery from the pages of my favourite fashion magazines. So, working on jewellery design projects is a big passion for me and I have been honoured to have the chance to fulfil my childhood dream with Atelier Swarovski, season after season.

Read more: American artist Rashid Johnson on searching for autonomy

LUX: How does your family help you to stay grounded?
Penélope Cruz: I have always kept my personal and professional lives separate. Being with my family gives me so much happiness and it is my priority.

LUX: What inspired your activism, such as your involvement with the Time’s Up movement?
Penélope Cruz: I feel very strongly about the causes I support, and I have noticed a difference in Hollywood since the Time’s Up movement created a sweeping dialogue about the treatment of women. It is already having an impact on the kind of questions we get asked in interviews. Previously, you would be in a press conference and the women would mainly be asked very rude or superficial questions. People are more careful now. It’s symbolic, but hopefully we are understanding how to treat each other with more respect. And these are issues which affect women in all industries and everywhere in the world. If we don’t all do this together, it’s useless.

Red carpet photograph

Cruz with Antonio Banderas, 2019. Photograph by David M. Benett/Getty Images for Somerset House

LUX: Do you have a dream film or television project you would like to direct yourself?
Penélope Cruz: I’ve always wanted to direct. I have directed commercials and a documentary before but hopefully I will be able to do a full-length feature film someday.

LUX: What is it like working with a director such as Pedro Almodóvar, someone you’ve worked with for years?
Penélope Cruz: Pedro is like family; he is very important to me and holds a special place in my heart because he was the reason why I became an actress. I’m excited that we are making a new movie next year.

LUX: What type of music do you enjoy? Is there a track that makes you want to dance?
Penélope Cruz: I’m a big fan of everything that Pharrell Williams does. He’s an amazing producer and songwriter. I also love Eduardo Cruz’s work. He is my brother and we are very close, but I admire his work as a composer and producer so much. He just did the soundtrack for the film Wasp Network.

LUX: Has the past year changed your outlook on life?
Penélope Cruz: We are experiencing a huge moment of social change and I am still processing the transformations that are occurring around us. However, I believe that the values I hold closest – truth, justice and equality, respect for the planet and kindness towards others – will grow in strength. We truly are all one and we have to commit to creating a better tomorrow.

View Penélope Cruz’s designs for Swarovski: atelierswarovski.com

This article features in the Autumn Issue, which will be published later this month.

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crystal star installation
crystal fashion

A look from Area’s AW16 collection, incorporating an official collaboration with Swarovski. © Swarovski Corporate Archive

Austrian crystal-maker Swarovski celebrates its 125th anniversary this year with a new creative director in charge. Operating in sectors from infrastructure to telescopes, it is most famous for its crystal figures and collaborations with the entertainment and fashion industries. Ahead of a landmark book being published about the company, Harriet Quick explores a family-owned firm getting ready for the next 125 years

For a brand bringing sparkle to the world’s performance stage and symbolising the dazzle of fashion to be celebrating its 125th anniversary is some achievement in itself, given the changes in the world of entertainment and style since 1895. To be doing so as a family-owned company, run in part by descendants of the original founder, is even more so. But for Swarovski, provider of crystals and sparkle around the world, there is yet another dazzling fact: the company has done so not based on the rue Faubourg Saint-Honoré or Milan’s Golden Triangle, but from a small village in the Austrian Alps.

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The journey has been epic. Today, the company is managed by the fifth generation of its family members. This year, marking its 125th anniversary, has witnessed big changes. On the visual front, Italian-born fashion director and consultant, Giovanna Battaglia Engelbert has joined the company as worldwide creative director. The stores, a feature of cities and airports around the world, are scheduled for a sweeping revamp.

crystal dome

The Crystal Dome at Swarovski Crystal Worlds in Wattens, Austria. © Swarovski Corporate Archive

The brand’s history is as varied as the topography of the Austrian Tyrol where Daniel Swarovski set up his manufacturing plant in the town of Wattens to benefit from the abundant water source that powered the hydroelectric cutting machines. The mountains and valleys of the region are symbolic of the struggles and triumphs of a business that has been driven by the continuous merging of technology, nature and innovative design. There is a generous sprinkling of magic, too. It is embedded in the multifaceted crystals that never fail to arouse awe and around which there has been ample myth-making.

archival family portrait

Daniel Swarovski with his family, c. 1890. © Swarovski Corporate Archive

Before the global pandemic, Swarovski’s annual turnover was recorded at 2.7 billion euros and that comprises revenues from its high-end fine jewellery creations, the crystal stones deployed by a whole array of creative minds, including costume designers, chandelier makers and architects, and optics. The lion’s share (75 per cent of the revenue) is generated by fashion jewellery, sunglasses, watches, perfume and the much-adored crystal figurines. The quality of the crystals that are prototyped at Manufaktur, the striking in-house laboratory in Wattens designed by architectural firm Snøhetta, is unparalleled.

Read more: How Andermatt Swiss Alps is drawing a new generation of visitors

The company’s extraordinary creative output has also been bolstered by a roster of collaborators from the fields or architecture, design, fashion, film and stage who have continually brought ideas and seemingly impossible challenges to the company, from the mesmerising Aurora Borealis crystal that was developed by Manfred Swarovski for Christian Dior to the spectacular costumes made for performers including Maria Callas’s gowns, Liberace’s capes and Lady Gaga’s bespangled Ralph Lauren gown featuring 50,000 stones and worn at her Las Vegas residency in 2019. People come to Swarovski for the spectacular and the sublime, like scenic designer Derek McLane, who used 45 million Swarovski crystals for the 2018 Oscars ceremony, and who commented, “I always want to go beyond the clichés”.

crystal jewellery

Swarovski crystals in jewellery featuring in 16 Arlington’s AW20 collection. © Dan and Corina Lecca.

From the fields of design, Daniel Libeskind, Tord Boontje, Jaime Hayon and John Pawson are amongst the greats who have transformed crystal into products, architectural features and lighting. Hayon recently designed a full-scale carousel for the Swarovski Crystal Worlds culture park in Wattens. The monochrome attraction rotates in striking juxtaposition with the lush greenery of the garden and shimmers with 15 million Swarovski crystals across 12 ceiling panels and 16 wall panels illuminated by a warm light. “For me, a carousel can be seen as a moving museum,” explains Hayon.

lake art installation

old fashion carousel

Swarovski Crystal Worlds, with (top) Crystal Cloud by Andy Cao and Xavier Perrot, and (here) the carousel designed by Jaime Hayon © Swarovski Kristallwelten/Mark Cocksedge

Setting a precedent that would inspire future generations, Daniel Swarovski first made his inroads into the worlds of high fashion in Paris. Equipped with suitcases of stones, the founder would take his goods on the road, visiting couturiers including Charles Frederick Worth, Jeanne Lanvin and Jeanne Paquin, as well as the specialist artisan ateliers that supplied Chanel and Schiaparelli with exceptional embroideries, buttons and jewelled adornments. Relationships were forged that outlived the founder and expanded exponentially during the hey-day of couture in the 1950s, attracting Dior, Balmain and Givenchy. “The samples are often the springboard to the creation itself,” remarked Hubert de Givenchy.

Read more: British artist Hugo Wilson on creating art from chaos

crystal star installation

The Swarovski Star by Daniel Libeskind in 2018 for the Rockefeller Center Christmas tree, New York. Image by HappyMonday

Swarovski crystal became a desired material in fashion, adding glamour and value to evening gowns, heels, handbags and costume jewels. It has been endlessly interpreted through the changing waves of minimalism, maximalism, sportswear, theatrical and romantic moods and proved itself a classic. At Versace, Donatella has made crystal chain mail a signature, Miuccia Prada has made sparkle an integral part of her chandelier earrings and party dresses, while at Chanel, crystal is woven into the tweeds and classic costume jewellery.

fashion shoot

Mary Katrantzou’s SS20 show at the Temple of Poseidon in Greece.

The brand continues to look to the future by investing in new talent and ideas. Sponsorship through the Swarovski Collective programme and graduate award schemes means that emerging creatives are exposed to the potential of the material. Mary Katrantzou, Grace Wales Bonner, Rodarte and Jason Wu are amongst the many who have grown up through the collective. The most famous collaborator is Alexander McQueen, who conjured up brilliant designs fused with narrative richness and theatrical impact. Fittingly, Swarovski was the key sponsor of the record-breaking exhibition ‘Savage Beauty’ (2011) that celebrated his life’s work.

singer on stage

Lady Gaga during her ‘Jazz & Piano’ residency in Las Vegas, 2019. Kevin Mazur/Getty Images for Park MGM Las Vegas.

crystal stage design

Derek McLane’s design for the Academy Awards stage in 2018, using millions of Swarovski crystals. Mark Ralston/AFP/Getty Images

The relationships are best when they are symbiotic. In 2019, Katrantzou designed her Temple of Poseidon couture collection that was staged as a charitable fundraising event in her native Athens with £40k worth of crystal. “Nadja Swarovski has changed the perception of how crystal is perceived, and I have challenged my own preconceptions of it. With something so visually present, it has to be part of the process from the beginning. We never want it to look like an afterthought,” says Katrantzou.

In turn, creative directors have been invited to Swarovski and been given carte blanche to design jewellery collections and components. The results have given crystal new dimensions. Consider Jean-Paul Gaultier’s Kaputt shiny/matte faceted stones, and the one million giant pearls and stones that embellished Olivier Rousteing’s first couture collection for Balmain in 2019. Challenging perceptions, groundbreaking Dutch couturier Iris van Herpen designed a ‘growing crystal’ that features raw and faceted surfaces.

‘Growing’ Swarovski into a new era is the mission for the family now. An era that is challenging for any consumer-facing business: but any company that has lived through two World Wars and a Great Depression has long-term survival in its genes. Sparkle is guaranteed, but who can say what poignant shapes it might find in the future?

For more information visit: swarovski.com

This article features in the Autumn 2020 Issue, hitting newsstands in October.

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Reading time: 6 min
shop interiors
shop interiors

Loquet’s London shop located at 73 Elizabeth Street, SW1W 9PJ

London-based jewellery brand Loquet is renewing the concept of a keepsake locket with sustainable, modern designs that consumers can personalise and pass through the generations. Here, Abigail Hodges speaks to co-founder Sheherazade Goldsmith about the brand’s ethical ethos, her love of vintage fashion and collaborating with the Wild at Heart Foundation

1.How does your environmentalist background inform your approach to making jewellery?

women portrait

Sheherazade Goldsmith

I’d say it informs everything. Environmentalism isn’t something you frequent; it’s a way of life and seeps into everything you do. Once you understand the repercussions of not protecting our future and that of our children, it’s impossible to ignore. As a fine jewellery collection, Loquet is part of a luxury world and to me, luxury is sustainability. Our process informs that message by taking the time to source the very best materials, crafted with care and implementing practices that create longevity. Our jewellery is for the generation that makes the purchase, the next generation and the generation after that. It’s about preserving someone’s story to be told, treasured and passed on. At Loquet we are preserving what is important to an individual, without sustainability there would be no point in what we create.

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Our first port of call is the office itself, we use recycled or recyclable materials wherever we can, and we create a product that has no existential timeframe, it is recyclable and has no waste. The problem with so much of what we consume is the waste, but in jewellery there are no seasons and the sentimentality of the pieces make them heirlooms.

2. What inspired you to reinvent the classical locket form?

I already had a classic photo locket and a charm bracelet. My locket was an Indian antique made in 18kt yellow gold with elaborate coloured enamelling on the inside. I love Indian jewellery for this reason. They believe that everything should be as beautiful on the inside as it is on the outside. My charm bracelet was fun and gregarious, full of charms that patted against my laptop keyboard. On a visit to a fairground my son bought me a present, a pendant made with dried flowers, something I use to do with hedgerow flowers when my children where little. It inspired the idea of being able to combine the two and personalise it myself.

locket necklace

The hexagonal locket with a selection of charms

3. Is there a particular piece that you feel best expresses the story you set out to tell through your work?

Our sapphire crystal lockets are our signature. They allow our customers to be there own designer and create a piece that tells their story, in essence a unique talisman of everything that brings them luck and makes them smile, to be worn close to their heart. We’ve recently relaunched our 14kt collection to include some of my favourite pieces to date, that elegantly translate from day to night. Each of these geometrical shapes is hand cast in 14kt gold encasing a clear faced sapphire crystal facade and can be opened to personalise with our endless selection of meaningful 18kt charms.

charms

A selection of charns

4. How do you ensure that the elements of your design process are ethical?

I spent a lot of time visiting jewellery studios all over the world before deciding to work with our current ateliers. This was to insure that the working conditions where healthy and vibrant, and to also talk through the designs with the artisans that were selected to make our jewellery. The companies I ended up choosing are all members of the responsible jewellery council or similar organisations and are, therefore, required to adhere to certain workers rights and high environmental standards.

Read more: British-Iranian artist darvish Fakhr on the alchemy of art

The human connection behind what we do is paramount to the Loquet design. Our pieces are emotional and as such need to be made that way. So many of us jewellers won’t work with a company unless they have the same ethos and it’s important to champion those that have worked hard to campaign for their workers and implement high standards that look after both their employees and the environment.

Locket necklaces

Loquet’s pear and hexagonal locket necklaces

5. Besides purchasing from you, how would you advise a consumer looking to shop more sustainably?

Sustainability is about longevity and well-designed things don’t have seasons. Whether that be furniture, clothing, accessories or jewellery, if something is worthwhile it will last through time and trends. With luxury items, less is most definitely more and that is my philosophy both in the way I decorate my house, my jewellery and wardrobe. Admittedly, I wear mostly designer clothing, but much of it is purchased from secondhand websites such as Vestiaire Collective, Hardly Ever Worn and The Real Real. I love vintage fashion, but you can also find all kinds of past-admired items for a quarter of the price. The buying and selling aspect makes you feel part of a community, almost like an exchange and gives your clothes a limitless life.

6. What’s next for Loquet?

We have a very exciting year ahead with some brilliant collaborations. The first launches in October with Nikki Tibbles and the Wild at Heart Foundation. We have put together a charm collection of Nikki’s favourite flowers chosen for their association with her beloved dogs, each epitomising the way we feel about our pets. A percentage of all sales will be donated to her very special dog charity that was set up a few years ago after rescuing a stray from the streets of Puerto Rico, who became her beloved Rose. The charity is now global and works tirelessly to end the unnecessary suffering of these much-loved pets.

Find out more: loquetlondon.com

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silver timepiece
silver timepiece

The new Oyster Perpetual Submariner, 41mm in Oystersteel. © Rolex/Alain Costa

LUX discovers Rolex’s striking new editions to the iconic Submariner, Datejust, Oyster Perpetual and Sky-Dweller collections

The New Submariner

Submariner Date © Rolex/Alain Costa

Rolex’s history with the world of diving dates back to 1926 when the brand invented the now iconic waterproof Oyster case. Following a series of experiments in collaboration with diving pioneers, the brand launched the Submariner in 1953 as the first divers’ wristwatch waterproof to a depth of 100 metres. Since then, the brand’s Submariner collection has gained iconic status with the Oyster case now guaranteeing waterproof to a depth of 300 metres.

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The latest editions to the divers’ collection – the Oyster Perpetual Submariner and Oyster Perpetual Submariner Date – both feature a redesigned, slightly larger case in the classic aesthetic of Oystersteel. Other variations of both watches include a 60-minute graduated Cerachrom insert in coloured ceramic, allowing divers to monitor their dive times.

diamond silver watch

Oyster Perpetual Datejust 31 in white Rolesor. © Rolex/Alain Costa

The New Datejust

Four new white Rolesor (combining Oystersteel and 18 ct white gold) versions of the Oyster Perpetual Datejust 31 include a diamond-set bezel and aubergine dial with the three other timepieces fitted respectively with a mint green, white lacquer or dark grey dial.

silver watch

Oyster Perpetual 41 in Oystersteel. © Rolex/Alain Costa

The New Oyster Perpetual

Rolex’s Oyster Perpetual collection features direct descendants of the brand’s original 1926 Oyster waterproof case. The latest model, the Oyster Perpetual 41, is available with a silver or black dial, whilst updates of the Oyster Perpetual 36 feature a range of vibrant lacquer dials in candy pink, turquoise blue, yellow, coral red and green.

Read more: Paris-based artist Cathleen Naundorf on photography, fashion & activism

Both models are equipped with Rolex’s newly launched movement, calibre 3230, which offers gains in terms of precision, power reserve, resistance to shocks and magnetic fields, convenience and reliability.

gold black timepiece

Oyster Perpetual Sky-Dweller, 42 mm, 18ct yellow gold. © Rolex/Alain Costa

The New Sky-Dweller

The perfect watch for frequent travellers, the Sky-Dweller displays the time in two time zones simultaneously and has an annual calendar. This latest 18ct yellow gold version of the Oyster Perpetual Sky-Dweller is fitted with the brand’s innovative Oysterflex bracelet made of high-performance black elastomer, promising both durability and comfort.

Find out more: rolex.com

 

 

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Sketch of people holding weights
sport sketch

Dior Rose des Vent ‘Sport’, a sketch by Victoire de Castellane

Dior Jewellery’s Creative Director Victoire de Castellane reimagines the latest additions to the brand’s ‘Rose des Vents’ collection in a series of whimsical lockdown sketches. Here, Chloe Frost-Smith picks her favourite pieces
blue gold earrings

New Rose des Vents earrings

A new series of playful illustrations by Victoire de Castellane depicting domestic scenes in the Dior maison during lockdown, feature the Artistic Director for Dior Joaillerie alongside Christian Dior enjoying an array of at-home activities.

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Hidden amongst these imaginative self-portraits are the designs for the latest ‘Rose des Vents’ Fine Jewellery collection, which subtly replace everyday objects in the colourful sketches including, fridge magnets in the kitchen, flowers in the garden, dumbbells in a home-workout scene, and even appearing on the screen of a Dior television.

Sketch of people in kitchen

Dior Rose des Vents ‘Cooking’ by Victoire de Castellane

A reinterpretation of Dior’s lucky star in the form of a compass rose, the distinctive eight-pointed star appears throughout the collection and de Castellane’s illustrations, adorning circular medallions set in gold and punctuated with diamonds.

Read more: Confined Artists – Free Spirits, a lockdown portrait series by Maryam Eisler

Whilst some pieces are more simplistic in colour, featuring a singular stone such as lapis lazuli in a pair of earrings, or the green four-strand necklace made of emerald and malachite, the multicoloured ‘Rose des Vents’ choker is more daring in palette. A combination of softer tones such as pink opal and mother-of-pearl is layered with vibrant lapis lazuli and turquoise talismans, which can be worn both ways to showcase the stars or the gemstones respectively.

colourful necklace

Bracelet with charms

New additions to the Rose des Vents collection

In contrast, the ‘Rose Céleste’ pieces displaying a sun, moon and stars motif are a monochromatic ensemble of black and white onyx and mother-of-pearl. Following the theme of day and night, which can be further emphasised by reversing each piece, the celestial details of the bracelet, necklace and earrings pay homage to Dior’s passion for divinatory art.

Discover the full collection: dior.com

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Black and white portrait of a man

Giorgio Armani. Courtesy Giorgio Armani

The designs of fashion superstar Giorgio Armani have become synonymous with the relaxed yet restrained and sophisticated style that has, over the nearly half century he has been in the business, transformed Italian tailoring. Harriet Quick talks to the legend about his global empire, which spans womenswear, menswear, interiors, hotels and more

Even with increased life expectancy and delayed retirement age, there is only a tiny percentage of us who, at the age of 85, will wake up every morning motivated by the prospect of a full days’ work. That Giorgio Armani is in charge of a multibillion-euro company, more than 7,000 employees and owns a personal property portfolio of nine houses (plus a 65m superyacht named after his mother’s nickname, Maín), a personal fortune estimated at 6 billion euros and a whip-sharp brain makes him that rarity.

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Who does he see in the mirror each morning? “I see a man who, through sheer hard work, has achieved a lot, turning a vision of style into an all-encompassing business. This assumption might sound like an overstatement, but it is a matter of fact,” says Mr Armani (Mr is his preferred address), dressed in his ‘fashion-worker uniform’ of blue sweater, cotton trousers and white sneakers. “And yet, in spite of all my achievements, I still feel the fire. I am never content – I am always challenging myself. That’s how I keep young and aware, by always raising the bar a little higher,” he says.

In January 2020, Armani will have presented Giorgio Armani menswear during Milan fashion week, the Armani Privé collection during the Paris haute couture collections and overseen looks designed for celebrities attending the Golden Globes, the Oscars and the Baftas. He also picked up the GQ Italia Award in January in swift succession to the Outstanding Achievement Award that was presented to him by Julia Roberts and Cate Blanchett at the British Fashion Awards in December 2019. By way of acceptance, he simply gave a big thank you while Blanchett added, “Mr Armani is a man who prefers to let his clothes do the talking”.

Antique photograph

Two men in conversation

Armani with his mother Maria in 1939 (top), and with his partner Sergio Galeotti. Both images courtesy of Giorgio Armani

The new decade marks forty-five years in the business during which the Armani brand has grown from a seedling collection of subtle, relaxed men’s suiting into a global powerhouse that encompasses 11 collections a year (including Privé and Emporio Armani) fine perfume and cosmetics, underwear, eyewear, denim, interiors, furnishings and hotels. Armani, who is the CEO and creative director, remains the sole shareholder making him, alongside the Wertheimer family that owns Chanel, Sir Paul Smith and Rei Kawakubo of Comme des Garçons, one of the last remaining fashion industry founder/owner titans. Ralph Lauren stepped down from his role as CEO in 2015.

“A vision like this takes a long time to be fully developed. The slow growth made it organic and all encompassing,” says Armani. “I had the first glimpses that style could turn into lifestyle back in the eighties, sensing that my philosophy could be applied to many different fields. Across the nineties, as the business grew, I started adding new elements, be it furniture, restaurants or hotels. My intention today is to offer a complete Armani lifestyle. New things can be added all the time. The vision has not changed over the years, it has grown, evolved and expanded,” he says as if observing the horizon line. But the roots were set firm and fast. In the first year of trading (1976) the turnover was $2 million. With Italian producer GFT and American know-how, Giorgio Armani and his right-hand Sergio Galeotti learnt how to manufacture and distribute at scale. In 1981, Emporio Armani was launched offering denims and sportswear at accessible prices and emblazoned with the graphic triumph that is the EA eagle.

Read more: How Hublot’s collaborations are changing the face of luxury

Armani’s lifestyle vision of pared-down elegance (in shades of aqua and greige) has proven as enduring as the bewitching romance of Pantelleria, the tiny island that lies off the coast of Sicily. The myth of Armani seems to predate the man himself, reaching back through the 20th century into some misty pre-industrial past and lurching forward into a tonally harmonised borderless utopia. In Armani’s universe, shapes, moods and memes may change, but not excessively so and one would be hard pushed to date one collection versus another. In this age of responsible luxury and sustainability, that interchangeability is now again being considered a virtue rather than a freakish anomaly. The brand, which Armani describes as a ‘physiological entity’, speaks of constancy, grace, strength and good health seemingly impervious (or very well sheltered from) the rude chaos of real life, just like the founder himself. The allure of Armani’s serene aesthetic harbour (in jackets and the best-selling Luminous Silk Foundation alike) seems to grow in inverse proportions to the spiking rates of anxiety and turbulence in the world.

Celebrities

Armani at the 2019 British Fashion Awards with, from left, Cate Blanchett, Julia Roberts, Tom Cruise and Roberta Armani. Photo by Stefano Guindani

Yet upheaval, tragedy and human destruction is part and parcel of the Armani story. Young Giorgio (one of three siblings) grew up in poverty-stricken postwar Italy, in the town of Piacenza, near Milan. Food, healthcare, building materials, fuel and clothing were in short supply. Bombing raids were imprinted on his childhood memories as were the visits to the local fascist HQ where his father worked as an office clerk. Armani distanced himself from the ideology and the relationship (his father died when he was 25) decades ago. “We had little, very little, so we treasured what we owned. My mother was wonderful in that sense: we were always impeccable, even if we did not have anything to show off. It was all about being clean, being proper. I’d call it dignity,” he reflects. The autumn/winter 2020 menswear collection, with its distressed-leather donkey jacket, soft shouldered tweed suits and shearling mountain coats and combat boots, had strong echoes of wartime civvy and military garb, albeit in luxury and technical materials.

“As industrialisation grew, we came into contact with new stuff. I remember my first incredibly stiff pair of blue jeans and I immediately felt like James Dean. As the economy boomed we all became eager for more. The social fabric disintegrated a bit and being modern became a must. That’s when I really understood the power of clothing – it’s the first projection of the self into society,” he continues. To note, Giorgio Armani SpA was one of the first brands to enter the Chinese market – he has an innate understanding of aspiration.

Read more: Van Cleef & Arpels CEO Nicolas Bos on the poetry of jewellery

Like Ralph Lauren, Armani received his fashion training on the shop floor at the swish Milanese department store, La Rinascente. “I was dressing windows and working as a buyer. I got to observe people, and that was an invaluable lesson. Milano at that time was a bursting, innovative city and people were constantly on the lookout for something new. I developed a passion for fabrics and shapes. Then I had the privilege of working as an apprentice with Nino Cerruti, where my career truly took off. I quickly started to develop strong, personal ideas. It was Cerruti himself – to whose foresight I owe a great deal – who asked me for new solutions to make the suit less rigid, more comfortable, less industrial and more tailored,” says Armani.

It’s hard to imagine in our century of casual how modern and desirable the deconstructed jacket and roomy fluid trousers on which Armani made his name would have appeared. But his work to soften the silhouette was as impactful as Coco Chanel’s cardigan jacket on women’s fashion. The silhouette was not only ‘comfortable’, it also projected a certain sense of cosmopolitan ease and adaptability, qualities that were in keeping with a flourishing economy (cars, furniture, fashion, fabric, lighting) and the birth of the ‘Made In Italy’ pedigree.

“By deconstructing the jacket, I allowed it to live on the body, using far from traditional fabrics. That principle is the one I used to build my own brand. Suiting at the time was very stiff. Women, in the meantime, were making progress in the work place and needed a new dress code: ‘ladylike’ was not suitable for the board meeting. I made the suit suitable for men on the lookout for something more natural and for career women. I sensed a need and offered a solution. The rest, as they say, is history,” says Armani, who is wont to gently shrug his shoulders.

Fashion model wearing dress

A look from the Armani AW14 advertising campaign. Image by Solve Sundsbo

“I think Armani’s success is due to his fashion and the images that went with it,” says Gianluca Longo, style editor at British Vogue. “He personally art directed the advertising campaigns and created the Armani style. He hit the American and the Japanese markets in the booming 80s and the Armani suit became a symbol of success at work. For men, it was a relaxed style and for women, a structured jacket that was still elegant and feminine in the cut.”

Armani’s success is rooted in a close group of loyal collaborators that were particularly effective in navigating the closed-shop Italian fashion business. “Sergio Galeotti has been the pivotal figure for me. He was the one who pushed me to go on my own and who was also by my side to manage it all. When he passed away [in 1985] I had to take my destiny into my own hands. Finally, that was his biggest push. I would not be where I am now without Sergio. I owe a lot to many people I have met across the years, especially Leo Dell’Orco, but I am a truly self-made individual,” he says. He also cites his mother Maria as a mentor: “She taught us the importance of taking care of yourself as an ethical choice. The idea of achieving so much with so little left a lasting impression on me.” Even at 85, he exercises for 90 minutes daily.

Restaurant pool terrace

The Amal restaurant at the Armani Hotel Dubai.

In his professional life, he cites John Fairchild (founder and editor of WWD) and Karl Lagerfeld as mentors. He admits he is not easy to get on with in terms of journalistic portrayal (he is succinct to the point of being terse) but does remember Jay Cocks’s 1982 Time profile. The cover bore the headline “Giorgio’s Gorgeous Style” and featured the leather-jacketed designer in his own incarnation of James Dean. This was also when Armani took on American retail (Barneys was one of the first stores) and then Hollywood. Leonardo DiCaprio (The Wolf of Wall Street), Kevin Costner (The Untouchables) and Richard Gere (American Gigolo) are among the early pin-ups in a line-up of celebrities looked after by a highly active VIP and Entertainment division overseen by his niece, Roberta Armani.

Read more: Discovering Deutsche Bank’s legendary art collection

In the leagues of big business, a beige Armani suit (in fluid crepe wool) became the uniform of choice for a generation of female leaders, president of Bergdorf Goodman, Dawn Mello, and first ladies included. Today’s soft-power designers, including The Row and Gabriela Hearst, share a surprising amount in common with Armani’s aesthetic. Where peer-group brands built billion-dollar businesses on accessories, Armani’s strength has always been clothing. The cohesive brand architecture works from top to bottom with a bespoke velvet tuxedo on Brad Pitt boosting everyday entry-level purchases of underwear and scent. For the best part of the 1980s, Gianni Versace, Giorgio Armani, Gianfranco Ferré and Valentino Garavani ruled the Italian fashion business before Gucci was resurrected and Miuccia Prada launched into ready-to-wear.

Working at Giorgio Armani SpA is not for slouches. Team Armani work with military precision, expertly choreographing Armani’s interactions with press and dignitaries while exuding brand values 24/7. The notion of a team is always emphasised over individual stars and the same is true of the catwalk presentations and campaigns. The models are rarely supermodels or names but appear as a lithe army, with naturalistic make-up, hair and gestures and clothes that blend in with the wearer. “The founding principles of my company are based upon autonomy and independence,” says Armani. “Jobs might be short lived today, but not in my case. My first employee, Irene, still works for the company.” The Armani Group’s reach has been impacted by a flood of street-credible brands, including Balenciaga, Off White, Burberry and Kim Jones at Dior. In 2016, revenues dropped by five per cent (estimated at 2.51 billion euros) and various strands of the business were given a sharp nip and tuck to refocus on core values.

artistic design display

Furniture in the Armani/Casa 2019–20 collection at the Salone del Mobile in Milan. Image by Fabrizio Nannini

As a private company, rumblings and frissons behind the scenes are hard to detect. The Armani world is elegantly orchestrated, from the polished-concrete Armani HQ in Milan designed by Tadao Ando to the flagships, many designed by architect Claudio Silvestrin, and the low-rise converted dammuso on the island of Pantelleria where Armani has a holiday home. “Clothing is about the space between cloth and body, architecture is about the space in which the body moves. I do not see many differences, and I think soulful simplicity always wins,” says Armani. And tactility. “The virtual is cold. We need to touch things, we need to make bonds.”

Read more: Inside Sassan Behnam-Bakhtiar’s Saint-Jean-Cap-Ferrat studio

“Mr Armani is a very loyal person, he relies on his close friends and has an acute sense of humour,” says Longo who last year was invited onto the superyacht, Maín. “That always helps. And he still loves to be involved in everything that he sees around him. From a button on a jacket, to the cutlery on a table.”

The spring/summer 2020 collection of misty fog and aqua cadet suits and cloud-like organza-topped shimmering gowns was dedicated to Earth, echoing this era’s concern over climate change. The company has been a supporter of Acqua for Life for more than ten years alongside other charities supported by the Giorgio Armani Foundation, set up in 2016. As fashion goes through epochal changes in purchasing behaviours and attitudes, the business will be remarkably different in ten years’ time.

Antique film still photograph

vintage film photograph

Richard Gere in American Gigolo (1980), and Andy Garcia and Kevin Costner in The Untouchables (1987), for both of which Armani designed the costumes

“The outlook for the fashion business and the outlook for fashion are two separate issues,” Armani says. “Fashion, I feel, has a great future, as people are becoming more and more confident in making decisions about what to wear based on what suits them, and are also becoming better educated in matters of style. The fashion business, on the other hand, must adapt to this new situation, and the fact that consumers are able to access new ideas from their digital devices at any hour of the day, anywhere in the world. How to best respond to the new landscape hasn’t changed – make clothing and accessories that help people fulfil their potential and look their best and bring out their characters.” The focus should be on style, not trends, he argues. “And you should have your own vision and viewpoint as a designer. If you do these things, you will be successful. Consumer behaviour may change, but why people buy fashion in the first place will not.”

On the matter of succession plans, Mr Armani remains a closed book. The internal leaders are likely to be in place. “Freedom gives me pleasure. I experience it in my business, as I am still my own boss. I experience it in my boat, suspended between the sky and the sea.” One intuits that this sense of inner peace has been hard won yet the reaching for it is what drives the Giorgio Armani brand.

Discover the collections: armani.com

This article was originally published in the Summer 2020 Issue.

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Reading time: 13 min
man wearing watch
man wearing watch

Hublot ambassador Maxime Plescia-Büchi. © Hublot SA

Hublot is celebrated for being the most pioneering and original brand in the world of haute horlogerie. The first watch brand to sponsor international football, the first watch company to make an all-black watch with black dial, numbers and hands, the company famously mixes precious and base metals and materials in its timepieces, and counts sports stars and athletes on its roster of fans. Its partnership with London-based Swiss tattoo haute artiste Maxime Plescia-Büchi takes luxury to a different dimension, as Millie Walton discovers through a conversation with CEO Ricardo Guadalupe

Next year Hublot will celebrate its fortieth anniversary. In the world of Swiss watches, that roughly equates to early adolescence, but, as Hublot’s chief executive Ricardo Guadalupe assures me, “You can be young and have success”. This, in fact, neatly sums up the brand’s aspirational ethos and hugely successful marketing strategy. Through select partnerships with the likes of Usain Bolt, Richard Orlinski, DJ Snake and Maria Höfl-Riesch, the brand has developed its own culture encompassing everything from music, sport, cars and contemporary art to luxury destinations such as Courchevel, Zermatt, Saint-Tropez and Mykonos. The idea is, as Guadalupe puts it, “to create a universe of Hublot”.

Follow LUX on Instagram: luxthemagazine

Today, the brand has 4.8 million followers on Instagram, which is not only reflective of their young consumer base – 60 per cent of Hublot’s customers are aged between 20 and 40 years old – but also the changing nature of luxury itself. “The young generation don’t have in mind which are the standard brands of [the luxury] industry. When you’re older, you’re less likely to move to another brand, your choices are already made,” explains Guadalupe. “That’s why we speak to very young consumers, as young as fifteen. We want them to one day dream of getting a Hublot watch.”

watch with blue strap

The Big Bang Sang Bleu II in titanium pavé

This forward-thinking approach is most clearly demonstrated in Hublot’s choice of collaborations and specifically, the brand’s decision to associate with the art world and notable figures from contemporary urban culture such as renowned tattoo artist and designer Maxime Plescia-Büchi who has now been collaborating with the brand for just over four years. “I think they really took a chance on me at every level,” says Plescia-Büchi, but as a Swiss national, watches were already an integral part of the designer’s identity well before Hublot came along. He recalls flicking through adverts for early luxury sports watches in his collection of vintage National Geographic magazines and even once interviewed Jean-Claude Biver (the former president of LVMH Watches and chairman of Hublot) for an issue of a magazine that he was then running. Nevertheless, receiving an invitation to design the iconic Big Bang must have been exciting.

Designer at work

Plescia-Büchi at work on the Big Bang Sang Bleu

“I prepared some quite radical designs alongside some more conservative options,” says Plescia-Büchi, reflecting on the design process of his first timepiece, the Big Bang Sang Bleu. ‘To [Hublot’s] credit, it was 100 per cent their decision to go with the weirder one.” With a few adjustments – “we had a lot to do in terms of translating how to make [the 2D design] into a watch” – the timepiece launched in 2016 with an initial run of 200 pieces. Crafted largely from glass and titanium, the Big Bang Sang Bleu was a celebration of pure form and geometry, taking influences from architecture, philosophy and Plescia-Büchi’s own tattoo designs. The original idea was to feature the geometric pattern printed onto the watch face with the hands on top, but the designer envisioned more depth and suggested using the shapes as the hands themselves. Given the delicate art of watchmaking, the final version, which features three octagonal discs instead of hands to indicate the hours and minutes, is a huge achievement. “Seeing the watch finished,” Plescia-Büchi admits, “was the closest thing to having a child.”

Read more: Princess Yachts CEO Antony Sheriff on a new generation of yachting

Hublot’s collaborators, unlike with a lot of brands, work with the watchmaker on an ongoing basis, thus becoming an integral part of the brand’s identity. For the Big Bang Sang Bleu II, which was released at the end of 2019, for example, Plescia-Büchi refined the original design to create a more three-dimensional case and inverted the facets to restore Hublot’s iconic porthole shape. “It’s about combining my DNA and Hublot’s DNA to create something new that is also true and faithful to both of the origins,” says Plescia-Büchi. “Something that I find extremely pleasant is that when you’re designing watches you work over many years on slow incremental changes, which is actually quite akin to designing tattoos. You get time to continue improving the design, which is different from designing fashion, for example, because you have a quicker turnover. You can come up with something crazy and the next season, people will have already forgotten.”

Tattoo hand holding watch

The Big Bang Sang Bleu II in gold

The designer was, in fact, approached by another watch brand before Hublot but declined the opportunity: “It wasn’t the level of prestige where I thought I could be”. Though fifteen years ago, Hublot might not have made the cut. Success truly came from the brand when they started “to connect tradition and innovation,” explains Guadalupe, a concept that is at the heart of Hublot’s universe and rooted in a deep understanding of their consumers’ expectations and lifestyles. “The young generation in particular are looking for something iconic with a strong personality and identity,” says Guadalupe. “For men, especially, a watch is the main way to really differentiate yourself, it expresses who you are.” Part of the appeal of buying a Hublot watch is gaining access to the ‘family’ and all the perks that come with it. Football-loving collectors, for example, are invited to all of the games at Chelsea FC with whom Hublot has an ongoing partnership. Indeed, Hublot was the first luxury watch brand to ever support football, again demonstrating a deep understanding of consumer culture as well as a highly innovative marketing strategy. Since 2008, the brand has been the official timekeeper of all of the UEFA men’s European Championships as well as the FIFA World Cup since 2010, and this year, marks the beginning of the brand’s relationship with UEFA’s women’s football.

When it comes to women’s watches, Hublot is still developing – the brand sells only 25 per cent to women – but their approach is unique in the sense that their designs differ very little for the female audience. With the Sang Bleu timepieces, for example, the ladies’ versions are embellished with diamonds, but otherwise remain the same. Look for a women’s collection on the Hublot website and you won’t find it; the watches are listed only by their collection. “It’s no longer men who buy watches for women as gifts. Women decide to buy whatever they want,” says Guadalupe.

Hublot x Women’s Football

Men shaking hands

Aleksander Ceferin, UEFA President & Ricardo Guadalupe, Hublot’s CEO

Over the past few years, women’s football has increased significantly in popularity with US-based data company Nielsen revealing that approximately 314 million people are now interested in the game. It is perhaps no surprise then, that Hublot recently announced its support, becoming the Official Partner of the Women’s EURO 2021. “In the end [football] talks to the consumer. It doesn’t matter that not everyone can afford to buy a luxury watch, if they know Hublot is a watch that’s positive,” says Ricardo Guadalupe. But the partnership works both ways. As Guy-Laurent Epstein, Marketing Director of UEFA Events SA, puts it, Hublot’s presence as a world-famous brand is “proof women’s football can be supported on its own merits”.

Find out more: hublot.com

This article was originally published in the Summer 2020 Issue.

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Reading time: 6 min
fine jewellery
fine jewellery

L’Arbre aux tourmalines (1976) by Jean Vendome © MNHN/F. Farges.

The heritage of Parisian jeweller Van Cleef & Arpels is being honoured by an exhibition at the Muséum National d’Histoire Naturelle in Paris, in which their gems from across the years are being shown alongside the raw stones that such jewels are made from. On the eve of the show’s opening, LUX meets with the maison’s CEO, Nicolas Bos
Red carpet photograph

Nicolas Bos & Cate Blanchett. © Dimitrios Kambouris/Getty.

LUX: How does seeing the raw beauty of stones extracted from the earth affect your appreciation of fine jewellery?
Nicolas Bos: The aim of this exhibition is to show alongside each other the raw minerals, faceted gems and finished jewellery creations. This juxtaposition really emphasises the stones’ journey from the depth of the Earth into the craftsmen’s hands that will reveal their beauty. In front of raw minerals, we cannot but be humble and admire what nature can create. It is also with great pride that we can see what we are able to accomplish today with these treasures through our know-how.

Follow LUX on Instagram: luxthemagazine

LUX: The exhibition shows that humans have always been drawn to adornment. Is the lure of jewellery today different to ancient times?
Nicolas Bos: Since ancient times, both men and women have enjoyed adorning themselves with precious and rare materials. Over the centuries, jewellery and lapidary techniques have evolved, new materials have been found and new sources of inspiration and artistic movements have forged new creations. Society has also significantly evolved, with changes in how jewellery is perceived.

blue and diamond necklace

Cravat necklace, 1954. © Patrick Gries.

Jewelled bluebird clip

Bluebird clip, 1963. © Anthony Falcone.

LUX: Jewellery companies seem to be doing ever more exhibitions – why is this?
Nicolas Bos: Exhibitions are a great way for a centenary maison such as ours to reveal the evolution of its style across the decades. Furthermore, for Van Cleef & Arpels, transmission, education and culture are fundamental values. That is why we conceive or participate in exhibitions (be it patrimonial or even contemporary). We display creations not just by the maison; we also focus either on the spirit of a particular era (the 1970s and Alhambra, for example), or on a source of inspiration, or on a particular material such as gems. The maison has over several years initiated relationships with great cultural institutions such as the Musée des Arts Décoratifs or the Muséum National d’Histoire Naturelle, both in Paris, to encourage thoughtful and pertinent dialogues between jewellery and other fields such as mineralogy or the decorative arts in general. The collaboration with the American artist Bob Wilson, in 2016, with a scenography based on Noah’s Ark’s highlighting a high jewellery collection, also expressed this wish to link our creativity with other arts. Another example, in 2017, at the National Museum of Modern Art in Kyoto, paralleled traditional Japanese craftsmanship and Van Cleef & Arpels jewellery expertise in the exhibition ‘Mastery of an Art’.

Read more: How Gaggenau is innovating the ancient art of steam cooking

LUX: How would you summarise the brand or aura of Van Cleef & Arpels to a new client?
Nicolas Bos: I would say that the maison puts poetry and enchantment at centre stage in all its creations, be it high jewellery or jewellery or timepieces. Over the years, Van Cleef & Arpels keeps reinventing itself while always staying faithful to its original DNA. Its sources of inspiration range from nature and couture to dance, astronomy and imaginary worlds.

vintage jewelled brooch

Eucalyptus seed clip, 1968. © Bertrand Moulin

LUX: The ‘Gems’ exhibition includes modern recreations of significant historical jewellery, such as the Toison d’Or worn by Louis XV. What does a piece of historical jewellery tell you about how the wearer once lived?
Nicolas Bos: I’m not a history expert and the maison did not participate in these recreations but it is true that they are impressive. The Toison d’Or underlines the magnificence in which French monarchs used to live and it highlights their taste for exceptional stones and adornment in general. I would like also to mention a special piece that belongs to the Muséum National d’Histoire Naturelle collection and is of real interest – the tourmalines mobile/tree created by Jean Vendome. This is a real masterpiece that exemplifies the fine work bringing together jewellery, sculpture and design.

LUX: Are lab-grown gems a threat?
Nicolas Bos: We do not consider them as such at Van Cleef & Arpels. They are another type of material which has nothing to do with our idea of jewellery. They are industrial objects which don’t have the rarity, the preciousness or charm that natural stones gain after spending millions of years in the depths of the Earth.

vintage decorative jewellery

Gladiator clip, 1956. © Anthony Falcone.

LUX: Does learning about the origins of gemstones in an exhibition such as this teach us about the earth from which they came? Does it influence Van Cleef & Arpel’s attitude towards provenance and sustainability?
Nicolas Bos: Sustainability is a core value of Van Cleef & Arpels: we are a certified member of the Responsible Jewellery Council (RJC) which has the strictest standards of responsible practices for the jewellery industry. We also ask our suppliers to be certified with the RJC in order to promote good practices in the supply chain and we audit them as well. All diamonds purchased by Van Cleef & Arpels are compliant with the Kimberley Process Certification Scheme which has worked since 2003 to put an end to the trade in conflict diamonds. We also work with multi-stakeholder initiatives on responsible sourcing and supply-chain due diligence, in particular for coloured gemstones.

LUX: Can you describe the Van Cleef & Arpels high jewellery piece that is inspired by the exhibition?
Nicolas Bos: In order to fit in with the central theme of the exhibition, the maison imagined a unique high jewellery object comprising stones, gems and jewels, some faceted, some polished, some raw. Through the work of craftsmen’s hands these stones speak with each other, adding a highly original piece to the history of Van Cleef & Arpels. It provides a fittingly precious and poetic conclusion to this exhibition.

The exhibition ‘Pierres Précieuses’ runs until 3 January 2021 at Muséum National d’Histoire Naturelle in Paris 

View the collections: vancleefarpels.com

This article was originally published in the Summer 2020 Issue, out now.

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Reading time: 5 min
Man wearing glasses
Man wearing glasses

Erdem Moralioglu by Tom Mannion

Erdem Moralıoğlu’s flagship store is in Mayfair, but the heart of this designer to the stars is in hip east London, where he lives and has his studio. He gives LUX a pre-lockdown tour of his home patch

My favourite view…

The view from the restaurant at the top of the National Portrait Gallery

The most romantic spot for dinner…

St John on Commercial Street

The best spot to read a book…

The London Library

The best place to take a selfie…

No selfies!

Where you’ll hear the coolest music…

The Glory in Dalston

The only coffee I’ll queue for…

Violet on Wilton Way (they also do the best cinnamon bun in the world)

The perfect spot not in a travel guide…

The stacks at The London Library – I could spend hours getting lost in all the books

A tourist destination that’s worth the hype…

The Turbine Hall at Tate Modern

The best spot for some people-watching…

Broadway Market on a Saturday

The taste that reminds me of my childhood…

Mangal 2 on Stoke Newington Road, which is my favourite Turkish restaurant in London

My favourite museum/gallery…

The Enlightenment Gallery at the British Museum or anything at Maureen Paley

The shop I never want to leave…

My shop in Mayfair. I spend a lot of time there and many of my clients say it feels like home

The best place to soak up some nature…

In the pool at London Fields Lido in winter

The perfect weekend brunch…

Allpress Espresso on Dalston Lane

I’m prepared to make a detour for…

The National Portrait Gallery

I’m at home in….

Hackney

View the designer’s collections: erdem.com

This story was originally published in the Summer 2020 Issue, out now.

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Reading time: 1 min
Monochrome image of models backstage
Monochrome image of models backstage

Various looks from the Noir Kei Ninomiya SS20 show, with headpieces by flower artist Azuma Makoto

The weird and the wonderful come together in the extravagant creations of fashion designer and Comme des Garçons protégé, Kei Ninomiya. Harriet Quick gets to the heart of the extraordinary imagination that produces such challenging yet enthralling designs
Man with Mohican hair cut

Kei Ninomiya

First encounters with designers can leave strong impressions. So, visiting the Comme des Garçons showroom on the Place Vendôme in the heart of Paris and finding Noir’s founder Kei Ninomiya engulfed by one of his voluptuous, frilly topiary tulle creations, laughing and eyes glittering remains a portrait of joy. Wearing his trademark leather jacket, Mohawk and wispy sage-like beard, Ninomiya is a rebel with a cause. “I wanted to create a collection of this time, one driven by pure creation, something new and green,” he said, surrounded by gigantic bouffant gowns and headgear fashioned from live cacti, moss and Boston ferns.

Follow LUX on Instagram: luxthemagazine

Two mannequins are dressed in what could be best described as chandelier gowns made out of handmade chain-linked Perspex pieces cut to resemble giant snowflakes and cacti headpieces made by his collaborator, flower artist Azuma Makoto. The two flapper girls seemed to have been jettisoned from 1920s Paris and reborn via Ninomiya’s fertile imagination. On the rails, huge gowns fashioned from myriad hand-linked tulle flowers invite one to plunge an arm into the innards of the bizarre garments. Elsewhere, black leather harnesses encage a rippling tulle dress alongside a cocooning number crafted from dense clusters of wool, Cellophane nylon and tulle in shades of green.

Fashion design is a rare skill that relies on a sense of prescience. We talk about living in harmony with nature but Ninomiya pushes the aspiration du jour to a surreal, immersive extreme in his spring/summer 2020 collection. Noir’s work engulfs, terrifies and delights in equal measure. Imagine a future world where you could grow your own dress and morph into some kind of a supernatural eco-being or pull a cloud from the sky and wear it or emerge from the sea in a flamboyant seaweed number? That the showroom sits slap bang opposite the newly restored manicured splendour of The Ritz adds another layer of weirdness.

Models backstage at catwalk

Backstage at the Noir Kei Ninomiya SS20 show in Paris

Yet Ninomiya, who receives praise and attention bowing and clasping his hands in humility, is not given to explanation. Like his mentor Rei Kawakubo, for whom he began working in 2008 as a pattern cutter at the age of 24, he studiously avoids meaning. Ninomiya wants Noir to speak for itself through the performance-like Paris collections (spring/summer 2020 is the fourth), in-store presentations and, poignantly, when worn IRL.

The meticulous, ingenious engineering of his garments (stitches are rarely used) and the compulsive viscerality (touch, bounce, rustle, clink, stroke) speak louder than words. His shows frequently leave even seasoned critics discombobulated and enthralled. “I wouldn’t want to explain any message in my collections,” says Ninomiya when pressed on the connection between fashion and the environmental crisis. “I always look to create powerful and beautiful collections. As a result, they may link with the power of nature,” he concludes.

Yet brilliant designers, particularly those backed and incubated by Comme des Garçons (CdG), one of the most influential fashion houses of our time, do not create in isolation. They are plugged into the pulses, anxieties and aspirations of everyday life. Right now, issues to do with nature and ecology are triggering a swell of angst across the globe. In reaction, there’s a return to small-batch production, a renewed appreciation of the handmade and a quest for individualism and diversity. Noir seems to be capturing all those currents. For Ninomiya the process is instinctive. “I was first attracted to fashion and to making as a means of expressing ideas,” says the thirty-five-year-old who grew up in the southern Japanese city, Ōita.

Model on catwalk

Noir’s SS20 collection on the runway in Paris

Fashion’s relationship to the planet came into sharp relief at the close of 2019. The spring/summer fashion season came slap in the centre of a global climate-crisis awareness campaign, with Greta Thunberg (in flaming pink) thundering at the United Nations, Extinction Rebellion staging protests at the Victoria Beckham spring/summer 2020 show in London, and Oxfam joining forces with stylist Bay Garnett and model Stella Tennant to urge everyone to up-cycle their wardrobes for the month of September. Kering-owned Gucci announced its commitment to going carbon neutral by offsetting its environmental footprint with reforestation. Material scarcity, climate change and the awareness of excess landfill and wardrobes bulging with unworn clothes placed a spotlight on the business and fell heavily on every fashion lover’s conscience.

Read more: The Thinking Traveller’s Founders Huw & Rossella Beaugié on nurturing quality

Some brands charged towards up-cycling initiatives, others re-examined minimalist, timeless aesthetics, and many took nature and naturalism as a guiding aesthetic or motif. Whichever direction was taken, it was evident that the fashion business at large was experiencing some kind of existential crisis. Yet indirectly and subversively, the Noir collection offered solace and optimism in the face of crisis.

Ninomiya and his small team use man-made and natural fabrics, vegan and real leather but the vision is brilliantly of now. “We employ handicraft to achieve what conventional sewing cannot do, like making volumes or using the construction techniques that we use here. Some collections start with exploring the technical aspects, but it’s different every time. This time round, I began with an image,” he says. As regards the engulfing volumes, Ninomiya remarks: “I haven’t really thought about it. I just follow my principle to make something powerful and beautiful, so the pieces often end up being big in size and volume.”

Model wearing voluminous dress

A look from the Noir Kei Ninomiya SS20 show

It seems the more banal and mundane the middle market of fashion becomes, the more outrageous and unpredictable the true creators will be. Ninomiya has one of those rare spatial imaginations, like an architect, that is capable of creating new forms with unconventional methods. Techniques might include chain linking (beloved of sixties entrepreneur, Paco Rabanne), invisible snapper and tab fastenings, grommets and rivets. The construction methods actually create the decorative effects as well as the structure. Peer inside a Noir piece and you will be astonished to see an inner matrix that resembles a molecular science model.

The craft/tech/engineering route gives Noir clothes a sense of substance and newness and plays into Japan’s rich tradition of technical innovation that supercharged the country’s economy in the post-war years and made the nation a subject of fascination and fetishisation in the 1980s. That was when Rei Kawakubo dropped a bombshell on the bourgeois traditions of Paris couture with her thunderbolt 1982 Holes collection of deconstructed, raw-edged gowns worn by androgynous waifs. Here was an unknown Japanese designer suggesting that frayed fabrics and bag-lady layers were the apex of style. Intellectual circles were quick to adopt the controversial look. Nearly two generations of designers have been inspired by the impact of Kawakubo’s radical work. We have come to expect experimentation, innovation and rigorous quality from a country that still values and rewards its true artisans.

Read more: French designer Philippe Starck’s vision of the future

Ninomiya grew up in the 1990s. After studying French literature, he moved to Europe to attend the prestigious Royal Academy of Fine Arts in Antwerp. During a holiday period, he returned to Japan and applied for a job in the CdG studio. Kawakubo was impressed by the young designer’s meticulous work and hired him. Ninomiya never finished his studies in Antwerp and worked in the studio for the next four years before Kawakubo invited him in 2012 to launch his own line under the company umbrella. International acclaim slowly grew with his move to Paris in 2015 and now invitations to his shows are among the most sought after.

To put Noir in context, it helps to understand the bigger Comme des Garçons International universe that is run by Kawakubo and president and partner, Adrian Joffe. It expands across several CdG labels, including accessories and the extensive perfume range, Ninomiya’s fellow protégé Junya Watanabe, and Noir (since 2012). CdG also operates as an investor, backing labels including Gosha Rubchinskiy and helping with distribution and production. Youths in Balaclava, (designed by a collective of polymath twenty-somethings from Singapore) is the latest launch.

Model wearing flower headpiece

Backstage at the SS20 Noir show

These labels and many more invited brands (including Alaia, Dior, Gucci and Balenciaga) are sold through a growing network of Dover Street Market (DSM) retail emporiums that first sprung up, hence the name, on Dover Street in London’s Mayfair. The string of alternative emporiums now stretches to Los Angeles, Tokyo, Singapore, New York and Beijing. In Paris, a dedicated beauty emporium has recently opened. “Risk”, “instinct”, “experience”, “community” – these are all terms that Joffe uses frequently in the description of DSM stores that were originally inspired by Kensington Market, a cult underground streetwear market in 1970s London. The privately owned company now has a turnover of hundreds of millions of dollars.

Read more: Film director Armando Iannucci on David Copperfield & Fleabag

“As all others designers of the company, Ninomiya works freely, without constraints,” says Joffe. “He respects Rei’s work a lot and Rei respects his creations, too. The relationship is all based on mutual values. Rei trusted him from the beginning, as I do. We let him be free and Comme des Garçons is proud of what he achieves”. Joffe adds, “He is offering his vision linked to the world he is living in. I don’t know what he has in mind during his creative process as we never know what each is doing in advance.” The CdG collective is essentially an ecosystem and operates in contrast to the corporate micro-controlled worlds of LVMH or Richemont.

But then Kawakubo set the template early on. “I have always pursued a new way of thinking about design by denying established values, conventions and what is generally accepted as the norm. And the modes of expression that are important to me are fusion, imbalance, unfinished, elimination and absence of intent,” says Kawakubo at the time of The Met monograph show ‘Art of the In-Between’ in 2017. The biker jacket-wearing designer, now 78, named her own label after a Françoise Hardy song lyric. Kawakubo sees CdG as a guild of highly skilled designers, fabric experts and pattern cutters. Andrew Bolton, the Wendy Yu Curator in Charge at The Met’s Costume Institute, calls this play between creativity and commerce an example of what Andy Warhol dubbed “business art”. “Rei Kawakubo works in the fashion system but on her own terms. It is a much more elegant way to disrupt,” says Bolton.

Model wearing oversized outfit on runway

Another look from the SS20 Noir collection by Kei Ninomiya

Yet while the creativity on the catwalk is unsurpassed, what CdG does exceptionally well is ‘declining’ those ideas into wearable clothes. At the core of the Noir collection are cropped leather and faux leather jackets with intense detailing such as weather quilting or chains, and ruffled slip dresses and skirts, and sheer jackets, all with an elegantly rebellious, mischievous edge. The collection sells worldwide in avant-garde retailers such as Leisure Centre in Vancouver as well as Net-a-Porter. “Noir always puts on an incredible spectacle and although trends are always changing and evolving, Noir maintains its values,” says Libby Page, senior fashion market editor at Net-a-Porter. “Ninomiya is good at taking the idea from the runway and translating it into more commercial pieces in tulle and leather. The tulle tees are always a hit.”

Fans of Molly Goddard tulle gowns, Simone Rocha’s punkish romance, Sacai’s hybrid design (the label’s founder Chitose Abe is another former employee of CdG), and Martin Margiela would equally appreciate Noir’s puckish charm. All these designers reject glamorous cookie-cutter ideals of femininity and share a love of the colour black. Ninomiya relishes the many different shades of black, and any colours he uses are complimentary, such as the white and verdant greens for spring. The AW Rose collection featured sheer black layers, dried rose headgear, black-mask eye make-up and ruffled petticoat skirts. The parade of models, looking like they had fallen out of a Goya portrait via a Parisian club, offered up a twisted reverie on romance and love.

Noir’s cult reputation is growing apace. Remo Ruffini, CEO of Moncler, invited Ninomiya to create an innovative capsule of down-filled jackets for the brand’s Genius line alongside established players such as Mary Katrantzou and Valentino. But Ninomiya remains pure play and noirishly enigmatic. “Creation is what matters most and I would like to continue that in a sincere way,” he concludes.

Follow Noir on Instagram: @noirkeininomiya

This article was originally published in the Spring 2020 Issue

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Reading time: 11 min
Man wearing slouchy outfit
Two models sitting on a step

Two Point Two AW20 collection

Monochrome portrait of a woman

Anvita Sharma

Anvita Sharma founded her Delhi-based fashion label Two Point Two to celebrate individuality through genderless collections that reject all forms of stereotyping and categorisation. Following the launch of the brand’s latest collection at London Fashion Week, Abigail Hodges speaks to the designer about the concept of beauty, self-expression and acceptance

1. Can you tell us about the historical events that inspired your AW20 collection?

Every collection that we have done so far has had a multicultural reference to it. Maybe it’s because I have lived in such different countries as well as among such different nationalities that amalgamation of these different/opposing or similar things comes very naturally to me. As a creative person, I try to challenge myself with every season. To do something that Two Point Two has not done before, may it be in relation to colours, silhouettes or embroideries.

Follow LUX on Instagram: luxthemagazine

With this collection we wanted to take a step forward, and mix art and comfort. ‘The Self’ embodies a reconceptualisation of genderless clothing, aspiring to refashion a world that breaks down the boundaries of gender and illuminating the very fluidity of it. It speaks about self-confidence despite flaws and quirks. It is about finding perfection in the imperfections; about embracing one’s uniqueness and weirdness because that is what sets you apart from the rest. It is a synthesis of the masculine and feminine energies of the universe in one body which are depicted in our inspiration of the embroideries – “Ardhanareshwara”, an androgynous form of Lord Shiva and Parvati. We made our artwork using the tantric symbols of these deities mixing it with the Japanese character Enso as well as some genderless faces.

Male model on the runway

A look from ‘The Self’ collection by Two Point Two, which launched at London Fashion Week 2020. Photo by Gio Staiano

2. How is your brand philosophy reflected in the models that are chosen to showcase the pieces?

We celebrate individuality, confidence and diversity. [Our philosophy] aims to create an “agender” identity, which has characters from maybe both the binaries or maybe neither. It strongly stands against stereotyping and categorisation of anything. Two Point Two believes that beauty exists in every soul and it’s all about accepting and endorsing it as your own. We focus on the individual and not their gender, culture, race or size and support them to express their individuality through clothing even if it’s something unusual. Being ‘Typically Atypical’ is our motto. We chose models who we thought have very strong personalities and character to them. We were very pleased to have all of them in our show as each and every one of them represented Two Point Two’s brand philosophy of inclusivity and individuality to the core. As we did not have any particular category or guidelines as to what type of faces we need, we saw so many interesting people at the casting and instantly fell in love with so many of them that it became difficult to choose.

Two Point Two AW20 collection

3. Do you face any institutional obstructions when working to showcase a genderless collection?

The world has started going in a direction of all-inclusivity. It’s becoming very welcoming and embracing everyone’s individuality day by day. Self-expression is easier now than 10-20 years ago. And it’s only getting better. However, since the norms/criteria or categories still exist, there will always be stereotyping among things. Whether a particular look is too feminine or too masculine. Beauty is connected to a particular idea that the society creates. Sexiness is connected to a particular image or type of looks. Idolising that concept of beauty sometimes feels like an obstacle to who we, you and I are. The constant justification required as to why genderless fashion and people adorning it are also sexy/beautiful is something which we face and have no problem reminding everyone about it multiple times.

Read more: Founder of Nila House Lady Carole Bamford’s guide to Jaipur

I was very self-conscious about my looks while growing up. Still sometimes, very rarely, I fall in that vicious cycle of idolising the perfect beauty. So, for me, the concept of Two Point Two and the celebration of individuality and self-confidence it stands for, as well as rebelling against giving any sort of justifications for who you are, is the main goal while working on genderless collections. Also, the gender disparity and the problems the LGBTQIA community faces in India is something I strongly stand against and this is a way to support their community as well as any individual who feels that they don’t “belong”.

4. Which are your favourite pieces from this latest collection?

Oh, it’s very difficult to choose. They are so different yet so similar to each other. I poured my heart and soul to each garment and each detail. But if I have to choose I’ll have to say the monochrome olive-green look. It was very unexpected as the decision of changing its combination happened moments before the runway, so I was very pleasantly surprised by it myself. This is what fashion is to me. Fast paced, maddening and yet very satisfying.

Model wearing green outfit on runway

Anvita Sharma’s favourite look from ‘The Self’ collection by Two Point Two. Image by Gio Staiano

5. How has your design process evolved over the recent years?

I think there is a massive growth in terms of design aesthetic as well as the process that we follow. With every season, I learn from my mistakes and evolve and grow making sure that those mistakes are not repeated again. We are of course more organised and clear now as compared to our first collection. Although, our brand ethos, philosophy and belief remains as strong as when we started the brand. And, we still work on a ‘go with the flow’ basis and let the inspiration take over when it has to instead of actively looking for one. Like mentioned earlier, my favourite look was very last minute and unexpected, so these things happen very spontaneously and I strongly believe that the energies of the universe guide you and take you where you are meant to go.

6. What’s your five year vision for the brand?

I want Two Point Two to have a global audience and impact in the coming years as the brand is non-demographic and all-inclusive and can be appropriate for any market and any customer in the world. We also like to be working with more handloom and handwoven fabrics which we are already exploring and used in some collections at the moment and planning to get more involved in it. Also, we would like to support the local artisans and their dying crafts from different regions of India, so we are exploring certain tribes and clusters of various parts in India and getting to know their stories, their histories and cultures as well as helping them economically and incorporating their crafts in Two Point Two and give them an international audience in the coming season.

View the collections: twopointtwostudio.com

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Reading time: 6 min
Historic jewelled brooch

Model wearing large jewelled necklace

The creations of quintessentially Parisian jewellery maker Chaumet may have been fit for an empress in the late 18th century when the company was founded. But the jeweller aspires to be equally at home with the modern woman around the world. CEO Jean-Marc Mansvelt tells Irene Bellucci how they make the new out of the old
portrait of a man in a suit wearing glasses

Jean-Marc Mansvelt

“For me, luxury is about craftsmanship and excellence. But it’s more than functionality – it’s also about emotion. And luxury transcends fashion, too; it takes time to invent, create and make.

Follow LUX on Instagram: luxthemagazine

“Chaumet’s founder Marie-Etienne Nitot trained under the jeweller to Marie Antoinette, and after the Revolution became Napoleon Bonaparte’s official jeweller in 1805. This led to numerous commissions from the great and the good, including jewels for Empress Joséphine, after whom one of our most iconic collections is named. The brand’s tiaras went on to be worn by queens and rulers across the globe.

Vintage diamond tiara

Laurel Leaf Tiara by Joseph Chaumet (1920)

“Yet, our history isn’t enough to sustain us in the 21st century; consumers’ tastes have changed as has the function of jewellery itself. Nowadays, a tiara is not really worn beyond special and rare occasions, so in 2010 we reinvented them by moving them from head to finger for our Joséphine ring collection. Once they were crowns expressing power, but now we have brought them into the modern era in a more delicate and wearable form.

“But not all of our pieces are reinventions. We try to mix tradition and contemporary art; we also like to look to the world of music for ideas. In referring just to the past, the risk is that we will repeat ourselves – we need to inject new elements into the process.”

View the collections: chaumet.com

This article was originally published in the Spring 2020 Issue

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Product image of glasses and fishing nets
Product image of glasses and fishing nets

Sea2See turns discarded plastic fishing nets into high-fashion eyewear

François van den Abeele had a dream – to turn discarded plastic fishing nets into high-fashion, hand-finished eyewear. People once laughed at him, but now, as he leads a swell of eco-entrepreneurs, his products are in increasing demand around the world. He tells LUX how he created an ecosystem around his brand, Sea2See
Portrait of man holding glasses

François van den Abeele

“My love of water sports nurtured a passion for the ocean and brought me to focus on the problem of plastic contamination in our seas. I had spent a lot of time reading about the degradation of our oceans, the problems surrounding marine plastic, and about the brands trying to implement circular economy in the way they produce.

Follow LUX on Instagram: luxthemagazine

“I began to investigate ways of using plastic waste as a raw material to produce something that people would use and potentially wear. Sustainability is non-existent in the optical world; the main raw material used is plastic and 40 per cent of the population wears glasses. It was a perfect win, win, win.

“All this, along with a personal motivation to change my profession and do something positive with a sustainable impact culminated in the creation of Sea2See Eyewear.

“We have agreements with 27 ports in Spain, six in France and now we are starting in Ghana. We collect on average half a ton of plastic waste per day that we recycle to produce all of our optical frames in Italy.

Fishermen standing on a boat deck

“The market is changing, and consumers are more and more worried about the future we will leave to our kids. The proof is that in three years we are being sold in more than 2,500 optical stores across Europe and North America, and the numbers are growing.

Read more: Highlights from the 3rd edition of NOMAD St. Moritz

“People laughed at me four years ago when I had the idea of producing glasses with recycled marine plastic. Today we get calls daily from stores or brands that want our product or to collaborate with us.

“There is a global awareness that we must treat our planet better and consume differently, and Sea2See, thanks to its customers, is doing its part. Sustainable glasses will not change the world. People that wear them will.”

Discover the collections: sea2see.org

This article was originally published in the Spring 2020 Issue.

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Reading time: 2 min
Models on catwalk at fashion week
Models on catwalk at fashion week

Atelier Zuhra’s latest collection “The Immaculate Flight of the Phoenix” showcased at London Fashion Week over the weekend. Image by Daniel John Cotton @cottonphotographer

Rayan Al Sulaimani is the female entrepreneur behind the growing couture fashion house Atelier Zuhra. Since its launch in 2015, Atelier Zuhra has had a growing presence on Hollywood’s red carpet. Following the launch of her latest collection at London Fashion Week, Emma Marnell speaks to the designer about fairytale dresses, timeless couture and her cultural heritage

Middle Eastern woman wearing headscarf

Rayan Al Sulaimani

1. The brand is named after your grandmother – has she always been a style inspiration for you?

My grandmother Zuhra is a strong Omani woman with a great passion for living life to the fullest. Yes indeed, she has always been a style inspiration, but eventually through the years I have also developed my own unique sense of style.

Follow LUX on Instagram: luxthemagazine

2. What led you to focus on evening wear and specifically, show-stopping dresses?

From a young age, it has always been my dream to dress celebrities for big red-carpet events in a fairytale like Cinderella gown or to dress a bride at her wedding and help her dreams come true. Hence, from the very beginning we have always focused on creating show-stopping dresses.

Model on catwalk wearing black feathered dress

Atelier Zuhra’s LFW 2020 collection. Image by Garry Carbon @becauseimgarry

3. Can you talk us through the inspiration behind your LFW collection?

The collection is called “The Immaculate Flight of the Phoenix”.

In mythology the phoenix is a powerful bird which cyclically regenerates and is continually reborn over and over again in human legend and imagination. In the same way, this symbolises the beauty of ethereal everlasting couture as this immaculate bird represents the idea that the end is only ever the beginning.

Read more: Vik Muniz’s photography series for Ruinart

The LFW collection entwines beautiful tailoring with modern innovation and couture. The collection is brilliantly coloured in black and grey to represent the ashes of the phoenix. Contrastingly, its eyes are blue and shine like sapphires. Whereas the lilac and other ethereal playful colours are associated with the rising sun and fire, illuminating in the sky. Everything we have created in this collection is emphatically elegant and impeccably designed so that it looks like it would feel delightful to wear and to walk in.

backstage at a fashion show

Backstage at Atelier Zuhra’s LFW 2020 show. Image by Daniel John Cotton @cottonphotographer

4. How are your designs influenced by your cultural heritage?

Middle Eastern culture has definitely been a source of inspiration for all of our creations. Being born and brought up here [in Oman], I have grown up as a part of this beautiful culture, and knowingly or unknowingly it is somehow reflected in my designs. I would say the Middle Eastern influences are most recognisable in the silhouettes that we work with.

Model wearing maximalist dress on catwalk

Atelier Zuhra LFW 2020. Image by Image by Daniel John Cotton @cottonphotographer

5. When you’re dressing down, what’s your go to outfit?

My personal style is very classic and chic.

6. Who would be your dream to dress for the red carpet?

Angelina Jolie, Blake Lively, the Kardashians and Scarlett Johansson.

Discover the collections: atelier-zuhra.com

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Cara Delevinge in jewellery campagin
Model wearing jewellery pieces

Cara Delevinge stars the ‘Oui’ collection campaign for Dior Joaillerie

Dior Jewellery’s Creative Director Victoire de Castellane continues to take inspiration from the language of love for the brand’s latest additions to the Oui collection. Chloe Frost Smith reports

Simple in sentiment and design, the latest additions to the iconic Dior Oui collection continue Victoire de Castellane’s tribute to the maison’s couture with two new romantic French phrases – Je t’aime and Toi moi – adorning a series of rings, necklaces, earrings and bracelets.

Follow LUX on Instagram: luxthemagazine

elegant french earrings with gold writing

The Toi moi earrings

Available in white, pink, and yellow gold, the letters ‘i’ and ‘j’ are dotted with solitaire diamonds in a whimsical handwritten font reminiscent of the signature Christian Dior stitching. The Je t’aime ring stretches across two adjacent fingers, whilst the Toi moi ring comprises two separate bands for each word. For an asymmetrical look, the Je t’aime and Toi moi earrings are made up of one word per piercing, allowing the wearer to mix and match.

 

 

Gold ring with diamond

The Je t’aime ring from Dior Jewellery’s Oui collection

The delicate necklaces and bracelets lend well to layering, alongside the finely threaded rings which can be stacked together with multiple messages on each finger. Whether combined or worn separately, the pieces make for an elegant statement accessory.

View the collection: dior.com

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Reading time: 1 min
Female model wearing tailored suit
Model wearing tailored suit and shirt

Nigel Curtiss’s brand is expanding into suits for women (modelled here by the designer’s daughter Aiden), luxury leather goods and less formal wear for men

Close up portrait of a woman with black hair and a black top

Gauhar Kapparova

Nigel Curtiss makes suits for A-listers, with cuts and fabrics that fuse the wearer’s own personal style with a timeless elegance. LUX’s Editor-at-Large, Gauhar Kapparova hears how he moved from being a model into design, about his time in Japan, and what makes the perfect Curtiss capsule wardrobe
Portrait of a man in a suit

Nigel Curtiss

LUX: Why have you chosen to move entirely into custom design now?
Nigel Curtiss: I moved into custom design for many reasons. Firstly, for a pragmatic one, being a small luxury-level designer selling to retail was not fun anymore. Many stores, especially independent ones, were struggling and the problems were passed down the line. Secondly, I was becoming weary of the system, the cost of a show, the samples, a showroom, fighting for space on a shop floor, and most importantly my collection not being bought and displayed as I imagined it. I felt increasingly detached from the end user. In a way, I felt comfortable going in the opposite direction of fast fashion. Slowing it down, making it more personal.

Follow LUX on Instagram: luxthemagazine

LUX: You’ve said that you don’t design just clothes but an identity. Do you mean the client’s identity?
Nigel Curtiss: I feel that in modern-day fashion you end up wearing the personality of the designer. In many cases you are shouting that from the rooftops by wearing their logo. It is not so much about the personality of the wearer but being part of a tribe. My clients generally prefer to show their own personality. I work closely with them to understand what makes them tick. The clothes need to complement the person, not take over. There is an underlying theme in what I do – amazing fabrics, lightweight construction, comfort and perfect fit. The client gives me the clues to do the rest.

LUX: Do you notice a style divide between your clients in the US and the UK? Does your design approach change accordingly?
Nigel Curtiss: No, I don’t. Maybe because the clients who want to work with me have the same desires and all demand the best. The only location-specific changes are due to climate. Clients in Miami can’t wear what I sell in NYC in the winter.

LUX: Clean, uncomplicated lines are a signature part of the Nigel Curtiss look. Do your clients inspire you to add design touches that tap into their personal tastes or lifestyle?
Nigel Curtiss: Absolutely, that happens all the time. Quite often, when I understand that they have a more expressive personality, I will suggest some details that will make the difference without taking over the garment.

Detail image of man's hand in pocket of tartan trousers

LUX: You began an almost decade-long tenure working at Comme des Garçons after first being cast as a model for them. How did you make this transition?
Nigel Curtiss: I guest lecture at Parsons School of Design and get asked this question a lot! I always say that I think I’ve had a lot of luck in my career, but that I made my own luck. I modelled in the first CDG show in Paris. They didn’t use models, compliments”, or “My wife says I look great/sexy in this”. That’s when we know we’ve cracked it.

LUX: Made-to-measure tailoring that doesn’t date taps into the idea of slow fashion. How sustainable is your business?
Nigel Curtiss: Sustainability is becoming so important. Made to measure is already a far more sustainable fashion option. We have no dead stock, in fact no stock and no landfill. What we do isn’t a passing fad. My clients wear what I make them for years until it’s worn out, and that’s a long time. Also, we try to limit our carbon footprint and are looking at biodegradable packaging, recycled hangers, and so on.

Read more: Fine dining on the ski slopes of Andermatt, Switzerland

LUX: Quality fabric is a cornerstone of your design ethos. Who makes the best fabrics?
Nigel Curtiss: There are so many great sources of fabric. English wools; Italian wools, shirting and silks. I love Japanese fabrics, too. But for me, it has to be amazing quality, beautifully designed and close to my manufacturing base. I’m not going to ship fabric half-way around the world.

LUX: Has a particular fabric ever inspired a design, rather than vice versa?
Nigel Curtiss: For me, the fabric is always the starting point. I don’t design first then look for a fabric.

LUX: If you could ban one item of men’s clothing, what would it be?
Nigel Curtiss: This is one of those questions that always comes back to haunt you. I can’t think of anything I hate except anything that’s boring. Oh, and fast, disposable fashion.

LUX: What five pieces make up the perfect Nigel Curtiss capsule wardrobe?
Nigel Curtiss: Only five? That’s going to be tough. Charcoal-grey suit. Navy sports coat (you can wear it with the charcoal pants). Perfect slim, dark denim jeans (you can wear them with both jackets). The perfect white shirt, and a pale blue one (if that doesn’t count as my fifth item). The Nigel Curtiss navy polo shirt. It’s my classic and all my clients buy it. The collar stands up just perfectly to wear with a jacket or without. I have some high-profile clients who wear them with a suit on a daily basis. That’s six or seven outfits!

Read more: Artist Richard Orlinski on pop culture & creative freedom

LUX: You have a great celebrity following, with Kyle MacLachlan, David Schwimmer, Pierce Brosnan, Jeff Goldblum, and so on. Is it different designing for the red carpet?
Nigel Curtiss: The vast majority of my red-carpet attendees are the powerful men behind the scenes – the studio heads and the top executives. They are happy to be more low profile. I’m always very happy to work with any celebrities and dress them so they stand out in the most positive way. It shouldn’t be about the clothes.

Two leather bags stacked on top of each otherLUX: You also dress a lot of high-profile athletes and sportsmen. Do you take a different approach to designing their clothes?
Nigel Curtiss: We try to use more performance fabrics, with natural-stretch, cool, lightweight fabrics. We might need to work more on the silhouette, but the concept stays the same.

LUX: Who will you be dressing for the 2020 awards season?
Nigel Curtiss: Well, we are already working with a few but I’m not at liberty to say anything yet. Also, you really don’t know until the day.

LUX: What is the first thing you notice about a good suit?
Nigel Curtiss: The balance. The fit can be altered for a client but if the balance is off, then it will never be right. But I can’t think of a design detail that I would look at and say it’s ruined the suit. I’m happy to look at creativity in context.

LUX: Are there rules for dressing well or is this an outdated concept?
Nigel Curtiss: Being British, we were brought up with so many rules. For dressing, for how to eat, the list goes on. Working with Rei encouraged me to re-evaluate those rules. I don’t like them. However, I think that if you are unsure about how to dress, then rules can help you feel better about what you are wearing. Some of my clients need to start in that place and then we edge them towards being confident in what they are wearing. Compliments help a lot!

LUX: What is next on the horizon for the Nigel Curtiss brand?
Nigel Curtiss: A proper, luxury Nigel Curtiss women’s tailoring brand is very close. Watch this space.

View the collections: nigelcurtiss.com

This article was originally published in the Spring 2020 Issue.

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Reading time: 6 min
Model wearing layers of pendant necklaces
Model wearing layered necklaces

Necklaces from the ‘Jeux de Liens Harmony’ collection by Chaumet

This month, we’ve got our eye on Chaumet’s new playful collection of medallion necklaces. Chloe Frost-Smith discovers

Whilst layering jewellery is no new concept, the ‘Jeux de Liens Harmony’ medallions by Chaumet play with length and shape to offer a refreshing take on the trend. Available in three sizes with adjustable chains, the necklaces are designed for layering, but each version also makes an elegant standalone piece.

Follow LUX on Instagram: luxthemagazine

The medallion itself is split into two asymmetrical parts connected by crossed links – a romantic symbol which has become ubiquitous throughout the Parisian maison – and comes in variations of diamonds, onyx and mother-of-pearl set in rose gold and hanging on a delicate rose gold chain.

Necklace shown on a hand

Rose gold with brilliant-cut diamonds and mother-of-pearl from the ‘Jeux de Liens Harmony’ collection

Each necklace also offers the opportunity for engraving on the reverse side of the pendant, adding a personal touch to an already customisable collection.

View the full collection: chaumet.com/en/news/jeux-de-liens-harmony

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Model wearing drop earrings
Model wearing fine jewellery pieces

Jordan Alexander’s signature marquis chain necklace with 18K gold and pave diamond earrings and a cushion cut morganite ring. All pieces designed by Theresa Bruno

Theresa Bruno established her jewellery brand Jordan Alexander in 2013 and since then, her designs have been worn by the likes of Michelle Obama and Julia Roberts. Here, the designer tells us about her commitment to sustainability, creating bespoke pieces and channelling her grandmother’s elegance

Portrait of a blonde woman

Theresa Bruno

1. How was Jordan Alexander born?

I was originally a musician and studied music at The Juilliard School where I learned an appreciation for the essential balance between free form and disciplined art. I suppose it’s true to say that craftsmanship was essential and noticeably present in my everyday life.

I was inspired to be a jewellery designer from an early age by heritage pieces, most notably, my grandmother’s pearls. When I had to stop piano because of an injury to my hand, I needed to find a new creative focus, and this seemed a natural progression given my long running interest in the beauty and craft of fine jewellery pieces.

My official breakthrough came when I was approached about First Lady Michelle Obama wearing some of my pieces, and everything flowed from that extraordinary honour. The company was formed, and the name Jordan Alexander is for my two gorgeous sons.

Follow LUX on Instagram: luxthemagazine

2. Do you design with a particular woman in mind?

I have always been inspired by my grandmother, her Southern elegance and the ease with which she moved through the world. I channel her often when I’m designing.

Model wearing drop earrings

18K gold and diamond signature star cradle earrings with cushion cut rhodolite garnet and pear shaped morganite drops 

3. What inspires you to start a new collection?

I am often sparked by my travels; particular colours, and the different ways women adorn themselves. I love photography and visual art and it is all a constant source of inspiration. I was recently in New Orleans and wandered into this tiny little photography gallery. There was a stunning collection of photography by an Italian photographer that had so much movement and soul in the way he photographed. Those experiences are so motivational.

Long necklace worn on model's back

18k gold and diamond signature peace chain lariat with leaf wrapped tanzanite accents and Jordan Alexander logo clasp

4. As a relatively young company, how do you compete with heritage brands?

My jewellery represents my own elegant but free-spirited style. I am an independent designer who carefully hand-crafts each piece, using 18K gold, diamonds and precious hand-selected stones from trusted suppliers who can prove their credentials when it comes to sustainable sourcing. My style is a balance between everyday pieces and ceremonial rings and heirloom, bespoke collectibles. There are many other brands whom I admire enormously, but the truth is that I walk my own road and we are in no rush as a company to expand fast. My bespoke work is my passion and, in my opinion, Jordan Alexander’s point of difference.

Read more: Betye Saar’s ‘Call and Response’ exhibition at LACMA

The first step is starting the dialogue, asking the right questions to better understand the context of each piece and the personal style of the wearer, including sometimes the specific wardrobe with which the pieces will need to coordinate. Once the concept is determined, the client will work with me through every phase of the creative process: concept to sketch, design detail, stone sourcing and finally, production. I have created many bespoke pieces for ball gowns and special events.

Model wearing bracelet and ring

18k gold chain wrapped champagne moonstone ring and bangle

5. Can you tell us about the brand’s sustainability efforts?

Social responsibility is a vital thread that runs through the Jordan Alexander business, which is why I have aligned the brand with A21, a global anti-human trafficking organisation. After travelling with the group to work personally alongside victims in rescue and rehabilitation efforts, I have collaborated to launch a line of jewellery with 100% of proceeds going directly to A21. In general, we re-use gold, repurpose stones and ensure that waste is built out of the creative process.

6. Have you made any new year resolutions?

I don’t really make resolutions, but my thoughts about how I want to live this year are about balance: the balance between being brave and being vulnerable. About being strong, but living with a soft heart. It is a political year in the US with lots of energy about the Presidential election. Everywhere you go people are really heated about it. My hope is to be open enough to accept, and even listen to those who sit on a different side than me, while being true to my beliefs and values.

View the collections: jordanalexanderjewelry.com

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Reading time: 4 min
Installation view of three abstract paintings
Installation view of contemporary art exhibition

Installation view of Human Being, Being Human by Farzad Kohan at Galerie Maria Behnam-Bakhtiar

Last week saw the opening of Monaco’s latest contemporary art gallery Galerie Maria Behnam-Bakhtiar. LUX recounts the evening

On Thursday evening last week, the doors opened to Galerie Maria Behnam-Bakhtiar with an exhibition entitled Human Being, Being Human by Iranian artist Farzad Kohan. The gallery is the brainchild of Maria Behnam-Bakhtiar, wife of artist Sassan Behnam-Bakhtiar, and will offer a programme of exhibitions by international established and emerging artists.

Man and woman stand on terrace

Maria Behnam-Bakhtiar with her husband and artist Sassan Behnam-Bakhtiar

Follow LUX on Instagram: luxthemagazine

A glamorous crowd of visitors admired Kohan’s latest collection of colourful abstract paintings, which focus on the power of positive messaging. The textured canvas are etched with lines of English or Farsi script, which are repeated to give the impression of a mantra.

Installation view of three abstract paintings

Installation view of Human Being, Being Human by Farzad Kohan

Those in attendance included Sassan Behnam-Bakhtiar, alongside Game of Thrones actress Laura Pradelska, Star Trek actress Alice Eve and British model Neelam Gill. Following the private view, guests enjoyed an exclusive dinner at Yacht Club de Monaco hosted by Maria Behnam-Bakhtiar.

Woman in pale blue suit stands in front of painting

Model Neelam Gill attends the launch party and private view

Guests stand in front of screen

LUX Editor-in-Chief Darius Sanai with guests at the launch party

Galerie Maria Behnam-Bakhtiar is located at 45 Avenue de Grande Bretagne 98000, Monaco. For more information visit: mariabehnambakhtiar.com

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Man walking across stadium wearing watch
Blue sports watch with mechanical face

The RM 11-04 Automatic Flyback Chronograph Roberto Mancini has been designed to celebrate the heritage of Italian football

Richard Mille’s latest timepiece has been designed in collaboration with Italy’s football team manager Roberto Mancini to celebrate the sport’s heritage. Here, Chloe Frost-Smith marvels at the timepiece’s unique design features

Designed with football fanatics in mind by the Italian national team’s manager, the RM 11-04 Automatic Flyback Chronograph Roberto Mancini makes complicated look cool, with a dedicated dial for tracking half-time, extra time and overtime.

Follow LUX on Instagram: luxthemagazine

Set in the  patriotic colour palette of Il Tricolore alongside the recognisable blue belonging to the Squadra Azzurra, there are hints of Italian footballing heritage throughout the design. The timepiece uses a rotor with variable geometry, allowing it to be easily adapted to suit the wearer’s activity levels – you simply adjust the setting of the rib’s placement for the rotor to either speed up when worn at leisure, or slow down in moments of the highest movement.

Man walking across stadium wearing watch

Roberto Mancini wearing the RM 11-04 Automatic Flyback Chronograph

Displaying match time on the basis of two 45-minute halves and up to 15 minutes of stoppage time, the pusher can be pressed at 4 o’clock to actuate the fly-back function which repositions the hand at 12 o’clock, ready to start the second half. Should extra time be awarded, the fly-back can also be reactivated to reflect these additional minutes ensuring the wearer never loses track.

Back shot of a blue watch with exposed mechanics

The watch can be easily adapted to suit the wearer’s activity levels

But the watch isn’t just for football fans. Encased in the almost indestructible Carbon TPT and water-resistant to 50 metres, the RM 11-04 is set for the most extreme of adventures.

For more information visit: richardmille.com

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Reading time: 1 min
black and white portrait of a woman

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

Portrait of young woman with red hair

British model Anna Proffitt. Instagram: @annaproffitt

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

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

Charlie Newman

THIS MONTH: 22-year-old British model Anna Proffitt has appeared on the catwalk for top fashion houses and graced the pages of many glossy magazines all while juggling a university degree and setting up a platform to discuss slow fashion. Here, she talks to Charlie about escaping to the countryside, sustainable shopping habits and reintroducing a ‘mend-it’ mentality.

Charlie Newman: Firstly, can you tell me about your background? Where did you grow up?
Anna Proffitt: I actually just moved back to the village I grew up in, I missed the countryside and Derbyshire folk when I was in London full time! I’m from a tiny village near the Peak District that’s all hills, fields and forests. I love it now, but not so much when I was young, I thought it was very boring. Everything was very quiet, my primary school class only had nine students. I remember passing my driving test in about four months so I could have some freedom! Now I’m so happy to live in the quiet, I can hike, climb, run and see the horizon all the time. I’m much more productive when I’m here, it’s all the clean air.

Follow LUX on Instagram: luxthemagazine

Charlie Newman: Were you always interested in fashion fashion?
Anna Proffitt: It’s the classic story of someone from the middle of nowhere seeing fashion as this glamorous escapism. I had a subscription to Vogue when I was 14 and fantasised about what it would be like to work in the industry. I did Fashion Design at College then Fashion Communication at University. Midway through studying I was scouted by an agency in Milan and went there in my summer break. When I came back I decided that I wanted to pursue it properly so applied to London agencies online and Models 1 signed me. Having worked for three years now experiencing the ups and downs, I am so grateful for the opportunities that have come out of it and know how to make it work for me. I have great respect for models, you have to be very strong and grounded to succeed.

Model wearing puffy yellow tutu

Instagram: @annaproffitt

Charlie Newman: How easy was it to manage both modelling and studying?
Anna Proffitt: I studied at Nottingham Trent University so I was on the train to London pretty frequently. At times, it was hard to juggle as my course was very intensive. I am naturally organised and hard working so I made it happen, I wrote a lot of my dissertation in queues for Fashion Week castings! I don’t think I would have done it in a different order as my modelling career helped with my course, it inspired and influenced a lot of the projects I did. I had a real industry perspective so could tune my projects to what actually happens in fashion, not just what I read about. I’m lucky to have had truly supportive agency that respected my studies and asked how I was. The stress of third year really took its toll on me so I took a long break from modelling but with a great team, I came back and walked Celine in the September after graduation.

Charlie Newman: In my opinion, catwalk modelling is the most gruelling part of the industry. How do you get through fashion week?
Anna Proffitt: It really is! I’ve certainly not always thrived in it, you have to be so in tune with yourself and able to ignore a lot as the nature of the process strips away your self-worth very easily if you let it. But then you have to be in it to win it. It’s all about the balance of knowing what is right and safe for your physical and mental health whilst allowing your ego to take you into that model mentality. I have a much stronger sense of self now, I guess it comes with age. So fashion week wouldn’t be so gruelling for me now as I know how to keep myself level.

Read more: Truffle making & Michelin-star dining at St. James’s Hotel & Club

Charlie Newman: What has been your favourite show to walk in and why?
Anna Proffitt: Celine is the biggest show I’ve walked yet and it was amazing to be surrounded by some of the biggest names in the industry. It was fascinating to see how a big fashion house works and be a part of the hype around Hedi Slimane’s first season at Celine. As a dressmaker myself, it was a dream come true to see how expert tailors fit the garments and discuss fabrics. I love Paris so much too, being able to spend 3 weeks there was amazing. Travel is definitely the biggest perk of the job!

Charlie Newman: Other than Celine, what’s been a career highlight so far?
Anna Proffitt: I loved the shoot I did for Wonderland Magazine with Campaign for Wool. It was all about championing British industry and conscious consumption which I am extremely passionate about and it was also my first glossy magazine shoot. I ended up collaborating with Campaign for Wool on my final major project at University. It’s so fulfilling when you meet lovely people on a job that you get on with and can work with on other projects.

Charlie Newman: Who do you look up to within the industry?
Anna Proffitt: I look up to the Ateliers of Haute Couture, they are some of the most skilful and talented people on the planet. My favourite artists in the industry are Rei Kawakubo, Tim Walker, the late Alexander McQueen and Christopher Simmonds.

Young female model with red hair

Instagram: @annaproffitt

Charlie Newman: How did you come up with the concept for The Idle Hands Collective?
Anna Proffitt: Idle Hands is a platform that discusses conscious consumption in the fashion industry. It started as a way I could visually explore the topic so more people can join the conversation. I am passionate about the craft of fashion and using what we already have, there are so many amazing clothes in the world we don’t need to make more, especially more that are made from plastic and fall apart after one wear. I want to champion quality over quantity and prove you don’t have to forfeit your aesthetic in the slightest to dress sustainably. The blog consists of think pieces about sustainable fashion and features people, makers and communities that are paving the way. It goes alongside my vintage and up-cycled business which I have on Depop and my Instagram.

Read more: Why Spain is best for cultural travelling by Geoffrey Kent

Charlie Newman: As consumers, how can we make our approach to fashion more sustainable?
Anna Proffitt: Stop buying crap clothes! Why would you want to put your hard-earned cash to something that you know will only last you about two months? I would love to see a massive shift in consumer mentality that champions quality items over anything the fast fashion brands give you (which are inherently made to be disposable). I would love for charity and second-hand shops to be destigmatized and a ‘make do and mend’ mentality to be reintroduced. In this consumerist society, we can vote with our wallet, so make your money count.

black and white portrait of a woman

Instagram: @annaproffitt

Charlie Newman: Who are your favourite sustainable brands?
Anna Proffitt: My favourite sustainable fashion brands are: Paloma Wool which is ethically made in Barcelona, Girls of Mars, FARA Charity shops because they are usually nicely presented and Rokit Vintage (my favourite is the Covent Garden branch). I am currently using a face oil by an independent maker called Lovely Skincare based in Sheffield and I use Neal’s Yard too as their green credentials are to be envied.  The Body Shop and L’Occitane have recently teamed up with TerraCycle so you can recycle all beauty empties in store, which is quite revolutionary. The best places to shop are always local; support your local community. Shop your local markets, greengrocers, hardware stores, charity shops and book shops.

Charlie Newman: Lastly who is your role model of the month and why?
Anna Proffitt: My role model of the month is the climber Nina Williams. I watched her documentary at the Reel Rock Film Festival and I am in awe of her mindset and strength. Go check her out!

Follow Anna on Instagram: @annaproffitt

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Reading time: 7 min
Mannequins in shop front windows

Number 16 Clifford Street in Mayfair, Cifonelli’s new residence

One of Paris’ most illustrious tailoring houses has opened the doors to its a new London boutique. LUX takes a look inside

It’s not often mannequins are intimidating, but the three standing in the shopfront windows of Number 16 Clifford Street are enough to make most men question their wardrobe. This is the new London residence of Cifonelli, a tailoring house renowned for its distinctive details and sharp lines. Karl Lagerfeld was famously quoted as exclaiming that he “could recognise a Cifonelli shoulder from a distance of a hundred metres.”

Follow LUX on Instagram: luxthemagazine

The brand was established in Rome in 1880 by Giuseppe Cifonelli before settling in Paris via a short stint in London, and now it’s back in Britain’s capital with fourth-generation cousins Lorenzo and Massimo at the helm.

Interiors of a high-end suit shop

Interiors of a tailoring shop

Cifonelli’s boutique has been designed to offer clients a space to relax and shop

Read more: Truffle making & Michelin-star dining at St. James’s Hotel & Club

On a wintery evening earlier this month, LUX joined a crowd of handsomely dressed men to celebrate the opening with a glass or two of champagne, and dancing to tunes from the in-house DJ. Not the kind of scene you’d necessarily expect from a traditional tailors, but Cifonelli despite its heritage remains very much on the pulse.

Inside a luxurious suit shop

The shop itself, for example, is luxurious, but welcoming with plush velvet seats and flattering lighting, the idea being that customers can come in to relax as well as buy. It’s well worth a visit, if only to admire those well-dressed mannequins.

For more information visit: cifonelli.com

 

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Luxury watch shown front and back against blue background
luxurious timepiece pictured against a dark blue background

The Panerai Luminor Marina Bucherer BLUE in Titanium/DLC with proprietary automatic movement. 10,400 GBP.

The latest in a series of chronograph collaborations between Bucherer and Panerai pays tribute to its namesake colour in more subtle ways than its aquatic palette, says Chloe Frost-Smith

In the past the BLUE collection has included partnerships between Bucherer and the likes of Piaget, Chopard, and TAG Heuer, but this latest collaboration with Panerai takes a more laid-back approach to the luxury timepiece.

Follow LUX on Instagram: luxthemagazine

Originally created for the Italian navy’s submariners, the reinterpreted Panerai Luminor Marina Bucherer BLUE retains the oceanic origins of its Panerai predecessors in the model’s more traditional Italian design elements, alongside contemporary updates including an anthracite denim strap with beige stitching which gives the watch a more relaxed look and feel.

More modern still is the matte blue sandwich dial with vertical satin stripes enclosed within a DLC-coated titanium case, a combination which is unique to the model and a first for Bucherer. A handy strap-changing tool is also included for versatility.

For more information visit: bucherer.com

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Woman wearing a bowling hat wearing jewellery
Woman wearing a bowling hat wearing jewellery

The Cleopatra alexandrite and diamond set by Hirsh

Founded in 1980 by Anthony and Diane Hirsh, luxury jewellery brand Hirsh is now under the creative direction of Jason Hirsh with his wife Sophia as Managing Director. Here, Chloe Frost-Smith speaks to the second generation Creative Director about designing, selecting gemstones, and the relationship between art and jewellery

Man wearing a blue jumper in front of ads

Jason Hirsh

1. Is it true that you designed your first piece of jewellery when you were 10, and if so, what was it?

Yes it is, I used to sit in my father’s office, looking for things to do. My father used to have me draw the jewellery on stock cards (before digital cameras and film was too expensive). I loved the colour gems more than diamonds and drew out a suite of jewellery (necklace, earrings, bracelet and ring) using a pattern of emerald, ruby, sapphire, diamond set in 18k gold, very 80s! My father humoured me and made it. In those days Hirsh, used to manufacture jewellery for other retailers, our first store was still 2 years away, so he took the suite to the Dallas Jewellery show. I went with him and my mother and the suite sold on the first day. It was purchased by a prominent jewellery chain in the U.S. that had 16 stores at the time, so my father needed to make a few more! My father paid me $1 commission which I spent on a coca cola and cracker jacks (American popcorn), let’s just say my taste and remuneration has changed somewhat.

Precious stones shown on work bench inside a studio

Inside the Hirsh London atelier

2. What is the inspiration behind your new Autumn/Winter collection?

I’ve always been inspired by nature and the beauty of the different colours found in nature – be it in gemstones or in the changing of the seasons. My father also shared this love of nature and began a tradition of designing a unique snowflake pendant every winter. This is a tradition that Sophia and I have continued and really look forward to every year. As the Hirsh 40th anniversary is soon approaching, we decided to create three beautiful snowflake pendants this year; an emerald, sapphire and a ruby piece. Just like snowflakes found in nature, each snowflake we design is completely one-of-a-kind and very special. Our new spring 2020 collection also takes inspiration in nature and features natural colour diamonds – definitely one to look out for.

Follow LUX on Instagram: luxthemagazine

3. Which gemstones are you drawn to work with in particular and why?

I am drawn to work with anything unusual, I try and seek out gems that are hard to find other examples of, be it the rarity of colour or the combination of shape and colour. It is especially why I like round natural colour diamonds such as the 7-carat round, colour changing chameleon diamond I parted with last year. With the amount of rough you lose, natural colour diamonds are rarely cut in round which is what makes them all the more special when they are. In colour gemstones, my favourites are those with an emerald cut. The reason for this is that, emerald cut gemstones leave no place to hide inclusions in the gemstone. However, my personal favourite gemstones of all are Alexandrites and sapphires, mainly for the colour change in the Alexandrite and the range of colours found in sapphires. My wife Sophia has an amazing bi-colour sapphire (half yellow, half blue) that I thankfully get to see on her every day. We also have an amazing selection of Alexandrite jewellery at Hirsh that I’m very proud of.

Image of a necklace in the middle of a christmas cracker

The snowflake pendant set with pink and blue diamonds

4. How would you describe the relationship between jewellery and art?

Well, art is subjective and whilst in the past artists like Seurat would spend four years on a painting, some artists today create art in a day, in some cases multiple pieces in factories. You can find the same thing in the world of jewellery. There are many jewellers who mass produce their craft either to satisfy their clientele who want the same pieces, or to fill their many stores. At Hirsh, we individually produce each piece by hand so we consider everything we create to be a piece of wearable art. In addition, the vast majority of our pieces are the result of a collaboration with several artists, from my creative direction  through to the design team who draw and refine each piece and then on to the mounters who turn our dreams into reality, and finally, the setters, who refine the claws on each stone.

Read more: Why we love TAG Heuer’s Monaco anniversary collection

5. Do you ever consider trends when designing your pieces?

Whilst remaining quite timeless in style (the majority of our jewellery is made to be worn season after season), I always feel like we are right on the pulse. When we were creating our “Cloud” collection, 9 months after the initial design, I was walking down Bond Street and saw Anya Hindmarch’s window displaying her latest bag collection featuring clouds which made me smile. Three or four months later, Hermès launched new windows with cloud bags and a cloud theme. The difference is that, unlike high fashion and just like London’s ubiquitous rain clouds, our collection is set to stay.

rings on a woman's hand shown dipping biscuit into tea

Ruby and diamond trio, ice and duet ring

6. Which piece of iconic jewellery from past or present do you wish you had designed?

I have a lot of respect and admiration for Andrew Grima– a British jewellery designer based in Mayfair during the 1960’s and 1970’s. I feel he truly transformed the world of jewellery at that time, by creating intricately designed pieces of jewellery using textured gold and unique stones. My wife and I love watermelon tourmalines so I specifically love and would have loved to design his ‘gift’ ring featuring a beautiful watermelon tourmaline and a gold bow. I really enjoy his use of colour and texture in his creations and find is work highly skilled yet playful which is something we always aspire to in the creation of our jewellery at Hirsh.

To view the brand’s collections visit: hirshlondon.com

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Reading time: 5 min
Woman standing on cliff

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

Middle aged woman posing in studio setting

British model and founder of Wilder Botanics Rachel Boss. Image by Aaron Hurley

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

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

Charlie Newman

THIS MONTH: British model Rachel Boss has had a longer career than most, shooting with industry legends including the late Peter Lindbergh as well as appearing in all the Vogues, the Pirelli calendar and numerous fashion brand campaigns. Alongside her husband, she recently founded her own brand Wilder Botanics, which specialises in holistic products created from organic, wild ingredients. Here, Rachel opens up about the tough side of modelling, becoming an entrepreneur and her aspirations for the future.

Charlie Newman: Let’s start at the beginning. What was your childhood like?
Rachel Boss: I grew up just outside of Manchester. I had the perfect mix of countryside and being on this great music city’s doorstep back in the late eighties early nineties, so I was constantly going to gigs when I could. We lived in this beautiful old farm, not that we used it, but my mum only ever cooked using home grown vegetables. I went to a convent which wasn’t great! I went there from 3 to 18 years old as a day pupil. Looking back it had a huge effect on me with the guilt that comes from Catholicism. It was awful, it was heaven and hell, it was retribution. My mum stuck up for us by not letting us do confession: what 7 year old has anything to confess? That’s why I had my confirmation much later because you can’t get confirmed without having confessed. I haven’t been to church in a long time now but it’s still in there. I remember going to school and seeing these propaganda posters and being so appalled by these extreme elitist views, but in reaction to this quite a few of us were rebellious. The young nuns were slightly more liberal singing Kumbaya with us, whilst the elder ones were just dreadful. The only two male teachers were science teachers which meant that we really weren’t pushed to do science – things have changed hugely since then. Safe to say, I would never send my children to a convent, in fact I went the complete opposite and sent them to a school where they call the teachers by their first name!

Follow LUX on Instagram: luxthemagazine

Charlie Newman: How did fashion come into your life?
Rachel Boss: I can remember always being taller than my peers and everyone telling me I could be a model but I never even considered it because modelling wasn’t a career back then. I saw fashion as my escape, it was my ticket out of Manchester. Interestingly, people from Manchester generally always stay there, they don’t often move. I don’t know whether that’s typical of most towns but I couldn’t wait to get away. University was never on the cards for me, it wasn’t even something I wanted to do and I don’t know why because later on I went to study off my own back. Even though I didn’t go to university straight after school, I still want my children to because I hate the idea of them being out in the world without a purpose. When I left school that’s exactly how I felt, so when I got asked to be a model I took the chance. I was staying at a friends house in Dublin and then somebody asked me to do a show for John Rocha. From that show an agent picked me up, it’s not a very glamorous story! In that first season I worked for John Rocha, Katharine Hamnett and a few other Irish designers. After that, I came back to Manchester and then moved to London at 19 years old so I was a late starter for a model.

Model pictured standing on cliff edge

Charlie Newman: What were your early experiences of modelling like?
Rachel Boss: Once I signed with an agency I was whisked straight away off to Tokyo, and I didn’t really like it. Whenever I see friends who were also models at the time we look back now and realise that actually we really weren’t treated right as teenagers. Thank goodness for the way my mum brought me up else I would have ended up in some compromising positions. People were always saying to me, ‘Why don’t you relax? Why don’t you go to that club? Why don’t you go out for dinner with them?’ But I wasn’t having any of it which meant that I was spending a lot of time on my own. My first trip was to Tokyo for 4 weeks which was a real eye opener, it was like a cattle market. We weren’t marketed as human beings, never having time to eat or break. Then at night we had to go to club openings which was just not my thing. I left Tokyo with not very fond memories and from there went onto Paris after a brief stint at home in between.

Read more: Artistic visions of Louis Roederer’s Brut Nature 2012

Charlie Newman: Paris is the centre of old school fashion houses, and with it often comes an old school mentality. Did you come across this and how did you deal with it?
Rachel Boss:  I really struggled in Paris because the French bookers were always the toughest. We’d be staying in a model apartment 25 years ago for 600 euros a month and it would be a mattress on the floor, with no light bulbs, nothing in the kitchen and with 6 other girls in the flat, it was completely wrong. Even though I was a tiny bit older than my peers, I felt a lot younger because most of my friends within the industry were from cities so were a lot more streetwise than me. They were in the right crowds immediately, whereas I was very far from it. I must have been really hard to manage because I was forever saying, ‘Sorry but I’m going home now!’ I realise now that I was suffering with anxiety without even realising it because anxiety disorders weren’t discussed then. I remember berating myself thinking, ‘What’s the problem? All you have to do is get on that plane, go to the hotel, get up and go to the job.’ I remember forever talking myself through it and every time on the plane home I’d congratulate myself. So it wasn’t an enjoyable period for me but then again I did have a couple of years which were just incredible. That was when everything changed.

Woman standing in white studio

Image by Aaron Hurley

Charlie Newman: What changed exactly?
Rachel Boss: I moved to New York in 1991 where I stayed for a year, and then I moved back there at the age of 25 which was just fantastic because there was a real resurgence of health in fashion. The heroin chic look was out and the more healthy, robust girl was in. People were waking up to the benefits of nutrition and that really opened my eyes to what I wanted to do. I went to an amazing Ashram in upstate near Woodstock, where I learnt the teachings and philosophies of yoga and meditation. I had the time to really read and expand my knowledge whilst I was in New York purely because all of my work was based there and I didn’t have to catch a flight all the time. But by the age of 26 I was moved to the ‘Classic’ table and was told I was past it. That had a real effect on me mentally because I suddenly woke up to the idea that I was a woman and I needed to have a family. I was being portrayed as a 46 year old woman at 26 which I wish I hadn’t agreed to. Afterwards, I just tucked myself away and studied and studied at the Holistic Health college. I was studying to be a Naturopath alongside Nutrition, Homeopathy and Iridology which is recognising genetic traits through Iris formations. I love it because it’s one of those subjects where you’re forever learning.

Charlie Newman: You published Super Herbs: The best adaptogens to reduce stress and improve health, beauty and wellness in 2017. How did that come about?
Rachel Boss: I was approached by The Little Brown publishing house after having just given birth. I remember being so incredibly exhausted at the time and without thinking I went along to the meeting. I remember thinking in the meeting at this really smart office, ‘What the hell am I doing here? I am so tired, and here I am saying that I can write a book!’ I think it must have been the endorphins that come with breast feeding! I wrote it like a job, or studying, so I was really strict with deadlines. I so enjoyed writing it. The book focuses on the history of the herb. It’s a really easy read and helps direct you on how to slot herbs into your life and make you feel better. When you have a chronic illness quite often you get used to it (unless it’s acute) and you end up ignoring it, like chronic digestive issues for example, but in my book I explain how herbs can help you. I also highly recommend reading Rosemary Gladstone and Christopher Hedley’s books. Christopher was my tutor and is simply amazing.

Read more: Designer Philipp Plein on mixing business with pleasure

Charlie Newman: You’ve had such a long and diverse career in an industry that is notoriously short. How has your career developed as you get older?
Rachel Boss: I was more editorial at the beginning, but then I really pushed for it to become a money earner. When I came back to London I was doing the likes of John Lewis, Marks & Spencer and Next, which was great money! There was a time when I was doing everything in London and it was just fantastic, I could drive to work, I absolutely loved it. But then of course they move on as they always do and have to. I’m also very aware that I’m extremely tall to be doing commercial work. I’m just over 6 foot so I’m extremely grateful to them for being so kind to me, most of the other models were 5’9. However, the other day I did my first editorial shoot for a while with the wonderful Renaissance magazine. I met this amazing guy who was Turkish but brought up in Sweden, the hair and make up was from Tokyo and the stylist from America – we all just couldn’t stop talking! I’ve always loved that part of fashion, every shoot has a real mix of people from all over the world. Perhaps it’s because I’m older and more confident, but I feel as though I’m no longer seen as an object that has to be moulded to other peoples desires. I am my own person whilst modelling now.

Charlie Newman: Looking back at your career now, what do you wish you had done differently?
Rachel Boss: My career has forever been in flux between forcing myself to do the job and then retreating. Even when it was French Vogue or shooting with Peter Lindbergh, it was terrible because in my head I just wanted to run for the hills. I look back now and wish I just got on with it for four years and then left. But instead I dragged it out over decades! Often when I left a city I would leave an agency too because then I felt like I could always start again and have a fresh start. The agencies were always very damning of my opinion when really it should have been a joint decision, but luckily I had one wonderful agent who understood that when I said no, I meant no. I became very good at saying no because for years I’d forever been a yes man. As a result, I had a reputation for being difficult. It’s been an interesting journey. Talking and reading about the past now amongst friends and colleagues makes you realise how intense it is as a job.

Charlie Newman: What advice would you give to young models now starting out?
Rachel Boss: Please enjoy it and don’t take it too seriously. I was forever being told that I was ungrateful because I didn’t want to do the jobs, but really there’s alway someone else who will do the job. If it’s not your route or desired path don’t do it.

Charlie Newman: What has been a career highlight for you?
Rachel Boss: I think it’s got to be living in all the cities. I loved working in New York and Morocco and even though living in Paris was hell, I’m so pleased I did it. Now I know all the areas and I met Yves Saint Laurent and so many other incredible people. I was lucky enough to have a good wage so wherever I was, I did whatever I wanted. If there was some restaurant I wanted to go to, I’d try it, if there was anywhere I wanted to go to, off I went. I was very, very happy with my own company, which was hugely beneficial for me because I’d got into such a huge state of panic before where I felt as though I always needed to be with someone, so that was a huge turn around for me. It’s so important to have times in your life, especially when you’re young, to go off and do your own thing because you’ll probably never have that time again. Even if you do get the opportunity to do it when you’re older, your mind is constantly elsewhere and wanting to be with your children. So for me to have had that time was something I really relished. It’s so important as a human being to sit by yourself and be happy.

Man and woman portrait in living room

Rachel and her husband Charlie co-run Wilder Organics, doing everything from the making of products to the selling.

Charlie Newman: What made you decide to start your own company?
Rachel Boss: The company was talked about for years. I was so aware that herbs were still seen as something a bit odd or witchy or something that only people wearing linen and blankets could prescribe to and I didn’t like that! It was the same with when I went to my lectures too. It was all too intense and I wanted to prove that you could be interested in Naturopathy, whilst also enjoying a glass of wine with a steak. The whole idea for Wilder Organics was about bringing herbs into the contemporary lifestyle and fitting it into the everyday. Before it was only really Neal’s Yard, but within the past 5 years I’ve seen a huge surge in interest.

Read more: Island paradise at the Ritz-Carlton Abama resort in Tenerife

Interiors of a cosmetics shop

The Wilder Botanics boutique, Broadway Market

Charlie Newman: How did you make Wilder Organics a reality?
Rachel Boss: It started with me creating a herb infused body oil and two teas. I asked my friend Lerryn Korda, who is a beautiful illustrator of children’s books, to design the beautiful labels for me. Each type of herb has a different illustration because I really wanted to draw people back to nature and get them to recognise what they’re actually drinking, and maybe even encourage them to go and pick the leaves themselves. This was back in October 2017. I had a little stand at this wonderful sale that supports creatives called The Hand Sale in Kensington and everything sold! I didn’t know what the whole worth was of my product so that’s when my husband swooped in, and he’s totally immersed in it now. It’s just us two and one other person who comes in every so often. We do everything, from the making to the selling to the wholesaling. Everything is biodegradable and recyclable nationwide, it can even be put into your compost. All of our products are recyclable grade 7 which means all councils recycling systems will accept it, which sadly isn’t the case for a lot of other products out there.

Charlie Newman: Where would you like to see Wilder Organics in the future?
Rachel Boss: We would really love to see our beauty products in Liberty because we’re obsessed with everything in there! We have endless ideas for the future, but I’m particularly excited about delving more into women’s health. Alongside our 10 stockists, we’d also like to be stocked worldwide, but without ever losing the core values of our company.

Charlie Newman: And finally, who is your role model of the month?
Rachel Boss: It’s got to be women for me, I love women in every form. If I had to pick one individual it would probably be Julianne Moore, I think she’s just heavenly. My friend works with her who’s a make up artist and said she’s the real deal, she’s true to her persona, so kind and brilliant. I was listening to Zadie Smith on Radio 4 yesterday and I thought she was just amazing, partly because she doesn’t appear to be a people pleaser. I grew up in a generation where everything was about being liked, fitting in and not being a burden. I really rock boats with that even now. I hope my children are like that, I tell my children all the time, just because someone’s an adult it doesn’t mean they are right.

Discover Wilder Botanics’ range of products: wilderbotanics.com

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Reading time: 15 min
Man standing in front of street artwork
Man standing in front of street artwork

Philipp Plein at his Resort show during the Cannes Film Festival in 2018

Philipp Plein is the partying designer for the Monaco private-jet set, who has also retained his status among fashion’s elite. Harriet Quick meets a man with a keen business brain and the unashamedly alpha swagger of a self-made global entrepreneur

“I can remember going to Salone del Mobile for the launch of my furniture line. I rented a truck and drove to Milan with my former girlfriend. We set up the booth ourselves and we slept in a motel. It turned out the motel was also operating as a brothel. Each morning, we had to leave the room empty as it was booked for ‘use’,” says Philipp Plein. “We had dinner at the Autogrill on the highway every night. It was all we could afford.” Plein’s first foray in the business of design was more than 20 years ago and the memory has a fuzzy, sleazy halo.

Follow LUX on Instagram: luxthemagazine

Male model waring Philipp Plein jacket

A model in Philipp Plein AW19

Today, the Philipp Plein empire encompasses menswear and womenswear collections, accessories, Philipp Plein Sport and 120 stores worldwide (some lease, others franchise), plus the menswear brand, Billionaire (a majority stake of which was purchased from Formula One managing director Flavio Briatore in 2016; it caters for gentlemen who prefer blazers to leather perfectos). It’s been reported that the group generates annual revenues of around €300 million.

As founder, CEO and creative director, Plein exudes the pride of a self-made man. The extrovert alpha male/female personality of his eponymous brand has earned legions of fans who are not in accord with the prissy propriety of high fashion. The stores (on the rue de Rivoli in Paris, London’s Bond Street, Passeig de Gràcia in Barcelona and Soho in New York City) gleam with steel and shiny leather, embellished with Swarovski crystals. Mannequins feature six packs that spell machismo, and everything is dosed in irony.

Model standing backstage at a fashion show

A model backstage at Plein’s AW19 show in New York.

“The experience of building a business from scratch makes you really appreciate things,” says Plein of his trajectory from nobody to head of a fashion empire with 1.7 million Instagram followers. “Nothing was a ‘given’ or ‘easy.’ What people forget when they see the stars of today are the years of dedication and sacrifice. People suffer to reach certain goals.” He doesn’t go into the sacrifices he made, yet it is blatantly clear that Plein, who has an art gallery of tattoos on his considerable biceps, is an ‘all over everything’ workaholic. “I don’t get dropped, I drop the best sh*t in the game – on to the next one,” reads an Instagram post on 3 May 2019, with an image of a female model wearing fantasia eye make- up and a knockout crystal embellished body suit. Ahead of the Met Gala Camp: Notes on Fashion extravaganza, it was decidedly timely.

Read more: Gaggenau’s latest initiative to support emerging artisans

The Munich-born entrepreneur (son of a heart surgeon) possesses a fiery cocktail of Italian flare and Teutonic discipline. He launched into the design business creating sleek stainless-steel beds for dogs and then furniture for humans (he still owns 50% of the small steel factory that made his range) and went on to launch a line of upmarket objets and trophy tables with leather inlays. Dog owners from Miami to Zurich fell in love with the designer pet accessories and via that venture, the young Plein received an on-the- job education in the tastes and materialistic whimsies of the super-wealthy.

Model walking on catwalk

The Philipp Plein AW19 catwalk show in Milan

Celebrities sitting on car bonnet

Christian Combs and Breah Hicks at the opening of a new Philipp Plein store in NYC

Philipp Plein the label had planted its roots. Next came the Swarovski crystal-skull- embellished military jackets. They sold from rails at furniture trade shows. That led to an apparel collection featuring more leather, shredded jeans, diva dresses and mini skirts with the kind of proportions, detailing and quality (the collection is made in small Italian factories) that made them several cuts above the average rock ’n’ roll cliché. The collections’ fun- loving rebelliousness appealed to a generation of pop stars, moguls and party kids. Jasmine di Milo, Mohamed Al Fayed’s daughter, was one of Plein’s first customers and bought the line for her mini in-store boutique at Harrods.

“I started marketing the brand into Europe – Germany first and Italy, France and the UK followed,” says Plein. “In the mid oughts, we entered the Russian market and then China. It was a wholesale brand and we went to all the major trade shows.” On early trips to New York’s Coterie show, even his teenage sister came along for the work/vacay ride.

Celebrities attending VIP event

Socialites and celebrities gathered for the opening of the new Philipp Plein store in New York in 2018

The Plein lifestyle – fast cars, nightclubs, champagne, sex – proved a lure. While the level of flash made the arbiters of taste wince, no one could deny the coherence and the quality. This was the era of kick-ass disruption. Stella McCartney and Phoebe Philo were turning Chloé into a ‘girl power’ brand, Alexander McQueen was confounding the world with his fusion of romantic beauty with punkish violence while Nicolas Ghesquière at Balenciaga was reviving the moribund house with his electric hybrid mix of futurism, utility and armour.

Through these players, the luxury fashion world was reignited with guts and creative daring. The trajectory was bigger, higher (remember those teetering platform heels?) and in the case of Tom Ford’s Gucci, ever sexier renditions of slinky jersey dresses and low-cut blouses. Plein, who dubbed himself a heroic outsider, was astutely aiming in on the person who did not like concepts and intellectual leanings. In this decade, while fashion trends have leant away from flash and excess, Plein has kept to his groove and it’s paid off. A slew of openings (the majority are franchised stores) followed, aligned with blockbuster shows starting in 2010 and a bonanza of parties.

Do a Google Image search for Plein, and you will be blasted with a showcase of fantastical show sets and extravagance featuring hip-hop stars, racing drivers, sports champs and endless hot models – male and female – living it up to the extremes of camp and bling. The vision was epic and the investment huge. He hired British set designer Simon Costin (the mastermind behind Alexander McQueen’s early shows) and drafted in performers (yes, Snoop Dogg, Rita Ora, Chris Brown) to realise the brand fantasy. A fun park with a rollercoaster, the Harlem Globetrotters, a monster truck crashing into cars – it was all about ‘action’. The brand outbid itself season after season with show costs reaching into the millions.

Luxurious home interiors

Luxury holiday villa

Plein has homes around the world, including his Manhattan penthouse and La Jungle du Roi villa in Cannes

Plein was not an outlier – it was a period of extravagance. The fashion industry in the late oughts valued spectacle, which, via live streaming and nascent social media platforms, could be viewed across the globe. Tom Ford at Saint Laurent showed in giant black Perspex boxes in the gardens of the Musée Rodin; Louis Vuitton under Marc Jacobs created visions of Paris with moving lifts modelled on the Ritz hotel. Chanel spearheaded the interactive, hyper-reality set with a supermarket, a rocket launch pad and a casino at the Grand Palais. The ‘immersive’ experience was born and Plein wanted to spoil his guests with the outlandish best.

Male model on catwalk

The Billionaire AW19 catwalk show in Milan

Sustainability issues, questions of timing and seasons have somewhat tempered the phenomena of the blockbuster show. Louis Vuitton presented its Cruise 2020 collection at the TWA terminal at JFK (now a design gem hotel) with a note that the plants used for the relatively simple décor would be redistributed or turned into compost. Excess and ‘waste’ is not in fashion. Powerhouses are acutely aware that we are seeking diverse indie and often ecologically minded activities, at least in the West.

Some brands are scaling down, while others are changing formats, taking the show on the road and off the traditional Paris, London, New York axis. The Philipp Plein show now is a relatively plain production that concentrates on the clothes. “We staged the last ‘big’ show in Brooklyn and invited 4,000 people,” says Plein. “From that moment on, I thought: ‘I don’t always want to give people what they expect.’ I want to focus on in-store events and see the investment showing up in sales,” he says. “We are a big player online, with €55million in sales, and this does not include channels such as Farfetch. But we believe in offline stores – you need to be successful in both. While more and more people might be consuming online, we still need to dream the dream, enter stores and touch the product. It’s an omni-channel solution.”

Champion boxer on stage at fashion show

World champion boxer Vasyl Lomachenko is the face of Billionaire

While the old school and economy of fashion relied on editor diktats and designer worship, Plein sees the power pass to the consumers, who, via social media, exert influence and opine endlessly. “The consumer is much more powerful than the medium itself: choosing what information to consume, where to find the information and who to follow or unfollow. It’s much more democratic. In the past, we were able to ‘control’ the consumer, now the consumer ‘controls’ us,” concludes Plein.

Read more: At home with minimalist architect John Pawson

On Instagram, Plein is a dynamic, flashy act to follow, allowing access into his personal world. You’ll find him with his feet up in his marble and glass New York penthouse watching The Rolling Stones; in a helicopter with his five-year-old son flying across the Hudson River; or on-site overseeing the build of an Italianate mansion. One of his favourite photo- op situations is in the vicinity of premium cars. His brand recently collaborated with Mansory on a limited-edition series of ‘Star Trooper’ Mercedes G63 vehicles, for €500,000 each.

He looks fit (running six km a day), full of pluck and at the same time, with his cropped hair, stubble and brown eyes, approachable. He calls himself an “old-school guy” – he likes cars, women, the trappings that wealth can buy, sleek modernity and shiny surfaces. He does not smoke and rarely drinks. His vice is Red Bull. “I want to live a long time,” he adds. For all the wild projections, Plein is ultimately tidy. He has his son, who lives with his mother in Brazil. “He has a happy, normal life,” says Plein of his little boy. “Of course, he enters into my world and he is privileged in the sense that he can enjoy both points of view. As parents, we have a big obligation to our children – and how influential we are towards to them. They are born pure and what that child discovers and experiences, builds character and establishes a value system. It is a base that they will then develop themselves.”

As for kicking up his own feet, Plein – who is now in his forties – is dubious. He has weighed up the option of selling his business, but this would mean giving up a majority stake. “My father told me: ‘Money is an obligation. What would you do with this money? If you don’t know, then don’t sell.’ I think I have mastered my own industry – I don’t know anything else and I am not in need of money right now,” he concludes.

Where the brand ego stops and the real Philipp Plein actually starts is hard to gauge. You can’t imagine him seeking an alter-ego life with a rustic cabana and a plot of agave plants in Mexico. “It’s difficult for me,” he says. “I have grown into the brand and the brand became part of my own life and reflects pretty much my lifestyle. You don’t have too many designers who have a namesake brand anymore,” he says.

Plus, future ventures including scent (the men’s cologne, devised by famed ‘nose’ Alberto Morillas is launching this year) and cosmetics, depend on his presence. Earlier this year, he put in a bid in for the failing Roberto Cavalli brand, which subsequently filed for bankruptcy and now seems irretrievable, not a ‘renovation’ investment. “I look at fashion like a sport,” says Plein. “If you want to perform in any industry you have to be mentally fit and able to deliver results, and you are always under pressure,” he says. “Designers are drafted in like soccer players.” He admits that he does not have a lot to say on sustainability issues (gen up quick), but is happy that his manufacturing is Europe- based and small-factory led.

The exotic leathers might be on the way out and times might be turbulent, but Plein’s view on luxury remains constant. “We give people unnecessary things that no one needs, but everyone wants.”

View the designer’s collections: plein.com

This article was originally published in the Autumn 19 Issue.

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Reading time: 11 min
Luxury fashion installation
Luxury fashion installation

Vintage Dior haute couture by Gianfranco Ferré, from the late 1990s

In Rome, history, style and a captivating jewellery collection come together in an engrossing new exhibition by home-grown global label Bulgari. Its brand and heritage curator Lucia Boscaini takes LUX on a personal tour

Jewels can tell many different stories: one is the glamorous story linked to their provenance, as is the case of the jewels that belonged to movie stars like Elizabeth Taylor or Anna Magnani.

precious diamond and sapphire necklace with pendant

Bulgari sautoir, 1969.

But we delved into their ‘behind the scenes’ stories too – for instance, Elizabeth Taylor often received jewels as gifts, namely from Richard Burton, but she was also a passionate collector from a young age thanks to her father who was an art dealer – she shared his discerning eye for beauty.

Follow LUX on Instagram: luxthemagazine

Anna Magnani also bought jewels for herself, a self-indulgence that perhaps made up for a less-than-happy romantic life. Despite the humble characters she played on screen, she loved to buy and wear very elegant jewels as a life-affirming act. She had a child outside of marriage, which, in her era, would have been a difficult situation to face – both as a woman and as a celebrity. She had a difficult personal life and I think the jewels gave her some energy and ‘sparkle’.

Diamond brooch

Bulgari tremblant brooch in platinum with yellow and cognac-colour diamonds, 1959. Formerly in the Elizabeth Taylor Collection

Woman wearing haute couture dress

As well as Bulgari jewels, the exhibition also features vintage haute couture from the collection of Cecilia
Matteucci Lavarini

diamond, sapphire brooch

“Giardinetto” brooch, 1960.

I believe that jewellery can be transformed by the personal style of the woman who wears it. When they are matched to a charismatic persona and style, all jewels undeniably take on a personality of their own.

Read more: Sassan Behnam-Bakhtiar on his upcoming exhibition ‘Extremis’

We’ve also designed the show to capture the way in which the jewellery reveals some of the social and fashion trends from different epochs. For example, the eclectic and sometimes fun sautoirs from the 1970s remind us that it was a decade of experimentation, with a drive to change in many social aspects. The same is true of the sumptuous chokers from the 1980s, with their compact shape that immediately recalls the teased hair, loud make-up and puffed shoulders of that period.

Model wearing diamond jewels

The exhibition also includes displays from a 1920s French haute couture atelier

Diamond and ruby bracelet

Bulgari bracelet in platinum with rubies and diamonds, ca 1934.

Bulgari’s modular jewels from the 1980s also reference career women, the number of whom grew during those years, as they looked for affordable, stylish and distinctive jewels to be worn either in the office or at cocktails after working hours.

The exhibition, ‘Bulgari: The Story, The Dream’, is showing until 3 November in the Palazzo Venezia and Castel Sant’Angelo in Rome. Find out more: polomusealelazio; beniculturali.it

This article was originally published in the Autumn 19 Issue.

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Reading time: 2 min
Man and woman walking through stubble field
Models posing in casual clothes on beach

Looks from Collection 03 by Riley Studio

Sustainable luxury fashion brand Riley Studio creates elegant gender-neutral wardrobe staples using recycled waste materials and natural fibres. Following the recent launch of brand’s third collection, Rosie Ellison-Balaam speaks to the brand’s CEO Olivia Dowie about the importance of production transparency and the challenges of making eco-friendly clothing luxurious.

Portrait of young woman in white tshirt

Olivia Dowie

1. How important is it for people to understand the production process of clothes?

Hugely important! We work hard to be radically transparent so that our community can understand the work that has gone into making each garment. We really believe in adding respect back into the clothing that we wear, and it is important to us that our community understands the production process and the many hands that have carefully crafted each product. From our yarn mills, our fabric mills, our factories to the Riley Studio team, we want to celebrate everyone. When you understand how a product is made and the complex supply chain involved, you understand why a sustainable and ethically made product costs what it does. We hope it also enables consumers to cherish their products for years to come.

Alongside this, the eco-innovation and research that goes into our materials is fascinating and we love sharing how each material is made and how sustainability is at the core of our business.

Follow LUX on Instagram: luxthemagazine

2. What are the difficulties in working with recycled materials?

An incredible amount of research goes into finding recycled materials that are both durable and versatile.

The problem at the moment is that in most cases there isn’t the technology to have 100% recycled fabrics, because they aren’t strong enough. For example, our t-shirt fabric uses recycled cotton, but it has to be mixed with organic cotton to strengthen it. We have our fingers crossed for some breakthroughs though! Recycled materials are definitely more expensive as well, but we’re committed to doing things the right way, not the easy way.

As a small brand, the other issue we find is with high minimum order quantities, ordering lots of fabric also goes against our ethos of producing in limited quantities to tackle overproduction.

Model wearing cosy jumper hat and scarf

Look from Collection 03 by Riley Studio

3. How are you working towards a Butterfly Mark?

We have a series of policies in place to make sure that our sustainability standards are consistent across our supply chain. We will always stand by them and will never compromise. We recently got awarded the Eco-Age Brandmark in recognition of championing gender neutrality through unisex garments, promoting circularity through garment take-back schemes and education, upholding material traceability through extensive sustainability reporting and longstanding relationships with suppliers, and designing with recycled, regenerated and organic fibres.

We are continuously challenging ourselves and developing new processes so that we can create sustainable solutions at every stage of our journey, and we will look to apply for the Butterfly Mark in the near future.

4. How have you made recycling luxurious?

First and foremost, we are a fashion brand, aiming to bring elevated, timeless designs to consumers who are conscious about the state of the planet. We have strong values, so everything we make has to meet our design criteria and brand aesthetic, as well as being eco-innovative. We focus on creating gender-neutral wardrobe staples that are durable and versatile. With simple designs, we don’t follow trends, instead we focus on pieces that we hope will be cherished for years to come, designing for life, not just a season.

Our new collection features our first ever recycled cashmere, which is incredibly soft and made from textile waste. We worked with a small, family-owned factory in Scotland to develop our new beanie, scarf and sweater.

Models posing in corn field

Looks from Collection 03 by Riley Studio

5. Can you talk us through the journey of a ‘Make Good’ t-shirt?

Our ‘Make Good’ t-shirt is created from recot²® made by Gebrüder Otto in Germany, which is a mix of 25% recycled cotton and 75% GOTS certified organic cotton. Adding recycled cotton to organic cotton mix improves the eco-balance of the fabric. The recycled cotton fibres come from textile waste including yarn discards and fabric scraps. By using recot²®, you can save 5000 litres of water per 1kg, which has helped us achieve a total saving of 2,075,129 litres of water across our products.

Lurdes Sampaio in Portugal then make it into a fabric, which is sent to Wonder Routine in Portugal where the t-shirts are made!

6. Favourite piece of Collection 03?

It has to be our Recycled Cashmere Sweater, which comes in Charcoal and Cloud. It is incredibly soft and a piece that represents the best in eco-innovation, craftsmanship and heritage.

View Riley Studio’s collections: riley.studio

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Reading time: 4 min
Installation shot of exhibition with display cases and photographs
Installation shot of exhibition with display cases and photographs

Installation shot of the ‘Autrement’ exhibition in Chaumet’s Paris boutique

Maison Chaumet’s latest exhibition Autrement reimagines selected jewels through drawings from its Parisian archives and a series of transformative photographs by Swedish photographer Julia Hetta

Showcasing heritage pieces alongside contemporary creations, Autrement offers an alternative take on how to wear Chaumet high jewellery through individually styled reinventions of each jewel.

Follow LUX on Instagram: luxthemagazine

The Jeux de Liens sautoir necklace, for example, featuring the brand’s signature linking design set in rose gold with mother-of-pearl, becomes an intricate bandeau reminiscent of the iconic Chaumet tiaras. The same necklace is also photographed in a balletic pose, wrapped daintily around the leg to form an anklet.

model wearing head jewellery

Portrait of a girl wearing tiara

Image by Julia Hetta

A peacock feather bodice ornament from 1870 with a dazzling sapphire encircled by rubies and diamonds is remodelled as a delicate hair-pin, whilst a crescent moon brooch fashioned with fine pearls is worn as an aigrette with deep blue plumes. In perhaps the most innovative remodelling, L’Épi de Blé de Chaumet brooch and earrings are used as a pair to bind a braided hairstyle in place.

Read more: In conversation with Belgian painter Luc Tuymans

The smallest yet most sophisticated transformation, however, is made using the L’Épi de Blé de Chaumet white gold cocktail ring as a scarf ring, highlighting the large tanzanite and its surrounding diamonds in a more prominent position.

Model poses wearing a precious scarf ring

Image by Julia Hetta

Drawing inspiration from styling details and poses depicted in Renaissance art, Julia Hetta’s photographs modernise the more traditional jewels whilst contributing to the historical dimensions of the exhibition from the 19th-20th century sketches to the 15th-19th century LeBrun frames.

Chloe Frost-Smith

‘Autrement’ runs until 2nd November 2019 at Chaumet 165 Boulevard Saint Germain, 75006 Paris. For more information visit: chaumet.com/en/autrement

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Reading time: 1 min
Twin models wearing helments
Twin models wearing helments

Models and musicians Sonya and Anna Kupriienko. Instagram: @bloomtwins

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

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

Charlie Newman

THIS MONTH: Ukrainian twins Sonya and Anna Kupriienko have shot for the likes of Vogue, Numéro, Wonderland, Stylist, iD and Tatler, whilst storming the music industry under the guise of The Bloom Twins. Here, the twins talk to Charlie about touring with the likes of Nile Rodgers, their love of Billie Eilish and staying true to yourself.

Charlie Newman: Have you always been interested in music?
Sonya Kupriienko: It might sound crazy, but music has had a place in our lives since the very beginning, and by that we mean from our Mum’s tummy! Apparently, we were taught to appreciate music from the inside, our parents would place headphones right at Mums tummy to make us curious about music even then. It was, therefore, inevitable that we started singing or copying sounds before we could talk, so even though we feel sorry for our parents hearing our music 24/7 with double power from us, it was completely their fault! We went to music school aged five where we both learnt to play piano and how to harmonise together.

Follow LUX on Instagram: luxthemagazine

Anna Kupriienko: Even though the classical music we learnt at school was very brain awakening, there was very little emotion which was probably because we were so young. Since then we have found ourselves striving to do the opposite of what was asked of us at school. The beginning of our music career ironically started from fashion. One model scout had stopped our sister Vera on the street and asked her to come for a proper meeting to his agency. Vera brought us with her and we couldn’t believe ourselves when he said he wanted to do a photo shoot with the two of us, but sadly not with Vera. The rest is history, he posted a photo of us on Facebook, and our current managers Lenka and Juzzee commented saying these twins are so cute, to which he replied saying they also love to sing. This is how the meeting was set up, and how fashion and social media has changed our lives dramatically. We are also forever grateful to our parents, who not only encouraged our love for music, but also put it to good use.

Charlie Newman: What music did you listen to growing up?
Anna Kupriienko: We were deeply influenced by our parents’ choice of music, which consisted of mainly English bands or artists such as The Beatles, David Bowie, Duran Duran so that’s why it felt like a dream come true to move to London, and later on to also share the stage with Duran Duran themselves around the globe.

Two female twin models dressed in black and white

Instagram: @bloomtwins

Charlie Newman: You’ve toured alongside some huge industry names including Nile Rodgers, Chic and Seal. What did you learn from this experience?
Sonya Kupriienko: We have learned to dream and not to be afraid of obstacles such as language barriers, being too young or too pretty to sing. That all goes away once you are fully committed and blinded by the passion that it becomes impossible to look the other way.

Anna Kupriienko: The obstacles seemed so small when Duran Duran treated us like equals and supported us when we needed it the most-right before going up on stage in front of tens of thousands of people. This meant, and still does mean the world to us, we will always be look up to them.

Read more: Spanish artist Secundino Hernández on flesh & creative chaos

Charlie Newman: What’s been your favourite gig so far?
Sonya Kupriienko: Honestly, every gig feels incredible because they’re always so different. I can never pick the best gig. You live in the moment and that moment will be different tomorrow. The whole magic of playing live lies in the changes, whether that be the wrong note, a slightly different solo, or improvisation. In fact, the whole performance is improvisation, you follow the feeling that leads you nowhere, because it’s not a contest, but a beautiful journey that wants to keep continuing.

Anna Kupriienko: I have a tendency to always like the next gig because there are always so many things to improve, the sound or the performance. The form of Dark Pop can never stay the same, it changes every time, so we just need to water it to bloom.

Twin models in black coats

Instagram: @bloomtwins

Charlie Newman: What are you working on at the moment?
Sonya Kupriienko: We have a single coming out on October 11th. It’s called FF that isn’t only an abbreviation of the title ‘Free Fall’, but also stands for F**ck Fame. It might be because we are tired of proving to ourselves that we are good the way we are, or maybe because throughout our journey we’ve witnessed complete despair for success, when in our opinion we should care more about the art. In the music industry it is definitely challenging to stay true to ourselves, especially having bills to cover, but we just don’t see ourselves happy being somebody else and taking somebody else’s opportunity.

Charlie Newman: What is your creative process like?
Sonya Kupriienko: We don’t always write with just the two of us, we also like to collaborate with other artists or writers. It’s an incredible feeling to have a few people in a room working as one. When people say there’s a magic in the room, that’s what they’re talking about, the collaborative process, everybody’s creative needs are being fulfilled. It’s a collective euphoria.

Read more: Ferrari designer Flavio Manzoni on collaborating with Hublot

Anna Kupriienko: Personally, I love to work by myself and with my sister creatively, but it’s refreshing to work with other people too. Weirdly, you learn more about yourself and your capabilities whilst working with strangers. I guess to learn how to swim you should be thrown into the ocean.

Charlie Newman: If you could collaborate with anyone in the future, who would it be?
Both: Billie Eilish!

Anna Kupriienko: It’s a rare occasion where the two of us agree on the same artist. Billie is insane, she’s so her. You know what? I’ve never heard anybody sing those kind of songs and looking that way, she’s so real.

Sonya likes RnB, whilst I like electronic and underground music. Billie has the perfect mix of all the genres we like.

Twin models posing together

Instagram: @bloomtwins

Charlie Newman: What advice would you give to any young aspiring musicians or models?
Sonya Kupriienko: Be you. I know it sounds so cheesy, and you are probably thinking I should have come up with a better answer, but honestly, just be you. Let’s start with the visual aspect that most of us occasionally struggle with. Being a model isn’t easy at all, as you are being classified by the parameters/features you were born with. Even though we know self esteem might not always be supportive of being comfortable in your skin, that’s exactly what you need to do. Walking into a casting, or a job interview with confidence makes a big difference. Not only will you feel like ‘Dang, that felt great’, but also people around you will feel your confidence. Same with music, walking into a room of writers, you have to be able to relate to your song, or to stand your point, because even though it’s a collaboration, everybody should believe in it. If you are a singer and you can’t relate to it, how will the audience?

Anna Kupriienko: As David Bowie said, “Don’t try to fulfil other people’s expectations because that’s when you produce your worst work.” You have to stay true to yourself. Everyone’s life is full of ups and downs, but if you don’t love what you do you diminish the chances of the ups and elongate the downs. If you give up on who you are, you give up on everything!

Charlie Newman: Apart from Billie Eilish, who are you listening to right now?
Sonya Kupriienko: Dua Lipa has got a great vocal, she is technically equipped, and I respect that.
Anna Kupriienko: I love James Blake and Bon Iver and loads of underground artists that many people haven’t heard of. I just like to experiment with the sound, hence I like underground and that’s why I have thousands of songs in my playlist!

Charlie Newman: Lastly, who is your role model of the month?
Anna Kupriienko: For me, it’s got to be John Lennon. His music has such great value, not only because of how perfect it sounds, but also for the message it delivers, and this has helped a lot of people through their darkest times. In my opinion, the lyric has got almost childish quirkiness, but such deepness that it is hard to not feel anything. The reason why people make music is solely personal. For some it’s a way to find themselves whilst others create music to bring people closer together by drawing attention to global matters, whether that be the planet, politics or love and peace. I feel like that’s the best way to do what you love, by helping others you are simultaneously helping yourself.

Sonya Kupriienko: My role model is Greta Thunberg. She was only 15 when she first took time off school to protest outside the Swedish parliament, calling for better climate action. It must have felt so annoying considered too young to know better when it’s hard to see grown ups taking our future away from us youngsters. She has now connected with at least 4 million people (her Instagram followers) only a year later and has driven other people of all ages to do the same: save the planet.

Follow the Bloom Twins on Instagram: @bloomtwins

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Reading time: 8 min
Installation shot of racing car photos in black and white against a yellow wall
Installation shot of racing car photos in black and white against a yellow wall

Installation shot from the Koto Bolofo x Connolly Goodwood style exhibition

Ahead of this weekend’s Goodwood Revival, an exhibition of photographs by South African photographer Koto Bolofo celebrating the glamour of the famed racetrack opens  alongside the launch of a new motorsport inspired capsule collection by British fashion brand Connolly

We are brought back to the track as it once was in Koto Bolofo’s photos of the Goodwood Revival. The South African photographer documented the race where vehicles from the ’40s, ’50s and ‘60s are revived, reliving the excitement, glamour and romance of Britain’s leading racing circuit. The collection of silver gelatin prints capture the curved, voluptuous car bodies, the drivers and mechanics bent over engines and meeting in the cockpit, encapsulating the beauty, style and danger of motor racing in the most intimate manner.

Follow LUX on Instagram: luxresponsibleluxury

Engineer sitting in his workshop in a white coat

Racing team push off vintage racing car

Here and above: images by Koto Bolofo

Bolofo is known for his romantic approach to photography. Part of his process is to visit and become familiar with the locations and people that he will be shooting, claiming that he wants himself and the location to ‘grow as friends’. His work at Goodwood is no different, having previously worked at the track on a shoot for Italian Vogue in July 2004. His monochromatic, low and close shots invite us into the private world of drivers and their teams.

Read more: Mustafah Abdulaziz wins 2019 LOBA photography award

Portrait of a racing car driver

Curvacious bodies of racing cars

Here and above: images by Koto Bolofo

Alongside the exhibition, British fashion brand Connolly will launch a new collection this Autumn celebrating the heritage of motorsports. The timeless fabrics and tailoring of Goodwood’s drivers, mechanics and spectators are the inspiration for the capsule collection, which incorporates leather goods and cashmere knits.

Rosie Ellison-Balaam

The ‘Connolly x Koto Bolofo’ exhibition runs until 2 October 2019 at Connolly Townhouse, 4 Clifford St, Mayfair, London, W1S 2LG. The ‘Connolly x Goodwood’ capsule collection is launched on 13 September 2019.

For more information visit: connollyengland.com/koto-bolofo/

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Reading time: 1 min
Model lying in underwear and skirt on the ground

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

Portrait of a mixed race model wearing a white shirt

Model and founder of Metizo chocolate, Avril Guerrero. Instagram: @_avril_guerrero

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

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

Charlie Newman

THIS MONTH: Having already modelled for twelve years, Avril Guerrero has enjoyed a longer career than most. She has appeared in campaigns for the likes of Victoria’s Secret, Moët, Uniqlo, Avon and Garnier, and has recently launched her own organic chocolate company Metizo. Here, she chats to Charlie about the lessons she’s learned from the fashion industry, running a start-up and tackling issues of sustainability.

Charlie Newman: Firstly, please can you tell us about your childhood and your journey into modelling?
Avril Guerrero: I was born and raised in the Dominican Republic until I left to work in New York aged 16. I went to New York literally the day after my high school graduation never to live in the Dominican Republic  again. I got into modelling through my cousin who was an actor at the time at home. He put me in contact with my first mother agent in the Dominican Republic, who then put me in contact with US agencies who I later signed with. I was with MC squared for 10 years, they were like the family to me. They were the perfect agency to start my career with and now I’ve moved to Fusion, who I signed with about two years ago.

Follow LUX on Instagram: the.official.lux.magazine

Charlie Newman: How did you find moving to New York?
Avril Guerrero: The contrast was huge. Honestly, I think there’s something about being so young, you don’t think about things so much. It wasn’t as big a cultural shock as you would expect. If I had to do that again now, it would probably be a much bigger shock, but at the time it just felt right, it was so much fun! The funny thing was that I didn’t even speak English! But it was great because I was so bubbly, thinking back I was just smiling all the time. It was impossible to book me a job where I wasn’t smiling, I wouldn’t have known what to do! I don’t really remember being particularly anxious or nervous.

Charlie Newman: Were you always interested in fashion?
Avril Guerrero: My family aren’t into fashion at all, they’re far more focussed on sports. In fact, all of my aunts on my dad’s side are basketball players, two of which are in the hall of fame in the Dominican Republic for basketball! Fashion wasn’t necessarily something I was seeking, it just happened.

Portrait of a female model in a leather jacket and red jumper

Instagram: @_avril_guerrero

Charlie Newman: What have been your career highlights so far?
Avril Guerrero: I’m embarrassed to say that I don’t really know. I feel like I’ve had an extremely steady career. I’ve never had that career where you’re suddenly thrust into the spotlight with one big job. I’ve had a very progressive career always in more commercial realms. In Paris I do mostly beauty and luxury jobs, but in New York more consistent commercial work. Never a big boom which is good because it’s been progressive and never gone down, well not yet!

Charlie Newman: What advice would you give to any young aspiring models?
Avril Guerrero: Models need to be smart in the sense that it is important to know that this job isn’t going to last forever. The one thing I’ve seen in common with a lot of younger girls is that they don’t understand that this is such an unreliable career and whilst it may go on for as long as mine has, I have to be honest that I don’t see the same girls now as to when I first started working. Also you have to know your purpose: why are you doing this job? For me modelling is a mean to get financial security and is an opportunity for me to travel the world, but that doesn’t have to be the same for everyone, we all have different ambitions. I think it important to be clear about what you want from this job.

Charlie Newman: What has modelling taught you about yourself?
Avril Guerrero: I’ve been thinking about this a lot lately. To do something for 12 years, has made me think: wait, what have I actually done in all that time? The one thing that modelling has taught me so much is my own strength. It’s shined a light on the capacity of my strength to be self sufficient because I have to travel so much and be alone in all sorts of places, and [it takes strength] to be thrust into so many new places at such a young age. It really takes everything you’ve got, not to just get through them, but also to learn. Modelling has definitely made me a stronger person, purely by being so exposed.

Read more: OMM’s Creative Director Idil Tabanca on creating an art institution

Girl holding a bar of chocolate over her lips

Guerrero’s chocolate brand Metizo

Charlie Newman: How did your organic chocolate company Metizo come about?
Avril Guerrero: My father is an agriculturalist in Dominican Republic and my grandfather had a big farm, which grew cacao and coffee. When my grandfather died around 12 years ago, my family didn’t want to have to deal with the farm anymore because it was a lot of work so thought about selling it, but I really didn’t want them to. Somehow I managed to convince my boyfriend and myself to buy this big farm in the Dominican Republic even though we’re based in Paris and in New York!

We both love cacao and chocolate, and he already works in the wine industry so we decided to use our tools and experience by launching a chocolate company – it’s brilliant! We’ve had the farm for three years now, where we employ three people full time and then during harvest season between 15 to 20 people depending on the yield that year. Then in Paris it’s just my boyfriend and me! We have a library of 15 flavours that we have mastered, but at the moment we are only producing four of them. It’s mostly dark chocolate and for now, we only do direct sales through pop-up shops, online and private events. We also offer classes called ‘bean to bar’ where we teach everyone about the whole process and give them the opportunity to make their own bar.

Charlie Newman: What has it been like setting up your own company?
Avril Guerrero: Extremely challenging, especially because we’re trying to manage people who live in a different country and in a different culture. I might have grown up in the Dominican Republic, but I grew older in New York and in Europe. As a result, I think my mindset is no longer in tune with the in the Dominican Republic, when it comes to business at least. So it’s a lot about learning how to convey your message and maybe even learn how to bend the rules a little, and I don’t mean that in a bad way at all. There’s a really interesting power dynamic between how to give and how to retain power in order to make things work. So it’s been a big challenge, but to be honest it’s been amazing because I’ve learnt so much about communicational skills as well as about the entire production.

We have complete control over our supply chain which means we can intervene at any moment. I’ve learnt everything about the whole supply chain: how to work the soil, what colour the cacao needs to be, the chemistry behind the fermentation process and how to transport my Dominican Republic bean all the way to France. We harvest and do some post-harvest processes in the Dominican Republic like the fermentation and the drying process of the beans and then the chocolate part of it is based in Paris.

Read more: London to Cornwall in a luxury Mercedes-Benz camper van

Charlie Newman: Is it a sustainable product and business?
Avril Guerrero: That was a big part of the business project. Whilst studying business [at London’s Open University], my favourite class was always sustainability. The whole issue was how in a globalised economy how can we keep the convenience of globalisation and it’s positive effect whilst also minimising the problems it creates. The supply chain is such a big problem because there are so many intermediaries. Transparency is extremely opaque, in cacao it’s really difficult to measure because a lot of the beans come from the Ivory Coast and there is not enough regulation there, so there are many ethical issues. By being able to handle the bad side of the industry ourselves is a huge blessing because we know exactly what is in each chocolate bar, we know how the beans were not only planted, but also harvested. We know our guidelines and we know where we stand and what value we want to incorporate in our company, because at the end of the day this is an opportunity for me to practise what I preach.

I want a more equal society so I’m thinking about how I can do that. I don’t have any public power or governmental power over policies, but now I have the power of a company which is a big lesson for me. Having gone to business school and having my own business portrays the power of the private sector and the fact that change will come from that in capitalist economies. The Dominican Republic may not be the biggest export in cacao, but we are the biggest in exporting organic cacao. It’s still an industry that is growing and becoming more regulated. A lot of the cacao in the Dominican Republic is organic already because of the natural good quality of the soil. We don’t need to treat our soil with chemicals because we don’t have as many diseases as other producers, which has therefore put us in an interesting position within the market.

Model lying in underwear and skirt on the ground

Instagram: @_avril_guerrero

Charlie Newman: What does Metizo mean and what is the story behind it?
Avril Guerrero: Metizo is a combination of Mestizo in Spanish and Métis in French which translates to bi-racial. Again, I want to use my enterprise and platform to deliver my message and in this case it’s about tolerance. At the time when we started to think about the concept of the brand there was a big issue with immigrants coming into Europe and there was a lot of fear surrounding that. It really made me think a lot, especially as in the countries I consider home – the Dominican Republic and the United States – we are all immigrants, no one is from there. To have that fear about new people coming in is understandable, but at the same time it’s extremely hypocritical because we ourselves are immigrants. Everywhere I’ve lived for the past 12 years, I’ve always been an immigrant. The designer for the packaging, Amandine Delaunay, transformed our ethos into physical design. Each bar has different eyes and mouths on it, so the idea is you can combine a different face with each chocolate bar.

This divide and fear we are all experiencing in some shape or form is a phenomenon that is happening simultaneously everywhere, from Europe to the U.S to my own country. I think it’s really important to understand that no one wants to leave their home for the sake of it, no one wants to embark on a mission and endure the hardship of travelling on a boat not knowing if you’re going to get to your destination. This is not a pleasure trip, you’re moving because you have no choice, you need to leave. We need to cover basic needs, people are dying so we need to be nicer.

Charlie Newman: Are there any stores you would like to see Metizo in?
Avril Guerrero: Our product is more on the luxury side of things, we’re not necessarily trying to sell you another chocolate. We’re offering you something different and sharing an interesting story, it’s never about just delivering another product. Our story is encouraging people to be more tolerant and to look inwards in order to see what we all have in ourselves wherever we are from, whatever our situation. I don’t have a a mission to be in all the biggest stores, rather to be in a few hand-selected stores with a similar objective.

Charlie Newman: Finally, who is your role model of the month?
Avril Guerrero: It’s got to be my family because I think a role model has to be someone you trust. I would never choose someone famous because I have no connection with them, I don’t know the real them. Growing up, I believe it’s more necessary to have role models because you have to start making decisions before having experienced them.

Discover Metizo’s products: metizoparis.com

Follow Avril Guerrero on Instagram: @_avril_guerrero

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Reading time: 11 min
Two watches resting on a white wall with ocean in background
Two watches resting on a white wall with ocean in background

The Classic Fusion Mykonos is available in two versions, featuring titanium or king gold

Hublot’s latest series of classic fusion chronographs is a celebration of the laid-back Mediterranean lifestyle

Evoking the mood of luxuriously languid days on board a superyacht, Hublot has selected a nautical colour palette for their ‘Cruise’ collection, a new limited edition trio of classic fusion chronographs. The timepieces are named after, and pay homage to the Mediterranean islands of Ibiza, Mykonos, and Capri with varying shades of blue contrasted against striking white and metallic details.

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Luxurious blue and white watch pictured on sand

Hublot’s Classic Fusion Ibiza limited edition timepiece

Ibiza

The dominant colour of the model dedicated to the ‘White Isle’ is complemented by a blue ceramic satin-finished bezel and 45-mm case enclosing the chronograph movement, bound by a bi-material strap in cerulean blue rubber and white alligator leather. Characteristic of the brand’s innovative fusion of materials, these highly resistant and waterproof strap components are beautifully stitched in blue, alongside the polished and engraved back case and matte white dials.

Luxury watch lying on a white wall with ocean in background

The Classic Fusion Mykonos

Mykonos

Incorporating a similar combination of materials, but with the option of either king gold or titanium, the Mykonos model fully showcases the mechanisms of the watch, revealing the inner workings of the self-winding chronograph movement. Sapphire crystal sits at the centre of the dial, reflected in the Aegean blue lacquered small seconds hands and matching blue ceramic bezel and strap. The most striking element comes in the form of a small rotating windmill aligned at three o’clock, distinguishing the model with the island’s iconic attractions.

Read more: OMM’s Creative Director Idil Tabanca on creating an art institution

Luxury blue and white watch pictured on sand

The Classic Fusion Capri

Capri

The most relaxed of the three models, the Capri watch is decidedly lighter in colour with a sky blue satin-finished dial housed in a ceramic case of the same bespoke blue. The white lined rubber strap adds a touch of sporty chic, bringing a different dimension to this easy-to-wear collection.

Chloe Frost-Smith

For more information visit: hublot.com

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Reading time: 1 min
Orchestra in performance
Female opera singer mid performance in a blue Arabian style dress

Opera singer Anna Netrebko portraying Adriana Lecouvreur, wearing a costume encrusted with Swarovski crystals. © Swarovski/Thomas Steinlechner

LUX Editor-in-Chief Darius Sanai attends the premiere night of Adriana Lecouvreur sponsored by Swarovski at the Salzburg Festival

Darius Sanai with Nadja Swarovski

LUX had a wonderful time at the weekend at the Salzburg Festival’s premiere of the choral opera Adriana Lecouvreur, featuring the astonishing Anna Netrebko, probably the greatest singer in the world, in the title role. Netrebko’s voice was a performance in itself at the Grosses Festspielhaus in Salzburg, powerful, emotive, an orchestra without an orchestra.

Follow LUX on Instagram: the.official.lux.magazine

Our editor-in-chief Darius Sanai enjoyed some engaging chats over Louis Roederer champagne afterwards with Nadja Swarovski, who sponsored the show, and various members of the Swarovski family and their friends.

Swarovski also provided the crystals for the costumes worn by the leading roles – and Netrebko in a stunning green gown adorned with crystals that seemed to radiate beams of light, in the first act, was particularly memorable.

Utterly fabulous, and Netrebko’s was a performance for the ages.

Find out more: salzburgerfestspiele.at and swarovski.com

Inside a costume making workshop

The costumes in making (here and below). Image by Thomas Steinlechner

Artistic sketch of costume dress

Opera singer in an orange dress in performance

Anna Netrebko in performance. © Swarovski/Thomas Steinlechner

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Reading time: 1 min
Shave head female model against blue sky

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

Portrait of female model with shaved head

Model and creative director Emily O’Donnell. Instagram: @emily.j.odonnell

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

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

Charlie Newman

THIS MONTH: 21-year-old Emily O’Donnell signed with Models 1 just under a year ago and has already shot for the likes of Vogue Italia, LOVE magazine, Hunger and iD China. Having recently graduated from UAL, she is also pursuing a career in creative direction whilst making art and music on the side. Here, she chats to Charlie about juggling her passions, how structure hinders creativity and collaborating with Nike.

Charlie Newman: What was your childhood like? Are you from a creative background?
Emily O’ Donnell: I was born in Leeds, where my mum is from. At two weeks old I moved to Milan because my dad is Italian and that’s where I was raised, which explains why I have such a weird accent! I was in Milan until I was about 17 years old but by then I was itching to get back to the UK, so I moved to Birmingham for two years to finish my diploma in art and design. After that I moved to London and studied at UAL, so I’ve been studying art since I was 13. The schooling system is really different in Italy, in Milan you have to choose what you want to do at 12 years old, and my choice was art! I don’t actually have creative parents. When I was growing up, music was the main thing for me. I was a super RnB head, my main inspiration until this day is Erykah Badu.

Follow LUX on Instagram: the.official.lux.magazine

Charlie Newman: Congratulations on graduating from UAL! What was your final project on?
Emily O’ Donnell: My course was fashion styling and production but I shifted more into creative direction which is what I’m doing more of now. I did a short film based around the importance of the body within cultural fabric, whether that’s within religion or cultural tradition. I basically explored the meaning of fabric within different religions and sort of distilled the two – body and fabric – and then reworked them in a more contemporary way. I created a film and an editorial.

Charlie Newman: Do you think it is important to study the arts is if you looking to work in a creative industry?
Emily O’ Donnell: I think especially for art and fashion I don’t think you necessarily need it, I’m not saying I haven’t learnt anything, I definitely have, especially at UAL, it’s been great platform to network. But as far as your creative flow and your creative knowledge goes, I don’t think being in such a structured environment helps. For me, university courses aren’t structured for you like to your work. By the time I finished a project I always hated the work, I was done with it. But it’s definitely been a good experience, I’ve learnt from it. I’m just now ready to move on.

Charlie Newman: When did you sign with Models 1 and how were you scouted?
Emily O’ Donnell: My friend wanted to go to this scouting event at a Brandy Melville store and I said I would go along with her to support – I really had no interest in it. We were both asked to come back and having seen my Instagram, Models 1 wanted me on their talent board and New Faces. I signed with them almost a year ago. It’s been good, I’m a workaholic and I really need to keep working and they know that! I saw a few agencies before but having been a freelancer for a few years I knew that if I were to be signed by an agency, I really wanted one that would take care of me so it’s been great. Models 1 know I don’t just wanted to be modelling, that they need to push my whole career. I’m not just my face.

Emily O'Donnell walking through water in a dress

Instagram: @emily.j.odonnell

Charlie Newman: What are you working on now?
Emily O’ Donnell: I’m working on a few projects to expand my creative direction portfolio. I’m working on a combination of commissioned and personal work. I paint too and I’ve been working on an EP for the past year now. Because of university I’ve had to put everything on pause and now that I’m done with it I can throw myself back into it all – no summer breaks for me!

Read more: Test driving Michelin’s tyres for supercars

Charlie Newman: How do you juggle it all?
Emily O’ Donnell: You know how people say that you can only master one art and you can’t do them all? Well for me it’s a necessity to have different outlets for me to be creative. I don’t think I could stick to one job for the rest of my life and for that to be it. I’ve always said that I’m going to work my ass off to make sure that I’m not in a position that I don’t want to be in. I never see it as Emily the painter, Emily the singer, Emily the creative director, Emily the model. They’re all a part of me and I love them all, I can’t not do any of them. If I’m not working enough I really feel it – I hate it.

Charlie Newman: Last year, Nike asked you to create a video for the launch of their new tracksuit campaign. What was it like collaborating with such a huge brand?
Emily O’ Donnell: I’m so lucky I have such an amazing relationship with Nike, they’re like family to me. They’re one of my favourite brands so when they reached out, of course I went for it. They gave me so much freedom for the video too which was great, all they told me was that it had to be fresh, be London and focus on youth culture. That job of course opened a lot of doors for me, I can’t thank them enough. If every there’s an opportunity for me to be in the right place at the right time I’ll take it!

Shave head female model against blue sky

Instagram: @emily.j.odonnell

Charlie Newman: What would be your dream project now?
Emily O’ Donnell: I really want to push my creative direction more into high end designers. I’ve done a lot of sportswear designers so it would be nice to mix it up.

Charlie Newman: What are you listening to or watching at the moment?
Emily O’ Donnell: I’m listening to Tyler the Creator, D’Angelo and Solange. I don’t really do series when it comes to film, because I don’t have the time. But having done film studies I’m really into David Lynch and Stanley Cooper, all the classics. I feel like when I watch movies now I’m only seeing the technical side of it, how they’ve shot it. I find it really hard for my brain to switch off. I watch a lot of documentaries because I find it much easier to watch, there’s less to analyse and it’s more informative.

Close up shot of a female model wearing pink eye shadow with eyes closed

Instagram: @emily.j.odonnell

Charlie Newman: You have such a distinctive beautiful look. When did you decide to shave your hair?
Emily O’ Donnell: I’ve had my head shaved for two years and before that I had a big brown bob, a bob! I feel like this is a much much better for my work, although it’s such an effort, I shave it and bleach it every week! People often say to me that they can’t work out where I’m from. It’s fresh and I’m really happy with it.

Charlie Newman: What do you think has been a career highlight for you?
Emily O’ Donnell: I wouldn’t like to say because I never like to sit back and I’m always onto the next thing. I’m lucky to have done so many sick shoots.

Charlie Newman: Finally, who’s your role model of the month?
Emily O’ Donnell: It’s got to be Erykah Badu, every time, I love her!

Follow Emily on Instagram: @emily.j.odonnell

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Reading time: 7 min
Model leaning over a mirror wearing a red dress and diamond jewellery
Model wears tribal style jewellery

The ‘Black Hawk’ high jewellery collection by Messika

Valérie Messika grew up playing with precious stones. Her father, Andre, was renowned in the diamond industry for decades, but at the age of 25, Valérie discovered a niche in the market: everyday, wearable diamonds. She founded her eponymous brand around this ethos and Messika has since become a favourite amongst celebrities with stores across the globe. Here, we speak to the designer about fashion, Parisian style and designing for men

Portrait of a woman smiling in diamond jewellery

Valérie Messika by David Ferrura

1. What’s your most cherish piece of jewellery?

When I was young, my grandmother, who is one of the most amazing women I have ever met, gave me one of her rings. It is a pear shaped 9.30 carat diamond, it is my favourite piece of jewellery.

Follow LUX on Instagram: the.official.lux.magazine

2. How much attention do you pay to trends?

I am a real fashion lover! I get my inspiration from a lot of things, at all times– but fashion and haute couture are one of my biggest sources of inspiration. I find inspiration by walking the streets in Paris and looking at people’s attitude and style. I admire the Parisiennes; they look so chic but always in a very minimal and trendy way.

Model leaning over a mirror wearing a red dress and diamond jewellery

Pieces from the ‘Desert Bloom’ high jewellery collection by Messika

3. What makes a piece of jewellery timeless?

To be timeless, a piece of jewellery must be a mix between classic and contemporary, but always with a twist of modernity.

4. Do you approach designing for men and women differently?

I get my inspiration from people that surround me such as my two daughters, my husband and my father. I also take into consideration feedback from my clients, this is important to me.

Creating for men was about how I see men. Forging a bond between men and women’s jewellery was a real challenge. I have created a masculine interpretation of my iconic collection Move, that combines both power and lightness. The motif of the three moving diamonds is deeply imprinted in me and lies very close to my heart, it stands for the ‘love of yesterday, today and tomorrow’.

Read more: 6 mountain restaurants to stir your soul this summer

5. When you get dressed in the morning, which do you choose first: clothes or jewellery?

I am very lucky as I can change my jewellery every day. I always associate my jewels with my clothes. What I like is stacking bangles by mixing my signature collections, Move and Skinny. I adore wearing jewellery as fashion accessories.

Messika pieces are created to be worn on an everyday basis. Diamonds can be worn every day with a pair of jeans, your favourite sneakers or your favourite jumper!

Diamond earrings hanging on a branch of a tree

‘Wild Moon’ earrings by Messika

6. What’s your favourite jewel other than a diamond?

This is a tricky question as diamonds are in my DNA. This passion is my heritage. But I always have my Audemars Piguet watch that I consider to be like a piece of jewellery.

Discover Messika’s collections: messika.com

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Reading time: 2 min
Backstage image of a model wearing a tiara
Backstage image of a model wearing a tiara

Backstage image of a Chaumet tiara being fitted on a model

Tiaras are the cult jewel of maison Chaumet, and their latest exhibition ‘Chaumet in Majesty’ at the Grimaldi Forum, Monaco offers a rare insight into the iconic jewel’s history

Since 1780 Chaumet has been the jeweller to sovereigns. This latest exhibition at Grimaldi Forum recounts the lives of the brand’s royal customers and delves into the history of the jewels themselves, highlighting tiaras as symbolic of timeless feminine power.

Follow LUX on Instagram: the.official.lux.magazine

Antique photograph of a woman in evening dress wearing a tiara

Portrait of Edwina, Countess Mountbatten of Burma, last Vicereine of India, wearing her Chaumet tiara for George VI’s coronation. Photographie de Yevonde, 1937. © Madame Yevonde/Mary Evans Picture Library

As Chaumet demonstrates, a tiara is not just a decorative jewel, but one which has an important functionality, specifically designed to imbue its wearer with virtuous qualities and authority. For example, The Briar Rose Bud tiara (1922) features fauna motif referring back to the power and prestige of classical laurel wreaths whilst the material qualities of the pearls evoke wisdom and diamonds are traditionally associated with timeless elegance and strength. The Pearl and Mircomosaic Parer (1811) also projects an image of its imperial court. The tiara depicts scenes of Roman landscapes through mosaic techniques to lend the piece and its wearer an air of romanticism and grandeur.

Product image of a diamond tiara against a black background


‘Chaumet in Majesty’ exhibition at the Grimaldi Forum, Monaco: displaying the tiara with florets of Edwina Countess Mountbatten of Burma, last Vice-Queen of India created by Marcel Chaumet (1886-1964) in 1934 in the workshop of Maison Chaumet. The tiara was entrusted to another Maison who sold it to Lady Edwina Mountbatten. Private collection

Read more: Why we love Cartier’s high jewellery collection ‘Magnitude’

The exhibition brings together 250 pieces of jewellery, some of which are being seen publicly for the first time, sourced from the collections of Prince Albert II of Monaco, Queen Margrethe II of Denmark and museum collections from all over the world. In the exhibition we see the heritage of the maison’s forms and the quality and beauty of their pieces, but more importantly, we can begin to appreciate jewellery’s role in signifying women’s power throughout the ages.

‘Chaumet in Majesty’ runs until 28 August 2019 at the Grimaldi Forum in Monaco. For more information visit: chaumet.com 

Rosie Ellison-Balaam

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Model posing with large contemporary artworks
Model wearing a large necklace with blue stones

The Équinoxe necklace with an octagonal yellow sapphire at the centre

Move over minimalism, Cartier’s latest high jewellery collection is an adventurous exploration of magnified dimensions

Magnitude by Cartier is as much a statement of size as the collection’s name suggests. At the centre of each piece sits a remarkably large stone in its original form, showcasing unconventional, semi-precious crystals alongside more traditional jewels and diamonds.

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The most striking example of this adventurous new design approach for the French maison is the Zemia cuff bracelet, featuring an immense 77.27-carat matrix opal circled by violet sapphires, spessartite garnets, and brilliant-cut diamonds. The 68.85-carat rutilated quartz of the Aphélie necklace possesses similarly impressive proportions, set in a pink gold pendant with cascading morganite beads, orange and white diamonds, and flashes of coral and onyx.

Model posing with large contemporary artworks

Model wearing the Zemia cuff bracelet from Cartier’s Magnitude collection

Cut out image of an elaborate necklace with a huge stone centrepiece and beads

The Aphélie necklace

Whilst working with a variety of sizeable and seemingly unrefined stones, the collection retains the subtlety and elegance of the wider Cartier portfolio in the smaller, surrounding details of contrasting yet complementary colours and textures. For example, electric blue beads of lapis lazuli are interlaced in an openwork constellation design of the Équinoxe necklace with an octagonal yellow sapphire at the heart.

Read more: Ruinart x Jonathan Anderson’s pop-up hotel in Notting Hill

An overall talismanic effect is achieved through the earthy tones and natural aesthetic of the rudimentary colouring of each centrepiece, reminiscent of Cartier’s earlier work with ornamental stones in decorative objects during the Art Deco period.

Chloe Frost-Smith

For more information visit: cartier.co.uk

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Luxury dining room area with contemporary stylish furnishings
Luxury dining room area with contemporary stylish furnishings

The Penthouse kitchen and dining room designed by Roksanda. Photography by Michael Sinclair. Styling by Olivia Gregory

Fashion designer Roksanda Ilinčić has curated the interiors of a penthouse apartment inside Gasholders London, a new residential development in Kings Cross. We get the grand tour

The trend for designer home-wear has reached its pinnacle. The new penthouse apartment curated by fashion designer Roksanda Ilinčić shows not only her designs, but how they integrate with art and iconic pieces of design history. The apartment is about how we can live with art and how all arts engage with each other; fashion crossing into ceramics, furniture and architecture. It is a unique space, which encompasses her artistic vision through unifying and contrasting colours, textures and luxury materials.

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Roksanda’s own home-wear collection, naturally, takes centre stage. In the apartment’s whimsically named ‘Sun Room’,  a ‘Roksanda X Linck Ceramics’ vase stands next to a stylish velvet chaise in red and orange with a coral curtain backdrop. The vase’s monochromatic shades are striking against the vibrancy of its surroundings.

Still life image of a contemporary flower vase against a bright pink blind

A Roksanda X Linck Ceramics vase in the penthouse’s ‘Sun Room.’ Photography by Michael Sinclair. Styling by Olivia Gregory

Here and throughout the apartment, we see the designer using colour and form in an unexpected way, just as she does with her clothing and accessories. The sculptural shapes and distinctive cuts associated with her clothing lines are translated into her choice of furniture; in the sharp angular Pierre Jeanneret chairs (1950s), the sleek, almost weightless Guillerme and Chambron oak desk (1960) and the organic, rounded form of the ‘skin lamp’ by Eny Lee Parker.

Read more: Kuwait’s ASCC launches visual arts programme in Venice

Stylish contemporary living space

The living room with curated furniture by Roksanda. Photography by Michael Sinclair. Styling by Olivia Gregory

Coat and bag hanging on contemporary style zigzag coat hanger

Roksanda’s creations are dotted around the apartment. Photography by Michael Sinclair. Styling by Olivia Gregory

The link between fashion and art is further emphasised by the designer’s own pieces, which are dotted around the apartment. A deep red jacket hangs in the hallway, a dress is draped across a bedroom chair with a pair of matching slippers, giving the impression that the designer is living in the space. This, of course, is the desired effect. The pieces are positioned so as to reveal just how liveable the space is, allowing viewers to picture themselves in the scene.

Rosie Ellison-Balaam

The Penthouse sits over three floors, with a double-height sunken courtyard garden and staircase providing access to a private roof garden with views of Coal Drops Yard. The apartment is available to buy fully-furnished for £7,750,000. Find out more: gasholderslondon.co.uk

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Model stands looking out of blinds wearing multiple jewels
Model stands looking out of blinds wearing multiple jewels

Bvlgari’s Cinemagia High Jewellery collection is inspired by old age Hollywood glamour

Bvlgari brings back Hollywood decadence with their latest high jewellery collection inspired by 1950s cinema

Long defined by its unconventional colour combinations of precious stones, Bvlgari’s latest collection reimagines the brand’s colour palette in statement pieces that pay homage to various aspects of cinema.

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The highly unusual monochromatic Action! necklace, for example, celebrates the invention of celluloid roll film with thirty-two carats of pavé diamonds and black zirconium, the latest innovation from the Roman maison which is surprisingly practical in design. A complex spring construction is incorporated to ensure the perfect fit whilst allowing the necklace to return to its original shape after each wear. When rotated, the round film element centre reproduces the sound of old movie projectors, adding an intriguing sensory dimension to this unique piece.

Read more: In conversation with the world’s oldest model

Model poses in director's chair wearing a silver and black choker necklace

The Action! necklace features thirty-two carats of pavé diamonds and black zirconium

Still life image of a diamond necklace on a red carpet

The Fairy Wings necklace with coloured gemstones and diamond butterflies

The Emerald Affair necklace is a contemporary reworking one of the brand’s most iconic pieces, featuring a brilliant green, octagonal step-cut jewel, whilst the Fairy Wings necklace playfully mixes eight coloured oval gemstones, each set on a delicate diamond butterfly.

Blonde model poses in evening outfit wearing an emerald necklace

The Emerald Affair necklace features a brilliant green, octagonal step-cut jewel

Sparkly necklace with multiple jewels pictured in the model of a swimming pool

Other pieces in the collection incorporate vibrant shades and a variety of gemstones

Other pieces in the collection feature varying shades associated with the days of La Dolce Vita, including pink sapphires, mandarin garnets, and citrine quartz. For a more versatile look, selected pendant pieces can be turned around and styled backwards for wearers to fully embrace Bvlgari’s rule-breaking approach to both colour and design.

Chloe Frost-Smith

Find out more: bulgari.com

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Side profile portrait of an elderly woman wearing a statement earring
graphic banner in red, white and blue reading Charlie Newman's model of the month
Side profile portrait of an elderly woman wearing a statement earring

Daphne Selfe is the world’s oldest professional model. Instagram @daphneselfe

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

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

Charlie Newman

THIS MONTH: It comes as no surprise that the world’s oldest professional model, Daphne Selfe, who turns 91 next month, ‘doesn’t do retiring’. The British model has clocked up over 70 years of experience, working for the likes of Olay, Eyeko, and Dolce and Gabbana, as well as posing for artists, making TV appearances and writing a memoir. This year, she was included in the Queen’s New Year Honours list and was awarded a British Empire Medal for her contribution to fashion, and whilst she no longer wears high heels, she can still do the splits. Here, she tells Charlie how she got into fashion, and why the Queen is her style icon.

Charlie Newman: Firstly, let’s talk about your upbringing – what was it like and how do you think it informed your choice of career?
Daphne Selfe: I spent most of my childhood in Berkshire until my parents moved to Hertfordshire. I always had an eye on fashion because my mother was very beautiful, smart and always made my clothes, but my true love was horses, I was mad on horses. I learnt to sew but I didn’t really get into fashion until I started working at Helles (what John Lewis was) in the coat department. At the store, there was a competition for the cover of a local magazine. All the girls, including myself, went to meet the photographer, and I won! It turned out the photographer was a royal photographer called Gilbert Adams and funnily enough he knew my parents from an amateur Opera society! The last time he saw me I was 2 years old, so when I turned up all 5ft 10 and a half of me aged 19, he really took me under his wing and taught me how to behave in front of a camera. I did lots of little odd jobs for him, assisting him for a while whilst working part time at Helles. The store then had a fashion show and the agency who were supplying the models was one short, so I was propelled onto the catwalk and thought, ‘Oh my god, what am I doing?’ After that they all said I should join the agency. In those days you had 3 weeks of training to be a model. Mummy thought this was a lot better than breaking a collarbone and being kicked in the head by horses so off I went!

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After 3 weeks training, I belonged to the agency. I met my husband, Jim, through Gilbert Adams, because he was the lighting technician of the ballet show we were working on. We didn’t get married straight away because he was busy travelling and I was busy with my dance school. I did my ballet training far too late, at 19 years old, but I assiduously learnt because ballet is the basis of all dance. I learnt from a very interesting choreographer called Buddy Bradley, who was well known in the twenties for having put on an amazing musical called Evergreen with Jessie Matthews. I joined his company because I could sew and help with the costumes and because I loved dancing! Of course nobody went abroad in those days, so when his little company went to Belgium, Rome and Madrid, I was delighted to go with them!

Then I decided Jim was the one, so I got married and in those days you didn’t work once you got married, so I retired and had three children but always kept up with my dance classes. Jim worked in television and one of his friends asked me if I would be an extra in The Arthur Haynes Show. Jim happened to be the stage manager that day, and he said ‘What on earth are you doing here?’ and I said ‘I’m working!’ He thought that was terribly funny, then from that I did more and more extra work, as well as fashion shows and commercials.

Elderly woman poses in a ballerina posture

Instagram @daphneselfe

Charlie Newman: How did your modelling career continue into later life?
Daphne Selfe: I was doing my extra work and in 1999 when I was 70 my agency asked whether I would do a fashion show at London Fashion Week for Red or Dead. I love prancing about in nice clothes so of course I did it! The stylist on the show, Jo Phillips, called me up three months later and said Vogue are doing an article on ageing and suggested I get involved. At the shoot was the scout from Models 1 and I’ve been with them ever since, some 20 years later! I didn’t give up the extra work once I was signed with Models 1 because I know how the industry can like you one minute and not the next. But then I was getting more and more modelling work so I had to drop the extra work in the end.


Charlie Newman: What has been a career highlight for you?
Daphne Selfe: I think going abroad for the jobs is the best thing, because I would never have been able to afford that otherwise. I mean I’ve been to Australia, China, Japan, Africa. Whatever next!

Elderly woman poses sitting in a chair

Instagram @daphneselfe

Charlie Newman: Having worked throughout many fashionable decades, what do you think style means today?
Daphne Selfe: It doesn’t matter what time you live in, you must wear what suits you because then people will always admire you in it, it’s very important not to be driven by the trends of the moment.

Charlie Newman: In a dream world, who would you want to dress you and why?
Daphne Selfe: Currently, I love Roksanda Ilinic’s designs. I love going to Roksanda’s shows now and wearing her clothes at events, they always feel very fun and boost my confidence.

Charlie Newman: What advice would you give to young models starting out their careers?
Daphne Selfe: Taking care of your health is the most important thing because modelling is hard work if you do it properly. It’s long hours, lots of hanging about, lots of physical activity and also you need a good work ethic. In other words, that means be on time, don’t mess about once you’re there, and stay off your phone.

I was working with a Dutch photographer the other day and I was doing all my normal things; inventing poses, jumping around, all the usual. At the end he said to me ‘I’ve never worked with such an energetic model’ which did make me laugh! Just throw yourself into the shoot and give it everything.

Modelling can be horrendous too. I lost a big job the other day, but so what? It wasn’t my fault, it’s about what they want. It’s no good worrying about it, but I know a lot of people find that difficult. Being a model is very difficult if you don’t have much confidence because you have to put yourself in a room of people you don’t know and work with them effortlessly.

Elderly woman posing for a portrait

Instagram @daphneselfe

Charlie Newman: What keeps you happy and healthy?
Daphne Selfe: Well, I do a series of exercises most days, something along the lines of yoga, ballet, a little bit of weights but also static bicycle. Of course, I can’t do everything every day, but I do always do some stretching.

I suppose because I grew up in the war we never ate masses. We grew all our own fruit and vegetables so we had a very strict diet and that’s a mentality which never leaves you.

Charlie Newman: Who was your fashion icon when you were younger?
Daphne Selfe: I suppose in a way we always looked up to royalty, the young Queen, of course, was gorgeous. They all lived such glamorous lives, or so we thought. Whereas now, people don’t want to dress up anymore which I think is such a pity because I love dressing up!

Charlie Newman: Lastly, who is your role model of the month?
Daphne Selfe: It’s got to be the Queen, she’s absolutely fantastic! She always wears bright colours but is also discreet. I know of course she has money, but it really doesn’t cost a lot to look good. I’ve always made my own things and looked as good as anybody else.

Follow Daphne Selfe on Instagram:@daphneselfe

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Hands drawing on pieces of paper in a workshop setting with shoe insoles
Pain of black high heels pictured in front of medical bottles

Maison Baum heels are fitted with a pain-free insole

Newly launched shoe brand Maison Baum combines French luxury design with German medical expertise to create a high heel that’s as comfortable to wear as it is stylish. We speak to co-founder Christof Baum about their patented pain-free insole, sustainable fashion and recycling

A man and a woman wearing lab coats in an old shop

Co-founders Sophie Tréhoret and Christof Baum

1. What inspired you to start Maison Baum?

I’ve seen a lot of women around me suffer from pain in high heels, including my sister. My dad is an orthopaedic surgeon, so the idea came about naturally to explore how to apply his knowhow and make beautiful shoes with it.

In addition, French was my first foreign language and having grown up in a city just next to the border, it felt like the brand should combine my love for France while at the same time valuing my family’s German heritage.

2. How does your pain-free insole work exactly?

The insole involves seven cushioned elements that support your foot bones in just the right places to prevent your foot from slipping forward. Together with my father, I have identified the key anatomic areas which you need to relieve. Due to the anatomical insole and a couple of other measures, our shoes reduce forefoot pressure by around fifty percent and are a lot easier to keep on your feet compared to other heels.

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3. What’s been the most challenging part of setting up a fashion start-up?

Defining a vision and believing in it when no one else does. New challenges come at you every day and you have to cover a broad range of topics, such as accounting, design or even foot anatomy. Nevertheless no matter what happens, it’s important to focus on the work you can do to improve the situation in that moment, think ahead and surround yourself with the right people. I’ve been very lucky to work with people I value both on a professional and personal level, and this is what makes all the difference.

4. How are you tackling issues of sustainability?

Sustainability is a heartfelt desire for me. We only have one earth to live on and to take care of and as shoemakers we belong to one of the most polluting industries. Nevertheless the world we live in is complex, and you need to think sustainability from various ways.

For Maison Baum, we try to implement environmentally sound materials wherever we can and combine them with social and economic long-term sustainability. Hence, we manufacture with selected European suppliers and family-owned companies only and make 90% of our packaging from recycled cardboard. Our designs are classic and timeless and we focus on creating ever-green design superstars that you can wear for many years instead of only following the latest fashion trends that will make you throw away your heels after a few months of wearing them.

However, combining feminine design with the largest medical soundness to make them “sustainable” for the body remains our utmost priority.

Read more: Designer Mary Katrantzou on the business of fashion

Hands drawing on pieces of paper in a workshop setting with shoe insoles

Inside the Maison Baum workshop

5. If you could change one thing about the fashion industry, what would it be?

It would be to have internationally-binding and actually enforceable standards on the potential disassembly of shoes. We humans throw away and burn an insane amount of fashion and footwear every year. The number one reason why shoes are so rarely recycled is that most are glued together and can’t be easily separated into their constitutive materials.

6. What’s the longest period you’ve spent wearing  Maison Baum heels?

10 hours straight at home. But I wouldn’t repeat that in public.

Find out more: maisonbaum.com

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Models pose with lips puckered at fashion designer backstage
Models pose with lips puckered at fashion designer backstage

Mary Katrantzou (second from left) backstage at the 2018 Victoria’s Secret Fashion Show in New York

With a decade of successful collections behind her and a penchant for outside-the-box collaborations, Mary Katrantzou is a designer not only bursting with creativity but also with the business acumen to go truly global, as Carolyn Asome discovers

Don’t underestimate the agility required to keep up with Mary Katrantzou’s boundless curiosity, the ever-inventive ways she pushes herself out of her comfort zone, the rat-a-tat-tat of her myriad collaborations (more of which later) and fundamentally, her desire to never sit still.

Does Katrantzou, who for the past decade has wowed us with her own strand of quirky maximalism, breathtaking decoration techniques and architectural shapes, ever worry that her body may struggle to keep up with her mind? The Greek-born fashion designer (and veritable power house), who read architecture at the Rhode Island School of Design before studying for a BA in Textile Design at London’s Central Saint Martins, howls with laughter at this. “It’s true, I’ve turned 36… it probably doesn’t.”

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Few designers are able to confront the obstacles of growing their own business. Fewer still are able to articulate them quite as clearly as Katrantzou can – although one senses that she has always relished the challenge. Her voice lights up: “Growing your business is the ultimate in creativity. It forces you to have an understanding of the business of fashion. I don’t think you can have a company without that interest or without the ambition to be involved.”

In an increasingly volatile retail climate, what are the challenges she faces? “There are several, but one of them is having a voice that really stands out against the noise. There are lots of heritage brands with a rotation of designers at the helm. You need to really know what you stand for. I challenge myself to do that each year. You might think you have an idea of who your woman is, but it isn’t always as easy as you think it is. I am not designing for a romantic warrior…” she laughs. “Sure, she is bold and daring and she uses fashion as a tool of expression. What I design has an element of uplift, but it also has links to art and design – that is very much part of it, too.”

Model on the catwalk wearing a large multicoloured coat

A look from Mary Katrantzou’s AW19 collection

The conundrum of dealing with an ever- whizzier hamster wheel of production also looms large. Thankfully, Katrantzou explains this is far less of a taboo subject than it was in the past. “Three years ago, no one wanted to talk about it and you almost closed your eyes and hoped for the best, but now other designers talk and you realise we are all in the same boat. Because obviously it is going to affect your creativity.”

Her solution? “While we have four drops annually, there are only two thematic collections a year so that means we have longer to talk about something, but we still have the newness.” Another challenge she mulls over is how to move outside ready-to-wear and use her design talent in other areas. Given that Katrantzou trained as an architect, she enjoys the challenge of looking at things from different perspectives and the creativity that comes with designing in different realms.

“We’ve tried to shift the brands in both directions: at one end offering shows at a demi- couture level and building on our customer relationships so that they can buy from us as made-to-measure or bespoke, but also, to do collaborations with much bigger global brands which allows us to reach a far wider audience.”

Read more: Photographer Thomas Demand on abstract perspectives

Katrantzou enjoys the fact that collaborations force her to think in a completely different way. “It’s an entirely different end use of a product. You can be democratic in a way that as an independent brand you just can’t be, because you can’t reach those price points or your minimums and production runs are so different. The modern brand of today needs to be reaching out to all different price points and different tiers. You are communicating with your customer but offering her a very comprehensive way of being able to buy your brand. We are doing a tenth of what we can do as we are still largely a ready-to-wear brand, but we’ve created jewellery with Swarovski, and done a small homeware range with a friend, Brigitta Spinocchia Freund. We’re also doing a ballet at Sadler’s Wells with Russell Maliphant and music by Vangelis, which is obviously so different from what you get when creating the costumes for the Victoria’s Secret show.”

The designer’s interesting collaborations – ones which challenge the well-trodden formula of designer/highstreet unions – are what caught the eye of Chinese investor Wendy Yu, the 28-year-old who has earned herself the reputation as China’s unofficial fashion ambassador.

Two women posing in front of a green wall at an exclusive event

Mary Katrantzou with Wendy Yu 2017

Two years ago, Katrantzou took investment from Yu. “I’d noticed and loved Mary’s capacity and talent to expand into different product categories along with her infectious energy and drive,” says Yu. “She’s built a brand with a strong and unique identity. I can see the potential of Mary Katrantzou homeware and beauty… I think the Chinese consumer would really buy into the brand at this lifestyle level too.”

Yu was one of three who came in on a ‘family and friends’ round of investment. For Katrantzou, the idea was also to look at what investors could offer aside from the financial support. “Wendy has been helpful with expanding in China. She is someone who understands how to help build a brand between east and west, between fashion and the arts.” Katrantzou has also learnt that in order to create awareness in China, it takes much more than just visiting once a year. It’s visiting regularly and initiating activations that really engages.”

Despite following a wholesale model, Katrantzou finds that clients come to her, season after season. “It’s rare these days to have a really loyal client. I don’t know what it is about the brand that elicits that loyalty but whatever it is, I don’t take it lightly.” This modesty is typical of Katrantzou. Such is her talent that she has clients who own so many of her clothes, they might easily stage a retrospective of her collections. It is telling that one of her most devoted fans is also one of the biggest collectors of Phoebe Philo’s collections at Celine – “our aesthetics couldn’t be more opposite” – and yet, there is something about the power of Katrantzou’s craft, the detailing and point of view that elicits such fandom.

Women pose backstage in front of a rail of clothing

Katrantzou and friends at London Fashion Week, 2016

Last September, Katrantzou celebrated her tenth anniversary, filling Camden’s Roundhouse with a collection all about collecting and collectables. Instead of a ‘best of ’ tribute to the preceding decade, she riffed on philately and entomology. One gown resembled a Fabergé egg gleaming with crystals, while a bustier dress revealed an array of coloured stone rings within a jewellery box.

Read more: Why LUX loves the New Perlée creations by Van Cleef & Arpels

Her most recent collection was based on the elements – earth, air, fire and water – and how they exist within us. “I wanted to explore the fire – when you have that energy and passion; or air when you feel that sense of being light and free. And it was interesting to distil all of that into a collection as it was so abstract and unlike my previous collection, which was more literal and very object driven.”

Model on catwalk wearing large orange coat

A look from Mary Katrantzou’s AW19 collection

For water and air, Katrantzou explored silhouettes that were weightless, either in organza or tiers of ruffles, which “bounced in a cloudy way, or else we used feathers”, experimenting with materials and techniques that haven’t been explored before.

Today, there are 25 people in Katrantzou’s London studio and her label is sold in 50 countries. “Our strongest markets are in the US, the UK, southern Europe, the Middle East and now China,” she says. “You know you appeal to a certain type of woman, and while I’m not saying an archetypal woman, they do have something in common. And we don’t have to be big in the Nordic countries if we are not selling there.”

Increasingly, Katrantzou is thinking about how she fits into the world around her: what she stands for and how that extends to bigger topics. “Luxury for me is knowing you are not harming your environment, knowing that the pieces you create will last in someone’s wardrobe for ever. I find it interesting that clients increasingly come to me and say they want to spend x amount on this one dress rather than buy 20. There’s a return to craftsmanship, pieces that are made by hand. With demi-couture, you are supporting a more analogue approach to fashion. It isn’t a big percentage in terms of how many commissions we get, but it is a sizeable part of the business… and it’s growing.”

Find out more at: marykatrantzou.com

This article was originally published in the Summer 19 Issue.

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Reading time: 7 min
A gold ring on a pink surface with half pink circles in the background
A gold ring on a pink surface with half pink circles in the background

Working with several designers, Van Cleef & Arpels have breathed new life into their classic collection

This season, we’ve got our eye on the new, youthful additions to Van Cleef & Arpels’ Perlée collection

Perlée is one of Van Cleef & Arpels’ long-standing, classic collections so-called after the maison‘s signature style of beaded jewels. The newest additions offer a fresh twist on the traditional and have been visualised in youthful graphic campaigns created in collaboration with designers such as Santi Zoraidez and Oscar Pettersson, both of whom are known for their playful, pastel aesthetics, digital geometric formations and sizeable Instagram followings.

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This might mark the first steps to a more millennial approach for the traditional French jewellery brand as does the focus on bespoke design. For example, the transformable long beaded necklace allows wearers to swap in the central ring with a variation of three colours (onyx, turquoise and coral) to better suit their mood, outfit or the occasion.

promotional image of a woman's torso in a white top wearing a long chain necklace with a beaded circle pendant

The transformable long beaded necklace with a coral inner ring

Diamond studded watch bracelet pictured on a pale blue background

One of Van Cleef & Arpels’ new ‘secret watches’ in bracelet style with rose gold and diamonds

Even the more grown-up pieces such as the secret watches have been made-over with contrasting gemstones and precious metals – rose gold paired with diamonds, deep green malachite and orange coral, yellow gold studded with diamonds and lapis lazuli. It’s an effortless, refreshing new look for the collection, and the brand.

Find out more: vancleefarpels.com

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Two businessmen standing beside a giant sculpture of a blue gorilla
Two businessmen standing beside a giant sculpture of a blue gorilla

Ricardo Guadalupe (left) with Richard Orlinski and one of his ‘Wild Kong’ sculptures

Luxury Swiss watchmaker Hublot is letting artists design their timepieces, and their customers and collectors love them. Rachael Taylor examines a new trend in horological branding

Hublot chief executive Ricardo Guadalupe was on a skiing holiday in the exclusive Courchevel resort in the French Alps when he spotted unusual sculptures rearing out of the powdery white slopes. The giant faceted animals, including a howling wolf, a chest-beating gorilla and a bright red Tyrannosaurus rex, were the work of contemporary French artist Richard Orlinski, and this chance encounter with a mountain-top menagerie would go on to inspire a surprise hit for Hublot.

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“Maybe Hublot was surprised, but I wasn’t,” laughs Orlinski, commenting on the success of the first watch he designed for the brand. “I don’t know if I have talent, but with my eyes I can see what people see. I’m a mainstream guy. When I like something, a lot of people like it.”

Indeed, Guadalupe has described the demand for Orlinski’s Hublot watches as “unbelievable”, and impossible to fulfil. The collaboration first started in 2017 with the Classic Fusion Aerofusion Chronograph Orlinski, a polished titanium skeletonised model with a sharply faceted case and bezel that mirrors Orlinski’s iconic sculptures. The Swiss watchmaker, passing creative control to an artist for the first time, created a modest run of 200 watches, unsure of how they would be received. The collection quickly sold out, attracting existing Hublot collectors, as well as aesthetes, art buffs and quite a few of Orlinski’s famous friends who were new to the brand.

A black wristwatch pictured against a black background

Hublot’s Classic Fusion Tourbillon Orlinski Black Magic

Since then, Orlinski and Hublot have partnered to create a further 10 editions of the watch. These include a vivid-red ceramic version that launched last year; the colour, which is technically very difficult to achieve and is exclusive to Hublot, matched a shade applied to many of Orlinski’s sculptures. For luxury collectors, there is the Aerofusion Chronograph Orlinski King Gold Jewellery, a 18ct solid-gold version set with more than 300 diamonds. And at the top of the range is the Tourbillon Power Reserve 5 Days Orlinski Sapphire, limited to just 30 watches, with a case made entirely from polished sapphire crystal.

Read more: Trevor Hernandez’s surreal urban photography

The faceted cases and bezels of Orlinski’s watches dazzle with light and shadow, adding a sculptural edge to the design. Keeping the watch functional, legible and wearable was important to Orlinski, who is himself a watch collector. “I know a lot about watches,” he says, but admits that until this collaboration his hoard did not include a Hublot as it was focused on vintage timepieces. “I wanted to make a mix between a watch and a sculpture – something you can wear every day, not something very strange.”

Hublot was not the first watch brand to come knocking at Orlinski’s door. Others had tried, but they offered the chance to customise rather than create. For Orlinski, this was not enough. “I always declined because they wouldn’t let me do anything,” he says. “Hublot treat me as a watch designer.”

Portrait of artist Richard Orlinski with one of his sculptures

Richard Orlinski

By giving Orlinski autonomy over the watches that bear his name, the mainstream magic that the bestselling French artist claims to wield has rubbed off on Hublot, making it a commercial success, while also giving it a dose of art kudos. The collaboration has also had benefits for Orlinski’s art, as the global exposure he has enjoyed while touring the world for Hublot events has widened his fan base.

Such synergy between the contemporary art and luxury worlds has led to many such hook ups, as brands use artists to inject fresh vigour into heritage labels. Last year, Chaumet celebrated modern African art by enlisting Kenyan graphic designer Evans Mbugua to create a collection of high-jewellery brooches, while Dior invited 11 artists, including Isabelle Cornaro, Li Shurui and Poppy Apfelbaum, to reimagine its Dior Lady Art handbag.

Side view of a red wristwatch

The Classic Fusion Aerofusion Chronograph Orlinski Red Ceramic

“Nowadays, art gives a credibility to brands,” says Orlinski. “A lot of them understand that they have to tell stories; selling things is not enough now. We live in the World 2.0, and things are changing so fast. If you want to stay in the game, you have to be open minded. People want something different.” It’s also, he says, about using popular art to engage with a wider audience: “Even if you are a luxury brand, you have to talk to everyone. If you only talk to the rich people, you’re dead. The brands that don’t change are going to die.”

Read more: Art collector Kelly Ying on the contemporary artists to watch

As art and watch collectors line up to own a wearable piece of Orlinski, Hublot plans to keep this particular point of difference very much alive and ticking. While the core design of the watch will stay true to its faceted form, Orlinski believes there are myriad possibilities for the future, such as fresh colourways, new materials and increasingly complex horological complications. And at Baselworld watch show in March 2019, the first line of Orlinski Hublot watches for women will be unveiled, opening up a whole new market. “This model will evolve a lot,” says Orlinski. “I have so many ideas, we can go on collaborating for 20 years. It’s just a matter of talent, energy and brainstorming.”

A man and a woman standing on stage holding a watch with street art behind them

Orlinski with actor Jacqueline Bracamontes at the launch of the Mexico variant of his Hublot watch

The case for collaboration

Hublot, like most watch brands, is best known for its sporting collaborations – its long-running partnership with Ferrari continues to be the vanguard of such alliances. Deals like this, and its sponsorship of the Fifa World Cup in Russia last year, are, according to chief executive Ricardo Guadalupe, the “premier league” of collaborations, to use a suitably sporting analogy. Uniting the worlds of timing and art is a less obvious strategy, but brings other benefits that Guadalupe is keen to cultivate.

“We’re always looking for new inspirations, and we have found that we should not stay in our industry, but go outside,” he says. “When you come with something unique and different, I think consumers are really waiting for that.”

Read more: Why you need to see Sarah Morris’ latest exhibition at White Cube, London

As well as working with Richard Orlinski on his hugely popular line of faceted watches (“The demand is still unbelievable. We can’t keep up with it”). Hublot has also engaged Los Angeles-based street artist Tristan Eaton and London tattoo studio Sang Bleu to reinterpret its Aerofusion and Big Bang models.

“[Working with artists] positions us as a trendsetter in creating new designs for watches and this is really important,” says Guadalupe. “We are at the beginning of the process with Richard Orlinski, with the tattoos, so this is something really new that is appearing in our world. Probably it will bring new consumers into our brand, but it also allows our actual consumers that love Hublot to buy a new watch. You must bring always something different and innovative. [Through art] we are creating a new way of making watches.”

Find out more: hublot.com

This article was originally published in the Summer 19 Issue.

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Reading time: 6 min
Model lying on a beach in sportswear

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

Monochrome close up portrait of a woman with dark brown hair

Swedish model and CEO of wellness brand Bodyism, Nathalie Schyllert. Instagram: @nathalieschyllert

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

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

Charlie Newman

THIS MONTH: Swedish model Nathalie Schyllert has been modelling for twenty years. She joined international wellness brand Bodyism over a decade ago and is now the brand’s CEO. Here she talks to Charlie about training to be a ballerina, myths of the wellness industry and being a successful woman in business.

Charlie Newman: You’ve established yourself successfully within both the fashion and wellness industries. Were you passionate about clothes and food growing up?
Nathalie Schyllert: I grew up in Sweden as an only child with a single mum. Even if we didn’t have a lot of money the most important thing for my mum was to provide us with really good, healthy food. I think in Sweden it’s very easy to have a healthy diet as our traditional dishes always have fish and vegetables in them. I did a lot of exercise from a young age as I was a ballerina in the Swedish Royal Ballet, so it was very important for me to have balanced meals else I would have really physically struggled, especially when you are growing. To do 4 hours of punishing rehearsals a day as well as school you really need nutritious food to sustain you. I was very fortunate to be practising ballet in Sweden because compared to other traditional ballet schools across the world, Swedish schools have a much more positive approach to food, encouraging us to eat fat in our diets. It was a very good life lesson to be instilled in me from such a young age. My mum always wanted the best for me so we moved around so I could go to a better school, a much easier task in Sweden than here in London! Private schools in Sweden are extremely rare, so as long as you live in a good area you are guaranteed a good school too.

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Fashion only really came into my life when I was 15. In the summer holidays I went to either London or Milan for a month or two. At the beginning my mother would come with me or my Swedish booker to help me get settled. I’ve been with Models 1 in London since I was 17, so it’s 20 years now that I’ve been with the same agency! Modelling was such a good opportunity and career path obviously because I started travelling more. I think my discipline from ballet taught me to see modelling as a career, not just as a good time which so many girls fall into the trap of doing. From the start I tried to be very professional.

At around 15 I had an injury in my foot which I could have probably got surgery on but I think at
that age I’d sort of had enough. To be a prima ballerina and really go for it, you have to have the
exact body and I didn’t have the right arch. I realised that I wasn’t made for it. Looking back now, I can see it was the perfect timing because at that age if I continued with the dancing I wouldn’t have had as much time to study. So instead at 15 I focused more on studying science and maths and got a really good education from it which I still appreciate and utilise to this day. It was meant to be.

Charlie Newman: When were you first scouted?
Nathalie Schyllert: I was first scouted in Gothenburg when I was 14. My mum was very strict at the beginning with my agency, making sure they never said anything about body image. If you go with a really good agency they will look after you and guide you to have a healthy, balanced body – a good agency would never tell you to crash diet. When I was a child I didn’t think of modelling at all, but even as a child I always loved performing so modelling didn’t feel too out of my comfort zone when I got round to actually doing it.

Model wearing shiny blue fitness clothing on the beach

Instagram: @nathalieschyllert

Charlie Newman: What’s been a career highlight for you so far?
Nathalie Schyllert: I did the first Stella McCartney Adidas campaign which was a really big deal at the time because no other designers had collaborated with sports designers like that. It felt so special because Stella was there and her sister Mary shot it. From that job I got so many more activewear jobs and it opened the industry’s eyes to see that you can do really cool campaigns with activewear. It seems so obvious now but sportswear was viewed very differently back then.

Charlie Newman:  What’s the best and worst part about modelling for you?
Nathalie Schyllert: The best part is definitely the travelling because unlike other people who just go to holiday destinations, you actually get to live there and meet the locals, really get a feel for the place. It’s extremely rare to live in various cities in one year, if you’re lucky enough to travel with work, in most careers you’d stay in one city for a year, whereas I got to move around all the time!

But simultaneously the travel is also the hardest part about modelling. I appreciate now having my family and friends around me all the time and to actually have a base. It first dawned on me to maybe step away from modelling was when I was in Miami for two months having just broken up with my boyfriend and losing my mum. I felt so lonely and knew then that I needed a more stable job. I called my booker at Models 1 and asked for advice and they suggested personal training as they knew how I was always training not just myself but some of my friends. I came back to London and had a meeting with James Duigan at Bodyism 12 years ago, which back then was based in a tiny mews studio in South Kensington. I’d read a few online articles about him because he was Elle Macpherson’s trainer at the time, so I was really excited to get on board! I started the next day as an intern and doing my courses at the same time. I was busy form day one, pretty much working for free for the first 4 years, doing everything from membership to PR and so much more. After three months I’d already built up enough interest and had my own clients. You really have to put your all into it when it’s a start up. It was the perfect timing for everything.

Read more: Curator Zoe Whitley on the art of collaboration

Charlie Newman:  What drew you to Bodyism?
Nathalie Schyllert: It was a very unique thing at the time. We talked, and still do, about nutrition and sleep, not just training. We look at the whole 360 approach to lifestyle which was something I had always believed in and lived by. That was why it worked so well for me personally because I didn’t have to change who I was at all, my diet and training routine stayed the same, it was a natural fit for me. I was also the first woman on board so I got to have a voice on what women want out of the wellness industry too.

Charlie Newman:  What’s the biggest difference between working for someone and yourself?
Nathalie Schyllert: The only difference is that I’m now doing more PR and interviews, becoming the face of the brand, but apart form that my role hasn’t changed much. It’s funny to compare what James used to get asked and now what I do. Sometimes I get asked, being a female CEO, what my beauty regime is and being a working mum. As long as it benefits the brand, that’s all that matters to me.

Charlie Newman:  How has the wellness industry changed since you first started working in it?
Nathalie Schyllert: The whole wellness industry has changed drastically. Even supplements from when we first started – we created the first vegan supplement without bad sweeteners, and now everyones doing it! With activewear too, we were the first to make printed, colourful activewear, and now everyone else is doing that too! So in that way the industry has changed a lot.

There are so many different studios now for different types of exercise but what is still so genuine and unique about Bodyism is that we have everything. You can come to one place and do all the treatments, boxing, yoga, PT, breakfast, lunch, eat our supplements and wear our clothes. People always ask us who our competitor is but we genuinely don’t have one, we’re doing our own thing, people can see that we’re not copying anyone. Of course we have to look at new fitness and nutrition trends, like oat milk for example, but at the core of it we stick to what we believe in and what works. If we were entirely devoted to following the trends our food menu and exercise schedule would change every day! And then in a few months time we’d find out it’s not good for you at all!

At Bodyism, we do what works for ourselves and our members. Our clients are the best people to get feedback from because they are always here with their trainers, we’re not a massive company where you have to speak to so many people at different levels to get your voice heard. Our relationship with our members is so important because we learn so much about our products and their results.

Model lying on a beach in sportswear

Instagram: @nathalieschyllert

Charlie Newman: If you could bust one wellness myth, what would it be?
Nathalie Schyllert: I think everyone has now finally realised that the zero carb diet doesn’t work, because then you couldn’t even eat a carrot because it has carbs in it! For me, it’s so important to have a colourful plate and if it has carbs in their that’s fine. Low fat diets too are terrible because the fat just gets replaced with loads of sugar. These were trends from the 80s and 90s and people have more of an education now on what a healthy diet and lifestyle actually is.

Charlie Newman: Did you ever come across any negativity as a female trainer in quite a masculine world when you first started?
Nathalie Schyllert: At the beginning I mainly trained men but I found it to be an advantage because they’d want to maybe show off more and train harder! Our clients aren’t here to bulk up, so it doesn’t matter who is training who because it’s a very similar workout whether you’re a man or a woman.

Charlie Newman: What advice would you give to any aspiring business women?
Nathalie Schyllert: Apart from working hard, also always continue to learn. I never assume that just because I’m at this position I know everything. I’m learning every single day, not only from people within the company but from mentors outside. Having people you can discuss finance matters and new business ideas with is so important, it gives you perspective and keeps you humble.

Charlie Newman: What exciting projects have you got coming up?
Nathalie Schyllert: We’ve collaborated with Heidi Klein for their first activewear range which is really exciting. We now also offer a lot more perks for our members, for example priority reservations at Zuma, room upgrades in hotels etc. The platinum members especially get amazing perks, free holidays in Turkey for example. So a lot more trips and events are coming up. We have just started doing catering too with brands. We’re very lucky that we don’t have to push ourselves to create corporate wellness contracts, rather it travels by word of mouth from our clients to other brands. It’s been an organic journey.

Charlie Newman: Lastly, who is your role model of the month?
Nathalie Schyllert: It has got to be my mother. She worked so hard as a single mum, sometimes with two jobs, and that has always been an inspiration for me from day one.

Follow Nathalie Scyhllert on Instagram: @nathalieschyllert

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Reading time: 10 min
Asian model stands in desert setting wearing a bikini and jacket

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

Portrait of Asian model Grace Cheng

Model and entrepreneur Grace Cheng. Instagram: @gracepcheng

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

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

Charlie Newman

THIS MONTH: 24-year-old Taiwanese/Chinese model Grace Cheng was born and raised in the suburbs of Los Angeles. She has appeared in numerous fashion campaigns and walked for the likes of Bottega Venetta, Moschino and Marc Jacobs. A year ago, she launched oatmeal company Mylk Labs by reinvesting her modelling earnings. She chats to Charlie about healthy eating, handling success and future ambitions.

Charlie Newman: Were you passionate about fashion and food as a child?
Grace Cheng: Not at all! I was a tomboy and never wanted to be a model, even though I stuck out as a lanky, tall girl. The most fashion I experienced was shopping every weekend at the mall! Never did I cook either – this was something I grew into when I was around 19.

Charlie Newman: So how and when did you get into modelling?
Grace Cheng: I was scouted at 17 and started modelling at 18. I never wanted to pursue it despite the many relatives and friends who told me I should, being the lanky, tall girl that I was and am! I had no idea what to expect and it kind of just fell into my lap but I’m glad it did because I’ve grown so much as a person since then.

Follow LUX on Instagram: the.official.lux.magazine

Charlie Newman: And then your career rocketed very quickly! Tell us about your experience of rising to success.
Grace Cheng: There’s no question I find it hard: all of the travelling, long e-commerce days and tons of castings that never come into fruition. Travelling is something I struggle with especially since I’m someone who loves being organised and prefer a set routine. My mindset has always been “nothing in life is easy” so I knew I had to put in the work. I have friends who send me screenshots of ads or campaigns that I’m featured in, it’s always so fun to be spotted and that makes it all worthwhile.

Charlie Newman: Whilst modelling full-time you were also studying at USC – how did you balance those two commitments?
Grace Cheng: Yes! I studied business and graduated in 2016. It was really hard to balance if I’m being honest. If a young girl were to tell me they want to skip college for modelling, I’d advise against it even though it’s tough. I was commuting from home and hour and thirty minutes drive one way, and took classes twice a week. They were 10 hour days so I could bang out all my classes in one go and model for the other three days of the week. I’d be studying and doing homework during my lunch and snack breaks during my jobs too! The hardest week I had looked like this: 10 hours of school on Tuesday and 3 midterms, then go to LAX airport to get on a red eye fly out to Philadelphia, arrive 6am on Wednesday to shoot 10 hours, then head back to the airport to fly home, land at 1am, wake up at 5 am for another 10 hour day of school!

Asian model sitting on a white box in a white setting wearing a red dress and black hat

Instagram: @gracepcheng

Charlie Newman: You launched your company Mylk labs just over a year ago now. How was the idea born?
Grace Cheng: I was traveling so much for modelling and I just wanted my homemade, daily oatmeal. With my background in business, I knew I always wanted to start my own company but I just never knew what it was going to be. After my first fashion month in NY, London and Paris, I came back and knew oatmeal is what I wanted to create because it was all I could think about the entire time I was gone!

CEO of Mylk Labs holding a tower of three pots

Instagram: @gracepcheng

Charlie Newman: As a woman, how have you found the experience of setting up your own business and what advice would you give to others wanting to do the same?
Grace Cheng: It’s been so exciting, but a lot of work. It took one full year of planning, sourcing and putting everything together before execution. My advice is: make sure you’re passionate about what you do, keep pushing and don’t be afraid to explore outside the box.

Read more: Designer Piet Boon on avoiding trends

Charlie Newman: Have you found the fashion world to be supportive of your newfound project?
Grace Cheng: Yes, my bookers and everyone is very understanding and supportive of my company. I’ve still yet to bridge the two together, but rest assured, it’s currently in the works. I want to be able to serve wholesome, convenient food to those in the fashion industry. This includes educating young models on eating well and being good to their own bodies.

Charlie Newman: With so much conflicting advice surrounding healthy living, it’s very easy as a
consumer to get lost within it all. What advice would you give to anyone trying to change their eating habits?
Grace Cheng: Eat based on ingredients versus calories. I always read the label to see what’s in my
food before buying and eating it, unless it’s at a restaurant of course. Always focus on wholesome
and real food as that will always be best in the long run, rather than restricting yourself on calories or low fat foods and diets.

Charlie Newman: Your products are non GMO, wholegrain, vegan and free from gluten, artificial additives and refined sugar. Why do you think it has taken the fast food industry so long to catch up with health conscious eating?
Grace Cheng: Well, to be honest, there are so many good options now so I can’t say that the fast food industry hasn’t caught up exactly, but it might have taken even longer because our world moves on “trends”. It’s weird to say it like that but people will only start to acknowledge and try something once everyone else is doing it.

Charlie Newman: Is there a health food brand you particularly admire?
Grace Cheng: Sweetgreen here in the US! They are a chain of quick service salad shops and it tastes amazing, they’re always my go to when travelling. Sweetgreen inspires me because their ability to make healthy food accessible, affordable and most importantly, delicious!

Charlie Newman: Where would you like to see your business in 5 years time?
Grace Cheng: I would absolutely love to create new product lines! I hope to become more than an “oatmeal company”. My goal is to create a company that people can recognise and trust in their daily lives, to create a culture and community of people who show themselves love through mindful living and eating. Being mindful is similar to being aware and considerate. Whether that be overall in life or day to day habits like eating a meal or staying active for example.

Charlie Newman: Lastly, who’s your role model of the month?
Grace Cheng: Coco Rocha. She’s a model turned business woman. She has her own book of poses and started a modelling camp to teach aspiring models how to move comfortably in their own skin.

Follow Grace Cheng on Instagram: @gracepcheng

Discover Mylk Labs: mylklabs.com

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Reading time: 6 min
Mature model Mouchette Bell photographed against a white background

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

Portrait of mature mixed-race female model against a white background

Model and stylist Mouchette Bell. Photographed by Benjamin Kaufman

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

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

Charlie Newman

THIS MONTH: After gracing the pages of the world’s biggest glossy magazines as a model in her twenties, Mouchette Bell stepped behind the camera to become a stylist and Fashion Editor for the likes of Tatler, Harpers Bazaar and Vogue. Now she’s back on the books at Models 1. She speaks to Charlie about Anna Wintour, Buddhism and recovering from PTSD.

Charlie Newman: Firstly, could you take us right back to the beginning of your career in fashion. Where were you scouted?
Mouchette Bell: I always loved clothing and dressing up since I was a child. In the 80s when I was out and about in these crazy clothes, people used to take pictures of me. I was only dressing up for me, as a form of expression, I never even thought about being a model. Quite a few photographers would enquire whether I was signed to an agency or not, so I decided it was time I got one! I was 16, it approached me. Clothing and style were and still are more important for me creatively than modelling.

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Charlie Newman: As a model, what’s been your career highlight for you so far?
Mouchette Bell: There were lots of highlights. One of them was working with Peter Lindbergh and Franca Sozzani. I was at a casting, and in those days there wasn’t a market for my look. If they did use an ethnic girl they had to have a very strong look, so I just remember waiting in line at this casting and thinking ‘oh god what am I doing here’. I wasn’t very confident back then, I was incredibly shy. People aren’t so shy any more, it’s a word I don’t hear today’s youth say. Anyway, Peter came up to me at the casting and asked if I was free to go to Paris the next day, to come as I am and not change a thing so off I went! I shot for Les Glamour andItalian Vogue in Paris – I just wish I could find the pictures! Someone told me Peter has the images of me on his office walls. I was sort of in an Marilyn Monroe pose, in a fabulous trench coat paired with heels and gloves, standing over a grill so that when a train went under, the coat blew up and so did my hair! It was a great picture.

Charlie Newman: Tell us about your transition into styling.
Mouchette Bell: The fashion world was very welcoming. When I moved to New York to model I shot a lot of editorial with Condé Nast, particularly with this amazing magazine called Mademoiselle. During fittings, I would always be saying “oooh you could shoot it with this, or with that”, I absolutely loved being in that fabulous wardrobe. That’s when I realised that I had to go into styling and that I would be much better off camera, more relaxed. I used to freeze up so much whilst shooting, the team really had to get it out of me.

Charlie Newman: Was it easy moving into styling having been a model or did you have to prove yourself that bit more?
Mouchette Bell: Well, I obviously had made a lot of contacts which really helped. I used them at the beginning to help build up a portfolio, I really worked on that. There was one woman in particular, Sandra Horowitz, who gave me my big break. I showed her my portfolio and she gave me the job of Accessories Editor at Mademoiselle. I was incredibly lucky. I absolutely love jewellery but having said that I quickly became a Fashion Editor, just 6 months later! I lived and breathed fashion, nothing else mattered to me then. I wrote to Anna Wintour, who was working at British Vogue at the time, asking for an appointment, having harassed everyone at Condé Nast for her contact details! I prepared my book again and went through it with her. She could just see that I was really serious about fashion and within a few minutes I’d got the job at British Vogue. It was unbelievable. She was very good to me, I was very young and foolish back then. Thanks to Condé Nast America I studied at Parsons in New York. They were so supportive of me, so much so that they funded my diploma in Fashion History for two years when I was a bit of a tearaway. It was like a finishing school for me, I would go study in the evenings after work. They really opened up my eyes and took good care of me.

Charlie Newman: Why did you approach Anna at British Vogue? Why not another magazine in New York or another city?
Mouchette Bell: I was so, so homesick, I just wanted to come home! But saying that, after British Vogue I moved to Munich to work at German Vogue as their Fashion Editor for a year because I fell in love with a German. I then returned to New York in the 90s and worked as a Fashion Director at Mademoiselle and loved it. I left New York just after 2001 as I had a beautiful apartment there and I was home on September 11th. My apartment was one block from Ground Zero and I had to be evacuated covered in dust from the falling twin towers, my apartment was ruined from the dust and debris. I survived this disaster and after suffering PTSD, I went on to work as Editor-at-Large for ELLE in London and contributed to Vanity Fair and Tatler. I hope to inspire others to know that it is so important to survive and flourish and win in your life.

Charlie Newman: For anyone hoping to work in the fashion industry, would you recommend diving straight in or to go to university first and then follow on from that?
Mouchette Bell: I would recommend going to arts school first, but then again that’s not what I did, that opportunity wasn’t available to me and I was lucky enough for it to be given later on. If you get the opportunity to go I would highly recommend it. Having said that, I’m saying this as someone who’s already established and I think it would be incredibly tough to start in the industry now. I can only give advice from my set of circumstances.

Read more: Rachel Whiteread on the importance of boredom

Charlie Newman: As a stylist what has been a career highlight for you?
Mouchette Bell: Wow, it’s so hard to chose! The career highlights are all down to who you work with and where you work with them. All that wonderful travel – it was different back then, they had enormous budgets and they knew how to spend them! I was always very aware of how lucky I was in that situation – I was one of the more normal people. Working with Michael Roberts for Tatler in Brazil and Elizabeth Saltzman for Vanity Fair was a real moment for me. I’m sure I’m missing out lots of my colleagues, but to work at that level was just amazing for me. When I was the Jewellery Editor at Tatler I was on set with £20 million pounds worth of jewellery!

Someone asked me recently what I miss about working at Tatler and the thing I miss the most is the horses. Most of those stately homes had all these horses, it was so wonderful to work with them too. I loved working for Tatler because you really got to see how the other half live. I found it really interesting and I met some lovely people. People are born into different walks of life and that’s why I always think we should never judge people.

Charlie Newman: In your ideal shoot now would you be modelling or styling, or doing both?
Mouchette Bell: I’d be styling myself because then I could have it all! I would get Paul Smith to shoot it, Alexander McQueen would still be alive and I could wear something of his, and I’d pile on as much Bulgari jewellery as I could get on! I went to nearly all of McQueen’s shows – now that’s what I call a spectacle, he was a true genius.

Black and white portrait of a female model with hair in plaits laughing

Photograph by Benjamin Kaufman

Charlie Newman: You were the first mixed race person working in the Condé Nast building. What did that feel like?
Mouchette Bell: Well that’s as far as I’m aware of, it wasn’t necessarily a statement I put out there, but it certainly felt that way. What Edward Enninful has done is amazing. We have to go to that extreme level for it to be balanced and eventually accepted as the norm. We’ve all got to learn, it’s even changed the way I look at things as well. But it was different back then, it was pretty racist. I don’t even know if that’s the right word to use.

Charlie Newman: What’s kept you grounded over the years?
Mouchette Bell: I think that I haven’t always been grounded to be honest with you. At times I was probably way off the wall, in way outer space fashion land, it really was my only world! But I think I’ve always been pretty sincere person, I can’t bullshit myself too much. I’ve been a Buddhist for the past 15 years and that practice of meditating twice a day keeps me very centred. We’re human beings, we all have very different aspects of our personality, some of them we need to hold in and some of them we need to develop. I just found that practice really helped me. It’s not a religion it’s more of a philosophy. That simple practise of meditating brings me back to my higher self, life’s possibilities and the value of respecting others as well as yourself. You have to make yourself happy before you can make anyone else happy.

Charlie Newman: How did you first come across Buddhism?
Mouchette Bell: I think I’d always liked the look of it, all the yoga and chilling out! But then after September the 11th I saw how a friend who takes no bullshit and is very streetwise, was practising Buddhism and I could really see a healthy change in her, so I thought I would try it out too. It’s a bit like going to the gym, it’s a discipline. If you meditate twice a day, you start and end your day more centred, you align yourself, which really helps with everything. It’s not about going off to some retreat or going travelling, it’s about making it work for your everyday life. Every action has a reaction, it’s cause and a effect, that’s why you have to take responsibility for your actions. Where you are now often is a result of the past, and then that’s where the whole idea of past lives comes into play. Just look at that Alexander McQueen documentary, he had it all yet that terrible suicide happened. You really have to focus on getting yourself centred and then truly you can achieve anything. At the end of the day it’s all about what works for you, and practising Buddhism works for me. You should always question everything, never blindly follow. I could go on and on, I love it so much!

Read more: President of LEMA Angelo Meroni on business with a soul

Charlie Newman: Thinking about the future, if you could wave a magic wand, how would you like to see the fashion industry change?
Mouchette Bell: For me, I would like for the industry to nurture the creatives more because that’s what keeps the standard so high and then that is what goes on to inspire people. This goes back to the whole cyclical Buddhist philosophy too. How has it felt coming back into modelling, especially having seen the industry so intimately from another perspective as a stylist. It’s completely different from when I started in every single way. The thing is I never left the industry, fashion will always be here, in whatever format or medium, to inspire others. I was reintroduced to the fashion world when I was in the Bath student fashion show, held in London. It was there that I met the wonderful Greg who introduced me to Chantal and Uwe, my now bookers at Models 1.

Timing is so important for me and it is only really now that I feel comfortable in my own skin and ready to do modelling again, but don’t get me wrong it’s still work in progress! I feel really privileged to be doing it and so lucky to be doing it at this point in my life. I don’t have to be ‘perfect’, I can be myself. I have my lines and my wrinkles, it’s much more accepting this time around. I also love to give advice to anyone starting out on set, only if it’s appropriate of course, just because I’ve been there, I understand. I learn from them also! I absolutely love modelling, but I had forgotten actually how difficult it was. The level of projection you have to give is tough. Not everyone can stand up there and do it. It’s far more demanding than people realise. I’ve learnt a new respect for it, people underestimate it.

Also I’d like to always get paid for my work, just on principle. Don’t give me a slap in the face at the end of a long day you know? That’s one of the things I liked about working in America and in Germany. They were very straight forward and I was always paid on time.

Charlie Newman: Lastly who is your role model of the month?
Mouchette Bell: I think Joanna Lumley is great. I like people who can make me laugh. She’s older and she’s sexy and she’s cool. She’s a beautiful woman whose showing that it is ok to have fun when you’re over 50.

Follow Mouchette Bell on Instagram: @mouchettebell

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Reading time: 12 min
Two female models pose in candy coloured suit and dress
Model spins in a floral print dress with bouquets of flowers behind her

A look from the SS19 ‘Freedom’ collection by Skeena S

Monochrome headshot of fashion designer Skeena S

Designer Skeena S

Vibrant, digitally-created prints give Skeena S’s eponymous womenswear label a uniquely feminine and whimsical aesthetic. We speak to the designer about her creative process, inspirations and consumer trends

1. What inspired your latest collection ‘Freedom’?

The SS19 Freedom collection is based on nature, the freedom of being outside and seeing what nature has to offer. From rare butterflies to leopard prints and unique pressed flowers. The most beautiful prints are normally a mix of floral and animal textures.

Follow LUX on Instagram: the.official.lux.magazine

2. Does your creative process follow a formula or do you go with the flow?

Normally I research what colours will be on trend that season. From those colours and tones I would look into textures, florals, animal textures and fuse them together. I normally have a visual goal with notes for each print, sometimes they turn out amazing, other times they look odd and won’t be used for the collection. Each season I make between 10 to 25 prints, twelve normally go into production.

Models pose on set for SS19 Skeena S catalgoue

SS19 ‘Freedom’ by Skeena S

3. Do you think it’s important to pay attention to consumer trends?

It’s important to stay aware of consumer trends and have them slightly influence collections. If you follow them meticulously then it’s hard to be unique. Designing is about what you want to show the world.

Read more: PalaisPopulaire & Berlin’s Cultural Revolution

4. What advice would you give to a fashion graduate looking to start their own brand?

It’s important to understand the market, understand where it’s going and how consumers are shopping. You need a unique idea, at least nine months of planning and money behind you. Understanding what sector you’re about to enter is the hardest, look at competitors and what they are doing. A brand takes time to build, you need to understand every process and be hands on. Things take time. Go to trade shows, reach out to buyers and get your clothes to influencers that your target market would follow.

Skeena S lookbook with two models wearing pastel coloured suits

Looks from SS19 ‘Freedom’ by Skeena S

5. If you could borrow clothes from anyone’s wardrobe throughout history, who would it be and why?

Diana, The Princess of Wales. By far one of the most elegant women in history, she set so many trends from her insane wedding gown to her elegant evening dresses and her high-waisted jeans and power blazers. Diana didn’t follow trends, she wore what was best for her shape and was elegant and unique, not afraid of colour and print.

6. Where would you like to see yourself in five years?

In five years I would have hopefully set up another brand in the luxury sector, creating another print based brand with more luxurious fabrics. As I am getting older I buy less and more wisely. It’s important for all brands to be sustainable and ethically made.

For more information visit: skeenas.com

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Reading time: 2 min
Portrait of designer Olivier Rousteing
Designer Olivier Rousteing with Cara Delevingne and other models after a catwalk show

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

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

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

Follow LUX on Instagram: the.official.lux.magazine

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

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

Black and white portrait of Balmain designer Olivier Rousteing

Olivier Rousteing, photographed in Paris in 2017 by Pascal Dangin

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

Read more: In conversation with artist Victoria Fu

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

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

A look from the Balmain SS19 collection on catwalk

Balmain SS19 ready-to-wear collection

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

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

Luxury clothes shop interiors

Balmain’s new store in Miami

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

Watch ‘The Balmain Beat’ Fall/Winter 2018:

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

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

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

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

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

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

Model on a Balmain catwalk wearing couture dress

Balmain SS19 ready-to-wear collection

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

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

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

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

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

Discover the Balmain collections: balmain.com

This article was first published in the Winter 19 Issue

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Reading time: 11 min
Modelling campaign featuring a mature model wearing chic office wear

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

Portrait of legendary swedish model anna k

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

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

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

Charlie Newman

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

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

Follow LUX on Instagram: the.official.lux.magazine

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

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

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

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

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

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

Model poses in tweed coat standing on pile of boxes

Instagram: @annaklevhag

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

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

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

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

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

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

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

Model poses in front of pink wall wearing green pajamas

Instagram: @annaklevhag

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

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

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

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

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

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

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

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

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

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Reading time: 12 min
Campaign for Alsara by Damiani jewellery collection inspired by Kazakh traditions
Jewellery campaign for brand Damiani starring Aliya Nazarbaieva

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

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

Guido, Silvia and Giorgio Damiani

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

Follow LUX on Instagram: the.official.lux.magazine

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

Traditional Kazakh style necklace by brand Damiani

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

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

Read more: Meet the new creative entrepreneurs

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

Campaign for Alsara by Damiani jewellery collection inspired by Kazakh traditions

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

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

Discover the collections: damiani.com

This article was first published in the Winter 19 Issue.

Luxury fine jewellery earrings by brand Damiani

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

 

 

Ornate necklace by Italian brand Damiani

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

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Reading time: 3 min
Model poses in futuristic make-up and styling

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

Portrait of a Afro-America model positing in natural make-up wearing a black jackt

Model, philanthropist and psychology student Olivia Anakwe. Instagram: @olivia_anakwe

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

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

Charlie Newman

THIS MONTH: 22-year-old Nigerian American model Olivia Anakwe grew up in the small town of Bucks County, Pennsylvania and was scouted whilst studying for a degree Psychology. In her first season, she walked an astounding 40 shows and has since shot for Harpers Bazaar, W Magazine, LOVE and Allure. Fellow Models 1 girl, Charlie speaks to Olivia about balancing time, philanthropy and Michelle Obama.

Charlie Newman: How and when you were first scouted?
Olivia Anakwe: I was scouted in the summer when I was visiting New York for my sister’s graduation. We went out to lunch at Westville and I was scouted right when I walked into the restaurant. I chose to take advantage of the opportunity, transferred from University of Pittsburgh to Pace University and was thrown right into the middle of the hustle and bustle in the Financial District of Manhattan. I am studying Psychology on the Pre-Medical track and will be graduating in Spring of next year – I can’t wait!

Follow LUX on Instagram: the.official.lux.magazine

Charlie Newman: Was modelling something you considered doing when you were younger or did you just fall into it?
Olivia Anakwe: I did a small Target ad and a knitwear catalogue when I was younger which I can’t really remember very well. Growing up, my aunties always made comments about using my height to model but I never took it seriously.

Charlie Newman: How easy have you found the balance between studying and modelling? Is your agency supportive of your studying commitments?
Olivia Anakwe: My agency is super supportive, but I definitely speak up about my studying commitments and exams. To find balance I take advantage of my free time; whether I am in the hair chair, waiting for my flight, or riding the subway, I save documents to my google drive, make it available offline, and whip it out during those spare minutes. I often take pictures of my textbook and read it over. We are in such a technology-driven age, so it’s all about putting our gadgets to positive use.

Kate Spade fashion campaign 2019 starring a female model wearing a patterned dress and sunglasses

Instagram: @olivia_anakwe for Kate Spade Pre-Fall ‘19

Charlie Newman: After modelling, how do you hope to use your degree in the future?
Olivia Anakwe: I am drawn to the meaning behind all of our actions so that is why I love Psychology. However, I want to go into Dermatology and use that unconventional background to offer a different perspective in the medical field.

Charlie Newman: Your career has really catapulted in such a short period of time. What do you to do to stay grounded?
Olivia Anakwe: Bikram yoga has been such an important practice in my life; mentally and physically it has kept my body balanced and stronger than ever. I also love going to coffee shops, reading, cooking with friends, and self-care rituals (sheet masks, essential oils, & wine!)

Charlie Newman: What advice would you give to any aspiring young boys or girls wishing to enter the fashion industry?
Olivia Anakwe: Don’t let anyone get in the way of your drive and stay level-headed. It is important to have confidence because you may receive a million “nos” until one person sees something in you and says “yes”. So always believe in yourself!

Charlie Newman: What has been your favourite job thus far and why?
Olivia Anakwe: Shooting the Miu Miu Spring Summer ‘18 Campaign with Alasdair Mclellan in the middle of the desert of Arizona was incredible. To shot alongside industry legends including Adwoa Aboah, Cameron Russell, Jean Campbell and Dakota Fanning was a total honour. It was my first time in Arizona and the whole team made the experience unforgettable.

Charlie Newman: I can see from your Instagram that your passionate about food. Is this something that was instilled within your family home or since moving to New York? What’s your favourite restaurant in the city?
Olivia Anakwe: Yes, I am a total foodie! Coming together for home cooked meals is ingrained in Nigerian culture – our Thanksgiving and Christmas is nothing less than a 20 dish feast. I have been cooking my own dishes since I was young, but was only introduced to healthy eating when I got scouted and moved to New York. Gathering to enjoy a meal is a ritual that I cherish. My favourite takeaway has to be Queen of Falafel, a mediterranean spot with the freshest falafel, pita, and roasted eggplant. For vegan pizza go to Paulie Gee’s – you will not even believe the cheese is vegan, simply mind blowing! For the latest obsession, Thaiholic, for clean Thai food with absolute flavour.

Read more: Where leading scientists and cutting-edge poets meet

Charlie Newman: I read that you did tap dance as a child. Is this something you’ve continued to enjoy? Have you found the movement and the performance elements of dance helpful to your modelling career?
Olivia Anakwe: No, sadly I don’t tap dance anymore but my background in dance has definitely complimented being in front of the camera. I am more aware of my body because movement allows me to flow into various poses and carry myself when walking into castings.

Charlie Newman: If you could wave a magic wand and change something within the fashion industry, what would you choose and why?
Olivia Anakwe: As always, inclusivity and representation. It is so important for people to see themselves in the things that they admire because it reinforces the greatness they can attain.

Female model poses in white scarf and coat looking into the distance

Instagram: @olivia_anakwe for Mansur Gavriel

Charlie Newman: I really admire the fact that you’re using your profile to promote good causes, such as  organising the ‘Shake That Give Back’ event to help collect funds for the the NUWAY foundation and the Women’s Refugee Commission. Where did this idea come from and why did you chose these two specific charities?
Olivia Anakwe: The conversation sparked as we [Olivia and her friend Meghan] were discussing what we could do to give back towards the end of the year. We both love bringing people together so we figured why not combine both of these things into a huge celebration! We each picked a cause that was close to our backgrounds.

As a first generation Nigerian in America, giving back is something that is ingrained in our culture and a value that my mother and father always instilled. Discovering the NUWAY Foundation was particularly special because they are involved in charitable contributions that are quite active and really make a difference for the communities in Nigeria that they work with. Their message of ‘Give H.O.P.E.’ provides: Healthcare, Opportunity, Pure Water, and Educational resources and development.

Meghan chose the Women’s Refugee Commission as she is a child of refugees. Her mother’s family had everything taken from them, escaped Communism in Vietnam via a fishing boat and landed ashore on the Malaysian island of Bidong where they lived in a refugee camp for a little over a year. The Women’s Refugee Commission specifically helps to improve the lives of refugee women within these camps and empower them once they begin the start of their new lives. They provide services of financial education, reproductive health services and also educate other nonprofit organisations in ways to help prevent these dangers that women in the refugee camps may face.

Charlie Newman: Are you involved in anymore charitable projects this year?
Olivia Anakwe: Yes I am and more is to come! I will also be working with the Model Mafia group this year so be sure to follow along on my Instagram and @modelactivist for upcoming events!

Charlie Newman: Lastly who is your role model of the month?
Olivia Anakwe: My role model of the month is Michelle Obama! I just finished her memoir Becoming; it was so eloquently written and inspiring. She is a true powerhouse and a figure who has always stayed true to herself.

Follow Olivia on Instagram: @olivia_anakwe

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Reading time: 6 min
Fashion look book with two images of models wearing suits and white heels
Fashion look book with two images of models wearing suits and white heels

Looks from the MANDKHAI Autumn/ Winter 2018 collection

Mongolian designer Mandkhai Jargalsaikhan’s eponymous brand is dedicated to the sustainable production of high quality cashmere. Using yarn spun from the coats of free roaming goats, the cashmere is dyed and then delicately crafted into elegant, contemporary garments. We ask the designer 6 Questions.

Portrait of designer Mongolian designer Mandkhai Jargalsaikhan, founder of MANDKHAI luxury cashmere brand

Mandkhai Jargalsaikhan

1. What’s your favourite memory from your childhood?

My favourite memories will have to be the times I spent at the factory growing up. My parents always worked until late so I would often be with them at the factory watching the craftsmen do their jobs and playing around.

We got visitors regularly at the factory and one time everyone kept asking me to go this man and ask for an autograph. I did as I was told not knowing who it was because I must have been around 5-6 years old. Later I found out it was Richard Gere!

2. Why did you want to start your own brand?

I started MANDKHAI because I saw that there was a gap in the market for well designed, modern cashmere pieces. Everything I saw was very basic and old fashioned. After studying fashion design in London, I felt like I could offer something more exciting using my background in cashmere production. We make everything ourselves in our factory in Mongolia and are vertically integrated, so I really wanted to show the different processes and give an insight into the craftsmanship and expertise that goes into the production of cashmere, which in itself is sustainable.

Follow LUX on Instagram: the.official.lux.magazine

My name means to rise above in Mongolian. I decided to stick with my name because I wanted the brand to be personal and relatable while staying true to my roots.

Model poses in studio setting wearing a white t-shirt and white trousers

MANDKHAI Spring/ Summer 2019 collection

3. What’s your top tip for recognising and buying high quality cashmere?

Just because it’s super soft does not necessarily mean it’s good quality cashmere. Do have a look at where it was made. Mongolian cashmere (not to be confused with inner Mongolia as that’s a region in China) is of higher quality because the cashmere comes from free roaming goats that produce the fibre to survive the harsh winters reaching up to -50C. Good quality cashmere will last you decades and becomes even softer as you wear it and will even stop pilling.

4. Do you think it’s possible for fashion to become fully sustainable?

Everything is possible, so yes I do think fashion can become fully sustainable. It just needs people to want it.

Read more: Canary Wharf Group’s MD Camille Waxer on urban transformation

5. Who or what is inspiring you right now?

A trip I took to Wyoming and Jackson hole is currently inspiring me. The nature is beautiful there and it’s similar to Mongolia in some areas. Our next collection is based on this trip and I am very excited to share it soon.

Model poses wearing an orange slip dress

MANDKHAI Spring/ Summer 2019 collection

6. What’s next for MANDKHAI?

Recently we have added a menswear line and are excited to see the growth as we are getting good responses. I think fashion is becoming more and more androgynous and it will be definitely interesting to design for men. We will also keep pushing our womenswear and work to create an awareness around cashmere production.

Discover the MANDKHAI collections: mandkhai.com

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Reading time: 2 min
Woman lies on bed in underwear with her hair tied back in a bun

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

Black and white headshot of a woman wearing a coat with her face half in shadow

Model and actress Adrianna Gradziel. Instagram: @adriannagradziel

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

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

Charlie Newman

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

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

Follow LUX on Instagram: the.official.lux.magazine

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

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

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

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

Woman lies on bed in underwear with her hair tied back in a bun

Instagram: @adriannagradziel

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

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

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

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

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

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

Black and white headshot of a topless woman with brown hair and natural make-up

Instagram: @adriannagradziel

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

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

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

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

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

Follow Adrianna on Instagram: @adriannagradziel

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Reading time: 10 min
Watercolour design sketches of buckles and clasp fittings by luxury brand Moynat

Watercolour design sketches of buckles and clasp fittings by luxury brand Moynat

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

The Mini Gaby in Leaf

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

Follow LUX on Instagram: the.official.lux.magazine

Bright yellow handbag with a metal bull dog clasp and chain

The Esquisse Clip bag in Mandarine

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

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

To view the full collection visit: moynat.com

 

 

 

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Reading time: 1 min
Young woman wearing jeans and white top poses lying on the ground

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

Portrait of Thai English model Olivia Graham

Model and entrepreneur, Lydia Graham. Image courtesy Models 1

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

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

Charlie Newman

THIS MONTH: At 16, Lydia Graham applied to an online modelling competition at the now defunct teen magazine, Sugar. She didn’t win but still got signed by Models 1. Now 22, she’s already shot for the likes of Burberry and Kenzo, signed a beauty and perfume contract with Yves Rocher and is set to launch her own brand, Oh Lydia, early next year. Charlie speaks to Lydia about the fashion industry, Victoria’s Secret and versatility.

Charlie Newman: You’re half British and half Thai – what was your upbringing like?
Lydia Graham: I was born in Bangkok, so I’m a Thai citizen, but I’m the furthest thing from being Thai because I don’t speak Thai and I don’t understand it either! I moved to Hertfordshire in England when I was two years old, then onto East Sussex and now I live in Whitechapel.

Follow LUX on Instagram: the.official.lux.magazine

Charlie Newman: From when you first started modelling, how do you think the industry has changed?
Lydia Graham: I guess it’s more diverse. I enjoy it better now because I have the choice of saying no, not that I necessarily need to, but for example I’m getting stronger at not letting people cut my hair whichever way they like on set. Still I’ve had the dodgiest haircuts in my time!

Charlie Newman: Are there still things you think could be improved in the industry?
Lydia Graham: For me, the modelling side of things has got so much better, including plus sized girls, shorter girls, it’s much more street cast nowadays. Where I would like to see the industry change is with payment. Even though I get paid quite well as a model, a lot of my friends are stylists or photographers or artists and they work so hard yet don’t get paid. Sometimes I feel bad because I know how much I’m getting whilst I know half of the people on set are doing it for free. I think if everyone got paid then it would just set the standard. It would also prevent the snobbery between commercial and editorial jobs within the industry. The cheaper the brand the higher they pay, whilst the high end brands believe that whoever shoots for them should feel privileged, hence why the pay is so little. But then again, you can’t put the commercial jobs in your portfolio, it’s the editorial shoots that the clients want to see. At the end of the day, it should never be acceptable to work for free, it should all be fair.

Young woman wearing jeans and white top poses lying on the ground

Image courtesy Models 1

Charlie Newman: You’ve been really smart with changing your ‘look’ over the years which I think elongates your career and makes you more versatile. What’s been your favourite look so far?
Lydia Graham: Probably the mullet but I just couldn’t style it myself and I think my hair was too thick for it, I just ended up looking like Dot Cotton! My hairdresser’s amazing but my hair just wasn’t quite right for it. At the moment I’d like my hair to be longer but with a short fringe or maybe go peroxide blonde one day and then get a pixie cut after. But obviously I haven’t spoken to Models 1 about it yet!

Charlie Newman: Within a world where the beauty standard is so narrow, have you found your uniqueness to be an advantage or disadvantage?
Lydia Graham: A bit of both. Even though I’m not a full Asian, sometimes I’m used as the token Asian, which I’m happy to represent so in that example it’s been good. But other times I get backhanded compliments like “Oh you just look so normal, the clothes fit you so good, normally we have to pin them to other models” or “You just look like anyone walking down the street”, I’m like cheers for that! If I wasn’t in the right headspace that could have a bad effect on me, but I obviously don’t give a shit.

Read more: New luxury hotel Chais Monnet opens near Bordeaux

Charlie Newman: You’ve got effortless style. If money was no object, who would you choose to wear?
Lydia Graham: I used to really love Gucci but now I just think the designs are too mad. I don’t really have a favourite brand right now, but I love the stylist Mimi Cuttrell, she nails every outfit! She doesn’t just put the same look on all her girls, she styles them all individually, my favourite being Bella Hadid, she always looks sick!

Charlie Newman: What’s been your favourite job thus far?
Lydia Graham: My favourite would have to be for the shoe brand Call it Spring that I shot with my boyfriend Josh. It’s not particularly high fashion but they were just amazing trips. The team were so cool, we would have the best time in the evenings all together. We’ve been to Palm Springs, Lisbon and Berlin – it was the whole experience! My favourite high fashion shoot would have to be with Burberry. I knew everyone on set, the shoot for me is more about the team and the experience than the images that come out of it. In other words, didn’t care about either of those jobs running overtime basically, I didn’t want to rap at 5 like I normally do!

Burberry campaign starring model Lydia Graham

Lydia for Burberry. Instagram: @ohlydiagraham

Charlie Newman: You’re currently embarking on creating your own brand called Oh Lydia. Please tell us more about it.
Lydia Graham: It first started because I was getting a bit depressed. I was either working too hard or not enough and was really struggling with the imbalance of my life. If I’m not busy then I’ve got the time for my mind to wander. I was feeling a bit lost but Josh, bless him, was always encouraging me to do more, saying that I had so much more to offer than just modelling. So I thought fuck it, why not run my own business, even if it doesn’t make a profit I want to give it a go.

Underwear is such a big thing for me, I love nothing more than wearing something sexy but comfy – I’m a big advocate for comfort! I remember when Josh and I first started dating and I’d go to Agent Provocateur and buy a nice set of underwear and I’ve only worn it once! Now I see it in the drawer and try it on but take it off immediately because it’s just not me. Then I thought, why can’t I have date night underwear but still be able to wear a sanitary towel? I’m not calling myself a designer, so I’ve decided to just stick with pants and tank tops for now before I get the experience to do more. I’m using a lot of small businesses to help me get to where I want to be because at the end of the day, I’m only a little person in this world! Ultimately, Oh Lydia came about through a mixture of boredom and entrepreneurial spirit. Most importantly it makes me feel happier!

Read more: Artist Maryam Eisler on East London’s creative characters

Charlie Newman: What sort of image are you hoping for?
Lydia Graham: The comfort of M&S underwear but in a colourful, 90s aesthetic although I’m making the colours more modern, it’s not just a vintage remake.

Charlie Newman: You’re clearly very interested in underwear and as the Victoria’s Secret show came out only last weekend, I just wondered what your attitude was to their whole brand and their values?
Lydia Graham: I don’t really rate them as a brand. All the girls look beautiful but that doesn’t mean I want to actually go out and buy the clothes. I can appreciate that Candice Swanepoel is so fit, but it all just seems so far out of my reach. I don’t even think ‘Oh I could never look like that’, my brain just completely switches off. But of course I understand it really opens up the girls career and changes their lives. I always hear the girls refer to VS as their ‘family’ but within fashion I just don’t think that exists because however much of a relationship you have with a client, they’ll always need new girls, you’re only ever just a number. I would always call my agency Models 1 my family though, as they’ve been there right from the beginning.

Charlie Newman: Who would be your role model of the month?
Lydia Graham: It would have to be my little 20 year old sister. She’s a carer and earns barely anything considering she works her fucking arse off. She’s such a grafter, always working extra shifts. If she can do it then we all can do it!

Follow Lydia Graham on Instagram: @ohlydiagraham

 

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Reading time: 7 min
Fashion collection on display within a stately ballroom
Fashion collection on display within a stately ballroom

An Emilio Pucci collection on display at Palazzo Pucci, the family’s ancestral home in Florence.

Florentine aristocrat Emilio Pucci founded his eponymous label in post-war Italy; now the fashion house is internationally renowned for its vibrant geometric patterns and wearable glamour. We ask Emilio’s daughter, Laudomia Pucci, the brand’s Image Director and former CEO, 6 questions.

Colour portrait of Laudomia Pucci, the fashion brand's Image Director

Laudomia Pucci. Image by Juan Aldabaldetrecu

1. Describe the modern Pucci woman.

The Pucci women is a very international woman. She travels, she is self-assured, she loves femininity and enjoys beauty and fun. She is not afraid of colour and enjoys life.

Follow LUX on Instagram: the.official.lux.magazine

2. How do you innovate whilst still staying true to the iconic Pucci aesthetic?

The innovation comes from the fabric and what women want. Mixing a more fluid day look also with sneakers, for example, blurring day and evening, adding more knitwear and changing proportions as well as making sure we are always true to the brand codes…

Model on catwalk wearing a purple puffer jacket and colourful skirt

A look from the Fall/Winter 2018-19 collection

3. What were some of the inspirations behind the new collection?

The inspiration was the glamour of Marilyn Monroe, mixing it with the sporty chic feel of Los Angeles, the colours the shapes, the body-con effect. I think it’s very modern and glamorous at the same time.

4. What comes first functionality or style?

In fashion I think you need to try and serve both. Than it depends on the woman’s taste how she wants to live.

Model on catwalk wearing a colourful summer dress

A look from the Emilio Pucci Spring/Summer 2019 collection

5. Earlier this year you collaborated with artist Mouna Rebeiz, creating a piggy bank as part of a charity auction. Do you see fashion as an art form?

We have always enjoyed collaborations and we delighted to participate to Mouna’s project. I’m not sure fashion is art, however they do sometimes cross paths and we have done that in the past with some very special brands. However I do believe my father could have loved being an artist and his prints are just as perfect and recognisable as art pieces, classical in their longevity. He also did lithographs and I have had some contact with artists too on the interpretation of the brand.

6. What’s the best city in the world for shopping?

Dubai – the gold market, the BURJ Khalifa, the mall of the Emirates. Just the quantities of possibilities for shopping are totally incredible there! Also I love Hong Kong for shopping – Hollywood road for the antique shops, Lane Crawford department store and all the shopping areas around Ocean Center.

Discover Emilio Pucci’s latest collections: emiliopucci.com

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Reading time: 2 min
Washed out image of Girl sitting in a field in a white dress

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

Portrait of a young woman with short brown hair and a red ribbon tied around her neck

Model and musician Rebeca Marcos. Image courtesy of Models 1

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

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

Charlie Newman

THIS MONTH: Born in Germany and raised in Spain, 25-year-old Rebeca Marcos has achieved a remarkable amount in a quarter of a century. She started modelling at the age of 20 whilst studying for her Undergraduate Degree in Politics at City University and has since starred in campaigns for Whistles, Armani Exchange and The Kooples, and walked for the likes of John Galliano. She also plays music as part of electro-dance duo Park Hotel. Charlie speaks to Rebeca about self-confidence, career highlights and philanthropy

Charlie Newman: What was it like growing up in Spain and how easy was the adjustment moving to the UK?
Rebeca Marcos: My upbringing was wonderful. Family gatherings were always big and long, I was spoiled for food and good weather. We were encouraged to dance and perform for our family and the beach was super close. My neighbours and I used to go exploring the woods as small children and later on, I joined the scouts at school and we used to go to this old watermill that had no electricity or running water and also no parents nearby so that was wonderful.

Follow LUX on Instagram: the.official.lux.magazine

As a teenager Barcelona was a great city to be – very multicultural and beautiful. After school, in the warmer months, we could go to the beach just to hang out and even in winter it’s always sunny. I was a very happy child. I went to a German school from Kindergarten through to the 12th grade, so I grew up in a strange place culturally speaking. They are very opposite cultures in many ways so moving to London didn’t really feel like a cultural shock. I’m quite sensitive and introverted so I think I internalised the British default setting of being reserved and socially awkward quite quickly. I could read the discomfort in peoples faces with the slightest bit of over sharing, but London is also the place where I learnt manners! Either way, I was one of those European teenagers who loved Harry Potter and my graduation gown was of the colours of Gryffindor so I was living the life, plus the music scene [in London] is so much more stimulating than Barcelona’s.

Washed out image of Girl sitting in a field in a white dress

Image by Rob Aparicio via Instagram @rebecamarcosroca

Charlie Newman: You have graced the pages of many high fashion glossies as well as walking for top brands on the runway. What has been your favourite job so far?
Rebeca Marcos: That’s such a hard question! I have had so many nice experiences and been lucky to work with some amazing creative geniuses. Years ago, I did a shoot for Urban Outfitters with Magdalena Wosinska and we just spent days hanging out topless in nature, riding quad bikes at Dave England’s house (a stunt performer in Jackass) and listening to music. It was great fun. But then I also shot the s/s15 campaign for Phillip Lim in Marrakech with Viviane Sassen and that was like a dream. Everything was beautiful, everyone was chill, we shot without hair and make up and then had a day left to go explore the YSL museum and the Souks. The wonderful production team (who had just finished working on Mission Impossible) helped me buy a gorgeous rug which they took to the hotel for me and I still have. The pictures are still some of my favourites and honestly, I think it was one of the most inspiring shoots I’ve ever been a part of. I also really love Christopher Kane both as a human and a designer. Fitting and walking for him is a very graceful experience.

Charlie Newman: If you could shoot with any photographer who would it be and why?
Rebeca Marcos: Carlota Guerrero. She is a brilliant photographer from Barcelona and I love her work and I bet she is a great human to work with.

Portrait of a young woman with short brown hair looking over a bare shoulder wearing orange eye shadow

Instagram @rebecamarcosroca

Charlie Newman: You shot The Kooples S/S15 campaign with your boyfriend – what was that like
Rebeca Marcos: It was a great experience. They are some of the nicest pictures we have together and it’s always wonderful to shoot with your best friend and in Paris. It was also the first time I shot with my guitar on set and in a way it was great to have Kristian there, but it was also a challenging experience which I grew from. He was the musician in the room, he was getting all the attention for that and I didn’t know if it was the fact that I am a model, or the fact that I am a girl in the underrepresented world of female musicians, or if I was being oversensitive and too insecure about my musical side. I really had to pull my pride together and to say: “No, actually I’m going to pull my guitar out as well. Nobody has invited me to do so but I’m not just going to stand here as a hot groupie because I really don’t think I need to.” It was awkward but I am so glad I did. It was a drama that happened exclusively in my head mind you, but still it was a very important experience for me.

Read more: How Los Angeles became a world-class art capital

Charlie Newman: How easy was the transition from modelling to musician? Do you find they compliment one another or do you find you have to prove yourself twice as much?
Rebeca Marcos: Well I don’t think I ever transitioned. Modelling is something I don’t think you can have any control over, it’s something that happens around you while you are “being yourself”. We are like muses for hire. I have done music since before I started modelling and I’m still doing both. There’s always people who think that if you are beautiful you can’t have any skills but who cares? Not me, I’m the one with both. I don’t look in the mirror and go, “shit I’m too beautiful to write some music today.” Who the hell thinks like that? People think they are ugly and stupid, when really their only problem is their self-esteem and binary thinking. I don’t subscribe to the capitalist idea that one has to work hard to be valued. I think if you love yourself then people won’t be distracted by your insecurities and instead pay more attention to whatever you want to express. They’ll figure out your value by themselves. And if they don’t, block them! I work with passion and that is always more productive than trying to prove yourself to imagined strangers. And if I’m supposed to work twice as hard then I’m probably heading for failure. I hope I’m not. Anyway, I definitely think music and fashion go hand-in-hand. They are both informed by and inform culture, and they inspire one another. So in theory it should be easier for me to work in both. We’ll see!

Charlie Newman: So can you tell us a bit about your band Park Hotel?
Rebeca Marcos: Park Hotel is a dance band. We are a duo fronting it, but we are really a great live band of up to 6 musicians: guitars, synths, drums and percussion. The sound has a post-punk feel to it, but it’s hugely influenced by funk, EDM and even disco. But it’s got a bit of a dark vibe too. It’s like a nihilistic party. Me and Tim – the other half of the duo – met 4 years ago. He had been concocting this project in his head for a while and we’ve been gigging for a couple of years now loving life.

Charlie Newman: What music did you grow up listening to? Do you come from a musical family?
Rebeca Marcos: Yes and no. My parents aren’t very musical but my sisters played violin, cello and piano whilst I was growing up. My dad exclusively listened to about 5 different albums of about 4 different bands, the only international ones being Pink Floyd and Santana – great musical taste, just a little limited. My sisters and my mum just liked the radio, and my sisters were hugely into the Spice Girls, Shakira and Britney Spears. It wasn’t until I was a teenager that I got to expand my musical horizons and I found out that Pink Floyd’s early stuff was a whole different kind of psychedelic.

Black and white image of a woman in a bath wearing a white tshirt with dark hair and make-up resting her head on her hands on the bathtub rim

Image courtesy of Models 1

Charlie Newman: In light of the #MeToo movement, is there anything within the fashion and music industry you would like to see change?
Rebeca Marcos: Well, I believe values are stronger and more reliable sources of change than rules. Sure, models shouldn’t be sent to photographers that are predatory and same with producers that never get called out on by money-minded labels. But both industries are becoming more and more saturated, women just need to keep standing up for themselves and getting together, and the roles that are available to be played by individuals of any gender should be more fluid. If people truly focused on being more compassionate and respectful from the get go, these things wouldn’t be hard to understand, no matter how privileged you are.

Charlie Newman: What advice would you give to young models starting out now?
Rebeca Marcos: Be strong, focus on your happiness and try to experience the teenage years of your career as life experiences and not as career building. Young girls shouldn’t be expected to have figured out what type of brand they want to develop, or be pressured into having a stellar career immediately.

Charlie Newman: Are there any philanthropic causes that you are particularly passionate about?
Rebeca Marcos: The charity of *Talk To Your Local Homeless Person* even if you just say: “how is it going?” and spare some change. They need to be humanised and we are all individually responsible for the people who have fallen through the cracks of our society and need help. We don’t have to give change to every single one of them, that is not our responsibility, but at least keep them and their pain in mind, because that is the least we can do.

Follow Rebeca Marcos on Instagram @rebecamarcosrosa  and her musical endeavours via @parkhotelband

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Reading time: 9 min
Model poses against pale blue wall wearing ruffled collar shirt with short black hair

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

Model posing in black bra with gold necklaces

Photographer, body positive activist and model Emma Breschi. Image courtesy of Models 1

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

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

Charlie Newman

THIS MONTH: 25-year-old model Emma Breschi has only been signed to Models 1 for two years, but has already graced the pages of Vogue Italia and starred in the Vivienne Westwood AW17 campaign. She is also a body positive activist and photographer. Charlie speaks to Emma about life behind and in front of the lens

Charlie Newman: Firstly lets talk about your childhood. You moved to England in 2010, but grew up in Thailand. What was that like?
Emma Breschi: I’ve had a very multi cultural up bringing, I’m half Italian and half Filipino. However, I was born in Switzerland, have lived in Malaysia, and for the most part Thailand. Growing up in Phuket, which is one of the bigger islands of southern Thailand, was literally a dream. As a kid, you couldn’t ask for a more perfect place to grow up. To me, it was paradise, and throughout my youth I lived as a total beach bum! There really is nothing like living by the sea, surrounded by some of the world’s most beautiful beaches. I was spoilt! I miss being by the ocean, but the truth is England has some incredible beaches too. I pretty much just moved from one island to another. I do miss Thailand, and it will always have a place in my heart. It was my home for a very long time, but I am happy that I moved over to the UK when I did. I’m not scared of change and experiencing new things, for me, that’s very important.

Follow LUX on Instagram: the.official.lux.magazine

Charlie Newman: What struck you as the biggest difference socially and culturally between life in Thailand and in England?
Emma Breschi: There wasn’t much difference. I was still the same person, I just had to adjust to living in a new country where everyone spoke English! Making new friends couldn’t have been easier. I found it funny at my new school that everyone would refer to me as “the American girl” because I had the accent. So it was interesting explaining my background to people and “what I was”.

Model wearing black jumpsuit reclining on the ground

Image courtesy of Models 1

When I started my A Levels, the fact that I could study photography as a core subject was a shock! I had no idea how to take photos properly, but I was so eager to learn. I really enjoyed art and story writing, so for me, photography combined the two. When I moved to England, I really made it my mission to become a really good image maker and storyteller. I had no idea where it would take me, but it has led to some incredible experiences!

After my A-Levels, I assisted a great photographer for a few years, Jean Philippe Defaut, who taught me a lot about reportage photography. I then went travelling alone for a few months to photograph whatever or whoever I came across. I went to Hong Kong, Spain, Croatia and Norway. Then with that [portfolio], I applied to LCC to study Documentary Photography (because it was my dream to shoot for National Geographic), but they rejected me – I was heart broken! I had another interview lined up with LCF, but I had no fashion in my portfolio whatsoever so I knew my chances of getting in were slim, but for some reason, I did.

Fashion opened my eyes to a whole new world and to an interesting way of creating imagery. It was and still is so exciting for me! I truly believe that things happen for a reason… After I graduated from LCF, I was scouted to be a model (which I never thought I’d end up doing) and now I’m working with some of the fashion industry’s most influential and creative minds! It’s incredible how life turns out sometimes…

Read more: Sassan Behnam-Bakhtiar’s mesmerising art opening on Cap Ferrat

Charlie Newman: You’ve shot for the likes of Hunger magazine, Malone Souilers, Puma and Dr Martens. How easy was the transition from behind to in front of the camera? Did you feel like you had something to prove or did it make it easier to understand?
Emma Breschi: For me, I think modelling and photography go hand in hand. I have learnt so much about photography working as a model, and I think understanding the different roles and jobs that are involved when creating an image or story is so important. You couldn’t have a final product without the team behind it, so respecting, understanding and even educating yourself about the different people involved is so important! You couldn’t make a fashion image without your models, photographers, stylists, make-up artists, hair stylists, designers, set designers, assistants and producers. Each and every role is so vital in the creative industry. We have to understand each other because we need one another to create magic. I honestly think becoming a model has made me a much better photographer.

Model standing in lavender field wrapped in colourful shawl

Instagram: @emmabreschi

Charlie Newman: Many high profile photographers have recently been shunned from the industry due to sexual allegations being raised against them. How do you think the industry can better protect their talent and prevent people from abusing their power in the future?
Emma Breschi: Well the truth is we have no control over what other people do or say sometimes so I always say we need to be the one in control of ourselves and the choices we make. And it is most definitely ok to say “NO!” There is nothing wrong with saying “NO!” I think we are getting better at communicating and we have access now to various safe platforms where we can talk to one another, advise, discuss and have respectful conversations about what is right and what is wrong. I think in the past, we were told to be quiet or else! It’s all about respect and it’s time to educate one another on what that word really means.

Charlie Newman: Do you have any personal experiences of overcoming this?
Emma Breschi: I’ve worked with some very talented people who have showed nothing but kindness and respect towards me. However, not every job is like that, which is normal. I don’t mind someone being a little rude or angry, at the end of the day that’s not really my problem and I never take petty things like that personally as long as they’re respectful. I have had experiences, where people (both men and women) have been very disrespectful to me in this industry. Treated me like I wasn’t even human. I always remain professional on the job, but if you go out of your way to emotionally abuse or inappropriately engage with me, don’t expect me to be quiet about it. Put some respect on it!

Read more: New levels of sophistication in Ibiza Town

Charlie Newman: As a model myself, I often struggle to pave my way through the weird and wonderful world of social media, but you are a shining example of someone who has nailed it. I check your feed regularly and I am always inspired by your wit, body confidence, fearless approach to taboo subjects and brutal honesty. Your fan base are extremely loyal (me included!) – what message would you like to put across to them?
Emma Breschi: I am humbled by anyone who takes the time to listen to all the smack I talk and weird things I get up to. I just hope that I’m putting a smile on people’s faces!

Model poses against pale blue wall wearing ruffled collar shirt with short black hair

Instagram: @emmabreschi

Charlie Newman: When you put such a strong voice and image out there you’re inevitably going to be faced with criticism. How do you deal with the haters?
Emma Breschi: If you’re putting your own opinion and thoughts out there, you have to accept that not everyone is going to agree or be on the same wavelength as you. That’s life. I can’t control what people say or how they react towards me. I’ll read it and be open to having a discussion or conversation about it, but if you’re just screaming angry words that really has nothing to do with me. It’s a reflection of the person’s own problem or issues that they might have with themselves or whatever. So I won’t waste my energy or cry over something a complete stranger types on my Instagram. Simply: block + delete.

Charlie Newman: You’re frequently praised as a positive body campaigner. Does feeling beautiful and happy with your body come naturally to you, or is it something you’ve had to work on?
Emma Breschi: I haven’t always been confident in myself! Growing up, you experience all kinds of things that might bring you down, but that’s just life. Without the challenges I wouldn’t be the person I am today. I  woke up one day and decided that I wouldn’t let those things stop me from moving froward. You have to acknowledge that you have no control over what others might say or do, but you have the power to chose how you deal with it. I have learnt to accept that I can’t please everyone, but I can please myself. I’ve learnt to let go of the self doubt and allow myself to be happy with who I am and who I choose to be.

Charlie Newman: When you’re out of the public eye, what do you do to stay grounded?
Emma Breschi: I spend my days out in nature with my dog or go surfing. I love having time alone.

Charlie Newman: What future projects do you have lined up?
Emma Breschi: I’m doing some self portraits now for a few designers which is really exciting! I’d really like to do more of that, combining my own creative work as an image maker with my modelling.

To view Emma Breschi’s photography visit: emmabreschi.com 
Instagram: @emmabreschi

 

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Reading time: 8 min
Actress Lupita Nyong’o spinning in a silk pink dress in front of Chopard board on the red carpet
Chopard's co-president Caroline Scheufele on the red carpet in a floor length navy blue and lace dress

Caroline on the red carpet of the Cannes Film Festival closing ceremony in May this year

Caroline Scheufele is co-president of Chopard, the Swiss jeweller and watchmaker that has been run by her family for more than 150 years. As head of the women’s collections and fine-jewellery range, she has made the Cannes Film Festival a dazzling stage for the brand’s showbiz ambassadors to display a new range of bespoke creations every year. Her time running the company has seen the rise of the Chinese market and the emergence of social media. LUX Editor in-Chief Darius Sanai visits her at Chopard’s Geneva HQ to discuss doing business in Beijing, how to keep innovating and how the best ideas come in the rain

LUX: We just looked at the atelier where you create your individual pieces, and what struck me was the creativity and ‘anything goes’ style of these one-offs. Is Chopard becoming more creative or has it always been like this?
Caroline Scheufele: I think Chopard has always been known for being one of the most creative in the watch and jewellery market. But over the years there has been a big evolution – especially over the past 10 years when I started to introduce the Red Carpet collection that we release annually in Cannes. We started with the 60th anniversary, so crazily enough I said we will make 60 special pieces, and every year we add one, so we are now up to 71.

Follow LUX on Instagram: the.official.lux.magazine

cut out image of a diamond choker necklace set with purple stones

A Red Carpet Collection necklace

It’s a big challenge for the workshop. Over the past 10 years there was a big evolution and maybe even revolution within high jewellery because we started to work a lot with titanium and even now ceramic and aluminium, and you get a completely different finishing look than if you only work with gold. Personally, I love to wear big earrings and that’s why we started a lot with titanium because normally big earrings are very heavy because of the gold, and the worst thing is when you sit at a dinner and you see a woman taking off her earrings on the table because they hurt.

That’s also the practical side of it, if you use titanium – like on the big orchids in this year’s collection – they are like feathers. And now we can colour the titanium, which we can’t do with gold. When we started my father said, ‘What are you doing?’ I said, ‘It’s not written anywhere that diamonds have to be set in gold.’ It’s just historically always been done like that.

LUX: You were inspired by your recent travels?
Caroline Scheufele: Yes, I travel a lot. I just came back from two weeks in China which is always very inspiring. And there are a lot of things you can pick up in ancient architecture or colours or music. But there is not a given moment when you say, ‘OK, today I’m going to sit down and be creative.’ It doesn’t happen like that. But it often happens when I travel which is good because I always come home with ideas and you always need new ideas. I love architecture. I think if I would not have been doing what I do with the family I probably would have gone into architecture.

Emerald and diamond earrings laid on a wooden slate

An emerald and diamond necklace draped across hands

Emerald and diamond earrings (above) and necklace from Chopard’s Red Carpet collection

LUX: When you are travelling, do you have to force yourself to go out of the usual itinerary to get to the inspirations?
Caroline Scheufele: I fight with my team because this time, for example, I was two days in Xi’an, an old capital of China where they had the first Emperor, and very close to the Terracotta Warriors. I said, “No matter what, I am going there. Please put these two hours into my programme.” And like always my team say, “Ah no, no but you have to do this…”. I mean, I was in China five times last year and I still haven’t seen the Great Wall.

Read more: Entrepreneur Adrian Cheng & landscape architect James Corner are redesigning Hong Kong

LUX: For the Cannes unique pieces is it really carte blanche? You create whatever you want and clients will buy them?
Caroline Scheufele: It’s pretty much carte blanche. We do have a theme, but otherwise anything goes.

LUX: Do you worry they won’t get sold?
Caroline Scheufele: No… we have a very nice group of clients who are very attached to the brand and they get to see them pre-Cannes. And then we may have other customers who want the pieces but we only make one of each.

Chopard's co-president Caroline Scheufele sketching in a workshop

Caroline sketching the palme d’or design

A cut out image of a diamond, sapphire and emerald cuff

A Red Carpet Collection bracelet

LUX: China has gone from zero to biggest market in the world in the past 15 years. How have you established yourselves as the brand with the power that you have over there? Because they didn’t know Chopard previously.
Caroline Scheufele: We started with some agents and now we run China ourselves, we have our own office in Shanghai and another in Beijing and a big one in Hong Kong. First it was more about watches but now the Chinese have discovered branded jewellery. We have our Chinese ambassadresses and when they wear something, the next day it can be sold out. They are very celebrity-driven so it’s a lot about social media. China is also so big. When you go to a city like Beijing, it’s 22 million people, almost three times Switzerland. The dimensions are so different. Last time I met a very nice successful lady, who runs a family business, but they have 320,000 employees – that’s the whole city of Geneva!

LUX: You have to visit China in person, right?
Caroline Scheufele: Yes, they appreciate meeting the family. They like the personal interaction. We had an exhibition at a luxury fair in Hainan, and we printed a book in Chinese. I gave it to a lady and the next morning she knew everything in the book, she had read the whole thing, which probably wouldn’t happen in America.

LUX: Is the perception of luxury changing in China?
Caroline Scheufele: Certain brands were very popular in the beginning when China opened up, and now certain people in the Chinese elite are going for smaller brands because it’s more chic or less widely seen. I met a very interesting professor from Beijing University who was giving some background on China, about how things change quickly. Within the past three years, 100 million people moved from poverty into the middle class but in the next six years it will be 300 million more. They set themselves goals and visions and they really do them.

Actress Cate Blanchett on the red carpet in diamond emerald earrings and a black lace dress

Cate Blanchett wearing Chopard creations at this year’s Cannes Film Festival

LUX: Are consumers around the world less loyal to brands and is that a problem?
Caroline Scheufele: It’s not a problem, it’s an opportunity. It’s also stimulating for us to be more innovative and more creative. And fast.

Read more: Parisian designer Jacques Garcia on creating spaces for seduction

LUX: Is speed an advantage because you’re a family company?
Caroline Scheufele: It’s an advantage because if something is urgent we can make things quickly because everything is in-house. Also we can stop something and say, ‘Now we make this engagement ring because their engagement is the day after tomorrow.’ Which in other companies is more complex. They have [to get] 10 people’s signatures before they even start the design, and we’ve already made the piece.

LUX: Have tastes changed around the world in the past few years?
Caroline Scheufele: Yes, jewellery has become more democratic in a way, how women wear it. So, mixing colours, mixing shades of gold. With a beautiful diamond ring you can also wear it with jeans, you don’t need to have only the long dress to go with it. So I think yes, it has changed.

Actress Lupita Nyong’o spinning in a silk pink dress in front of Chopard board on the red carpet

Lupita Nyong’o in Chopard at this year’s Cannes Film Festival

LUX: I might have this completely wrong as an outsider, but it seems to me that jewellery used to be made by men and bought by men for women, and you’re a woman and your customers are women.
Caroline Scheufele: Women and men. Both. I sometimes call men and say, ‘Your wife’s birthday is coming up, I hope you didn’t forget it!’ But yes, previously jewellery was always something that you expected to be given as a present. Whereas certain women spend easily, they go shopping for designer clothes and they spend $10,000, $20,000 without a problem, but to buy yourself a beautiful diamond ring was not so much on the menu. I think now a lot of women are independent, they make their own money, they also buy their own jewellery, they might still be married but they sometimes go, ‘Ah, this is new?’ ‘Yes, I just bought it for myself.’ The behaviour of buying has changed, also with the advent of e-commerce.

Actress Celina Jade posing on the red carpet in a diamond necklace and pale pink dress

Actress Celina Jade also wearing Chopard at this year’s Cannes Film Festival

Colour portrait of Caroline and Karl-Friedrich Scheufele with Jacky Ickx

Caroline with Jacky Ickx and her brother Karl- Friedrich Scheufele at Cannes

LUX: Is that going to become more and more important?
Caroline Scheufele: We have to work with both. I still like magazines, I’m not somebody who can read a book on iPhone. I still like the touch of paper, but maybe I’m not this very young generation… I still think there is a difference. A lot of people get information first online and then they go to the destination, physical shopping. So, the digital side is important. How you present your company. I think there will always be stores. But the stores today have to be much more of a lifestyle experience. The people who sell have to be better. It’s not good when the client knows more about diamonds than the salesperson.

render of a bright blue choker style necklace with an elaborate colourful pendant

A Red Carpet Collection necklace

LUX: Do clients care about your decision this year to only use Fairmined products?
Caroline Scheufele: I think it definitely appeals a lot to the younger generation because they are much more alert, today, about the planet, about sustainability and responsibility. The other day I had lunch with a friend and the son came in. We were talking about tennis shoes and he said, “Mummy no, no, no, you cannot buy this brand. It’s not good because they use kids.” And the mother said, “Ah.” The little one is six years old. So there is much more information and I think we all have to take care of the planet, we cannot just wait for the next generation to clean up.

LUX: You met the miner who mined the diamond you bought from Botswana, the Kalahari Diamond. Is the female empowerment element important for you?
Caroline Scheufele: It is important. And what was the beauty of the Kalahari is that a woman found it and it was on a Sunday. For me this was a unique experience, because I really followed everything from A to Z – from the mine to the cutting to the design. And then obviously we presented, we made the presentation in Paris and we invited the lady who found the stone to the presentation. And she had never been out of the village, so they had to get passports and visas, and she came with her son and then they went to Versailles. They were there one week, and in Versailles the son said, “Is this ice?” because it was the first time he had seen snow. So that, it was nice, it was actually nice.

LUX: Do you get inspiration for your next ideas in unlikely places?
Caroline Scheufele: Yes, I do. Once, we had rented a boat and we were very unlucky because it basically rained for the whole week, so what do you do? You watch movies, you read, you go and eat, you read more, you listen to music. And I was looking around, thinking, ‘How important the sun is!’ And your mood is down, and that’s when I had the idea of doing the Happy Sun collection. I designed it in the rain.

View Chopard’s collections at: chopard.com

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Reading time: 10 min
Entrepreneur Wendy Yu poses with locals from Rwanda
Colour portrait of entrepreneur Wendy Yu

Wendy Yu. Portrait by Jonathan Glynn-Smith

Wendy Yu – entrepreneur, investor, cultural ambassador, fashion devotee, and frequent flyer between Shanghai, Hong Kong, London and New York – is taking the word ‘global’ to a whole new level, as Elisa Anniss discovers when they meet

Instagram can be hugely revealing about the people who use it, though rarely will you get the fullest picture of any of them. With her 1,913 posts and the 94.1K followers of her Instagram account, @Wendyyu_official, it still paints only a partial picture of this remarkable young woman, who is the founder and CEO of Yu Capital, a major Chinese investor in fashion and technology, an entrepreneur and a philanthropist.

Nevertheless, snaps of Wendy Yu with Giambattista Valli, Thom Browne and Charlotte Olympia do reveal her stellar fashion credentials. There are the images of the Met Ball in New York and of a dinner for her friend Mary Katrantzou, co-hosted with Lord Rothschild at Waddesdon Manor. Instagram also tells us that she appears to be something of a collector of evening gowns. Indeed, the rare snap of her in trousers raises an obvious question. “I love both, to be honest,” she darts back, when challenged. “I’m very spontaneous. Sometimes I love things that are dreamy, crazy and imaginative. At other times I just like very simple things. I love to be a chameleon, it really depends on my mood.”

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This morning she’s flown in from Hong Kong. For the flight, she wore head-to-toe Alaïa with a yellow Mary Katrantzou fur. It’s typical of what she wears on planes – Alaïa or a kaftan from Oscar de la Renta paired with flat shoes. “All super comfy so I can sleep easily.” Last month she flew every two or three days. Shanghai is her main base, but Hong Kong, London and New York, are all places where Yu regularly spends time. “New York more now because next year we’re launching an exciting project there,” she ventures, but that’s all she’ll give on the details. Still, Shanghai is where she has a home and where her parents’ live – Yu is heir to her family’s business, the Mengtian Group, China’s leading wooden door manufacturer.

It takes sitting down and talking to this young entrepreneur and philanthropist to see that dressing up and accumulating possessions isn’t really what drives her. Her enquiring mind and the way she lights up, crackling with enthusiasm and talking nineteen to the dozen when discussing her many passions, leaves a lasting impression. It’s certainly something that Instagram is unable to convey. Fashion, disruptive technology, the arts, China and being a Sino- Western bridge connecting people, are just some of the subjects she tackles with energy.

“Wendy is passionate about London designers and entrepreneurs and has definitely made a positive impact by supporting some of the best talent out there. We need more people like her,” enthuses José Neves, the fashion-tech businessman who founded Farfetch, and husband of Daniela Cecilio Neves, in whose business Yu was an angel investor. Undoubtedly, it was Yu’s inquisitiveness that brought her to England in the first place. This involved spending time at school in Somerset, in the English countryside where she got a taste of the British boarding school system as well as meeting other, mostly non-Chinese pupils. Next, she went on to complete a degree in fashion management at the London College of Fashion with a stint in between interning at Vogue China. She has also completed executive business programmes at the universities of Cambridge and Oxford, interned for a family office in the Middle East and has spent time working for Mengtian. “Truth be told, while education is important, it’s not until you do internships and start working that you really learn about business,” she says.

Breakfast hosted by Wendy Yu and Caroline Rush

Wendy Yu and Caroline Rush, Chief Executive of the British Fashion Council, co-hosted breakfast for Vogue China’s Editor-in-Chief Angelica Cheung

Today, Yu is the youngest member of the Fashion Trust, a British Fashion Council charity, and a founding member of the Victoria and Albert Museum’s Young Patrons’ Circle. Even though she herself doesn’t use the word ‘anglophile’, with her love of Harrods – “I still vividly remember the first time I went [there]. It really ignited my passion for fashion” – and her appreciation of British life beyond London – “I love the town of Taunton, and Devon is beautiful, too”– it’s a moniker that fits.

Read more: Geoffrey Kent on finding new places in a well-travelled world

In 2015, Yu founded the investment vehicle Yu Capital and in January 2018, Yu Capital became Yu Holdings. Yu Holdings is a platform created to unite the worlds of strategic investment, technology, philanthropy, arts and culture and to reinforce business and cultural ties between China and the rest of the world.

“The evolution of Yu Capital into Yu Holdings was a strategic decision to consolidate my investment activities with my cultural and fashion projects, all with the end goal of bridging the economic and cultural gap between China and the rest of the world, a mission that drives every decision Yu Holdings makes,” says Yu. The investment vehicle is divided into three main areas of interest: Yu Capital, Yu Fashion and Yu Culture. Yu Capital, the investment arm of Yu Holdings, is focused on strategic investment in global technology, lifestyle and fashion businesses that show high potential for growth in a global market.

Yu’s two technology investments are Didi Chuxing (for more information see end of article), the largest taxi-hailing firm in China, valued at US$35 billion and whose other investors include Apple, Alibaba and Tencent, and Tujia.com. This Chinese online marketplace and hospitality service enables people to lease or rent short-term lodging, something like Airbnb (see end of article).

“Because Didi and Tujia are both multi-billion-dollar companies, they have very big and powerful investors. I’m involved financially rather than strategically,” she notes. “I’m generally less involved with technology investments than with my fashion and lifestyle investments, where I look to add value and contribute to their development and growth.”

Models dressed in colourful costume walking down the catwalk

One of Yu Capital’s recent ventures, Mary Katrantzou, with her SS18 show

Earlier in 2017, Yu Capital made its first luxury fashion investment in the London-based designer brand Mary Katrantzou (see end of article) whose sought-after collections are sold in leading luxury stores around the globe. Yu confesses that before she makes the final decision on an investment she consults with her fortune master, who told her great things about Mary, prompting her to go ahead. “At the back of my mind there is always the question, is this relevant to the Chinese market?”

Read more: President of Monaco Boat Service Lia Riva on the family business

Whether she proceeds with a fashion investment or not also depends on the chemistry she has with a designer as well as the company’s future potential. “With Mary, I really like her as a person as well as a business woman. Her enthusiasm is infectious and she’s hugely talented.” She was also struck by Katrantzou’s background in architecture and opportunities that lay waiting in the whole lifestyle sector.

Yu believes that past collaborations with Adidas, Moncler and Topshop have already helped Mary Katrantzou capture the attention of Chinese consumers and that there is still greater opportunity there for Katrantzou’s core brand. “We are very open to the new emerging designers and the purchasing power in China is now very strong. However, one needs to select carefully which partners in China will be the best in the long term because they all want exclusivity.” Yu can help Katrantzou navigate these complexities. “I don’t have any agenda, I only want what’s best for Mary,” she says.

The investment in Mary Katrantzou followed two made in 2015, one in ASAP54, recently re-branded Fashion Concierge, and another in the sustainable accessories brand Bottletop. Yu was drawn to Fashion Concierge by the disruptive technology it displayed at the time of its launch, whereas with Bottletop it was the idea of social investment that appealed to her. “I liked their concept and approach to sustainability,” she says. As a pioneering fashion accessories brand (founded in 2012 by Oliver Wayman and Cameron Saul, the son of Mulberry founder Roger Saul), the brand revolves around the simple idea of re-cycling the ring pulls from drinks cans – hence the name. A novel, sustainable, chainmail-like material, often with an enamel finish in a range of colours, helps to make Bottletop products, which include totes, clutches, backpacks and belts, instantly identifiable. The company also funds the Bottletop Foundation, which supports young people in Brazil, Ethiopia, Kenya, Malawi and South Africa. “Wendy is a rare visionary and we have loved having her as part of the Bottletop family,” says Saul. “Wendy is also very strategic and has supported us with important introductions as we position the brand to launch in Asia.”

This is echoed by Daniela Cecilio Neves of Fashion Concierge: “I’ve greatly benefited from Wendy’s insights as a tech-savvy, fashion-loving individual, who can also provide me with a perspective on China,” she says.

Entrepreneur Wendy Yu poses with locals from Rwanda

Wendy Yu at the Women’s Opportunity Center in Rwanda

Ever since Yu took a trip to Rwanda with Brita Fernandez Schmidt, the UK executive director of the charity Women for Women International, social investment, and how similar principles could be applied to the less developed parts of China, have been at the forefront of Yu’s mind. “Brita invited me to see her work in Rwanda because that’s where they have the Women’s Opportunity Center. I’m very curious and I’ve always wanted to see different parts of the world. It was the most inspiring trip I’ve ever been on. I’m looking to potentially develop some culture-related projects with Women for Women, as Brita is keen to see rural parts of China. As a Chinese woman, I would like to explore how we could create support areas in China where there are still huge gender inequalities.”

This leads into the overarching ambition of Yu Culture, the purpose of which is to enrich China’s cultural landscape through development and exchange initiatives in film, art and media, and by working in special partnership with international cultural institutions on projects to be unveiled in 2018.

Yu is already closely involved in the Victoria and Albert Museum. “The V&A has been one of my favourite museums since my student days,” she enthuses. “They invited me to join and I said yes without hesitation.” Her role includes introducing friends from Asia as well as a young group of people from the international fashion and art world. “It’s a bridge, again,” she continues. “Introducing people comes very naturally to me. It’s win-win for everybody because they love the V&A and getting to know the industry community, and the museum loves to meet new art collectors.”

Her involvement is certainly appreciated by the museum. “As a Founding Member of the Young Patrons’ Circle, Wendy Yu has been an enthusiastic supporter of the Victoria and Albert Museum, not only contributing to the successful launch of this important initiative and its exciting programme, but also through her involvement with the Museum’s annual Summer Party and her passion and knowledge of the V&A’s fashion collection,” says a senior museum spokeswoman.

“I love to be the bridge between China and the rest of the world because I love both cultures and want to enhance the connection between the two,” continues Yu. The South China Morning Post recently described her as being both “a sounding board for British designers negotiating the labyrinthine ways of doing business in China” and China’s “unofficial ambassador for British fashion”.

Net-A-Porter, a company Yu admires because of its “great customer experience”, invited Yu to become one of its global ambassadors. In this new capacity, she is scheduled to take the former Prime Minister’s wife, Samantha Cameron, and her clothing brand Cefinn, which sells on Net-A-Porter, to China in 2018. It’s a collection she considers to be super wearable with a good price point. “I’ve been wearing her blouse with different outfits and wearing her skirts,” enthuses Yu. “I respect Samantha’s vision and I think Cefinn would be very relevant to Chinese professional ladies.”

According to Yu there are still major differences between the West and China, particularly in terms of technology. In China, she can go out carrying just a mobile phone. She explains that instead of a wallet, Chinese people use Alipay, a third-party mobile and online payment platform established in China in 2004 by the Alibaba group, or WeChat Pay, launched by Tencent.

Her insight into a world that the West is hungry to know more about, is just one of the reasons why she is so in demand in the fashion world. “Wendy’s business acumen and knowledge of the financial sector are invaluable assets to our British designers hence why her support and dedication to the BFC Fashion Trust are so invaluable,” says Caroline Rush CBE, chief executive of the British Fashion Council. Yu describes Rush as “a friend and a mentor” and is someone with whom she co-hosted a breakfast to welcome Angelica Cheung, the Vogue China editor-in-chief, to London. Yu’s involvement in the BFC Fashion Trust has also led to her meeting many designers and learning about the challenges that they face. “You find that a lot of designers are super-creative but they don’t really have that business sense. Nowadays, for a fashion brand to evolve, you have to have both creative vision and to understand the commercial world, exactly who the customers are and what they are looking for.”

Read more: Why we love Club Dauphin on Cap Ferrat right now

Huishan Zhang is a London-based designer in Yu’s friendship circle who is known for his classically feminine evening gowns and dresses that sell in his Mount Street flagship. Like Yu, Zhang was born in China, but left when he was still a teenager. “I’m great friends with Huishan Zhang,” Yu says. “He’s a lot of fun, we share a lot of friends and look to support each other as well, on both a personal and a business level.” According to Yu, he makes her made-to-measure dresses for her and she collects signed sketches of his designs. “Wendy has been a good friend to me,” says Zhang, who doesn’t manufacture in Italy but produces his clothes in his family’s factory in China. “She is an active entrepreneur and supporter of the fashion industry, honing in on new talent, along with great passion and a unique style.”

Colour portrait photograph of entrepreneur wendy yu

Portrait by Jonathan Glynn-Smith

It’s mid-afternoon and we’re coming to the end of our interview now and still there’s no sign of any jet lag or of her flagging post-photo shoot. Yu’s energy levels are high. But then they have to be, as she’s off to Lisbon next, speaking at Web Summit, which bills itself as “the largest tech conference in the world” and welcomes an extensive and diverse line up of speakers ranging from Al Gore to Suzy Menkes. Yu says she’s booked to talk on two panels, one with Caroline Rush and another with the CEO of Matchesfashion.com and Vestiairecollective.com. “It’s all come about very spontaneously and it’s a nice group of industry insiders.”

It won’t be Yu’s first foray into the speaker circuit. In June she appeared on the British Fashion Council’s Fashion Forum panel alongside a group including Yana Peel (CEO of the Serpentine Galleries) and the shoe designer Rupert Sanderson, discussing cultural and commercial partnerships in China. She has also given similar talks covering her investments and connecting with China, in Cambridge and at London Business School, as well as back in China. When asked if she ever gets nervous about speaking publicly she replies: “No, not really. Though I always prefer talking on a panel, it feels more natural. I wouldn’t say no to a glass of champagne if my nerves get the better of me!” And why not, I say.

LUX would like to thank 45 Park Lane in Mayfair, London, for the use of its exquisite Curzon Suite for the shoot of Wendy Yu by Jonathan Glynn-Smith. 45 Park Lane is the artistic sibling to The Dorchester, next door, and has a fabulous program of art events, its own curator, and its own artist in residence. dorchestercollection.com

For more information on Wendy Yu’s investment platform visit: yu-holdings.com

Mary Katrantzou

Mary Katrantzou, who won the £200,000 BFC/Vogue Designer Fashion Fund prize in 2015, is Yu Capital’s most recent investment. One of the heavy hitters at London Fashion Week, the Greece-born designer delights the audience each season with highly original ideas brought to life using elaborate embroidery and embellishment, a mix of textiles, prints and silhouettes and an inimitable signature that shouts Mary. The London-based ready-to-wear marque was established in 2008, after the designer graduated with an MA in Fashion from Central Saint Martins. She was soon dubbed The Queen of Print by the press, a tag that recognised the enormous influence of her work in the medium. In recent years, collaborations, including capsule ranges with Longchamp, Moncler, and Adidas Originals, have helped to broaden her appeal at home and abroad, and of course in China. Mary Katrantzou doesn’t have a bricks-and-mortar store, yet, but she does sell to leading luxury stores in many countries including Harrods, Harvey Nichols, Bergdorf Goodman, Saks Fifth Avenue and Le Bon Marché. “Wendy is an extraordinary person with a pragmatic and forward-looking vision, who is a close friend as well as an ambassador for the brand,” says Mary Katrantzou. “The most important thing for me is to be surrounded by people who understand my vision and support me in building a truly international lifestyle brand. It’s very exciting to enter our 10th anniversary with a board of incredible women advisors who are shaping the industry in their own right and will be helping us shape our future and reach our full potential.”

Tujia

The rental company has taken couch surfing to a whole new level with $300 million of investments announced in October 2017. Giving Airbnb a serious run for its money, and valued at $1.5 billion, Tujia was founded in 2011 under Tujia Online Information and Technology Company of Limited Liability. With 345 locations across China to choose from and at least 1,000 partnerships internationally, it boasts 650,000 listings and is tapping into a large affluent travelling class, revolutionizing the hospitality industry in China.

Didi Chuxing

The taxi-hailing app is China’s answer to Uber (in fact, it acquired Uber China in 2016) and is the largest such company in the world, with 200 million rides under its belt last year. The app was launched in 2012 and today has over 450m users across the Chinese continent, spanning 400 cities and a variety of services. From social ride-sharing to options including Didi Chauffeur, Didi Bus and Didi Car Rental and Hitch, its social ride-sharing branch, it has taken China by storm and has recently developed an English-language version of the app. It is also looking towards the future with groundbreaking investment into AI technology, with over $5.5 billion raised in 2017.

This article originally appeared in the LUX LOVE Issue, Spring 2018

 

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Reading time: 16 min
Two images of red haired model on yellow and turquoise backgrounds

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

striking red haired model poses in front of yellow background

22-year-old model and actress, Emma Laird. Instagram: @emmlaird

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

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

Charlie Newman

THIS MONTH: Emma Laird was scouted when she was 18 by Models 1 at a festival  covered in mud, glitter and last night’s make-up. Since then, the 22-year-old from Chesterfield, England has appeared on the pages of some of the world’s most famous magazines including Elle, Grazia, Glamour and L’Officiel, and has starred in a campaign for United Colours of Benetton. She is also an actress and avid reader, as Charlie discovers

Charlie Newman: Firstly huge congratulations on your burgeoning film career! Can you tell us a bit about it and what you’re working on at the moment?
Emma Laird: Thank you so much! I always loved acting at school, but felt maybe a little naive thinking that’s a valid career path. Modelling set me up because I knew how much effort went into a photoshoot, the lights, the costume department etc…there are similarities there which transfer to acting. When I went to New York initially for modelling back in 2016, I started looking at studying whilst I was there. I went to an open day at New York Film Academy and the casting director there said that he had a spot for me, but I had to start on Monday. I said yes and have never been so thankful for making such an impulsive decision. This year I got two short films, one in particular that I’m very excited about. It will be hitting film festivals globally next summer and I can’t wait to see where it goes.

Follow LUX on Instagram: the.official.lux.magazine

Charlie Newman: How have you found the progression from modelling to acting?
Emma Laird: It’s hard because modelling is addictive. It’s very easy to get addicted to money, but there comes a point when you go to work wishing you were doing something else and you realise you can’t be doing something with your life just to score a bigger pay cheque. I would always turn down a paid modelling job to work on an indie film. As long as I can pay my mortgage off each month I’m happy doing free shit that I’m excited about, smaller projects, just learning and working with talented people in film is what I get excited about. I’m trying to enjoy the ride and continually learn in the mean time; reading scripts, watching other performances, reading, writing and just educating myself in general. Some of the greatest actors are some of the smartest people. If you land a role set in a different time period you have to know your shit. Politically, who was in power at that time, how were women treated, what were their roles in society at that time, how did people dress, what things had been invented, what were people campaigning for? It’s all relevant. So I’m trying just to continually progress with education and spend more time with my head in books that on social media.

Image of red-haired model standing in jeans and crop top in front of plain background

Emma Laird, shot by Aaron Hurley

Charlie Newman: Being a model and actress must require a multitude of emotion and a lot of energy when you turn up on set. Does it ever all get a bit much?
Emma Laird: Yes it does, it’s hard. I think loving yourself is something every model needs to learn. You are constantly under scrutiny. Getting naked in a room full of people, going in bare-faced when you might have a few spots, people asking your age and what you plan to do with your life… Of course that requires confidence, but more importantly you have to love and appreciate yourself as a person in order for that not to affect you. Modelling more so, I feel the pressure because they’ve booked me on looks alone. At least with acting I’ve gone through that audition process and they’ve booked me because they see something inside me. Acting is more of an escape from my own emotions or I use the stuff I’m dealing with and build it into a character which offers me a release.

Charlie Newman: How do you think the film and fashion industry compare when it comes to female empowerment?
Emma Laird: For me it’s been very circumstantial. Sometimes it’s an all girl team and it’s fab, sometimes it’s been the women who have scorned me for having hips. Sometimes I’ve been vulnerable in a room with only me and a male photographer. In general I think both industries are progressing with more female directors, photographers etc. which have always been male dominated but I do think we’ve got a way to go in taking women seriously and judging someone on their talent not their gender.

Read more: Charlie Newman interviews model, actress, filmmaker and activist,Florence Kosky

Charlie Newman: What would you like to see change within both industries?
Emma Laird: I’d love to see women in male roles and vice versa. I hate to think that a boy would grow up with such a talent for styling but would never pursue it because he thinks its too feminine or is scared people will question his gender. I sometimes think these issues are linked to homophobia. If people were more accepting of the LGBT movement and if it was normalised in more rural areas (because London is very progressive, it’s the small towns that still have a long way to go) I believe there would be fewer problems with gender roles/norms and that people would feel less obliged to take on a career based on their gender. So yes, I’d love for everyone to stop worrying about men wearing pink and on a more serious note, all industries hiring on a strictly talent and skill basis!

Red haired model poses against turquoise background wearing yellow bucket hat, t-shirt and black and white jacket

Emma Laird for Skinny Dip London. Instagram: @emmlaird

Charlie Newman: You have such a strikingly beautiful look. Whilst growing up, did you ever feel like you needed to conform to more stereotypical beauty standards?
Emma Laird: You’re very flattering Charlie thanks! I tried too definitely but there came a point when I realised that heavy make up didn’t suit me and nor did fake tan. I either had to embrace my look or hate it. I learnt to deal with it, and I had a really great group of friends in secondary school so whilst I was never the ‘pretty’ one, I wasn’t bullied for my looks after about the age of 12. It’s funny, I always hated not having boobs growing up, I developed very late and now I actually have B cup and wish they were smaller! I don’t think we’re ever happy with our bodies are we?

Charlie Newman: What do you do for you, to keep you grounded?
Emma Laird: I go back North all the time, around twice a month. I also have a lot of friends with ‘normal’ jobs, who don’t live in London which I think helps. It’s great to be able to live such a normal life and disconnect from fashion and the media whilst having such an extraordinary job. Don’t get me wrong I have amazing friends like you in fashion, and it’s so exciting knowing so many creative and truly talented people. I just personally like the balance of both. I feel like I have the best of both worlds.

Read more: Co-founder & CEO of Spring Francesco Costa on creative co-working

Charlie Newman: I know that you’re a committed vegan. What made you make this transition?
Emma Laird: I kind of did it accidentally at first. I don’t think I knew what a vegan was until after I became one. I was restrictive with food groups when I first started modelling so I wouldn’t eat that stuff anyway. I then started to research vigorously about food. I always loved learning and felt like I had to know whether I was doing my body good or bad by eliminating these things from my diet. That was when I started to realise there was all these health complications and risks with consuming dairy and meat that I started to call myself vegan.

Charlie Newman: Do you have any tips for aspiring vegans whilst travelling? I presume it’s quite difficult to maintain whilst on the move.
Emma Laird: I always say just be low maintenance. You can’t expect vegan joints all over the world but you can sure as hell expect supermarkets with fresh produce, places that sell side salads, fries, meals that you can ‘veganise’ and ask for things off of the menu. At the end of the day you’re giving a restaurant your money so you should get what you want. You just have to be a bit more creative when you travel.

Model on catwalk wearing gothic style outfit black silk shirt, skirt and hat

Instagram: @emmlaird

Charlie Newman: Are there any environmental causes you’re particularly passionate about?
Emma Laird: I’m actually spending the entire month of August plastic free, meaning all of my produce from shops I’m buying without plastic. I’m very passionate about our oceans – we should all be passionate about the oceans because we 100% need them to survive. The majority of our oxygen comes from the oceans, more so than trees and plants on land. It’s almost that out-of-sight, out-of-mind view that people have. We’re not really taught about environmental issues in school and how we can live a more conscious lifestyle, supermarkets make it very difficult to live eco-friendly when almost everything is wrapped in plastic. I’m not saying plastic isn’t effective. I know that it allows for produce to stay fresh whilst it’s being transported but I refuse to believe that other, less harmful materials can be used or even reused.

Charlie Newman: Lastly, who’s your role model of the month?
Emma Laird: My role model of the month is Sylvia Plath. I’ve been reading a lot of her work recently. It’s so inspiring and resonates so well with me that I almost create this world in my head as I’m reading her poems. Her and Leonard Cohen. He can make me cry like nobody else, his songs especially. There’s this verse in one of his songs that goes:

I walked into a hospital
Where none was sick and none was well,
When at night the nurses left
I could not walk at all

(Lyrics from Teachers)

I just love it. So I guess poets are my role models of the month!

Find Emma Laird on Instagram: @emmlaird

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Reading time: 9 min
Three female models standing in a field wearing pastel coloured outfits
Two images of models posing in bright yellow and pale pink clothing standing on grass

Looks from the Brøgger PS19 Collection

Bright colours, androgynous silhouettes and billowing fabrics: just three of the reasons we’re currently obsessed with womenswear label Brøgger. We speak to the Danish co-founders Julie Brøgger and Linn Norström Weiler about Renaissance fashion, dressing with confidence and HRH Queen Margrethe of Denmark 

Colour portrait of founders of womenswear label Brøgger

Linn Norström Weile & Julie Brøgger

1. Describe the Brøgger mood

Julie and Linn: Bold, with a play on the feminine versus the masculine.

2. If you could travel back in time to a fashion era from the past when would it be and why?

Julie: Late 1920s/early 30s, I would try and run between Coco Chanel and her rival, Elsa Schiaparelli’s ateliers, just to observe these women change fashion forever. They did it in such different ways, but it is hard to think of anyone else other than these two – they were and still are the epitome of modernism.

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Linn: I agree with Julie, but I have to highlight the Renaissance as well. Especially in Italy, where art and extravagant fashion was thriving. Maybe I’m drawn to it because it is in such contrast to our Scandinavian simplistic heritage.

Woman walking up curved wooden staircase wearing bright blue billowing coat and trousers

Look from the Brøgger AW18 Collection

3. Is there such thing as a fashion faux pas?

Julie: Not really, as long as you wear it with conviction and confidence anything goes. We all know that feeling when your friend wears something a bit ridiculous but makes it looks so cool and effortless, then you try to replicate and it’s a disaster.

Linn: Hear! Hear! In addition to confidence and conviction it’s about dressing to your body type and height, don’t force it if it doesn’t fit.

Three female models pose in front of billowing pastel pink fabric wearing yellow patterned dresses and coats

Looks from the Brøgger PS19 Collection

4. What do you never leave the house without?

Julie: Dog poo bags….they seem to turn up in every pocket and bag. Now I find them really handy – great for disposing gum when you can’t find a bin.

Linn: Staying on theme, baby diapers…

woman lying on her back wearing black dress, boots and red jacket with one arm lifted to the ceiling

Look from the the Brøgger AW18 Collection

5. What’s inspiring you the most currently?

Linn: This is Julie’s field!

Julie: I’m obsessed with HRH Queen Margrethe of Denmark at the moment, especially the 1980s era where she worked closely with Danish couturiers Erik Mortensen (of Balmain) and Holger Blom (a royal family favourite). She is such a brave and adventurous dresser, I have great respect for that.

Two images of models wearing pastel coloured clothing and walking through fields

Looks from the Brøgger PS19 Collection

6. What’s the best piece of advice you’ve ever been given?

Julie and Linn: Succeeding in the fashion industry requires patience and persistence, there’s no fast lane sadly!

Shop online and view the full collections: brogger.co

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Reading time: 2 min
Model poses in pattered one piece swim suit leaning against wooden door with tie headband

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

campaign image of model wearing oversized black and white fur coat leaning on her knee against gold background

London based model, actress, filmmaker and Mental Health Foundation ambassador, Florence Kosky

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

Charlie Newman

LUX’s model of the month series is back with new contributing editor Charlie Newman. Charlie is a model with Models 1 and has starred in numerous international fashion campaigns. She also works as a journalist and in the relaunch of this exclusive online series, she interviews her peers about their creative pursuits and passions

THIS MONTH: British model Florence Kosky is no ordinary 22 year-old. Since being scouted by Models 1 at the tender age of 16, Florence (known as Flo by her friends) has walked the catwalk for the likes of Dior and Dolce & Gabbana, starred in the Burberry AW 2015 campaign shot by Mario Testino, and studied at The New York Film Academy and the Met Film School. She is also an ambassador for the Mental Health Foundation, and earlier this year she released All the World’s a Stage, a film dealing with youth depression.

Charlie Newman: How easy was the transition from model to director/filmmaker? Did you feel as though you had to prove yourself that bit more or were you welcomed into the film industry with open arms?
Florence Kosky: Generally I think people have been very welcoming – I’m luckily working in a time where there is not only a momentous shift in the film industry for female voices to be heard, but also whilst there is a movement happening within fashion for models to be more than just a face for a brand. You know, people like Adwoa Aboah and Teddy Quinlivan are using their platforms to speak loudly about stuff that’s important to them, and people are listening! So it’s kind of great for people like me because it’s already tried and tested that we are more than just pretty faces.

Obviously though, there’s been a bit of pushback – I have actually been on my own sets and people have come up to me and been like ‘oh yeah so you must be art department’ or ‘oh so you’re one of the actresses’ when I’m directing and it’s a bit frustrating to have those snap judgements made because of my age and gender and what I look like, but I think the best thing to do to fight those assumptions is just be as polite and professional as possible, whilst making really great art.

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Charlie Newman: If you could cast anyone who and why?
Florence Kosky: That’s such a hard question! There’s so many incredible actors I would love to work with. I think predominantly for me it’s people like Jessica Lange and Mark Rylance, the older generation of ferocious actors who are just captivating to watch and so fully embody their characters that you forget you are watching them. Although, there’s a young British actress called Florence Pugh who I think is incredible – I saw Lady Macbeth with her in and she just has this strength and stillness that I think is really wonderful. I’d love to work with her.

Watch Florence Kosky’s short film All the World’s a Stage below:

 

Charlie Newman: If you could pick anyone to design your costumes who and why?
Florence Kosky: So actually one of my oldest friends from Dorset, Pandora Ellis, has also recently started in the film industry as a costume designer! And she’s fucking brilliant! She did all the costumes for All The World’s A Stage and The Otherworld and just smashed it. I couldn’t really think of ever using anyone else – we’re both massive fantasy and sci-fi nerds and it’s so lovely to work with someone who just understands how your brain works. The only way I could see myself deviating from this is if there was a specific character who only dressed in a certain designer or something – kind of like Tilda Swinton‘s character wearing only Dior by Raf Simons for A Bigger Splash.

Read more: Ollie Dabbous’ new fine dining restaurant in Piccadilly

Charlie Newman: How would you describe the aesthetic of your films? Do you have any particular inspirations within the industry?
Florence Kosky: I would say my aesthetic is very stylised. I like things to be hyper-real and full of colour. I use a lot of dancing and silhouetted figures and I like to have natural elements in my work, like the stars or water or flowers (or sometimes a combination). I guess you could say it’s quite girly, I grew up on fairytales and then got lost in Tumblr and Pinterest as a teenager and then have worked in fashion for nearly five years so there’s definitely a soft prettiness that I’m drawn to and have always been… it’s hard to sum up really but I guess if I had to I would say it’s dreamlike. From the film industry, I’d say visually I draw the most from Wes Anderson, Guillermo Del Toro, Nicolas Winding Refn and David Lynch and then from fashion I’ve always loved Tim Walker‘s aesthetic and more recently Petra Collins and Charlotte Wales.

close up black and white headshot of model smiling in leather jacket

Florence Kosky for All Saints. Instagram: @floskyyx

Charlie Newman: In light of the #MeToo movement, you work in the midst of two industries that are being lambasted in the media. Is there anything you would personally like to see change in the film and fashion industry?
Florence Kosky: I’d like more protection for models. The girls who are working a lot of the time are still practically children and I think it’s dark that more often than not they don’t even have somewhere private to get changed and if they complain they’re branded as ‘difficult’. I’d like agencies to stop sending girls out on go-sees to photographers who they KNOW have reputations for being creepy or persistent just because they take nice photographs. There’s a lot of people out there who take nice photographs and to be honest, I don’t think having a pretty picture in your book is worth being harassed via instagram DM by a photographer or stylist or whatever for months or years to come!

With regards to the film industry, it would be great if twenty-something-year-old dudes writing their first script could avoid chucking in sex or shower scenes just because they want to make it racy. It’s gratuitous and boring to watch. If it serves the narrative then, fine absolutely, I get it, but otherwise it just pisses me off because there’s no point and it just adds to the objectification of women, and for a lot of young actresses that is their first experience of a set and it’s just shitty, especially if the director isn’t experienced, it’s putting people in a vulnerable situation without the correct tools to make sure they’re okay just to give a ‘gritty’ feel to your film.

Read more: Painter John Virtue’s monochromatic world at Fortnum & Mason

Charlie Newman: Huge congratulations on your film All the Worlds a Stage that shone a light on the perils and understanding of depression. As an Ambassador of the Mental Health Foundation, how do you think we can implement awareness and help day to day, especially in schools?
Florence Kosky: Thank you! I think there’s a responsibility that parents and schools have to educate their children about mental health and suicide. PSHE lessons provide a really good platform to educate young people about mental health and suicide and I do think that there is actually traction there – the government announced a Green Paper on mental health last year so hopefully we’re going to see a bigger push in education about these issues.

I think it’s crucial that conversations are opened up at a young age as school aged children are at risk – 200 kids a year die by suicide in the UK and so we really have to do something about it to save those young lives. The first step to prevention is awareness and the creation of safe spaces where these children know that it’s okay to speak about mental health and feel comfortable asking for help when they need it. Aside from education though, I think on a personal level it’s important that we remember to just be kind to one another. If you think your friend is struggling, text them and tell them you love them! Go round their house and watch a movie and bring them snacks! Send someone a song that reminded you of them! The littlest things can mean the most to someone whose feeling alone.

Model poses in pattered one piece swim suit leaning against wooden door with tie headband

Florence Kosky for Harvey Nichols. Instagram: @floskyyx

Charlie Newman: What’s next for you?
Florence Kosky: I’m actually working on my first feature which is terrifying but very, very exciting. I’m still working on the script at the minute with another writer, the wonderful Josh Willdigg. It’s a fantasy film that deals with mental health, sexuality, feminism and summoning demons! It’s quite a bit darker than my previous work but I’m very excited to get into development.

Charlie Newman: Lastly, who’s your role model of the month?
Florence Kosky: My role model of the month is my good friend Amber Anderson. She’s a beautiful model, a talented actress and one of many women who accused Harvey Weinstein. She has been a bit of a SHERO for me the past 6 months by giving up her time and working on All The World’s A Stage and helping me share its message when it was released. She’s also helped me personally by giving me someone to speak to about my own experiences with sexual assault, whilst maintaining a good sense of humour and a talent for cooking vegan shepherd’s pie. Soppy, but I am grateful to have her in both my professional and personal life!

Find Florence Kosky on Instagram: @floskyyx

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Reading time: 8 min
Model wearing blue and yellow off the shoulder swimsuit lying on a pebbled beach
Model poses on beach wearing blue bikini and light blue jumper

Flagpole Summer 18 Collection

New York based swimwear label, Flagpole is a Cali-surfer girl’s dream. Clean lines, block colours and bikinis that won’t fall off every time you dive into the sea. LUX asks co-founders Megan Balch and Jamie Barker how they do it.

Colour portrait of Jaime Barker and Megan Bolch Flagpole NYC founders

Jaime Barker and Megan Balch

1. Describe the Flagpole woman.

The Flagpole woman loves to travel, always active in her pursuit for exploration. She is sophisticated, practical and embraces a sporty edge to her style. She appreciates quality in all aspects of her life.

2. How does the collaborative design process work?

We have the same taste but very different strengths in our designing. We like to choose the colour palette together and with that, the collection really starts to come together. It’s the blend of Megan’s focus on functionality and Jaime’s artistic vision that gives Flagpoleits signature design.

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3. What’s inspiring you at the moment?

It’s almost always architecture. We just returned from a trip to Chicago bursting with ideas and appreciation from their skyline.

Model poses in yellow bandana bikini top and blue striped full length skirt

The Lori top with Frida skirt from the Flagpole Summer 18 Collection

4. What comes first, functionality or style?

Honestly, it’s a combination. They are not mutually exclusive. Without artistic vision, Flagpole would not have its voice. Without functionality, it would not have its progress. We must have both to embrace and succeed in our story. So when we approach a new concept, both are simultaneously in conversation.

Read more: The ultimate mid-week escape at The Royal Crescent hotel, Bath

5. Your collections always have a distinct colour palette. How do you decide on the shades?

Colour is something we both find very emotional. We spend a lot of time working to find the perfect colour combinations that speak to what we want to feel in our collection. The painstaking process of balancing warm and cool tones is honestly one of the most exciting and aggravating stages. But we will work until we both feel that every shade is perfect.

Model wearing blue and yellow off the shoulder swimsuit lying on a pebbled beach

The Gia one-piece from the Flagpole Summer 18 Collection

6. What’s next for the brand?

There are so many things in the works we can’t wait to share with the world. One we can say, and are excited to announce, is that this summer we’ll be launching our Men’s line!

View the collections and buy online at flagpolenyc.com

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Reading time: 2 min
Model Emily Ratajkowski pictured wearing white suit surrounded by photographers
Designer Karl Lagerfeld pictured with LVMH's Delphine Arnault at a drinks party

LVMH’s Delphine Arnault with Karl Lagerfeld at the LVMH Prize 2018 cocktail reception ©François GOIZE

The LVMH prize is the most prestigious and desirable award for any emerging designer. Lauren Cochrane reports from Paris on the mix of established and new and the ideas bubbling around a competition aimed at discovering the next John Galliano or Alexander McQueen

This spring, as Paris Fashion Week swirled around them, some of the industry’s highest profile names – JW Anderson, Nicolas Ghesquière, Maria Grazia Chiuri, Bella Hadid, Suzy Menkes and Karl Lagerfeld included – found a moment in their busy diaries. The reason? The shortlisting of the LVMH Prize. Over two days, with LVMH’s Delphine Arnault, fashion’s brightest and best whittled a shortlist of 20 semi-finalists down to just nine. After an additional round of judging, the final winner is announced in June.

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In the four short years since its launch, the LVMH Prize has become the most prestigious in fashion. Each winner is given a grant of 300,000 euros and access to mentoring from LVMH experts to develop their business. Winners so far have included minimalist Thomas Tait and Grace Wales Bonner, the visionary of London’s menswear scene. Simon Porte Jacquemus, a designer mooted for the top job at Lanvin, was a special prize winner in 2015. Marine Serre, 2017’s winner, has already caused a stir. After her debut show in March, the New York Times said she had come “far, fast”, while Vogue called her collection “terrific”.

Fashion designer pictured with female model wearing her collection

Designer Snow Xue Gao with model ©François GOIZE

Of course, fashion insiders will take note of anything that comes with the LVMH name attached. With Bernard Arnault at the head, it is the biggest luxury group in the world, taking in a record 42.6 billion euros in 2017 across brands including Louis Vuitton, Christian Dior and Givenchy. The impact of LVMH’s endorsement and mentoring (not to mention that cash injection) on a young designer’s career cannot be underestimated. Serre, speaking to Vogue, said what the win meant: “It was possible for us to really take things to a whole new level”, allowing her to hire new staff and expand into a new studio space. Marta Marques and Paulo Almeida echo this. “We suddenly had the exposure, the support and the funding to put into existence a lot of the things we always wanted to do, and grow the company,” they said in an email. “This is what the foundations of our label is built on and what the company is today.” Winning the LVMH Prize can turn a fledgling operation into a bona fide brand.

Read more: We ask artist Mouna Rebeiz about trash and beauty

Jean-Paul Claverie, advisor to Bernard Arnault, was instrumental in setting up the Prize in 2014 and he sits on the jury. The Director of Corporate Sponsorship at LVMH, he describes the prize as a way for “young designers to value creativity first”. LVMH are committed to that pledge. Designers are only eligible if they have shown two collections or fewer, and there is an in-house team that works specifically on the prize, selecting the final 20 designers who go before the jury. Relationships continue beyond the competition process, too. “We stay in touch with many of the winners and we are ready to help if they have a problem,” says Claverie. “The door is always open.”

Menswear designer Charles Jeffrey pictured in red chequered suit in front of rail of clothing

Menswear designer Charles Jeffrey ©François GOIZE

Each year the number of applications has grown, with 1,300 in 2018, including designers from South Korea, China and countries in Africa. Among the 20 semi-finalists there was A Cold Wall, the London-based label by Samuel Ross, New York’s Eckhaus Latta, who put a pregnant woman on their catwalk in September, Charles Jeffrey’s artistic take on menswear and five gender-neutral labels including Faustine Steinmetz, GMBH and The Sirius. Of these, Ross, Jeffrey and Eckhaus Latta made it into the final nine, alongside Rushemy Botter and Lisi Herrebrugh of Botter, Masayuki Ino of Doublet, Lea Dickely and Hung La of Kwaidan Editions, Rok Hwang of Rokh, Matthew Adams Dolan, and Ludovic de Saint Sernin.

Model Emily Ratajkowski pictured wearing white suit surrounded by photographers

Model Emily Ratajkowski at the LVMH Prize 2018 cocktail reception ©Virgile_Guinard

Delphine Arnault pictured with French fashion editor Carine Roitfeld

Delphine Arnault (right)
with Carine Roitfeld ©François GOIZE

Established figures in fashion always enjoy meeting the next generation. Jury member Sidney Toledano, chairman and CEO of the Fashion Group at LVMH, says that he was excited after listening to the designers’ presentations. “I was so amazed by the energy,” he says. “I felt it myself, and it was after a long day of shows. I saw how excited Karl [Lagerfeld] was. His antenna tells him they’re talented. I think he had fun.”

Of course, the Prize is not without its advantages for LVMH. It means they effectively have first dibs on the next generation of talent. Toledano believes this has been at the heart of the LVMH culture since Arnault became the majority share holder in 1989. “It’s something he repeats daily – he wants creativity and quality, with an evolution.”

Read more: The maker of Masseto hosts a private dinner for LUX readers

It’s clear the winner is chosen carefully, and with much debate. “At the start of the process, we think that one applicant will be the winner and then, later, it turns out to be someone else entirely,” says Claverie. “I love discussion,” adds Toledano. “I hope we have two or three potential winners and we don’t know what to do.”

Claverie says that business acumen is a plus, along with determination – he praises Jacquemus for applying again after his first unsuccessful attempt. Ultimately, it is vision that characterises a winner: “The creativity is first… they are expressing something new.” Toledano says this is a quest for the next names to know. “It is not a philanthropic project,” he explains. “All the brands we have are based on the success of a designer. It was Monsieur Dior as a designer who created the magic of the Dior name.” Toledano compares designers to pilots. “An engine is needed to sustain a big name,” he says. “OK, from time to time, if you stop the engine, the plane is so high you can continue flying, but if you are a top brand you need [someone] in the cockpit, providing the momentum.” The LVMH Prize? The most stylish take on aviation college there is. Time to watch the latest graduates take flight.

To meet this year’s finalists, and for further announcements visit lvmhprize.com

This article appears in the Summer 2018 issue of LUX, on sale now worldwide.

 

 

 

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Reading time: 5 min
Moynat luxury leather shop

Moynat’s shop in Selfridges, London

It was hand-painted handbags at dusk at the new, gallery-like Accessories Hall at Selfridges in London as Moynat, the uber-exclusive Parisian leather goods company, opened its new shop-within-a-shop in the most prime location in the area. Moynat’s urbane, intellectual CEO Guillaume Davin (who appears more like a perfectly-coiffed character out of a Michel de Montaigne essay, than a luxury brand CEO) was on hand to greet visiting journalistic and customer illuminati, as was creative director Ramesh Nair.

Moynat's CEO Guillaume Davin, Creative Director, Ramesh Nair and LUX Editor-in-Chief Darius Sanai holding flutes of champagne in Moynat shop

Moynat’s CEO Guillaume Davin, Creative Director, Ramesh Nair and LUX Editor-in-Chief Darius Sanai at the launch of Moynat in Selfridges. Photo by David M. Benett/Dave Benett/Getty Images for Moynat

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Suzy Menkes Vogue Editor in wearing floral dress and heels

International Vogue Editor Suzy Menkes at Moynat launch party. Photo by David M. Benett/Dave Benett/Getty Images for Moynat

The star of the show, though, was surely the painter, Laure, who sat at a table in the centre of the shop painting motifs onto Moynat’s extremely expensive leather with special acrylic paints. One prototype bag featured a motif of Louis Bleriot’s ‘XI’, the first plane to cross the Channel, which appeared and disappeared with temperature fluctuations.

Artist painting onto leather bag

Artist, Laure, painting motifs onto Moynat leather. Photo by David M. Benett/Dave Benett/Getty Images for Moynat

Luxury leather handbags

Moynat handbags. Photo by David M. Benett/Dave Benett/Getty Images for MOYNAT)

Meanwhile Nair, wearing a black T-shirt and fizzing with ideas, told LUX about a couple of new concepts he is planning, including one so avant-garde he hasn’t yet dared run it past Davin. Watch this space.

moynat.com

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Reading time: 1 min
necklace with gold torso of a woman Anissa Kermiche
necklace with gold torso of a woman Anissa Kermiche

Pit Power Pendant

Parisian jewellery designer Anissa Kermiche takes inspiration from everyday objects and situations to create wearable pieces of art that are as bold and quirky as they are sensual and delicate. Since the launch of her first collection in 2016, Anissa continues to challenge the conventions and restrictions of traditional jewellery; her most recent collection in collaboration with Rejina Pyo draws on Alexander Calder‘s iconic mobiles with curved golden lines and hanging pearls. LUX asks Anissa 6 questions.
black and white portrait of Parisian jewellery designer Anissa Kermiche

Anissa Kermiche

1. Who do you design for? Describe the Anissa Kermiche woman.

I wouldn’t say that my designs are just segmented to women, there are a lot of men that have worn my pieces before. Men love wearing the Precieux Pubis pendant! If I had one criteria though, it would have to be someone fun! In terms of my female customers, I am inspired by many women around me, women who are funny, successful and independent, it’s not just one. Lately, I have found that many of my customers feed me with inspiring thoughts too.

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2. You originally studied engineering and computer science – what led you to change career paths?

I got into the jewellery world quite late. After 5 years of working as an engineer for a big consultancy firm, I was about to be promoted, but I just couldn’t see myself becoming one of my managers and the lack of creativity made me sad. I then decided to ditch everything to move to London and study jewellery design at Central Saint Martins. I dreamt about creating my own label one day, but I didn’t know that it would be so soon after graduating.

3. As an independent designer, how do you compete with bigger jewellery brands?

Right from the start, I wanted to create jewellery that wasn’t seen anywhere else before. I felt like there was demand for cool, quirky and edgy pieces, but still in precious and fine materials. I have  been fortunate enough to work with some of the best known worldwide retailers including Net-a-Porter, MatchesFashion etc. who have provided me with a great platform for my brand.

Gold statement earring by Anissa Kermiche, Parisian jewellery designer

Mobile Doré earring

4. What’s inspiring you at the moment?

Paris has always inspired me, because it is home. When I lived there, I took it for granted, but whenever I go back I get an inspired by everything and spend the journey home sketching. Paris is an open museum, everything has artistic value to me, from the rich architecture to the food to the luxurious boulevards.

5. Can you tell us more about the 3D printing process you use to create your jewellery?

CAD allows me to see the precision in my design, creating attention to detail. It helps me to under-stand the practicality: how to create not only  beautiful jewellery but also durable, functional pieces.

Read more: Geoffrey Kent on responsible and sustainable travel

For example, rings and earrings need to be durable and wearable, as they can easily get knocked. CAD allows you to see how heavy an earring will be in advance, so you will know that it will fit comfortable and look beautiful before you make them.

Models posing in Anissa Kermiche's earrings

Manipulee Black Onyx Citrine earring

6. We’re very excited about your collaboration with Rejina Pyo. What was the creative process behind that particular collection and do you have any more collaborations in the pipeline?

Thank you! Working with such a talented designer like Rejina Pyo was such an honour. Myself and Rejina were both fond of each other’s work and working together came naturally.

We were both inspired by Alexander Calder’s mobiles and Bertoia, one of my favourite architects, and created pieces that can be worn as wearable art that coincide with both our design aesthetics.

anissakermiche.com

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Reading time: 3 min
Fashion model poses in skirt and shirt leaning back on a high stool

Fashion Hong Kong’s fresh talent Maison Vermillion

Fashion Hong Kong, a series of international promotional events organised by the Hong Kong Trade Development Council (HKTDC), works much like the British Fashion Council to spotlight and support local emerging design talent.  Kitty Harris speaks to four of Fashion Hong Kong’s newest and freshest talents HEAVEN PLEASE +, HOUSE OF V, Maison Vermillion and METHODOLOGY who debuted at this year’s London Fashion Week

HEAVEN PLEASE+

Answered by designers Lary Cheung & Yi Chan

“The HEAVEN PLEASE+ woman might not be the most outspoken yet she is expressive in her own way with the courage and desire to pursue her dreams and communicate her personality through her personal style. She is a lover of fashion (of course!) and also has an intrinsic interest in music, art, literature, culture, etc. Most importantly, HEAVEN PLEASE+ girls love themselves and love to love!”

“We love to work with lots of different fabrics – cotton, silk, rayon, satin, water-proof and memory fabrics, etc. Choosing materials can really help stimulate and channel creativity. The bolder the better!”

“We’ve really enjoyed travelling around the globe to present on incredible international stages, so we hope to continue our adventures, building brand awareness and adding to our network!”

heavenplease.com

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HOUSE OF V

Answered by Designer Vickie Au

“The HOUSE OF V woman is always in search of high quality and prefers the ‘less is more’ approach. She appreciates simplicity and functionality, with an innate androgyny. Our girl also likes to show that they are at the cutting edge of fashion, with a very modern self-confidence.”

“Quality in fabrics is super important to us; we like to think we are meticulous in our approach. We work in close collaboration with local tailors to maintain effective and efficient methods of production and have a real love of luxury materials such as cashmere, wool, silk and thick Japanese rayon”

“Our dream for the future? To continue creating clothing of a very high standard – unique,high quality and original – with our signature geometric simplicity. We want our customers to continue expressing their personal style through our quietly confident pieces”

house-of-v.com

Maison Vermillion

Answered by Designer Dora Chu

“The Maison Vermillion woman is a genuine fashion lover – pursuing something different;feminine and romantic but with an unmistakable edge.”

“I love working with super feminine fabrics that have can charm and excite – my favourites have to be lace and brocade”

“We have a great foundation in place in the Far East so I would love to grow internationally over the coming seasons. It would be great to tap into new markets overseas to spread awareness of Chinese fashion and culture all over the world.”

maisonvermillion.com

METHODOLOGY

Answered by Designer Glori Tsui

“We like to think that our customer is romantic, ‘funky’ and independent in her fashion thinking.”

“I love to work with textiles that embody contrasting textures – particularly tweed and jacquard for heavier collections. I also have a special fondness for feathers, which tend to punctuate our apparel and accessories collections.”

“My dream for METHODOLOGY is that we can eventually become a lifestyle brand – not only offering fashion but also other lifestyle products in collaboration with likeminded brands that span other categories”

methodologywears.com

Meet more of Fashion Hong Kong’s designers: fashionhongkong.com.hk

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Reading time: 4 min
Portrait of avant-garde fashion designer Hussein Chalayan

Hussein Chalayan is fashion’s avant-garde experimentalist and supreme craftsman

Hussein Chalayan is high fashion’s savant and one of the most influential designers of the past two decades. He speaks to LUX about originality, art, and how celebrities are cheapening the industry

LUX: You have been involved in the world of fine art for a long time, with museum shows and the like. How connected are the worlds of art and fashion?
Hussein Chalayan: I don’t actually necessarily think that the art and the fashion world are that connected for a lot of people. In my work they were always connected, because of the nature of the ideas. But in the wider world, I feel like there are a lot of art collectors who love fashion. And then there are a lot of art publications in which fashion companies advertise, so I think it’s an economic co-dependency. But I do think that they are two separate disciplines. In my case and a few others they can merge, but often I feel that artists and designers do think differently.

LUX: In what way?
Hussein Chalayan: Fashion is a much more industrial process. The fashion world is much more about producing as much as possible, unless you do couture. I think the mindset is a bit different as well, but the biggest difference is that the kind of discourse you hear in the art world, for me, does not really exist in as serious a way as in the fashion world. There is discourse in the fashion world but it’s not as structured as the architectural world, the design world, or the art world. There are academics in fashion that really know their business. But unfortunately it’s not taken as seriously as the other disciplines, but it deserves to be.

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LUX: When you started in the fashion world, it was much less mainstream – there were no celebrities and bloggers sitting in the front rows, for example. Has the fashion world changed for better or worse?
Hussein Chalayan: I think both. The arrival of the digital era, in my view, is the biggest change. Because when we were first starting, I was in the same generation as Alexander McQueen, we were shooting at the same time in London and there was no such thing as digital media. And when digital media came, it meant we were not pigeonholed as avant-garde designers, or whatever, so easily. Because, before then, editors would be able to categorise you and use images to present you in the way they wanted. And what would then happen is that, because they would do that to attract people to their publication, all your other things that you spent hours on, like your beautiful tailoring, wouldn’t necessarily be included because you were really in the hands of the editor. Whereas now, in the digital media, everyone can see everything you do. So, that’s democratised things in a good way. On the other hand, of course, it means that the high street can copy you before you’re able to even produce your own collection, which is actually a problem. This has happened to every designer, you’re just seen as an ingredient. It cheapens what designers do. I guess the anticipation has been wiped out because of the digital era, which I think is a pity.

LUX: You’re now in London after 16 years in Paris.
Hussein Chalayan: Yes. In the past, people would skip London and go straight to Milan, and that was why we went to Paris. But now London has quite a few important houses. Yes, more people go to Paris and Milan and New York, but still, London is better than it was. And it’s just less hassle, because I don’t have to take the whole team to Paris.

womenswear design by avant-garde craftsman Hussein Chalayan

Design from the Chalayan A/W collection 1998

LUX: What broad themes are inspiring you at the moment?
Hussein Chalayan: I would say that broadly I’m interested in anthropology, I’m interested in behaviour, in how different cultures perceive things. What creative people do is that they explore or propose new ways of looking at something. That’s also therapeutic, because you, the artist or the creative, are trying to solve issues or at least address issues.

LUX: What is the most interesting thing you are doing right now?
Hussein Chalayan: The most exciting thing right now for me is probably our shop, because it’s our first. We’ve had it for almost two years, and it’s opened up a whole new horizon of possibilities, because the shop is a response mechanism as well as a hub where we hold events. It’s where we get to know our clients in a bit more detail, a bit more depth.

LUX: Is this bringing people to your world who you wouldn’t naturally come across?
Hussein Chalayan: I would come across some of them, but I could never have imagined the level at which we’re now engaged with them.

LUX: Who is a typical person who wears Chalayan?
Hussein Chalayan: A lot of people from the art world. And a lot of people from the architecture world, as well. But all walks of life, really.

LUX: Is there a balance that you have to hold between creativity and saleability?
Hussein Chalayan: Definitely. I’ve learned a lot more in the past ten years about that, tried to work very closely with our sales team, whoever we’re working with at the time, and merchandising.

Hussein Chalayan's womenswear collection 2017

Design from Chalayan’s A/W collection 2017

LUX: Wearable tech is something that you’ve been involved with for a long time. Is it the future, or is it overplayed?
Hussein Chalayan: I have a slight problem with the whole issue. I have tried to use it more poetically. And the minute that it becomes like something where it measures your heartbeat, or it does just one thing only, I find it gets banal. There’s a lot of gimmickry around it as well, and I’m just not convinced by it.

LUX: Do you ever wish you’d been more commercial?
Hussein Chalayan: The thing is, I don’t really know what commercial means anymore. I mean, if you can wear something, it’s commercial. But I think that 95 per cent of everything we did was always wearable from the beginning but because people saw your experimental work, they perceived you as doing only that, but actually, I wasn’t. And I think that this applies to a lot of designers, that you can make show pieces that are the pinnacle of your idea for that season, but 99 per cent of what you did was actually the clothes one can really wear. But then, newspapers only photograph those show pieces, season after another, and you are then projected as this avant-garde designer that doesn’t do anything else. As I mentioned, in the pre-digital era, it was completely like that. And then in the post-digital era, it’s almost like we had to restart, because people were finally seeing that we can make clothes that you can really wear. So I’d say that a big part of our collection is commercial, but I don’t like that word; I’d say it is wearable more than commercial. I think the word ‘commercial’ cheapens it.

Read more: 6 questions with Italian womenswear designer Alessandra Rich

LUX: Are there too many designers and labels around these days?
Hussein Chalayan: I think there are, but I also think it’s arrogant for another designer to say that. But it’s true. There are too many designers, and there’s too much product. I think that you could have a (design) house but you could decide to base it on a category, you can decide that you’re good at knitwear, or you’re good at prints, and that’s your house. There are too many designers that are doing everything. If you were to become a designer now, I would strongly advise you to be a specialist in some area.

LUX: Is London important to you?
Hussein Chalayan: We’re lucky living in a place like London because I feel like it’s really a state, I call it the state of London. It’s not really a city, it’s a country. People in London are a lot more accepting of foreigners. If you go outside London, it’s white, meaning culturally white, it’s, you know… Brexit.

Model wearing 2017 design by Hussein Chalayan

Design from Chalayan’s A/W collection 2017

LUX: What is your view on the fashion industry in general, right now?
Hussein Chalayan: The biggest issue we have is that fashion has just got so nepotistic and is so much about the big conglomerates. It’s becoming a sort of bullshit industry really, in that it’s no longer about the creativity… it’s almost about who you are associated with, if you belong to a particular group, or if you are a pop star. It’s awful that our industry has allowed this to happen. It’s allowed this to happen because they’re living with too much anxiety. It’s killing independent designers and actually killing creativity, as well. So, I feel like we’re in quite a terrible state really, right now, and every single fashion person you speak to would agree with this, more or less. But then, collectively, they don’t do anything about it. So, I find it peculiar.

LUX: What do you think of celebrities who launch their own collections?
Hussein Chalayan: There’s room for celebrity fashion, but I would like it to be seen as a separate category and I don’t think that should be mixed up with the years of work that we’ve been doing and then put in the same space. Department stores put you next to a rapper’s collection, and I just think it’s too bizarre. That ‘anything goes’ mentality in fashion cheapens our industry. A celebrity could have impeccable taste, and they could be really good curators, and they can employ really good designers and could really get something going with the energy and attitude that is associated with them. But I just think that that’s a new feel, that’s another category. Such labels with massive Instagram followings actually haven’t got anything to do with design, it’s more to do with the personality of the person designing it.

LUX: Who do you admire most among designers?
Hussein Chalayan: I think that, and I’m not saying this necessarily because of the design content, but I love the way that Azzedine Alaïa has pursued his career, because his work is not really about the flavour of the month, it’s very specific. I admire designers who do their own thing in their own way

chalayan.com

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Reading time: 9 min
Italian designer Alessandra Rich
Italian designer Alessandra Rich's SS18 collection

Alessandra Rich ready-to-wear SS18 collection

Italian designer Alessandra Rich

Alessandra Rich

Alessandra Rich is the quintessential contemporary designer. Born in Italy, based in London and Milan, and showing in Paris, her designs bring joy and flair to womenswear. She is also noted for the meticulousness of her sourcing and her construction quality. LUX Editor-at-Large Gauhar Kapparova speaks to the designer.

1. Describe us the woman you design for. Who is the Alessandra Rich woman?

She is an independent woman, self-confident, clever and ironic. She loves to have fun with fashion and to be the woman that everyone looks at.

2. What are the challenges of a small independent fashion designer today?

My challenge is to be contemporary, I avoid being nostalgic or too “classic”, I want my brand to be unexpected. It’s difficult to compete against what everybody thinks fashion is, the size of the brand doesn’t matter.

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3. Has the increased desire for ready-to-wear collections changed your designs?

All my collections are ready-to-wear, I want women to have fun wearing my pieces, during the day and at night.

Luxury womenswear by Italian designer Alessandra Rich

Alessandra Rich ready-to-wear SS18 collection

4. Your designs are chic, clever and quirky. How do you give it that timeless elegance?

My design comes from a personal research and from my interest in the contemporary. I consider fashion a language, so I just put together the right words.

Read more like this: 6 questions with LA’s hottest accessory designer Tyler Ellis

5. Do you design through your emotions or follow a formula?

It’s a mixture of emotions and rules, because every idea has to fit into a shape. It’s why in my last collection you can find formal jackets worn with hot pants or floral pleated dresses and sheer laces. It’s always a matter of balance.

6. What’s ahead for your brand? Do you have plans or are you living in the moment?

I have a vision that my business will grow, with a larger team and a larger view. I’m interested in creating a kind of factory, a place to be.

alessandrarich.com

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Reading time: 1 min
LA based accessory designer Tyler Ellis SS18 Handbag Collection
Handbag from the latest collection by designer Tyler Ellis

Tyler Ellis SS18 Collection

Portrait of accessory designer Tyler Ellis, daughter of Perry Ellis the fashion designer

Tyler Ellis

Tyler Ellis, daughter of American fashion designer Perry Ellis, is one of LA’s hottest accessory designers right now. Her clutches and handbags are frequently photographed on the arms of Hollywood’s leading ladies, favoured for their simple, functional design and luxurious range of fabrics. Digital Editor Millie Walton puts the designer in the hot seat, for our new 6 questions slot.

 

1. You grew up around some of the biggest names in the fashion industry, Marc Jacobs and Michael Kors to name but two. Did this inspire you to become a designer?

My mother chose to raise me in LA away from my father’s world to try and give me a private and more normal childhood, so I was not raised in the fashion scene. I remember the first time I went to a Marc Jacobs fashion show, I was around 13 years old and it was at a tented, candle lit pier in NYC, very reminiscent of a romantic night in Italy. That was the first moment that I knew the designer gene was in my blood. The energy in the room was electric – a feeling I will never forget and something that I knew I wanted to be a part of!

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I returned home to LA and for a period of time left my dreams of becoming a designer in NYC. I ended up going to college in Boston and graduating with a Communications degree. It wasn’t until I moved to NYC and started working with the designer Michael Kors that my dream to design reemerged.

Working for Michael and his team was amazing. It was like one big family with people encouraging and inspiring one another to push themselves to do their very best. After this incredible experience I decided to take the leap and start my own line. It was the scariest, but at the same time, most rewarding thing I have ever done and I am very thankful that these impactful experiences pushed me to follow my dream!

2. Your designs have attracted an impressive celebrity following, how influential do you think celebrity endorsement is for contemporary luxury brands?

It has been an unbelievable honour having such strong, incredible and powerful women like Oprah Winfrey, Meryl Streep, Viola Davis, Salma Hayek and Reese Witherspoon choosing to carry my bags, when they have the world at their fingertips.

Celebrities have literally “made” unknown clothing brands by wearing their creations to major events, giving emerging designers a worldwide platform which most young brands cannot achieve on their own. Exposure is key!

The Golden Globes awards Salma Hayek holding Tyler Ellis clutch

Actor Salma Hayek (left) pictured at the Golden Globes holding the Lily Clutch by Tyler Ellis

The accessory world is a bit more difficult because when a celebrity walks the red carpet, the outfit is always the main focus, jewellery and shoes may or may not get mentioned, and the bag sometimes might not even be carried.

Personally, capturing images of celebrities carrying my bags has been a huge asset to my brand not only because it drives sales, but also because it creates brand legitimisation. In order for most people to purchase an item, especially a luxury piece, they must believe in or have trust in the brand. As I mentioned earlier, celebrities have access to anything they want, and when they choose to carry my bags it sends a message to the world.

3. What makes the perfect bag?

The perfect mix between functionality and luxury. There are many beautiful bags in the world, but what defines the good from the great are the intricate details.
All of my bags are hand crafted in Florence, by a father/son owned factory. I customise my hardware, purchase alligator, python and lizard from Hermès Cuirs Precieux (HCP), an Hermès owned tannery, and source all of my leathers from France and Italy.

To me, what make my bags even more unique are the beautiful details that create functionality. Every Tyler Ellis clutch comes with a hidden, detachable, lightweight chain, holds the largest iPhone, fits comfortably in the hand and most also have discrete exterior pockets and internal dividers for the essentials.

Leather rucksack from the SS18 collection by Tyler Ellis

Tyler Ellis SS18 Collection

Day bags come with phone chargers, extra-long key-fobs, credit card slots, iPad/computer compartments, hidden exterior pockets and zippered internal pockets. Gold plated pinecone feet are offered to help protect the hides and all of the bags are all lined with my signature “Thayer Blue” lining making it easy to see your belongings inside.

My bags are representations of me and my lifestyle, and I strive to make them as best as I possibly can.

Read next: Photographer Maryam Eisler on East London and the power of art

4. What are some of the challenges that face small independent luxury brands today?

Getting the right people in front of the product! People are so busy these days and given the speed and power of social media and the internet there is so much noise out there it’s very difficult to get enough attention from the fashion world to make a difference for an emerging brand. Larger brands have larger budgets, which leads to greater mainstream exposure. As an independent niche brand, I have changed my approach on running my business, relying less on the traditional fashion world and focusing more on intimate events with prominent women in key cities around the world. These women have access to anything and everything and when they choose to purchase and carry Tyler Ellis it’s an incredible validation for my brand and me.

Model Gigi Hadid with ava box handbag by Tyler Ellis

Gigi Hadid pictured with the Ava Box. Photo by James Devaney/GC Images

5. Do you have a favourite material to work with and why?

I always enjoy working with unexpected exotics…skins like ostrich leg, jungle fowl, fish and toad are not commonly used but look and feel super luxe and keep people guessing. Creating these unique pieces excites me because there is so much of the same out there and it’s always refreshing to find something different and individual. The most rewarding feedback I have received from clients is that when they carry their Tyler Ellis bags, people constantly stop them and inquire about the bags, which makes them feel great and excited to be carrying something special and coveted.

6. What’s next for your brand?

I am currently working on a bag collaboration with a very talented Hollywood stylist. It’s a sporty day bag, which differs from my more classic signature style, but I’m very proud of it and super excited for the launch. I will also be continuing an ongoing collaboration with the fashion label Noon by Noor for their Fall Winter collection which will be presented over New York Fashion Week– stay tuned!

I’ve also started to delve into the bridal world. I’m at the age where many of my friends are getting engaged and I’ve been getting requests to design bespoke bags for brides and their bridal parties. I have a quick turn around and can custom most colours and materials. Another added bonus is the interior of my bags are blue, so you are also checking off something new and blue!

tylerellis.com

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Reading time: 6 min
Balenciaga's envelope dress changed the shape of women's fashion
Orange Balenciaga coat on display at fashion presentation in Paris in 1954

Model wearing Balenciaga orange coast as buyers inspect a dinner outfit in the background, Paris, 1954. Image by Mark Shaw

As the official London Fashion Week hotel, The May Fair has played host to some of the greatest names in fashion over the years. Now, the hotel, in partnership with the Victoria & Albert Museum, is celebrating the unique vision of the Spanish master of haute-couture, Cristóbal Balenciaga with an exclusive fashion-inspired package. Digital Editor Millie Walton is swept into a world of glamour and striking silhouettes

The May Fair is one of those hotels that Londoners trot past on their way to work, wistfully staring through the glass windows into the plush interiors that seem almost surreal in their gleam. It has a commanding kind of presence that you feel as soon as you walk in the door and stand at the desk in the wide (also gleaming) lobby, wondering how on earth you managed to sneak in and whether all of the glamorous people around you are either famous or work in fashion (they certainly look like they do).

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‘Do you work in fashion, madam?’ the receptionist asks me as he hands across my room key and a chilled glass of pineapple-infused water. I shake my head rather solemnly, but as I wait for the lift, a crisp cream envelope containing two tickets to the Balenciaga: Shaping Fashion exhibition in my hand, I could almost imagine that I do. It’s one of the most wonderful things about staying in a hotel, you step into a different world and time, albeit temporarily.

Balenciaga's envelope dress changed the shape of women's fashion

Alberta Tiburzi in ‘envelope’ dress by Cristóbal Balenciaga. Photograph by Hiro Wakabayashi for Harper’s Bazaar, June 1967.

Our room is a studio suite on the third floor. It’s a mammoth, labyrinthine building with winding corridors and some 404 rooms. The room is spacious and quite dated in design with the back wall covered in a heavily patterned fabric, but its hard not be swept up in the romance and stories of all the other feet who have walked across the carpet. Flushed fashion assistants rushing in and out with armfuls of billowing dresses, catwalk models, photographers, even Cristóbal Balenciaga himself perhaps. The huge, sleek, black walk-in wardrobe was certainly built to hold vast quantities of luxuriant fabrics.

The luxurious interiors of the May Fair hotel Amber suite seem fitting for the fashion crowd

The Amber Suite at The May Fair Hotel

The V&A is conveniently ten minutes by car or tube from the hotel; we arrive in the early afternoon on a week day when there are fewer people, and the atmosphere is more serene. It’s the first ever UK exhibition to reflect on the work and continued influence of Spanish designer, Cristóbal Balenciaga and coincides with the 80th anniversary of the opening of his fashion house in Paris. It’s a fairly compact exhibition, largely centring around the latter part of the designer’s career, in which he literally changed the shape of women’s fashion by introducing new radical cuts such as the tunic, sack, ‘baby doll’ and shift dress.

Read next: Ulysse Nardin CEO on why creativity gets results in the luxury watch market

Many of these iconic dresses are on display along with archive sketches, photographs and short films with clips of current designers such as Molly Goddard and J.W. Anderson reflecting on Balenciaga’s innovations. Most interesting, are the x-ray works by artist Nick Veasey who unveils the inner workings of some of the more complex pieces, demonstrating how the seemingly impossible shapes were created. Balenciaga’s pieces were – and still are, in many ways – strikingly modern, often ignoring the natural shape of the woman’s body to sculpt architectural type installations. The elegance of such voluminous pieces is almost inexplicable. The exhibition serves as both a beautiful homage to the fashion house and a interesting revelation into the true artistry of haute couture.

Interiors of the May Fair Kitchen, the hotel's restaurant

The May Fair Kitchen, the hotel’s in-house restaurant, serves tapas style plates in a sophisticated setting

Conversations feel more inspired that evening as we sip the sweet, pink Cristóbal cocktail at the May Fair bar. How would Balenciaga design a cocktail, we wonder, deciding that it would probably be in much larger, angular glass, but the setting is suitably elegant. For dinner, we walk across the lobby into the May Fair Kitchen; it’s a treat not to have to brave the bracing January winds and the food here is superb, taking the form of Spanish, Italian and Peruvian tapas plates. We order an indulgent selection – the risotto and squid are the stand-out dishes – and then return to the quiet of our suite to dream of ballooning skirts and unusual silhouettes.

The Balenicaga package at The May Fair Hotel includes an overnight stay with breakfast, two tickets to the exhibition at the V&A. Rates start from £285. themayfairhotel.co.uk

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Reading time: 4 min
Richard Mille Ambassador Mutaz Essa Barshim wearing the new RM
Mutaz Essa Barshim, Qatari Silver Olympic Highjump Medalist

Mutaz Essa Barshim wearing the ultra light RM67-02

Ultra-luxe watchmaker Richard Mille combines artistry, technology, a nod to architecture, Kitty Harris speaks to their latest partner, Qatari Silver Olympic Highjump Medalist Mutaz Essa Barshim about time and the new RM67-02 Automatic watch.
New ultra light watch designed by Richard Mille for Mutaz Essa Barshim

The RM67-02

LUX: You hold the Qatari national record and Asian record for the best mark of 2.43m. How old were you when you started high jumping?
Mutaz Essa Barshim: I was around 10-11 years old when I started. I began in track and field because my father used to be an athlete. When I was young, he always took me to the stadium, so it was always important to me. But I started running, doing cross-country, long-distance, mid-distance and as I grew up, I stopped liking distance running. I didn’t enjoy just running and at the club, I saw the other kids doing jumps and trampolining. For me, naturally as a kid, it seemed much more fun. Back then, I wasn’t thinking at a professional level. I only wanted to not have to go home and do homework and do something fun instead. I spoke to my coach at the club and told him I wanted to join the jump group and he allowed me too. It later developed.

LUX: Why Richard Mille out of any of the people that you could have partnered with?
MEB: He is simply the best!

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LUX: How did you come to partner with Richard Mille?
MEB: The first time I met Richard was in the Rio Olympics after my competition. We talked and he is a really nice, friendly guy. He told me he loved the way I jump and he wanted me to join him in the family. I said, of course I’d be very happy to. We had been talking about the watch and he asked me if I jump with watches. I said no, because they’re too heavy. Richard said that he could make something very light for me. So I said, let’s do it! I know about Nadal’s RM27-03 Tourbillon watch and it is very light. He said he could do it even lighter than that and I was very impressed. Since then, we have been talking back and forth and sharing ideas.

LUX: Were you involved in the design process?
MEB: Initially, the main target was for me to jump with it – something that wouldn’t affect my jump. It wouldn’t be worth it if it was something heavy that disturbed my performance. Since we realised that he could make something lighter, we discussed design. We thought it could be something with maroon and white, to match my kit. I wanted something elegant and sexy – I didn’t want it to be thought of as a sport watch.

LUX: You said that the watch came out of a necessity for being light. Would they bring you designs that you would tweak, or were you given final products?
MEB: Firstly, we would get a prototype drawing. This would be computerised and three-dimensional. He would ask what I thought. I wanted to see a side angle picture, so I could see how thin the watch was. He said it was so thin that I won’t be able to feel it. When I saw the picture, I was really impressed. He would then show me the back and ask my preferences and how I wanted it to be engraved. What shall we write down? We would discuss the colours and how to change them. Of course, none of the mechanics is to do with me. It’s all his work and genius. I think asking him about the mechanics would be disrespectful, because I know he would make it the best. When it came to the final product, I really was impressed!

richard mille watch designed for olympic highjumper mutaz essa barshim

Side view of the RM67-02 designed for Mutaz Essa Barshim in maroon and white to match the athlete’s kit

LUX: There is a symbiosis and as you said, you needed something that didn’t affect you when you jumped. What are the commonalities between your practice and your watch?
MEB: Quality. It is the main objective. High jumpers don’t use any objects, they just have to use their bodies in the perfect way, otherwise you will injure yourself. Timing – a few seconds can make a difference between a perfect jump and a really bad jump. You could lose a medal. That’s what this watch is about – quality and timing. Ticking at the right moments. I want something sexy and elegant, with quality and timing.

LUX: By being in the Richard Mille family – you are amongst some of the best sportsmen and women. How does it feel?
MEB: It feels great. The one thing I really love about Richard and how he selects his athletes and ambassadors, is that everybody is so humble and down-to-earth. He is not only selecting people because of what they achieve in sport. He also looks at their social energy, what they value in society and how they interact with different people. I’ve met most of the guys and everybody is so nice. They are so inspiring and they are role models. I feel that is the type of character he wants. Once you’re in, you’re in – it is a family. You don’t want to bring someone in that will destroy this family. Everybody is highly professional, but at the same time they are very nice people. It is just a pleasure to be among them.

Read next: Zermatt’s most exclusive ski chalet

LUX: Timing is obviously crucial to your life. But what do you do in your free time?
Mutaz Essa Barshim: Get interviewed! I don’t have so much free time, since I only have one month off a year. In my free time, I like to stay home. I’m rarely home, as I’m always travelling. I really just want to be home with my mother and my friends, relaxing.

Olympic athlete and richard mille ambassador Mutaz Essa Barshim outside the Mount Street store in London

Outside the Richard Mille Mount St. boutique

LUX: What is the life of an Olympic athlete like? You work for eleven months a year. You work and you train.
MEB: You always travel and train, train, train. It is always about what is next. To answer that question, you need to be even more professional than before. It is very hard each time. Especially when there is so much expectation about who will win each time. There is always pressure you have to deal with. In order for a professional athlete to keep that, you need to limit yourself. You can’t go out all the time, because your body needs to recover. This means a lot of treatment and recovery time to make sure you avoid injuries. Since you travel a lot, nutrition and drinking a lot of water to not get dehydrated and tear muscles is also very important. It is hard and at the same time, you need to balance it with training. You must also relax your mind and ease up to be fresh mentally. You need to hang out with friends, and at the same time you have commitments to your sponsors. There are social responsibilities. The life of a professional is nice, but you don’t have much time to yourself.

LUX: What is next?
MEB: In March, we have the indoor World Championships in Birmingham. That is the biggest target for the Winter. For Summer, we have the Asian Games and the Diamond League, which is the world circuit. We have a couple of high class meets also in the Summer. The World Championship is the main goal at the moment.

richardmille.com

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Reading time: 6 min
Fashion designer Markus Lupfer new collection
Model wearing Markus Lupfer's womenswear collection

Markus Lupfer’s womenswear SS17 collection

German-born, London-based Markus Lupfer is the man who gave us wearable and fun statement knitwear, not to mention some of the quirkiest accessories and outerwear. His creations are as at home in the bars of Hoxton as they are on the backs of chairs at La Soucoupe in Courchevel. His trademark witty glamour has earned Lupfer a following that includes Madonna, Cara Delevingne, Olivia Palermo and Rihanna. Kitty Harris catches up with him in between collections
Portrait of celebrated fashion designer Markus Lupfer

Markus Lupfer

LUX: What sparked your interest in fashion?
Markus Lupfer: I wanted to be a fashion designer since I was 16 years old… It was my dream and it was all I ever wanted to do! I used to draw and sketch during maths and English classes to the annoyance of my teachers.

LUX: Where did the inspiration for your sequin embroidered sweaters come from?
ML: I developed the very first sequin jumper in 2007, which was actually our sequin lip jumper. The lip is a reference to my signature, which are two lips (kiss kiss) instead of an ‘xx’. The first time I saw the embroidery test of the lip I loved it and it has grown from there.

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LUX: Your designs always have a playful, uplifting element like your cherry and lip motifs. How much does your mood guide your designing?
ML: At the beginning of the season I try to create an overall mood and feel for the collection. The mood of the girl is important and varies from season to season… sometimes she is more glamorous, sometimes she’s got more attitude and is tougher, sometimes she is more romantic… however, there is always something light-hearted in our collections.

LUX: In your AW15 men’s collection, your hand-drawn prints resembled comics, while the following year’s collection incorporated the bear and birds again. How do you keep your illustrations fresh?
ML: Each season the inspiration comes with an instinctive idea, something that really excites me at the time. It could be art, or a place, a movie or music; it really varies. I always try to find a point of difference with our illustrations, something new, something unusual, something desirable.

LUX: Why did you decide on the phrase ‘Don’t question it – wear it’ for this year’s pre-Fall collection?
ML: It was all about unusual contrasts. For example, we had some studded high-gloss belts styled with pretty dresses – it was an unusual combination, so that’s why we used that phrase.

playful floral designs for Markus Lupfer's SS17 womenswear collection as shown on models

Markus Lupfer’s womenswear SS17 collection with Ecru Fruit Blossom design

LUX: What is the biggest challenge you face as a designer?
ML: We are now working on four womenswear collections a year, which means that there is a deadline every three months. It’s exciting but it’s also challenging.

LUX: Who is your ideal client?
ML: I am always so excited when I see someone wearing Markus Lupfer in the street. It really means a lot to me. I have been in the lucky position of dressing some of the most incredible girls, people like Rihanna, Beyoncé, Ellie Bamber and Maisie Williams.

Read next: Superchef Thomas Keller’s forward-thinking fine dining 

LUX: What lies ahead for the brand?
ML: This year we are celebrating the tenth anniversary of our lip design. We are working on a special project for autumn which is very exciting.

LUX: What is your proudest achievement in your career to date?
ML: Being able to be creative and do what I love most all of the time.

LUX: Are there any clothes you won’t wear?
ML: I don’t wear flip-flops.

LUX: If you had the chance to study again what would you learn?
ML: Astronomy – I would love to learn all about the stars and space.

LUX: What is your motto?
ML: Always enjoy what you do and try to make life more beautiful.

markuslupfer.com

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Salma Hayek wife of Kering owner joined UNICEF to meet Syrian refugees in 2015
Salma Hayek wife of Kering owner joined UNICEF to meet Syrian refugees in 2015

Actress, campaigner, wife of Kering owner François-Henri Pinault, Salma Hayek and CHIME FOR CHANGE co-founder, joined UNICEF to meet Syrian refugees in Lebanon in 2015

Gucci is the biggest Kering brand and, as a producer of leather and fashion garments, the one with the biggest sustainability challenges. In a candid exchange, Robert Triefus, Gucci’s EVP and Chief Marketing Officer, tells LUX how the label is tackling them.

LUX: Is there an awareness among all your staff of the broad Kering vision?
Robert Triefus: We are in luxury fashion. For some individuals, they will feel there is a contradiction in terms between sustainability and luxury fashion. But I think that you have to start from the premise that we are a business, a for-profit (not a not-for-profit) one that believes in its responsibility to lower its impact in terms of carbon footprint, waste management and social issues – how we can be responsible in our community. As the big picture, I think that this is the framework that we, as a group, work within.

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Gucci’s pre-Fall 2017 collection womenswear on the runwayLUX: That big picture means not just reducing environmental impact but doing good in areas such as gender equality. Is this on the rise?
RT: It’s interesting because one of the impacts of the inauguration of Donald Trump as president of the United States and his rather nationalistic approach has been that brands generally are looking at how they can contribute towards the debate on the promotion of certain rights. Equality as a whole is a significant topic in America and beyond because it has that kind of reach.

Going back to the mission of Kering, one of the key issues has always been the idea of gender equality, so when we launched CHIME FOR CHANGE [co-founded by François-Henri Pinault’s wife Salma Hayek, a leading campaigner on gender equality issues] three years ago, it was something we believed in both as a brand and as something that makes very good sense given the number of female clients we have. But also within the framework of Kering’s overall mission, it resided very well under that overall umbrella.

Today, I think the issue of gender equality is widely seen because it has built momentum and it has Luxury brand Gucci on the runway showcasing pre-fall 2017 collectionacquired much more engagement in the media for a lot of different reasons. So, I think that over the past three years we’ve been engaging in this campaign because we believed it was the right thing to do as a campaign, and as a topic.

LUX: In the Dining Issue of LUX we have an interview with Marc Glimcher of Pace Gallery who says that they are doing public art because the public sector doesn’t have the money. Likewise, is no one stepping in to do what you are doing?
RT: I think over the past 10 to 20 years, the private sector in its different manifestations has become much more active partly in the growth of understanding of the role that corporations, brands and wealthy, successful entrepreneurs can play. If you look at the Bill Gates and the Warren Buffets of this world and what they are doing today, you can see that they feel they have responsibilities and the capacity of a small country to carry them out.

Read next: Abercrombie & Kent founder Geoffrey Kent on the value of luxury travel

LUX: How does the responsibility element, the CHIME FOR CHANGE, link with the sustain-ability element of Kering’s strategy?
RT: Within Kering’s ten-year strategy there are pillars. One of them is focused on the environment, and all what we do goes with that. When you use the word sustainability, it’s immediately associated with the environment. But the second pillar is about social good with campaigns such as CHIME FOR CHANGE on gender equality and other philanthropic activities. The third pillar is more in the area of innovation. Kering looks at sustainability in a broad sense under the notion of responsibility to the environment and to humanity. This innovation is driving ways of doing business differently across the area of sustainability.

Luxury brand Gucci's pre-fall 2017 collection on the run way

Gucci’s pre-Fall 2017 collection

LUX: Gucci and CHIME FOR CHANGE support women’s and girls’ causes and you partner with the action group Global Citizen. It’s a good ex-ample of a corporation taking responsibility for social campaigning. Is this continuing?
RT: Yes, the fact that equality is more under question than it was a year ago, certainly in the most developed country in the world [the US], means that we as a campaign movement are going to be busier than before, probably. We are always looking for ways we can be more effective in getting our message out there. Music as a convening force will be part of what we do. We will be having festivals in New York and Berlin. There will be another CHIME FOR CHANGE hackathon supported by Facebook. We are looking for something in the art community, and will continue to be active as we have in the past, and what we could do in the future.

LUX: Will consumers start to demand that luxury brands are responsible? Are you seeing this now Menswear Gucci Pre-fall collection 2017 on the catwalkor do they just not care?
RT: No, I think they assume that we are responsible and sustainable so I think it would become punitive if it becomes apparent that we have not been acting in that way. At the same time I think – and it’s a bit of a cliché now – the millennials and generation Z are definitely growing up much more aware because they are living in an environment that is more in question. Therefore, they are increasingly aware of the negative impact that companies can have. So, let’s say that the expectation that you are responsible is put at an even greater premium.

LUX: As we go forward, will you push Kering’s sustainability message forward more in Gucci?
RT: I think the point is that we are a for-profit, not not-for-profit, so we are de facto never going to be perfect. Now, we are not going to make this the unique selling point of our brand, maybe it’s different in the case of Stella McCartney as it is part of her DNA, but by and large it is something we believe companies and ourselves should be doing. We are not going to shout from the rooftops because frankly someone could justifiably say, “hang on a minute, you should be that way, so why are you shouting about it?”

gucci.com

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Women model posing in Louis Vuitton new collection campaign
Female model poses in Louis Vuitton coat and bag from the pre fall collection

Louis Vuitton’s strategy to overcome consumer inertia is to develop products, such as this from their 2017 pre-fall collection, which stand out as one-offs

The nature of luxury is evolving fast. Producers and consumers should wise up to the emerging multi-level landscape and never forget the power of the right kind of celebrity, says our columnist Luca Solca
Portrait of Luca Solca LUX columnist and head of luxury goods research at BNP Paribas

Luca Solca

True luxury is about projecting the impression, or even the illusion, of exclusivity. That is what luxury is about. If you can do that from an accessible price point and if you can do it at a very high standard, that is good enough to be true luxury. What it takes to maintain this perception of exclusivity is interesting, because nothing in the modern luxury industry is really exclusive. If it were exclusive, it wouldn’t be an industry. We are talking about businesses that have to grow fast, and growth is the exact opposite of exclusivity. And true luxury is very subjective. True luxury for Bill Gates is buying a set of Leonardo da Vinci drawings, true luxury for middle class consumers is buying a Hermès handbag – there are a million shades of difference between one definition and the other.

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This is what I have previously referred to as the megabrand bathtub: we have a big bathtub and the tub is producing new consumers coming into the megabrand market. New consumers, especially if they are rich, stay in the megabrand bathtub to the point that they realise that middle-class consumers buy the same brands that they do. Then they either trade up within those brands, or they trade up to more expensive brands that they perceive to be more exclusive.

This is also going to be compounded by what I call the category spend shift in which rich new consumers will go through various categories and at some point, they will have so many products in their wardrobes that they will start spending money on something else. Which leads to the discussion about experiences – going on exclusive holidays and sending their kids to universities in England or colleges in Switzerland, buying second homes and holiday houses and then buying planes to reach them.

Male models in Louis Vuitton Autumn/Winter 2017 collection

Louis Vuitton Autumn/Winter 2017

I think as consumers get closer to what an established rich person does and is, then they tend to spend less on luxury goods products, not more. There is a fundamental misunderstanding that luxury is for the rich. Luxury goods products are for people who get richer. They go through a time when they splurge and they have to buy their products necessary to fill their wardrobes and then they go into replacement mode. I think that many Chinese consumers, many of whom were early adopters, have now moved into replacement mode already. The reason why we are all talking about the shift from gold to steel in watches, and lower entry price points, is because luxury goods today are predominantly relevant for middle-class consumers. The bulk of the new growth is coming from middle-class consumers who may have a lot of ambition and desire but only limited spending power. They buy cheaper and less exclusive products than their earlier peers. The consumption of luxury goods does always penetrate down a market from the top, though. You start with the richest consumers, then you work your way down to the middle class, which is where we are today in China.

Read next: President of LVMH watch brands Jean-Claude Biver on luxury’s new culture

At the top, there is a small number of people who need to have very special services and products specifically for them. And new consumers have upped their learning curve. They buy more frequently than established consumers and therefore their experience grows faster. New consumers also have more sources to learn about their purchases, via social media and the internet, than used to be the case. Far from being a market where consumers are just shifting to high-end brands, which was the case three to four years ago, in today’s market even if you are in the high end, you are doomed if you stay static. If you just sell iconic products, consumers who have been in the market for a while will have already bought them. They will only part with their money if you give them something that they don’t have. That’s why there has been a race to replace directors; and why Gucci has totally thrown away the past and moved on to new aesthetics, taking a huge risk, which is proving successful. And this is why Louis Vuitton, by the way, is successful – because it developed cleverly isolated ‘in your face’ products that have infiltrated the market with capsule collections.

exane.com

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Luxury eyewear brand Tom Davies women and mens glasses
Lookbook image of model wearing luxury glasses by designer Tom Davies
Tom Davies is a British eyewear designer offering a truly bespoke service. Kitty Harris sits opposite the designer in his Royal Exchange shop to learn more about designing for the individual and the evolution of the luxury eyewear industry.
Black and white portrait of luxury eyewear designer Tom Davies

Tom Davies

Kitty Harris: You have had many design roles during your career. Why did you choose eyewear?
Tom Davies: When I was originally setting up my company, I set up in London to design frames for Tom Davies. But I was just starting out and I was doing contract design for other eyewear brands. For example, one of my big clients was Puma and I was designing their sports eyewear line under contract and also project managing the delivery. That was quite lucrative for me. But at the same time, I would take anything. I actually designed a popcorn maker, an MP3 player, a food mixer and so on. I set up companies just to qualify me for being able to take that particular job. For Aquascutum, I was designing websites and brochures. For Puma, I managed to weasel my way into their websites and brochures and before I knew it, I had twelve designers and a design company.

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But I wanted to pursue Tom Davies glasses, so I threw all of that away for what I truly wanted. All my other ventures were great but they were merely vehicles to make money; whereas eyewear defines the wearer. Human communication is through the face, so in terms of design, there is nothing more important. I think it is the number one design challenge and the most exciting. What really excited me was that nobody else knew that. It has been ignored by the world.

‘Specky four-eyes’ has haunted eyewear for thirty to forty years. It has been something that people haven’t wanted to wear, because it is seen as a medical device and a necessity. But the truth is, if you get to forty years old, 95% of people need some kind of correction for their vision. It is everywhere and everybody needs it. The challenge is to make something that somebody enjoys wearing – that makes them look good, that they are comfortable in and helps them. I get such satisfaction by making someone a really comfortable frame that will really suit them.

KH: How would you describe your design aesthetic?
TD: I am always looking at the person. It is the physical things. I have signatures in my frames – little touches that I like to put in there. Whilst a lot of eyewear brands have a certain hinge or style, which is how they define themselves; I am a bespoke brand, so I’m all about the person. If I was to make you a pair of glasses, I am looking at the shape of your eyebrows, your long eyelashes and your small nose and I think of how it will fit. I look at the shape of your hairline that frames your face, the earrings – how you accessorise yourself. I must design something that will bring all of that together and then match it. That is not easy, which is why people hate glasses. There is so much going on in your personality that you’re already outwardly projecting.

Read next: Visionary designer Bill Bensley on creating luxury dream worlds

The idea that you simply wear what I say and have to deal with it doesn’t really work. That is effectively what happens when you go to an optician. I take several aspects into account: your personal style and features, then we look at the delicacy and thickness of the rim, the tone of the colour, the finishing material (polished, matt or satin), how the frames are fitting. We must take all that into account and then have to consider the prescription requirements and what lens design will give you the optimum vision. You can squeeze any lens into a frame, but people can develop headaches and dizziness. It’s all about you – that is my design style. My products aren’t signature to a hinge, they are signature to the person, so you shouldn’t really be able to spot my frames.

Male model wearing bespoke Tom Davies luxury glasses

KH: What’s wrong with a ‘one size fits all’ model?
TD: First of all, you must remember those funny caricatures that used to appear in newspapers and magazines where they had images of heart-shaped faces and square faces and they would state which shapes suited you. You don’t see those so much anymore, as they are nonsense and the consumers realised it. If you go into a normal optician, you tend to see a variety of different shapes that do generally work on people. Whether they fit them on the bridge or whether the arms are right is not clear. You will see a generic mix of shapes and if the opticians are good buyers, they will have bought enough to service most people in a generic sort of way. The reason people have used those devices in the past is because you had to buy off the shelf. There wasn’t really a bespoke service.

What I do is I take that same principle, as I have a fully functioning opticians here. You can walk away with a pair of glasses that fit you reasonably well, as with most opticians. But in actual fact, what we’ll do is say – we like this frame and then alter it in terms of shape and style. The principles are there in all opticians and everyone is trying to match face shape to frames as much as they can. But, I am taking that to the next level by starting with something you like and making it better. On my personal appointments, I will pretty much start with a blank piece of paper and sketch something. But generally speaking, if you come to my store, we will start with something the customer really likes and we then bring it on to the next level. It hasn’t necessarily been ignored, but the limits of normal business have prevented them from being able to cater for this.

Women's bespoke luxury eyewear catalogue image for Tom Davies

KH: How would you say the industry has changed?
TD: It keeps changing faster and faster, almost every couple of months. It is now all about individuality in whatever brand you are looking at. There are many people now marketing a bespoke service, but it is generally offering their best-selling frame in twelve different colours. Often these bespoke services are also only offered in plastic, which is the easiest one to do and is often not that accurate and there is no designer behind it.

Read next: Jasper Johns’ alternative perspectives at the Royal Academy

If you come to us, there is a designer in-store and then a designer in my head office who is designing the frame on your face. It is then individually made for you to 0.1 of a millimetre. There is nobody doing anything like that, but there are lots of people in customisation and 3D printing who are coming into this sphere. I was at a trade show in January this year and two years ago, there were two other brands there. But this year, there were twelve other brands there offering some kind of customisation service. This boom is happening and you will see more and more customisation. It is the future of eyewear. You will then also see the big players, such as Luxottica, which owns most of the brands, trying to protect their system. They buy up the industry. For example, Luxottica and Essilor are merging at the moment to make the biggest retailer in the world. Between them, they will own over half of the industry. That is happening in eyewear as well. I think that will carry on happening.

Interior of Tom Davies luxury eyewear store in Covent Garden London

The new Tom Davies store in Covent Garden

KH: Why did you decide to move your factory from China to Britain?
TD: There were many reasons for this. There is no eyewear industry in Britain. I think ten years ago, I would have been too threatened by the idea of training up the next generation of eyewear makers. But now at 42, I don’t feel threatened by that. I am going to be training people, we are bringing in a new generation and we have to create our own supporting industries for it in the UK. We will set up factories here and I find that an exciting challenge.

And also, I am 42 and it’s hard work to travel to China every six weeks. I live in perpetual jet-lag. I am now the master of upgrades, I know everything about everything on airplanes and I know the check-in people. But, I can’t keep doing that. The cost in China is also not what it used to be. Shenzhen is a fabulous place to do business, but it is actually more expensive than Hong Kong, and Hong Kong is as expensive as London. Therefore, economically there is not much of a financial benefit in being based there. Within three years, there will be no financial benefit at all.

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Czech fashion designer Jiri Kalfar launches honey bee collection
London fashion week show with Jiri Kalfar

Czech based desinger Jiri Kalfar on the catwalk launching his Honey Bee collection at LFW

Czech based fashion designer Jiri Kalfar is known for challenging gender stereotypes through his fluid, vibrant designs. In 2015, NYLON named him as one of the hottest emerging designers to watch and his collections frequently grace the pages of Schön!, Tank, Harpers Bazaar and Vogue.it, yet the young designer is more concerned with protecting our planet than his blossoming fame. Millie Walton caught up with Kalfar after his LFW show at L’escargot to talk about theatre, honey bees and the future of sustainable fashion.

Millie Walton: You trained as a ballet dancer, how does that influence your approach to design?
Jiri Kalfar: It is hard to say. I grew up in the theatre. It has been a massive part of my life and I think it actually influences me without even me thinking about it. It is part of me, and therefore part of my work and my design. It is more about a character though. When I design, I do not see the everyday woman hidden and following the crowd. Quite the opposite. I like to give a story to a person. To add to its character and a personality. I love variety and I don’t really understand minimalism. It bores me. Life is a show. Each of us is an individual character with different personal style.

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Jiri Kalfar's S/S18 collection inspired by honey bees

The Honey Bee S/S18 collection

MW: How would you describe your aesthetic?
JK: Unique. Out of the box. What I do, doesn’t really fit into any box. It is not a street-wear, not (yet) a haute couture, not office wear. Yet, you can wear it for any occasion. It is only up to you, how decide to wear it. What to add to it. What to hide. What size to choose. I like to play. And I love seeing people styling my clothes in different ways. It is the biggest satisfaction.

MW: Which fashion designers do you find most inspiring and why?
JK: There are three whose work and style I admire. Their legacy or how they are approaching fashion, On the top there would be the ultimate king, Alexander McQueen followed by Vivienne Westwood and John Galliano. Strangely they are British. Oh, and Dries Van Noten too.

Jiri Kalfar's S/S18 includes florals inspired by honey bees' habitat

The Honey Bee S/S18 collection

MW: In past interviews you’ve talked about your interest in theatre, do you think about particular characters when you’re designing? Does that change from garment to garment or collection to collection?
JK: Yes, actually. I like to create a character, a living soul. It can be anybody. But the game is to transform yourself. Into a tsarina, a king, a goddess, a pirate .. for every day or just to glam-up . But still be yourself.

We all wear costumes in some way. A costume which we would bland in into a society. And I like to do the exact opposite. A clothes which would enhance your personality. Society blends into you. Because you are confident enough. Fearless.

Read next: Burberry’s celebrates social portraiture and British spirit 

MW: Your S/S18 collection takes influence from honey bees, why bees?
JK: It is an ecological message actually. I fear what our generation does to this planet. What our legacy will be for generations to come. What will happen to the animals, to the North pole and the oceans. What will be the aftermath of our action.

I am aware I can not save the planet by doing that. I am not naïve but I believe each of us has a voice and can do something to make the world better. So the inspiration for this collection is very simple : Save The Bees! Because they are dying due to the changes of the ecosystem. And without the bees, there is no future, I am afraid.

Czech fashion designer Jiri Kalfar launches honey bee collection

Jiri Kalfar London Fashion Week 2017 exhibition at L’escargot

Millie Walton: How do you ensure that all of your clothes are manufactured sustainably?
Jiri Kalfar: All my clothes are done ethically, in my studios in Prague. We make everything there. Therefore I know we do not over-produce, which means that the pollution is absolutely minimal. And so is the waste. All my collections are generally zero-waste. Even if we don’t use all the material in one collection, I will use it in the next one or the one after. It is important to me.

Shot from LFW 2017 Jiri Kalfar catwalk show

Jiri Kalfar London Fashion Week 2017 catwalk show

MW: Do you think that the luxury world is becoming more aware of environmental concerns and what does that mean for the fashion industry?
JK: I hope so. I like to think there will be big boom of sustainable fashion soon. Same as really happened to the food industry. The luxury there is actually to grow your own food or to buy organic. No fast food but slow food. Time became important. The quality over quantity. To know where your dinner comes from. Maybe the same will happen with fashion. To know the journey of a product from the beginning to end. To understand the ethicality and importance of a truly crafted piece. Of its value. The luxury doesn’t really mean money in this case, it means knowledge and consciousness.

jirikalfar.com

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Burberry opens new London location and launches photograph exhibition

This weekend at London Fashion Week, Burberry opened the doors to Old Sessions House, the brand’s new London home, coinciding with the launch of their latest collection and a major photographic exhibition, ‘Here We Are’ curated by Burberry’s President and Chief Creative Officer, Christopher Bailey. With work from over 30 photographers displayed over three floors, the exhibition celebrates the art of social portraiture and British spirit. LUX Digital Editor Millie Walton speaks to co-curator Lucy Moore, director of Claire de Rouen Books about the works on display and the significance of space.

Millie Walton: Why hold the exhibition now? Is the timing significant?
Lucy Moore: At a time when we all create and consume images at the fastest rate in human history, I think the works in this exhibition, mostly made in the pre-digital age, have a particular power and resonance. It’s also an interesting moment to think about ‘British-ness’ and what it might mean. I hope the exhibition offers up many possible answers.

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MW: The exhibition aims to explore the British way of life and character through photography. What time span does it cover and how important was the geographic location of the photographs to you as a curator?
LM: The earliest work is from circa 1935 and is by Bill Brandt. The historical aspect of the exhibition runs up to about the mid-1980s, with work by Tom Wood, Jo Spence and Homer Sykes, for example. There are also two presentations by contemporary photographers Alasdair McLellan and Gosha Rubchinskiy. McLellan is showing an extensive series of works and he has also shot the campaign for Burberry’s September collections. Rubchinskiy was commissioned especially by Burberry to create work for this exhibition.

Queen Elizabeth II’s Silver Jubilee, London, England, 1977. Peter Marlow. Courtesy of Magnum Photos.

Belfast. 2005. Alasdair McLellan

MW: Do you think that the photographs lean towards a certain atmosphere or mood? How would you describe that feeling?
LM: There are quite a few moods, in my mind: bold, energetic, carefree, aspirational, creative, tender, committed, industrious.

Read next: The idyllic British country retreat in a historic manor house

MW: Did you make any intriguing or surprising discoveries when you were preparing the exhibition?
LM: I was very fortunate to have been able to view the archive of work by Shirley Baker, now looked after by her daughter Nan. It’s incredible and much of it unseen. Ken Russell’s beautiful film ‘A House in Bayswater’ was a completely new discovery, as was his series of photographs of the military horse guards at Whitehall taken in 1957. The guards were the subject of a commission called Ceremony for Arena HOMME+ magazine by Alasdair McLellan, almost exactly 50 years later, and I’m very honoured that we are showing it in ‘Here We Are’.

Millie Walton: The re-opening of the Old Sessions House ties in with the opening of the exhibition. How do the photographs and spaces interact?
Lucy Moore: In some cases there is a very strong connection – for example in the room which contains photographs that explore Britons’ relationship with weather. This has a skylight in the ceiling through which you can see, and hear, the real weather outside. Many of the rooms in the building would not have been originally intended for public visitors. They have a sense of domesticity because of this, and we have reflected this in the approach to the exhibition hang.

MW: Is there a photograph or series of photographs in the collection that you feel particularly connected to? And if so, why?
LM: There are 3 very small, but very important, photographs by the late Jo Spence in ‘Here We Are’. Her concerns were primarily sociological, historical and educational. She was a deeply intelligent, courageous artist and her work has long inspired me.

Here We Are’ runs until 1 October at Old Sessions House, Clerkenwell, London. burberry.com

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Kering Headquarters in Paris refurbished hospital
Kering Headquarters in Paris refurbished hospital

One of the walled gardens at the former Laennec hospital at 40 rue de Sèvres Cour in Paris’s 7th arrondissement, a masterpiece of 17th century architecture that underwent a major refurbishment from 2000 and is now the headquarters of the Kering Group and Balenciaga. Image by Thierry Depagne

Plenty, if you listen to Marie-Claire Daveu. She is in charge of Kering’s 2025 sustainability strategy, the broadest plan of its kind ever created by the fashion and luxury sector. LUX Editor-in-Chief Darius Sanai sat down with her at Kering’s spectacular new offices in Paris to learn more about how Gucci, Saint Laurent, Bottega Veneta et al will become paragons of social responsibility – and why it matters.

“It’s beautiful, and it lets you feel like you can breathe.” Marie-Claire Daveu is looking at a ‘living wall’ on the lower ground floor of her company headquarters; the wall is covered with plant life, a canvas of different shades of green. A few steps behind her, a large space, gently lit, is punctuated by what look at first to be types of dwelling, but turn out to be beautifully sculpted pseudo-retail showrooms. It all feels like the public areas of a boutique hotel, perhaps one carved out of an old chateau.

But we are not in a hotel; we are at Laennec, the headquarters of Kering, luxury and fashion group founded by French industrial titan Francois Pinault and now run by his son, Francois-Henri Pinault. Kering, formerly PPR and before that Gucci Group, owns Gucci, Bottega Veneta, YSL, Brioni, Boucheron, Stella McCartney and numerous other prestigious brands, as well as sportswear maker Puma. [Mr Pinault Sr also owns the auction house Christies and the first growth Bordeaux wine estate Chateau Latour.]

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But I am not here, at Kering’s new headquarters, to talk fashion. Daveu, as Chief Sustainability Officer, is in charge of the group’s industry-leading sustainability and corporate responsibility ethos, a ground-breaking philosophy that has since its inception in 2012 required each brand to self-impose a rigorous Environmental P&L, which is published publicly, to ascertain how it has complied with the high bars on sustainability, sourcing, carbon footprint, water usage, and other measures stipulated by Daveu.

The philosophy is the brainchild of Pinault Jr, who stated simply that “We have no choice”. Earlier this year, it was expanded into a more comprehensive plan for 2025 which includes a widespread promotion of women within the Kering group and a commitment to reduce the group’s environmental footprint by 40%.

Inside the Kering headquarters in Paris

A “live wall” at the Kering Headquarters

Laennec is the physical embodiment of the Kering philosophy. Formerly a hospital, opened in 1634 and functioning until 2000, it is a palatial building in the heart of the Left Bank. Walk through the gates into the vast courtyard and you could be strolling through the grounds of a chateau in the Loire; there is not a hint of corporate branding, not a suggestion that you are anywhere except within the demise of a beautifully kept stately home (in the centre of Paris!).

This minimal impact on the environment was one of the key concepts behind the company’s move last year.

Daveu, slim, chic, and articulate, looks every inch the Kering woman; but she is a conservation academic by training and was most recently the chief of staff within the French Ministry of Ecology. We head along through some more wonderfully welcoming workspaces – the vibe is more hotel-museum-bar than office – into a meeting room. Daveu is enthusiastic, chatty, curious; she takes the copy of LUX I have brought with me and leafs through it, ogling an image of a mountain retreat, wishing she could be there.

She is also candid about the reasons behind Kering’s responsibility strategy and in explaining why individual Kering brands do not necessarily drum the corporate philosophy into their consumers.

Very rarely in the marketing-led world of luxury and fashion does one come across an individual or corporation undergoing a programme, let alone creating an entire corporate strategy, that is not directly aimed at increasing the bottom line in an easily-demonstrable way, whether through sales, PR hits leading to sales, or cost-cutting wrapped in eco-sophistry (like all the hotels who volunteer not to wash your linen for you unless you ask). And yet, Kering’s sustainability and (from 2017) corporate responsibility and equality strategy appear to be precisely that; a philosophy created by an owner aimed simply at raising the bar in luxury and, if not exactly making the world a better place (you couldn’t claim to do that while selling leather bags and shoes and shipping textiles around the world), then limiting and in many cases reversing the harm we are doing to it; as the interview highlights below illustrate.

Chief Sustainability Officer of Kering Marie-Claire Daveu

Marie-Claire Daveu, CSO of Kering. Image by Christopher Sturman

LUX: It has now been more than five years since Kering launched its sustainability strategy. How would you score yourself?
Marie-Claire Daveu: From the beginning, Francois-Henri Pinault defined sustainability as something really key to him. We first defined a set of targets in 2012, for 2016. During the spring of 2016 we communicated externally where we were with every target. That was key to us, because we feel that one of our values, beyond sustainability, is transparency. Transparency not only internally, with our employees, with all of our stakeholders. So that is why we had the feeling that we had not only to communicate the good results, but also when we were not able to reach our targets. And to try and explain why we were not able to reach a target.

So I think it is very important to show that even if you are a major company, you have some difficulties. And it is also through working with other people, people from your own industry, but also universities and NGOs, that you will be able to tackle the issue with and come up with the right solution.

So in a nutshell, we can say, we’ve had major successes. Such as in PVC. One of our targets was to really eliminate PVC from all of our products and we can say we are at 99% PVC free. We were also able to work a lot on our ethics goals because we defined what our ethics goals were. We bought 55 kilos of fair-mined gold. We also have other targets; bovine leather and calf’s leather. The objective was to be sure that they were 100% sustainable. What was very important in this first step was knowing they were 100% sustainable by knowing the traceability. And the first difficulty we found was knowing where it was really coming from. We now have good results for example with crocodiles and alligators – we are over 90% sustainable. Now, when we speak about precious skins we are over 60% sustainable; and this shows that in some areas we have to continue to work on it.

Another development is that now when we make a new hire, they know that they have to be totally involved in the sustainability path. This is also something that creates a real dynamic inside the company. It’s something that is really key. In 2016 we were recognised by external rankings that we still continue to lead our industry in this field.

When we spoke before you mentioned the Materials Innovation Laboratory [a closed location in Italy where the company’s scientists and technicians experiment with new materials]…what I would say is interesting to see is that it has become something very natural for the brand and the design team to cross to the materials from the innovation lab. We need to really push and to create this kind of cross-fertilisation. We say, ‘Go to see them, they are doing interesting things. They can open your mind about new topics.’ So now, we have direct contact between the design teams and the team based in Novara in the Materials Innovation Laboratory. This is one of the key successes of which we can be very proud.

LUX: This year is a key year for Kering – your strategy has moved beyond sustainability and also into human responsibility. Why?
Marie-Claire Daveu: At the end of 2015 we made a major decision that we would like to write a new chapter on sustainability for the next 10 years. That’s why we talked about 2025 [in a media announcement early in 2017]. We made a decision saying we want to continue to define the standards on the social side and on the environmental side. We want to define what we call the sustainable luxury sector or luxury industry, or luxury products. It applies to those three words. We had the feeling with the strength of the work we have done that we can have a 360 degree approach about sustainability.

That’s why this time we decided not only to work with an action plan on the environmental side, but also to include more of the social side. This also links to not only with our own human resources, but to think outside of the boundaries in the supply chain, and also for broader society. As luxury leaders we set the trends, so it was key to work on the social side. We want to also formalise more and to think not only for the short term but the long run too.

One of the most important difficulties I have to manage is that we are in an industry where people, not everyone, are more focused on short term. But when we are speaking about sustainability, we are thinking about the long term. In this company we are very lucky because Francois-Henri Pinault thinks really long term; he doesn’t think short term. But you also have to push inside the company. When you meet some CEOs you speak about the end of the year, that’s okay because it works for the fashion calendar. When you are speaking for the next 10 years, its not obvious for them. Because previously we did not ask them to think in this way. But when you are in sustainability one important learning in our action plan is also the fact that if you want to change things in depth, you have to have time.

You can make incremental progress in the short term, and you have to; but if you are thinking to change a paradigm and change a business model as we want to do, you have to accept that it will take time. 10 years sounds a lot but in reality it is nothing. So you have to think long term, and at the same time to have a calendar accepted by our people also.

LUX: Is it a challenge to get CEOs and other staff to think so long term?
Marie-Claire Daveu: It’s a challenge. So that’s why to tackle this issue we decided to create a specific steering committee for this project. This steering committee was the Kering executive committee. So the first time, at the level of the group, we had the executive group becoming the steering committee of a project; it was to send a strong signal that sustainability is really at the core of our business strategy.

So during 2016 we defined this new strategy. We organised two kinds of road shows. Francois-Henri met the executive committee of every brand to explain why sustainability is key. Also to see how they approached this topic. And he did the same thing with every designer and his or her team. So for the first time we met all the designers and their teams to have an open conversation about sustainability and how they can be more engaged with this field. We have new designers and all of them were very open about this topic. Most of them, not all of them, were really interested.

LUX: Were they interested because they are the younger generation?
Marie-Claire Daveu: Yes. And also when you are a designer you understand the world where you are living. If you don’t understand you won’t be successful. They don’t know the technical side in detail, but they understand that it is not possible to not take into account environmental topics or the social topic, in the supply chain.

After that, where it becomes really interesting is the fact they can express in their manner their expectation, and it’s our job to give them the right tools and opportunities to transform their vision into reality. In our sector the key people are the designer and their team, so if you don’t involve them in the story…okay you will do a great job with the building and the boutiques, but you won’t change the paradigm. During it you can see how much Francois-Henri was involved as he had to see each brand twice every year to explain why sustainability is key. So it was a good exercise for him to wrap up his philosophy and the way we were doing things.

LUX: And do the designers then start to think differently even before they start to design? So instead of thinking let’s use that material for that design they start at the beginning and think what can we design that will be the most sustainable?
Marie-Claire Daveu: We don’t put sustainability as a constraint for the designer or do something that limits their creativity, because at the end of the day they have the last word. But the reaction of most of designers was “oh thinking like that it stimulates us and also our creativity and it gives us another way to think about it”. So for example if we are speaking about fur, they will come and ask their team ‘Could you tell me if this kind of species is okay?’

Marie-Claire Daveu on Kering Sustainability plan

Courtesy of Kering

And it’s our job from the technical side to identify the suppliers of the cotton farming that will produce organic cotton for example. Cashmere has a major impact on the environmental side because of the land use. So when you look at the EP&L even if you are using a small volume you have a big impact. So it’s very interesting to say look at that, and then after they can make a different choice or we can also say let’s try to find other suppliers in other countries where we will reduce our impact. So it is also how we can create platforms for raw materials. It’s not making the revolution, because when we speak on a lot of topics also with our own experience from the period of 2012 to 2016 I think know we have clearer diagnosis. We have many, many interesting pilot projects. I won’t say we have all of the solutions but we have many solutions. One of the issues of the group is to really put at scale all of the pilot projects we have identified. So that is why also we have both where the designer can come and ask questions and propose them and after it is only to do the roll out of pilot projects.

LUX: Do you personally have conversations, formal and informal, with for instance Tomas Maier [the designer at Bottega Veneta]?
Marie-Claire Daveu: Yes, we began our road show with Thomas Maier, and he for example, during the first period Francois-Henri was also very involved to eliminate and remove PVC for the collection. And they found a way not to use it. But really I don’t want to make a difference between all of the designers because really all of them, I don’t want to speak about Stella, because Stella is also showing the way in the sustainability field, so it’s a little different. But for all of the rest of the designers they were very open and they were very involved in doing something.

To give you a concrete number for the environmental side we want to reduce our environmental footprint by 40%. This is huge. When I say this kind of number perhaps people won’t react and think it’s something huge but it’s nearly half of our environmental footprint. To do that it’s not only in our own operations, but working on the supply chain. If you remember, over 93 per cent of our environmental footprint is linked with the whole supply chain. Seven per cent is linked with our operations only. So if you want to reduce you have to work not only very closely with your suppliers, but also to make a link to find innovative solutions. So that is why to be able to reach this 40% we want to first apply everywhere what we call our ‘Kering Standard Target line’ which means of course to take into account the environmental side, social side and the welfare of animals. One of the topics we want to push during this new chapter is really the criteria for animal welfare. We also feel that as a luxury company we can really push this.

To do all of this, the reduction of the environmental footprint by 40%, we are defining the number for every brand. To be sure that at the end of the day when you add everything up of Gucci, Brioni and Qeelin, for example, that you will reach a reduction of 40% across all of the brands. What we communicate as a strategy is at the level of Kering because as we are Kering what we think is key is to show as a luxury group we can reduce by 40% our environmental footprint. And after, of course, the way of doing it won’t be the same if you are in Stella McCartney or Gucci because you don’t use the same raw materials, you don’t produce the same products and also the design won’t be the same. As concrete example, we can speak about the welfare of pythons, but Stella McCartney doesn’t sue leather or fur so this kind of issue won’t apply to her. Now, if Stella uses new generations of materials she will also analyse their impact on energy because sometimes we have feel we have great ideas and when you do the lifecycle analysis you see its very energy intensive so you have to pay attention.

LUX: Gender parity within your company is also an aim.
Marie-Claire Daveu: At the level of the company we are nearly 60% women but then you have numbers by brands and then by functions. So our objective, like in nature, is to create biodiversity everywhere, at every level and function. So again it is not to apply quotas but it is to take the best but we change the mentality too. It’s an ongoing process. Its 58% women for the groups and then 29% on the executive committee and 64% of directors are women. We are now the board with the most women in the France. We are 64% at the level of the board in France! I can’t tell you how much of a great success it is, because we are a Latin country. Less than Italy but we are a Latin country. Its something new and Francois-Henri wants really to continue to push this. Of course we pay attention to the quality of the people, it’s not to only have women, or international people – if they are not good they are not good. The second goal we have is that we want to be the best place to work in the luxury industry. You can say that that is a little vague so to be sure that it is not only our internal investments we want to use external recognition as we did with sustainability. For example, when you are speaking about climate change you have CDP ranking. So we will try to be recognised externally. The last topic, very linked with business, is that we want to continue and reinforce craftsmanship and specific skills in our industry. It sounds very easy. But we are very conscious we won’t be able to do this by ourselves, even if we have the Bottega Veneta school, the Brioni school, Gucci is working hard with universities but when we are speaking about watches and jewellery we need also to have specific partnerships in Switzerland because we need specific skills but at the same time we won’t hire so many people. It’s something we need to think outside of the box to create something new.

LUX: These new developments, for example the animal welfare, is that all part of your job?
Marie-Claire Daveu: Yes. My job is to find specific certifications, to say to work on in this place in the world not everywhere. When we are speaking about fur, to use not this species but more of this species. So we write guidelines and standards and we give them the tools to reach and apply this standard. This is the work of my team. And after to implement the operations it is the job of the people in the brands. So it is under the responsibility of the CEOs and the designers. We don’t want to only say: “you have to, you have to!” But also to support them. And sometimes, perhaps, we will make big mistakes, so it’s key also to have their feedback and to see what it means. When you are speaking about sustainability we are not NGOs, so we also have to earn money and to be realistic and to be pragmatic.

LUX: Presumably it would be harder to do all of this is the company were not majority-controlled by the Pinault family?
Marie-Claire Daveu: I don’t have that in mind, because we don’t think like that. It’s not a cost, it’s an investment.

LUX: With the end consumer, say the average Gucci consumer for example, are they aware (any more than before) that this is a brand that takes its sustainability and welfare seriously? And does that matter?
Marie-Claire Daveu: I don’t have the quantitative answer; I only hope so. As you know, we don’t communicate directly to our consumer when we speak about sustainability. On this point there are no changes. Perhaps Stella McCartney is communicating a little bit more than before directly with her clients.

LUX: But that was always part of her brand.
Marie-Claire Daveu: But when you buy the product of Stella McCartney it is not written that they are sustainable products. You have, for instance, written organic cotton but if you don’t look for it you won’t see it. And when you enter the shop you don’t know.

Some people think, if they don’t know that about Stella McCartney pieces, they believe that the python skin shoes are real python!

LUX: Maybe only a minority of people are aware. But with Stella it’s one step for the consumer to research, whereas with Bottega or Gucci it’s two steps – “Its Bottega; Bottega is owned by Kering; and Kering has this broad sustainability strategy.”
Marie-Claire Daveu: Gucci, Bottega or YSL, they don’t communicate all of this directly to the customer, true. With brands like Gucci, they are doing some communication at the corporate level. You have Gucci and Global Citizen and Gucci and Chime for Change, but its more focused on the social side. You also have Marco Bizzarri, who has given a few key interviews where he has said a few words on sustainability. But it’s not strong and tough communication, true. As part of Kering they are fully free to communicate or not to communicate. As Kering I think we try to communicate, but I’m sure not enough because it takes lots of time, we communicate more to our industry. As Kering, I am not able to tackle our customers of the brands. But again, our customers are also citizens and they read the newspaper and they look at what happens in NGOs so I am sure they have more information, but, yes it is not obvious. So they have to make the link. Francois-Henri Pinault does not want to put sustainability at the core of the business strategy to sell more products but instead for two reasons. First for ethical reasons and secondly because he thinks there is no other option. It is a necessity if we want to continue our business.

Further, is the fact that I have the feeling that with social media, the new generation ask more questions. They are curious what is behind the products. And when we go to the boutiques and speak to our employees they say that more and more people are asking questions. So it’s good!

LUX: But it’s unusual for a luxury industry to be doing so much and not communicate it via the brands, no?
Marie-Claire Daveu: That’s why we are different. In luxury we are unique. I always say it is the spirit of Francois-Henri that when you are speaking about luxury, sustainability is inherent to the quality. Just as you don’t describe the quality of your product in all of the details. You know its heritage…so it’s a similar approach. You take a care of the people and you take care of the planet.

One thing that is very important in our philosophy is to openly share our discoveries. And to make the link with innovation. We feel that on the social side, but also on the environmental side, that in the next chapter of our strategy we need to push innovation. And to do this we will take two approaches. First is to invest in start-ups and new companies. New companies that can invent new processes or identify new raw materials which could be very interesting. And the other axis is to create more cross fertilisation between our company and other companies. I don’t speak only about digital; it could be with the car industry or the food industry but to create something new.

Kering sustainability goals

Courtesy of Kering

LUX: Is that underway already?
Marie-Claire Daveu: No. It’s something want to put in place in our next chapter. And to also work with the technical people in these industries helps to imagine the future. That’s why the supply chain is important. The beginning of the structure is steel forte. It’s really the raw materials because you can have a lot of impact here. Thinking of raw materials that can work across the entire industry. When you are thinking about biodiversity you can think across the industry. I can’t disclose the name but today we are organising a meeting with a few companies which are not in our sector to speak about natural capital. It’s also a way to change the world, to make a better world and also to be very pragmatic. When you are speaking as Kering for many raw materials or processes, even if you are a major company of a big size, we are not big enough to change alone. That’s why we need to go with other sectors that are using the same processes and the same raw materials. And it’s not linked with creativity or the fact that luxury is unique. You have to divide. You have the “back office” and after you have creation – creation is key. But we have a lot of work to do on the basic things. You asked me about the customers…a lot of people ask this question. I think to be honest it will take time. For me, they don’t ask questions because they think the luxury world is already perfect. This is why we are continuing with this strategy and connected with the London College of Fashion. We feel that training is important but in fact it is very operational because we anticipate a need to prepare the next generation of people who will work in the fashion world. For us it is time and investment. We don’t have a direct feedback about money but we feel that it is our responsibility. If they have this way of thinking during their studies, when they take responsibility in brands it won’t be a question for them. It will be something they put into reality very quickly. We developed our app with Parsons in the United States called “My EP&L” for the students. We simplified the EP&L a lot but it’s to show the environmental cost of each of the materials and processes involved in the student’s design. For example, which material, from where, to manufacture where and then you get the result of your environmental footprint. Behind every item we have a way to calculate each of its environmental impact. After, what is very pedagogical is that you can change silk to cotton instead and you will see you will reduce your footprint by only changing one thing you can make a big difference. For students this is great fun.

LUX: In terms of the specific stories where we are talking about production and the sourcing, in terms of your suppliers, are there any stories about how suppliers have changed or you have chosen suppliers who have changed their ways so it has benefitted both the environmental, the humanitarian and social side?
Marie-Claire Daveu: It’s a tough question to answer. What we have done and what we are doing with some suppliers is to apply a program which we call “clean by design”. It’s more focused on the environmental side which I why I’m not answering for the social side. What is interesting to think is that first, these suppliers are not only working for us, so when we apply this program it is to create a specific relationship with the supplier and we hope that it will also be useful for their own business. They can present to other customers the fact that they take into account the environmental side, energy and water consumption etc. So I will say one very big major program we have is suppliers in Italy and we want to develop this program outside of Europe for example, in China. We also have a specific program linked with embroidery in India. I don’t know if you know how it embroidery factories work in India but its men, because this kind of work is not done by women. You have a different kind of structure and now all the luxury companies are going to their embroidery to India because you have this kind of skill there. So we are trying to develop a specific program with these kind of suppliers not only to improve the working conditions of the employees but also to give them a vision and support them in developing their business in the future. Also to pay attention to the fact it is noble to work in this field to continue so the next generation are inspired too. We have to work more and we want to go beyond social compliance and work on capacity building. That’s for the next chapter. When you are talking about social compliance it’s less sexy as a story. But its hard work we have implemented in 2016 we have work to continue to put sustainability clauses in our contracts. To put in place a specific team to do audits in our supply chain. We create this new entity at the level of the group, at the corporate level, the report of the internal audit. We create the structure, the process to be sure. And this takes time as we also need to explain to our suppliers why this is key. Not only to have control, we are not policemen, but it is a win-win effect for them. When we meet problems we won’t say we won’t work with you but it’s to help support them implement the right solution.

LUX: And these suppliers are presumably long term suppliers? Because they are going to change their structures to work with you?
Marie-Claire Daveu: I wouldn’t say it like that. Most of our suppliers in the luxury side we know them very because we have been working with them for a long time. When they make these changes in investment and practice it’s not only for us. The world is changing. So if they want to develop their business in they need to develop their sectors to include sustainable criteria. One of the key elements we want to share with them is that it is not just to please us but it is also a self-investment. Of course the size is not the same because when you are in luxury its small suppliers, kind of atelier, you don’t have so many people. But they need our support and the support of other big groups to help them. This takes time. My opinion is that it takes time because you have this small structure. When we change suppliers, for example if we have a new designer and he wants a new kind of fabric, and you need to identify a new supplier, we are doing pre audits. The contracts, the clauses, the support. So it is really a partnership with the suppliers in this field. After explaining to them how important this is and they are interested in this it’s good for them. But at the beginning they only see it as a constraint. It takes time, you need money and you have to accept it will take time to explain everything.

LUX: And then it has a much bigger effect on the industry.
Marie-Claire Daveu: Yes, you have a kind of snow ball effect.

LUX: Fast fashion and disposable fashion are very un-environmentally friendly. Is that a challenge? Or does it not affect you because it’s not your part of the industry?
Marie-Claire Daveu: I would say as Kering we have our vision, and we implement it, after that I hope we can influence others. To set standards in our sector, we can help and support change. We are all in the textile sector – and we are the second most polluting sector. So as a sector we really have to include into sustainability or we won’t be able to continue. As Kering we try do the best we can within our own boundaries and we try after to influence our suppliers and to show others that it is possible to include sustainability. Which is why it comes back to the designers and the universities because if you raise awareness about this kind of topic to new generations who will work in our industry…not all will work in the luxury industry but in the textile industry it is good to spread sustainability everywhere.

Kering company headquarters in Paris

Interiors of the Kering Headquarters

LUX: Tell us about this sustainable HQ building. Were you personally involved?
Marie-Claire Daveu: Yes. We are the first building in France, with this kind of certification, both the BREEAM and HQE. When you are building for the first time, creating a new building, it is easier than in our case, when you have to manage with an old monument or a pre-existing building. This was more complicated because you have to respect the culture and the history and at the same time add to it. We are the first historical building to have the BREEAM certificate. You can’t just do what you want. You have to respect the culture of the building which I think is important, but of course also it costs more. And if you don’t want to spend more and more money, you have to be innovative and to find a way to be environmentally friendly and to keep the culture of the place. Step one was the building and step two is how you manage the building. We are involved in both because we feel the number of kilowatts a business can lower is huge.

We are also going to make honey in our garden with our own bees. This summer, certain people will be receiving a small quantity of honey from Kering – it will be so luxury. Très très chic.

kering.com

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Reading time: 30 min
Hazel Townsend
Unique design title model of the month
british model and clown hazel townsend

British model and clown in training, Hazel Townsend. Image by Felicity Ingram

Sydney Lima

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

THIS MONTH: Four years into a career as a successful British model Hazel Townsend, a regular face on the pages of Vogue and Elle, discovered a new passion: clowns. The 23 year-old Storm model began raising money using a crowd funder page to pay for a year of clown school at the prestigious École Philippe Gaulier, where the likes of Sacha Baron Cohen and Helena Bonham Carter studied. During London Fashion Week, Townsend took donations to wear humorous costumes to her castings, which she documented on Instagram. This year she began her training.

Sydney Lima: When did you first get scouted?
Hazel Townsend: This is a little hazy in my memory now. I was 18 but I think I was 19 before I actively started pursuing it.

SL: What are you favourite things about working in fashion?
HT: No matter how uninterested in fashion I have pretended to be, you end up soaking up knowledge and forming your own opinions on things, getting an eye, appreciating aesthetics. I have a whole new reason for applying this since playing with theatre. Oh and the people. You meet some of the best people.

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SL: Has there been a favourite shoot to date?
HT: That’s almost too difficult to answer. Are we talking about the process? The result? Or the prestige? My favourite shoots are where I get given the opportunity to play. I did a shoot with Anya Holdstock a while back where I got to romp around the new forest where I grew up. So that was pretty special.

Hazel townsend model

Image by Nicola Collins

SL: What inspired you to go to clown school?
HT: I just slowly got absorbed into the cult. There were a couple of shows that made me piss myself laughing and I had no idea why. So I made the decision to seek out that pleasure and that beauty.

SL: Have you always been interested in theatre?
HT: No not at all! I always thought I was going to be Indiana Jones. Going out with a puppeteer sort of opened up that world for me. I had a lot of fun being a quiet observer but soon I couldn’t contain the impulse to get up and make things.

Sydney Lima: Do you see modelling as an extension of your creativity or something that exists separately?
Hazel Townsend: It has definitely been where I have learned the most about the creative process. Every shoot now feels like a small opportunity to perform now.

SL: What are your plans for the rest of the year?
HT: I am going back to school for the main clown module and then I am planning to plan some plans to unleash what I learn on the world.

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Reading time: 2 min
Wendy yu wears bespoke desinger dress
Wendy Yu

Wendy Yu flies between London and Hong Kong for her businesses on a regular basis

Wendy Yu is an entrepreneur and philanthropist, and the founder and CEO of Yu Capital. With investments in China and Europe in fields as diverse as transportation and sustainable fashion, Yu is a visionary – with a penchant for dresses. As the youngest member of the British Fashion Council board of trustees, founding member of the Victoria and Albert Museum’s ‘Young Patrons Circle’ and heir to her family’s business Mengtian Group (China’s leading wooden door manufacturer), she is a Renaissance woman par excellence. Kitty Harris chatted to Yu over an English breakfast in London about her new group, Yu Holdings, sustainable impact investment, and her healthy obsession with ball gowns.
Wendy Yu entrepreneur

Wendy Yu

LUX: Your father runs the Mengtian Group and your mother is a successful private investor. What are the most important lessons you learnt from them?
Wendy Yu: Resilience and being determined. I think my dad is a dreamer, but he is genuinely determined and I really like that. He built his business from scratch and I think he has encountered a lot of hardships during his lifetime, but he never quit. He is always so passionate, determined and relentless about what he is going to achieve.

Since I was young, I have had the mindset that if I want to achieve something, I will find any possible way to achieve it. My dad has taught me about the ‘win-win’ mindset, that in everything you do, if you want to keep it sustainable, you have to not just do it for yourself, but also for others. Before I came to study in England, when I was fifteen, he had this really long talk with me. He said “there are three qualities that I want you to have in your life. First of all, to be a loving person. Secondly, always to fight for the better version of yourself and always think about how to improve yourself. Thirdly, never be afraid of hardships and be relentless about what you want to get.”

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LUX: As vice chairman of the family company is there ever any tension when working with family members?
Wendy Yu: Yes, absolutely. I am a very logical person, but sometimes with family business it can get too emotional when you have different ideas to each other. My dad is a very solid entrepreneur, but he is very Chinese. When he comes to England, he doesn’t eat British food and will only eat Chinese food. He loves spicy, authentic hotpot only at home. I think there is definitely tension, because there are so many big personalities and strong characters. But, at the same time we have bonded with each other and we just want the best for the company and the best for each other.

My dad is very happy with the company being one of the biggest manufacturers in Asia and China and he is happy with the brand. He is happy to make the most out of the Chinese market, because it is so big. My vision is really to expand my family business and legacy globally and to create a solid and well-established international company and brand. My education and experience in England, since my teenage years, has given me opportunities to grow up with both eastern and western mentalities and perspectives; that is where the conflict lies sometimes. Very recently I have restructured my company, Yu Capital, and the main entity will be based in Hong Kong. Under Yu Holding, there will be Yu Capital, Yu Culture and Yu Fashion, because I’ve realised so much of what I do is not just the investment. There is philanthropy, cultural exchange and fashion collaborations.

Entrepreneur Wendy Yu pictured on red carpet at The Fashion Awards 2016

Wendy Yu at The Fashion Awards 2016.

My vision is to connect investments with the innovation and creativity between the East and the West and I feel that Yu Holding will be a better entity than Yu Capital to be strategic about engagement with these sectors. I usually divide my investments into financial investments and strategic investments. Yu Capital would be more focused on financial investments, that is on the technology side like Didi, the Chinese taxi app, and Tujia, China’s home-rental website and hedge funds.

The strategic investments would be in fashion, cultural exchange to support the museums and the art world, to connect art between the East and the West. Those are two of my big passions and I feel I can say that ninety percent of the time, I spend time on my own business: Yu Holding and Yu Capital. I feel the pressure that no matter what I do and how well I do within my family business, my dad will always be the person saying yes and no. I am like my dad, as I like having the say of what direction to go in. I think he will be proud to see what Yu holding is going to achieve in the next three years and I can prove that my vision isn’t bad or limited , because I want to do things globally, not just in China. I like being independent and I think it would be a waste of my experience and education here if I don’t connect the world with China.

Read next: Salvatore Ferragamo on family prestige and Tuscan indulgence

LUX: It sounds like your business is global, so it isn’t aimed at any one territory. Is that right?
Wendy Yu: Yes, that is absolutely right. I have two partners who stay in Shanghai and they come from very solid financial investment backgrounds, one of whom is my cousin. There is still a bit of family force there but that is to make sure that I don’t do anything crazy. Yu Holdings is really my vision and my two partners are amazing. They love that I am creative and pull off different business deals. They love the idea that I’m a great matchmaker. I am good at spotting and sensing which two companies or parties will potentially have great synergy and to be the bridge that joins them.

LUX: Is part of the plan to set up a luxury group?
Wendy Yu: Absolutely, but it would be in ten years, because I think I am at the beginning stage of my career. I think I leave my mark on everything I do, and it is important that the projects are commercially successful as well. With my strategic investments, I put less money in, but I have the presence and we help each other. I have a team doing the portfolio management for me, but at the end of the day, I am the one that is making the decisions. I think after you’ve done all the due diligence and risk assessments you have to go with your heart.

LUX: Why was it important for you to be involved in the Young Patrons Circle at the V&A?
Wendy Yu: I was invited to be the founding member of the Young Patrons Circle; they know I support a lot of different museums and art galleries, so it seemed natural that they asked me.

Sian Westerman, Caroline Rush (Chief Executive of the BFC) and Wendy Yu on terrace in London

Sian Westerman, Caroline Rush (Chief Executive of the BFC) and Wendy Yu

LUX: You’re the youngest patron of the British Fashion Council (BFC) Trust – what does your role involve?
Wendy Yu: I joined a while ago and through the BFC platform I get to meet a lot of designers and learn the challenges they have encountered. I have become friends with a few of them and we have bonded. I support them by introducing them to all of my friends. I love to support women and the people I like, with no other intentions. When I think a girlfriend will like their work, I just introduce them to each other. It is a win-win situation for both of them and I take no commission! My family really believes in karma and I think that in the long-run, if you support people they will support you back. I usually get along with two types of people. One type is very creative (designers and artists) and the other type is those in the finance world. I think there are two parts of me, one is very geeky and numerical, and I love to be creative and to think outside of the box.

LUX: How much input do you have in your different investments?
Wendy Yu: I am tremendously involved in them. I am very hands-on and I chat to people for specialised advice. Usually, we have around one hundred deals to look at over a year. Normally, I have a sense of whether a deal will work or not. We do a very careful analysis for around thirty of them. Then, I look at the report and certain things I will naturally feel are great. For example, for Didi and Tujia I knew instantly that it would work, but I still asked them to do the analysis. Decisions have become relatively quick and we made both deals over a period of two months and they are big investments. But, with fashion investments, I have to get to know the designer on a more personal level. It is generally a smaller investment and I know it is not purely financial. My financial adviser will write the report listing the pros and cons, since it is a strategic, impact investment. When I invest in something, before I make my final decision, I think, ‘what is the worst thing that could happen?’ Of course, you should also consider what is the best thing that could happen, but if I can take the worst thing that could happen, then I am happy to do it. Bottletop was one of my first investments and I am very happy with it, even though I didn’t get any return from it. I love the idea and I think the two founders, Cameron Saul and Oliver Wayman, are amazing entrepreneurs. What they are trying to do (recycling bottletops to make accessories) is great and they are supporting women in Africa and Brazil. They are growing quite fast and at a steady pace.

LUX: What is the typical timeframe to hold and sell an investment?
Wendy Yu: When I first started, I invested at a very early stage. Later I realised that’s not my favourite type of investment, because you hold it for so long. What I really like are pre IPO investments. I really like opportunities like Didi and Tujia – large companies, because I believe those companies are really shaping our world, or shaping China at least. I love being part of the change in many ways and in terms of the financial return, for example the Didi deal, I got a 47% return over a 14-month period of time, which is great. You don’t really get that from the fashion brand. I invest through a fund and we sold part of our shares already. With hedge funds, it is very calculated. You would only put a few million in and the return could be over 100% each year, but it varies because it fluctuates over time. You could make a loss of 20%, or you could win 100%. That’s why you need to invest in different hedge funds. I am very involved and I am very passionate about it, because naturally I love numbers and I am very excited by them and I love creativity.

Wendy Yu travels to Hong Kong

Dinner in Hong Kong, working breakfast in London

LUX: How do you think the investment market is going to change in the next ten years?
Wendy Yu: I think China and Asia, the emerging market, is extremely exciting. But, having said that, I think that you have to really value your opportunities carefully. I have noticed that a lot of investments that are making great returns are in China. It isn’t really happening in London. I think European or American investments, are very strategically relevant with what I want to do and achieve. It is a great value investment over the long-term. In the Chinese market, it is a great financial investment over a certain period of time. I am now also starting up a joint venture with my French partner Kacy Grine, who is an incredible capable and intelligent French banker, he was serving as an adviser of the former French President and has been a long time personal advisor Prince Al-Waleed, who is the biggest investor of Saudi Arabia. We are setting up a joint venture. We feel it is the time to connect the foreign giant technology companies or foreign brands in China and to do the matchmaking with you in the West. The Chinese companies want to go global and the global companies are interested in the Chinese market, but they really want to find the right partner and we are of value in this matchmaking process.

LUX: When you do the matchmaking, you obviously add value to your partners, but how do you benefit from it?
Wendy Yu: It varies from case to case according to the level of our involvement and the deal structure, but we generally act as their advisors and matchmakers.

Read next: Priya Paul of The Park Hotels on balancing innovation and heritage 

LUX: In terms of sustainable investment, are you looking to be more sustainable in your investments?
Wendy Yu: Absolutely. I think my philanthropy investment and impact investment is very sustainable. I am trying to balance it out. A while ago, I studied at Oxford Saïd Business School while they were doing an impact investment programme, I was very inspired. I realised that when you pass away, you don’t leave anything. You only leave the good things you have done. I think until I reach a certain level in my career, I want to pledge the majority of my wealth to the company. I don’t want to keep it all, honestly. What Bill Gates and Warren Buffett have done is wise. I don’t want to hold on to so much. I want to enjoy life for sure, but one of my missions is to do things worthwhile that I’m proud of. I want my family to be proud that I am leaving something meaningful and sustainable, that will stay there for a long time.

Ethan K handbag collaboration with Wendy Yu

Ethan K x Wendy Yu handbag collection at Harrods

LUX: Tell us about the inspiration behind the Ethan K x Wendy Yu handbag collection at Harrods last year…
Wendy Yu: We have been friends for a while and I’ve bought from him. He probably likes my energy and I like his energy. Just like with Mary [Katrantzou] and my other designer friends, we like each other’s energy. They inspire me and I inspire them. I always give them crazy ideas that they love. He said, ‘let’s do a Wendy Yu bag.’ I go to a lot of events, but during the daytime I’m working. I was thinking about a bag that I can use for nighttime and daytime and that is why he designed a bag for me that is very versatile. His clients are Hermès owners, or people who have bought a lot of different bags and they are kind of bored and now they want something bespoke. Ethan’s family had tannery at the back of their home, so he has the experience of doing a bag in crocodile skin that is boutique too.

Bespoke ring made by anna hu

The Wendy Yu butterfly piece by Anna Hu

LUX: How did your love of fashion begin? You have an impressive evening gown collection – do you have a favourite dress?
Wendy Yu: My love for fashion began at very young age, when I was little I enjoyed playing with and collecting Barbie dolls, then I started to collect fashion magazines when I grew up. I love to be constantly surrounded by inspirations and creativity of all kinds. In terms of my favorite dresses; I have two. Mary Katrantzou recently did a bespoke gown for me to open the exhibition ‘Creatures and Creation’ at the Waddesdon Manor. Anna Hu also did a bespoke ring for me and named it a Wendy Yu butterfly piece. Mary did the dress in ten days – can you imagine? We did the last-minute stitching on site. The other one is Giambattista Valli – he did two bespoke gowns for me when I did an international debutante ball in New York. He did it in about three weeks. I am really into dreamy, crazy gowns!

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Reading time: 14 min
Model of the month

Model and photographer, Darwin Gray. Image by Robert Binda

Unique design title model of the month

Sydney Lima

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

THIS MONTH: Soon after 20-year-old Darwin Gray signed to London’s Storm Models he was spotlighted as the one to watch in the fashion world, walking catwalks for the likes of  Burberry, Tom Ford, Louis Vuitton and Vivienne Westwood, shooting campaigns for Jack Wills and editorials for Harpers Bazaar and eventually singing to agencies globally from Tokyo to New York. Now Darwin is developing his skills as a photographer, working on a portrait series whilst he is based in Korea.

Sydney Lima: How did you first get into modelling?
Darwin Gray: I was scouted at my cousins wedding by his best man, it was all a weird situation, he came up to me and said I should think about modelling, I just thought he’d been at the bar a bit too long! Then I met Storm a few weeks later and the rest is history.

Follow LUX on Instagram: the.official.lux.magazine 

SL: What has been your favourite team to work with to date?
DG:My favourite team to date would probably be the Jack Wills team. I was part of two of their campaign shoots, both of which were just as fun as the other. Not at one point did it feel like work, the team were all really nice and good fun- I also met my girlfriend while shooting it so that’s a plus!

Image by Robert Binda

SL: What inspired you to first start taking photos?
DG: I had been modelling a few years before it became something I concentrated on. I was always taking lots of photos and I’ve loved looking back at them because each photo has a little memory it takes you back to.

SL: What’s your favourite subject to take photos off?
DG: My favourite subject would be my girlfriend Lottie, every day I’ll take photos of her either on my phone or camera. I probably have over 10,000 photos of her…

[Best_Wordpress_Gallery id=”25″ gal_title=”Darwin Gray”]

Above: A selection of Darwin’s photographs. Courtesy of Darwin Gray

SL: When did you get your first camera?
DG: I got my first camera about 3 years ago. I bought it in Tokyo as the prices were better. It was a Canon EOS Kiss X7.

Read next: Mayfair’s legendary member’s club, Annabel’s reopening

Sydney Lima: Do you find you learn a lot through working with other photographers?
Darwin Gray: I’m always watching what other photographers do, I find it interesting how people all work so differently. I’m always asking questions. I feel lucky to have the opportunity to learn from within the industry.

SL: Who’s your favourite photographer?
DG: Tom Mitchell is one of my favourite photographers because his work is so clean and he portrays natural beauty in a subtle way.

SL: Do you have any projects planned for the year?
DG: I’m working on a few things, but right now I’m concentrating on a documentary photo series whilst I’m in Korea.

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Reading time: 2 min
Mexico city shoppping street
Joe Sitt interview

Joe Sitt, President and CEO of Thor Equities

Joseph Sitt, President and CEO of Thor Equities, sits atop a luxury property, retail and advisory empire that straddles the western hemisphere. His company owns and develops prime retail property throughout the US, as well as Latin America and Europe. The portfolio and development pipeline of the New York-based company, which he founded in 1986, is in excess of US $18bn.

He is also known as something of a luxury visionary: unlike many property companies, his firms (he also runs Thor Retail Advisors, a leading retail agent and consultant; and others) work closely with fashion and luxury brands to ‘place make’, transforming the areas they are based in. Like LUX, he also believes in mixing high luxury with creative emerging brands to create an atmosphere of discovery as well as indulgence. LUX Editor-in-Chief Darius Sanai caught up with Sitt on one of his whirlwind visits to London about the rise of LA, Mexico, and the future of luxury retail.

LUX: Tell me about the rise of LA as a destination.
Joe Sitt: There is physically no more room in San Francisco for office space and for homes, for rental buildings and retail. So, much of that industry is migrating to LA because it’s also on the coast and it’s got better weather. It’s also got more culture and things happening, so there is a lot of migration there, and a lot of wealth being created in LA. And you are getting a lot of second home owners (from the San Francisco area) who are buying in LA.

Between the businesses migrating their technology and the second home owners there, the revitalisation and reactivation in LA is tremendous. You can see also that new restaurants are incredibly successful. And it’s not just coming into LA proper. It’s also coming from down below for example into Santa Monica and Venice Beach. You have tech companies like Snapchat whose headquarters are based over there.

The other aspect of it is the creative industries in LA. Some real fashion is coming out of there for the first time in quite a while. Secondly, the movie industry. For the first time the movie making business is a real profitable business for film makers, writers – salaries are going up tremendously for all of them and for anybody affiliated with the industry.

The tech industry has so much wealth and power and it has the “funny money”, because their stock prices are so high; for example the FANGs – Facebook, Amazon, Netflix and Google – their stock prices are so high that they are throwing money very aggressively at almost anything. And that is crossing with the fact that the biggest thing that all of those tech companies need, and that they don’t have the ability to do within their tech shops, is actually content.

So now what you have is, if someone is making movies in LA you actually have a shot at a bidding war between Amazon, Netflix, etc. Even Snapchat have announced that they want to be buying and delivering content. That’s creating a really exciting time for the LA market for the people in all forms of the creative industry. A combination of wealth and creatives.

LUX: And in parallel the visual arts has revived there in the last 10 years.
Joe Sitt: Yes. For example, my friends at the [Helly] Nahmad gallery, who are the largest owners of Picassos in the world, now see how many people are coming from the West Coast to consume their products in New York. So they are opening their third outpost: they’ve got London, New York and are now looking to the West Coast. You’ve got [Larry] Gagosian who’s got his New York Gallery, he sees where the zip codes are where he’s shipping his product to. So while people are opening up shop in San Francisco, to get to the wealth proper a lot of them are really looking to the arts district in LA.

Read next: Japanese restaurant, Sake No Hana brings blossoms to Europe 

LUX: Do you see the emergence, despite Donald Trump, of LA and Mexico emerging as one entwined retail and luxury zone?
Joe Sitt: Very much so. I look at Mexico as a big new frontier in luxury fashion. A tremendous amount of wealth has been created in that country. In terms of those people who think that Donald Trump’s policies are going to hurt Mexico…I will throw you a curveball and show you how he’s actually getting the opposite result from what people think would happen and perhaps what he intended. I will give you two examples.

One, is in terms of the border in terms of trade as well as in in terms of immigration and how they actually play out. Sometimes when you shoot a bullet when it comes to policy you don’t know who the victim is going to be. The trade announcement forced a tremendous amount of devaluation in the Mexican Peso. The Peso went from around ten pesos to the dollar ten years ago to twenty two recently; so about half. The net result of doing that was making Mexico as a country and as an exporter more competitive.

As a result of making them more competitive from their currency it increased America’s trade deficit with Mexico dramatically over the last quarter. The opposite of what everyone expected to happen in that first quarter. The second thing that occurred with regard to the second policy, immigration, also had an unintended consequence; which is as a result of being tighter on the border for immigration, US companies have started to create tech centres in Mexico. In Guadalajara, and in Tijuana for those companies in San Diego who just want to be able to cross the border and travel 45 minutes to their foreign teams.

So now you’ve seen an incredible resurgence of business and activity in both Guadalajara and Tijuana in Mexico for the tech industry as a result of those tough policies. It’s a place so close to the United States and you can house all of the greatest foreign minds in the world.

Mexico city shoppping street

The Ferragamo store on Masaryk street in Mexico City

LUX: Mexico has been seen as an outlier in terms of luxury retail.
Joe Sitt: It takes time for a market to react to some of things I’ve mentioned. It’s now waking up. I feel that the entire luxury market has been sleeping at the wheel regarding the Mexico opportunity. And so now they are just waking up to it. Those who are waking up to it are finding success in the market place. But it takes time for them to mobilise.

LUX: Can you tell us your vision for what you’re doing there, because it’s a long term play.
Joe Sitt: We are attacking it from multiple prongs. One of course is just bringing luxury retail there, and creating a platform for it to come to, for the first time. We sparked the revitalisation a street called Masaryk and in an area called Polanco, in the heart of Mexico City. In the old days it was an Upper East Side kind of marketplace that was starting to become abandoned and is now revitalised.

LUX: And is that now going to be the Rue St Honoré of Mexico?
Joe Sitt: Yes exactly right. You’re starting to see it. Hermès, Ferragamo, Gucci and Goyard just opened there. So you’ve got some great brands already.

LUX: Was this through you?
Joe Sitt: We were the spark that brought it all together.

Thom Sweeney

Thom Sweeney SS17

LUX: Integrating investment in emerging fashion brands and developing districts seems pretty for a property company. What’s behind it?
Joe Sitt: Candidly, it’s more of a passion. Yes, there are financial benefits of being on the ground floor of some of the most exciting brands and investing with them or representing and aiding them. Yes, there will be financial reward, probably in years to come when a Thom Sweeney explodes and goes next level or a Drakes or an Edward Green or a Maison Bonnet. But for me, more than anything else, at this stage in my career I am looking for things that I enjoy personally. And I enjoy young and exciting luxury brands and helping them achieve their potential. I get my personal thrill vicariously through their success.

Read next: Labassa Wolfe on the contemporary tailoring experience

LUX: Is your ideal scenario that they grow up to be the next Moynat, Vuitton, Hermès?
Joe Sitt: In some cases yes, in some cases no. For some, Maison Bonnet, the eyeglasses company, we are going to help them make the move from Paris’s first and only little artisan shop to executing in London. It’s about growing the business but not necessarily overgrowth or creating a Goliath.

LUX: And is the long term that you are buying, building and selling them?
Joe Sitt: I have to be careful in terms of conflict so I can’t say which ones I invest in. Other than to say when I do make investments in them I am focused on very very long term. It’s not to buy and sell. It will go wherever the visionary wants to take it, who’s owning the business, will we ride with this vision. In terms of our advisory business, our goal for these companies is to help them reach whatever their potential is, or is meant to be. Some of them it’s meant to be a very large business, some of them it’s not. We do the same thing with tech related businesses. I mentioned Warby Parker [an eyewear company], we were with them from the start, opening all of their first locations. Helping them understand the challenges of physical retailing versus internet retailing.

LUX: You are a property person. But is retail moving online?
Joe Sitt: There will be challenges in terms of distribution for people to buy things online for many years to come. And buying direct is not a new invention. We had catalogue prior, it was just a different medium for doing it. Someone would get the catalogue to their house and then they would order by telephone; or later order through emaiI. I look at online as another modem to deliver a product to a consumer. When it comes to commodities, it’s easy enough push a button and buy it on the internet. But does the internet mean that Nike should not open up more stores? We’ve found the opposite. I worked with Nike in New York, myself and a partner, for the first flagship store in Soho on the corner of Spring Street and Broadway. They are doing two incredible flagships that are costing them mega millions of dollars to build. Why are they doing that in the year 2017 with all the talk of tech and internet sales? Because they realise for a brand, it works arm in arm. People want the experience of a brand. The same way people are talking about restaurants and experience and enjoying that aspect of it, it’s the same thing when it comes to a brand. I want to go to Nike and not just see pictures on the internet. I want to touch the product, I want to try it on I want to interact with it.

Maison Bonnet

Maison Bonnet’s Palais Royal Salon in Paris. Image by JYLSC

LUX: You have done some transformative retail schemes over the years. What are the challenges when you have an area like this that has got great potential but you need to change things? Do you get resistance?
Joe Sitt: There is always resistance. I always say that the secret to knowing when a project is going to be great is the greater amount of resistance. We enjoy both. We like doing things in established high profile tourist destinations as well as cool emerging areas like Wynwood in Miami, Venice Beach in California, and all of these creative markets all over the world that we think need and deserve luxury exposure as well.

Read next: Luxury in the foothills of the Himalayas

LUX: Do you think that monolithic luxury malls as are opening in China and elsewhere, where everything is a luxury brand and nothing else, will change? Will people want more of a mix in there?
Joe Sitt: Yes. That’s boring. Even if it’s great luxury brands it’s not what the consumer wants. As a consumer it gets more and more sophisticated. You see that in their taste they want something that is more eclectic.

LUX: A bit of discovery?
Joe Sitt: Yes. It could be restaurant discoveries, specialty shops, boutiques, perfumeries, candle shops etc. Intermixed with the luxury brands and that’s what creates the most successful environment for a luxury brand.

LUX: What’s the most exciting area of luxury and fashion for you?
Joe Sitt: Menswear is so exciting, much more exciting than womenswear, still very much an untapped market, with brands we’ve referred to today, Thom Sweeney for example, in years to come that could explode. I think that food, F&B, restaurants etc. have tremendous potential. Look at a market like London, if you were here 15 years ago the restaurant scene was horrific. It’s come along light years. I think other markets are going to expand to a much greater degree.

Last, but certainly not least is destination. I think people are remaking what the word ‘resort’ is, as hospitality and a destination. I think people are stating to get really creative. People crave creative.

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Reading time: 11 min
Model and artist, Orla Carolin
Unique design title model of the month
Orla Carolin model and artist

Model and artist, Orla Carolin. Image by Mollie Dendle.

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

Sydney Lima

THIS MONTH: Orla Carolin has been signed to London’s Storm Model agency for less than a year and has already been making waves on both the fashion and art circuits. Born and based in South-East London, the 18-year-old works as both a model and fine artist as one of the founding members of South London Art and Music Collective NINE8. So far, she has shot editorials for Wonderland, Pylot and graced the cover of cult magazine ‘Zodiac‘.

Sydney Lima: What first made you want to get into modelling?
Orla Carolin: I’d be lying if I said modelling was something I was pursuing when I first started – it more got sprung upon me – but i’m grateful it did!

SL: What do you enjoy about modelling?
OC: You just witness a lot from other people’s creative processes and by watching the way they present their artistic vision/identity, you learn a lot about your own.

SL: Is there anything you don’t like about modelling?
OC: Like any industry there’s definitely room for development. In modelling the representation of people of colour needs to be improved. When I first started modelling I was shocked in the realisation that whilst on the surface of the fashion world, progression has been made, the type of people who are in power to make changes remain the same – and a lot of them still don’t get it.

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SL: How did NINE8 collective form?
OC: NINE8 started out as a group of kids in their second year of college who were kind of drawn together because they had such strange but unifying ideals on art, music and life in general. We realised early on that – in the city specifically – it can be very hard as a young creative to get recognition when you don’t already have the connections or funding to do so. My partner (the founder) Lava , began to officially bring the group together to put on little DIY nights to showcase our artwork, bedroom cyphers in her flat and saved up to create little recording set ups so we could start making music together. It quickly developed to wider friendships and people online who reached out to us as a group because they had similar creative views on non-exclusiveness and positivity. Next thing we knew we had a board of people doing all kinds of things – photographers, artists, musicians, producers, film-makers – we were swapping creative currency making clothes, cover art, music for each other and Lava coined it to put it under the name “NINE8.”

Read next: Grayson Perry at the Serpentine Gallery, London

We really started striving to put the underground scene of DIY London artists on a platform to create and collaborate and the more we worked together the more our merging of styles came together to create this matching sound/aesthetic that we’re always trying to develop.

Constantly creating and pushing yourself to explore new ways of working is so important, and for me the collective encourages that.

Model Orla Carolin

Orla Carolin for Nabil Nayal

Sydney Lima: How would you describe your artistic style?
Orla Carolin: Dreamy, illustrative, lyrical, emotional. Poems have always been mixed into my sketchbooks and journals – in my works they become an aspect of an entire scape that usually alludes to an emotion or situation that I’ve attempted to physicalize through personal symbolism and colour. I recently finished my foundation course where I specialised in sculpture, I love creating scenes and scapes physically, too. I think my overall desire when making is to create objects and two dimensional images which in some bizarre and surreal way drag the viewer into my mind as though it were a physical space.

SL: What inspires you?
OC: Other people just totally doing their thing and going for it (whatever it may be), people being vocal about how they feel – regardless of who’s listening. Definitely people who are emotional responders like myself. I am encouraged, for example, by the way artist Louise Bourgeois’ portrays and physicalizes her emotions. However, an admiration like that is only a reminder of an element of what I want to achieve through my work, the execution of something like that has to come naturally in relation to my own experiences, emotions and desires. I’m inspired of the idea of developing this, the more I grow. It keeps me going.

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Reading time: 3 min
Labassa Wolfe
Labassa wolfe tailors

Labassa Woolfe’s Fitzrovia boutique

Fitzrovia’s latest opening, Labassa Woolfe is the brainchild of Johan Labassa, an antiques dealer, and Joe Woolfe, previously Retail Director at Savile Row tailor Spencer Hart, and a celebrity stylist in his own right. The boutique melds their passions to create the ultimate retail experience for men, with a collection of curated antiques, a bespoke tailoring service and a menu of Armagnac and foie gras sourced from Johan’s family farm in the southwest of France. Kitty Harris speaks to the duo about styling the stars, what makes perfect tailoring and the modern gentleman.

LUX: How do antiques and tailoring relate? Or are they mutually exclusive?
Joe Woolfe: I think this is a concept people aren’t used to. They’re not used to a tailoring business with an antiques element; they didn’t understand what it was about. They thought the back of the shop was our private salon. It’s just about letting people know what it’s all about. We try to communicate across our media platforms and in interviews and slowly people are getting it.

LUX: How is your shop different to Savile Row tailors, independent of the fact you sell antiques and fois gras?
Joe Woolfe: I think on the tailoring side I am different. My other business, or my day job if you like, dressing iconic men, and having to sort and source perfect outfits, I always try to find something a bit different. Hence the buttons (all sourced in Paris) and the cufflinks and the extra bits we can do to an outfit. I don’t know if there is another brand on Savile Row that does what we do. I’ve worked with them all, because obviously not all of my clients are going to wear Labassa Woolfe. Benedict Cumberbatch wears Thom Sweeney, he wears Richard James, Kilgour, all kinds of products. Someone came in the other day and said they needed a top hot so I worked with Lock Hatters to get them one. My styling side really works well with this.

LUX: Joe, you mentioned being Benedict Cumberbatch’s stylist? Is there more pressure working with a celebrity?
JW: I think all clients are demanding especially when they are spending a lot of money. I think from my Spencer Hart days there was a mistake in how we ran the business whereby we concentrated far too much on the celebrities and it didn’t go down very well with our other clients. They felt the celebrities were more important than them so now I am aware not to go on and on about celebrities. I like to keep that discreetly on the side and concentrate on the person I’m with.

Labassa Wolfe tailoring

Joe Wolfe, Benedict Cumberbatch and Johan Labassa

LUX: Why did you decide to set up shop on your own?
JW: I think it was an inevitable step. I work in menswear and I love tailoring and I’ve never been able to get quite what I want out of other brands. I was reluctant to set up a tailoring business. But when me and Johan started talking about what we could do together it really excited me. It was obvious we were going to produce something that was unique and made a lot of sense to me. I couldn’t of done this without Johan and vice versa and it’s worked out really well.

Read next: Hotel Byblos’ owner, Antoine Chevanne on the allure of St. Tropes

LUX: Joe, what makes good tailoring?
JW: Fabric, fabric is really important. I’ve learnt a lot about fabrics because after I left Spencer Hart I went and work with Scabal who are probably one of the best cloth manufacturers in the world, alongside Loro Piana, and they do have an amazing business. They have a £60 million cloth business and 5,000 cloths. It was like going into a kitchen with the best ingredients in the world and being able to use them. Cloth is really important and the people who make the suits. I know a lot about tailoring and the construction of a suit and how that translates onto a person. It’s all about the architecture in a garment and how the garment is built. Anybody who has worn good tailoring, and you then try and put something on them that isn’t well built or manufactured they’re not going to feel good in it. It’s about education, about what people expect. It’s like once you’ve been in an AMG Mercedes you don’t want to go back in a cheap one. Fabric, cut, manufacturing, details. Sometimes less is more. I don’t like people looking like peacocks or like clowns. I like my guys to be really sophisticated, really cool and elegant. Quite often it’s about textures rather than lots of different colours or lots of loud things. We have a few contradictions in the shop, like the black jacket with the coloured Sophie Hallette lace. But there aren’t many people who would wear that.

LUX: How do you think the world of tailoring has evolved in recent years?
JW: Guys know so much more about tailoring than they did. You can walk into Topman now and get a made to measure suit, or into Massimo Dutti. All of the highstreet brands have followed what was going on on Savile Row fifteen years ago. We’re really up against it. There are incredible online tailoring businesses that produce a really good product for a couple of hundred quid. It’s crazy. I know a lot of the cutters on Savile Row who have gone and worked with huge Chinese manufactures and they’ve brought their expertise over to China and over to India. They are producing really good product at a really good price. I’ve felt I’ve had to work harder. Haute couture is always copied onto the highstreet even with womenswear, so it was inevitable that it was going to happen with men’s tailoring as well and it has. But I think the people who are at the forefront of men’s tailoring are always going to be producing better product than highstreet brands.

LUX: How would you describe the modern gentleman?
JW: The modern guy is more educated, they read magazines that inform them on what they need to wear and how they need to wear it. You’ve got iconic men like Oliver Chesire, Jack Guinness, David Gandy who inform every guy on what’s cool and what’s not. GQ is a big supporter. We’ve got men’s fashion week that has a huge visibility so I think most guys know what they’re looking for a lot more than they used to. They have staples in their wardrobe. They often come and know exactly what they want. Some don’t get it quite right. What is a modern guy? A modern guy wants to look cool and sexy…but is that just a modern guy? I think all guys have always wanted that. Even back to the 1850s, everyone says that the One Button Narrow Notch Suit is a new thing, but it’s not. It was around 150 years ago.

Labassa Wolfe

Oliver Cheshire and Jack Guinness

LUX: What’s the ultimate men’s accessory?
JW: I think watches are really important which surprises me in this digital age, that guys are so into having something mechanical on their wrist. The amount of money that people spend on watches just blows my mind, it’s phenomenal.

LUX: Johan, your speciality is antiques – is there a particular period you prefer? Which has been your most exciting discovery and where did you find it?
Johan Labassa: Yes, mostly Louis XV, Regency, Directory. But I don’t really have a favourite period. It depends on the furniture and what I find. As for my favourite piece I’ve found…I like them all but I found a great desk from a French family near Paris. It was very hard to get because they were not ready to sell so I had to deal with it long term but at the end of the day I got it and I love it.

Read next: Bill Bensley’s Art Deco palace in Bangkok 

Labassa Wolfe tailorsLUX: Do you think there’s an increasing demand in luxury to offer the client more than just the product?
JW: I’m actually bored with retail, because with what I do on the branding and styling side I have to spend a lot of time in luxury stores. There are very few retail experiences that I enjoy. They all have this mono brand feel to the and the staff are quite controlled in what they can and can’t do. We don’t have a huge online presence, you can’t get our candle online or our fragrance or Fois Gras. It’s pointless because unless you come here, see, touch and feel and get looked after by us you’re not going to experience what this brand is about. I think what this brand is about is proper old school retailing experience. All the little things that are bespoke to this business even down to the packaging, the bags and the covers; we’ve worked hard to get unique pieces. We want people to come here and experience us.

LUX: What are the “quintessential elements of French and English style” that are the fundamentals of the brand?
JW: It’s just a bit decadent.

JL: It’s just not normal. We’ve done something that isn’t done, it’s different.

JW: If we serve you a glass of Champagne, A) it’s French, B) We’ll add a little something to it, armagnac, syrup, orange, vanilla and coffee – it’s something Johan has manufactured. C) the foie gras is beautiful, the shoes are beautiful (all custom made in Italy), the art deco chairs are beautiful. It’s all an extension of our home, of who we are.

labassawoolfe.com

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Reading time: 8 min
Charli Howard British model

Unique design title model of the month

Charli Howard british model

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

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

Sydney Lima

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

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

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

Charli Howard model

Image by Claire Rothstein

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

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

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

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

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

instagram.com/charlihoward

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Reading time: 2 min
Sophia Kah Fashion

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

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

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

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

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

Read next: Which is the best modern classic Ferrari?

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

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

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

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

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

sophiakah.com

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Reading time: 3 min
Rianne Ten Haken

Unique design title model of the month

Rianne Ten Haken

Dutch model and yoga teacher, Rianne Ten Haken

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

Sydney Lima

THIS MONTH: Dutch model, Rianne ten Haken was discovered at the tender of age of 14 by Elite models, making her debut on the runway alongside Gisele Bündchen for Marc Jacobs spring 2004. In between, shooting campaigns for the likes Chanel, Versace and Givenchy and starring in Lenny Kravitz‘s music video for “The Chamber”, ten Haken teaches yoga on retreats across the globe.

Sydney Lima: How did you get in to modelling?
Rianne ten Haken: I got discovered on the street in Amsterdam by Jeroen van der Mast, who was then at Elite Amsterdam. He asked me if I wanted to compete in the Elite Model Look (contest) that year and I did. I won the international final and have been working non-stop pretty much since then.

SL: What has been your favourite shoot to work on?
RTH: My favorite shoot was the Jean Paul Gaultier ‘le classique’ fragrance. I have been working for Cartier for many years and they have become like family to me. So shooting this beautiful project with them was truly an honor and a very memorable experience that I will treasure for life.

SL: What has been your proudest working moment?
RTH: Having two Italian Vogue covers in a row has definitely been my proudest moment!

SL: How did you get in to yoga and why did you decide to train as a teacher?
RTH: I got into yoga when I was really stressed out with work, life and traveling. I took some time off and I emersed myself in yoga. I discovered what it did for me and how good it made me feel. It became a mild obsession and a big passion for me. When I did the teacher training, my goal wasn’t to become a teacher I just wanted to learn more about it but during the training I discovered that I really loved teaching and sharing what I had learned.

Read next: Paris in Springtime at Hôtel Plaza Athénée

SL: How did you find the time to train as a yoga teacher alongside modelling?
RTH: Where there is a will there is a way, my grandmother used to say. It’s about prioritizing what’s important to you and what makes you happy.

Model of the month Rianne Ten Haken

Sydney Lima: Where has been your favourite place to teach?
Rianne ten Haken: The retreat I did in Nicaragua with Surf Yoga Beer was definitely one of my favorite spots to teach, the location the people, the sunset, everything was on point!

Read next: Mollie Dent-Brocklehurst on the future of PACE London

SL: Did modelling have any influence over your decision to become a yoga teacher?
RTH: Modelling and the fashion industry can be very creative and inspiring. I met so many talented, interesting people that I realized I had and wanted to be more than just a pretty face. I understood that to have longevity in your career you need to grow as a person and develop your skill set. And seeing all these people around me being daring and exploring their potential really motivated me to do the same.

SL: What plans do you have for 2017?
RTH: So many plans, so little time! I’m doing some research now to find new places to do my next retreat. On my way to Africa at this moment to find a great location. I want to teach a lot, want to share my light with many people that cross my path! In my wildest dreams I want to find a location for my first yoga studio!

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Reading time: 3 min
Fashion designer william fan
Following his debut runway show at the 2015 Mercedes-Benz Fashion Week in Berlin, William Fan has emerged as one of the most exciting new talents in the fashion world and was recently selected as this year’s winner of the prestigious Mercedes-Benz International Designer Exchange Program. Here the German designer talks to Kitty Harris about working for Alexander McQueen, fusing traditional Asian materials with contemporary design and the androgynous future of fashion.
William Fan fashion designer

William Fan

LUX: How did you get into fashion design?
William Fan: I started to be interested in fashion at a very young age. The moment I could walk, I was always headed towards my mum and dad’s wardrobe. I loved styling. Then I started learning to sew and created my first wardrobe pieces when I was a teenager. After my high school degree, I wanted to perfect my art, so I went to the Netherlands to start my Bachelor of Arts in Fashion Design.

LUX: What was it like working for Alexander McQueen’s couture house in London?
WF: It was a unique experience. During the time I was working there, Lee was still alive and I could observe his power in every single detail he created. I learned to be a perfectionist and to tell stories with my collections.

LUX: You merge Asian materials, like cashmere and silk, with tecnhopolysether and bast fibre creating your own Euro-Asian dynamic. How does your Asian heritage influence your designs? And can you explain your process of sourcing fabric?
WF: I travel to Hong Kong and China four times a year. I go to the local markets and get inspired by the huge offerings. You can find everything there. From standard cottons and silks to crazy 3D PVC materials. I love the clash and the play-fullness when combining different materials.

I’m proud to have Chinese origins. I like to show this in a very quiet way, by putting Asian elements into my work. I like to analyse Chinese costumes, Kung Fu uniforms and I love watching old Bruce Lee movies.

William Fan new collection

Backstage: William Fan A/W Collection 17/18

Read next: The man who turns memories into fragrances 

LUX: You were chosen as one of the designers by Mercedes-Benz’ International Designer Exchange Programme with your works debuting in Berlin in 2015. What did this achievement mean to you?
WF: I’m happy to show my work on an international platform. Mercedes Benz has been a big supporter since day one. They gave me my first runway show in Berlin in January 2015. I’m very thankful!

LUX: Your designs were used in the MB Collective video with M.I.A. at the start of 2017. How would you describe this experience?
WF: Exciting, surreal and happy. The moment I saw M.I.A. in a total WILLIAM FAN look it was truly smashing.

William Fan

Backstage A/W Collection 17/18

LUX: What do you enjoy most about your work?
WF: I love to create an emotion, image and world you can dip into. My collections always tell a story and I like to see my work as a movie. Every season there is another chapter, different scene or topic. But it always connects to the last one, which is really fun to play with. And of course I love to see my garments on random people on the streets. This is the most uplifting compliment.

LUX: You seem to be an international citizen moving between Germany, London, Hong Kong… how does travelling influence the way you design?
WF: Traveling makes my work more dynamic and diverse. I like to combine opposite energies.

Read next: Marsden Hartley’s Maine at the Met Breuer, New York 

LUX: What does the term “stylish” mean to you?
WF: I don’t like that term. It feels very old fashioned.

William Fan autumn/winter collection

Willam Fan A/W Collection 2017/18

LUX: Your clothes are designed to be unisex. Do you think that this is a direction fashion is moving towards?
William Fan: I think so. Take the phenomenon of sneakers. It doesn’t matter if you are a kid or grandma. Everyone is sharing a similarly styled sneaker. I think it will be the future… also in terms of ready to wear. Don’t give any borders or stamps to your clothes. If they fit and look good, who cares about the branding for women or men. I like to describe my wardrobe as ageless, universal and timeless. It’s meant to be open for everyone who wants to explore WILLIAM FAN.

LUX: What’s next for your brand?
WF: I’m trying to build up a solid base in terms of strong season-less wardrobe pieces. Those items will be sold on my online shop, which will be launching soon and I hope to grow my business internationally.

williamfan.com, mbfashionweek.com

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Reading time: 4 min
Jared Leto stars in new gucci fragrance campaign

One of Hollywood’s great mysteries, Jared Leto has spent his career defying its received wisdom that you can only fit one niche. Below the radar of gossip columnists, he flits from Oscar-winning performances and eye-catching red carpet appearances – green Gucci frock coat with candyfloss pink cropped trousers recently – to rock climbing and headlining with his rock band, Thirty Seconds to Mars. He fits the role of doe-eyed sweetheart, psychopathic killer and fashion frontrunner all in one.

Raised by his mother, Leto spent his childhood moving from city to city around America, learning to love the nomadic life. He studied cinema, moved to LA and was cast as the sensitive teenage love interest in the cult TV series, My So-Called Life. But Leto was more than a pretty face. A committed method actor, he has lived with homeless heroin junkies for the role of Harry Goldfarb in Requiem for a Dream and dramatically lost and gained weight playing the overweight killer of John Lennon, Mark David Chapman, in Chapter 27 and the transgender drug-addict, Rayon in Dallas Buyer’s Club. Winning an academy award for his work, Leto never breaks from his character on set. After years of art house, Leto recently went for blockbuster as the Joker in Suicide Squad, taking on the role left by the late Heath Ledger. All this while he has been fronting his rock band alongside his brother, with record sales in the millions. Now he has taken another turn on his alternative Hollywood path, working with Gucci’s creative director, Alessandro Michele as the new face of Gucci Guilty. He spoke to Caroline Davies about commitment, guilt and never quite letting go of the joker.

Jared Leto stars in new gucci fragrance campaign

Jared Leto in the Gucci Guilty campaign

LUX: What scents do you associate with your childhood?
Jared Leto: The smell of a campfire is always pretty powerful. It brings back certain times and adventures.

LUX: What was the first scent you wore?
JL: I think one of my grandfathers got me and my brother Old Spice and Brut soap-on-a-rope.

LUX: Acting, directing, music. Are they different parts of your personality? How do they inform one
another?
JL: It’s been challenging to make them all work. They take a lot of time, which has always been the
biggest challenge for me. How do you find the time to make room for several lovers, I suppose?

LUX: You spent much of your childhood moving around America. Has it given you a wanderlust?
JL: I would say that I like new experiences so that’s sometimes the part than can keep you travelling.

LUX: Where is your favourite place in the world? What would you do there?
JL: There are so many places around the world that I really love. The national parks in America have to be some of my favourites.

LUX: You’re known for your commitment to roles. What has been the most difficult part to play? Why?
Jared Leto: The Joker was probably one of the most difficult, that and Dallas Buyers Club. It’s just very dark and emotional. There was a physical component – I had to lose a lot of weight, so it was really challenging.

LUX: Have you ever scared yourself with a character? When?
JL: I was more concerned with the work that I needed to do in order to try and do my best.

Guilty Gucci fragrance

Behind the scenes shot from the Guilty Gucci campaign by Alessandro Michele

LUX: Which character was the hardest to let go of?
JL: The Joker still visits from time to time. So be careful.

LUX: Why Gucci? Why now?
JL: Alessandro drew me to the collaboration and we had met and become friends. And so when he asked me to do it, I was so excited. I thought it would be really fun to join him in this great adventure.

Read next: Gorden Wagener on creative intelligence

LUX: Tell me about creating the footage for the Guilty campaign. You filmed in Venice in December; what was the atmosphere like?
JL: It was improvisational. It was very creative. It was a unique story of this guy and two women on an adventure, and it’s magical but it’s good. It was a lot of fun to make, and a great group of people to work with.

LUX: What do you think of when you think about guilt?
JL: Guilty is a frightful way to mean taking some chances and not always playing things safe.

LUX: How would you describe your choice of clothes?
JL: I don’t really put very much time and variation into fashion to tell you the truth. Maybe that’s a good explanation for a lot of things. I have fun with it and I’m not worried about being too safe with it because at the end of the day, it’s really not big a deal. So I just have a bit of fun with it.

Jared Leto in the gucci guilty campaign

A still from the Gucci Guilty campaign, filmed in Venice

LUX: Do you think that fashion can feel limiting for men?
JL: I think most men’s fashion is pretty boring, utilitarian, safe, and there is something to the
unpredictability of what Alessandro does that’s really compelling.

LUX: How do you view Hollywood?
JL: Well, I’m glad that I am where I am now. I think you sometimes have to throw a bit of caution to the wind. I have taken long breaks from acting. And that’s okay.

LUX: What’s the best piece of advice you’ve ever heard about life and acting?
JL: Commitment, to commit

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Reading time: 4 min
Supermodel alicia rountree

Unique design title model of the month

Model and chef Alicia Rountree

Mauritian model and restaurateur, Alicia Rountree

Sydney Lima

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

THIS MONTH: Mauritian-born Alicia Rountree leads a hectic life doubling as both supermodel and restaurateur. Since signing to Models 1 at the age of 17, Rountree has travelled extensively shooting campaigns for the likes of L’Oréal, Victoria’s Secret and Ralph Lauren. In 2010 whilst living in New York she opened ‘The Tartinery’ with close friend Nicolas Dutko. Situated in the Nolita district, the restaurant specialises in open faced sandwiches and tartines, inspired by Alicia’s love of french cuisine and the simplicity of fresh ingredients.

Sydney Lima: How did you first get into modelling?
Alicia Rountree: I was scouted a few times as a teenager when I was in London spending summer holidays, but I was too young to get into the business. I was then scouted at 17 at a Vogue event and I was more then ready to start modelling by then.

SL: What’s been your favourite shoot to date?
AR: It was a shoot for Italian Elle, shot in Mauritius. The team loved my family so much that they added them into the story. We all have alicia rountreewonderful memories from that shoot.

SL:What do you love about modelling?
AR: Travel, discovering new places and cultures, meeting new people and making friends along the way. I obviously love clothes and fashion
in general so I love the dressing up part too!

SL: What do you hate about modelling?
AR: It can be very lonely sometimes. Always packing and unpacking your suitcase. It is sometimes quite hard on your body shooting for long hours and travelling non stop.

SL: What inspired you to open your own restaurant?
AR: A restaurant like Tartinery did not exist in New York. We found that there was a place missing where you can meet up and have fresh local food, easy to share in an industrial-chic environment with nice music.

 

Read next: Copenhagen’s youth on why their city is the greatest

Sydney Lima: Where did you love of French cuisine come from?
Alicia Rountree: I went to Paris a lot as a child and have so many memories eating at French cafes. French people have a love of food that is different to anywhere else. Also they don’t care about eating carbs, they love a good fresh baguette or croissant!

SL: Did you get involved with much of the interior design and aesthetic of the restaurant?
AR: Yes it was important to have the place be charming and sophisticated. I remember even painting the chairs myself to get them done the right way.

alicia rountreeSL: What inspires you on a daily basis?
AR: Being grateful. I know that I am very lucky to have the life I do and I never take anything for granted. I love my family and friends and make sure that they know it.

SL: Do you have a role model within the industry?
AR: Not really. I like people who stand for their own beliefs and are strong. But I don’t really have a role model.

SL: How do you rate your cooking skills?
AR: I am a good cook. I get it from my mum. But I don’t really have the time to cook much. Only in Mauritius with all the family, then it’s so much fun to cook for everyone.

SL: What would be your signature dish?
AR: Avocado toast! Can you call it a dish? I do many delicious variations.

SL: What plans do you have for 2017?
AR: Learn more and share my knowledge with whoever wants to listen.

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Reading time: 3 min

Olivia Palermo

Narmina Marandi, Emilia Wickstead and Alice Naylor-Leyland

Erin O’Connor

Velvet, florals and Swarovski pearls, Emilia Wickstead unveiled her stunning Autumn/Winter collection at London Fashion week to a star-studded front row.

With London Fashion Week over and Milan and Paris to come, what was the pick of the shows so far? LUX loved Emilia Wickstead’s A/W line, which showed this sophisticated designer also has a decontractée side

Read next: Model of the month and lifestyle blogger, Joanna Halpin on inspiration

 

Eleanor Tomlinson

Narmina Marandi and Emilia Wickstead

Alexa Chung

And we enjoyed saying hello to the always-personable New Zealand-born designer and some of her friends afterwards – Emilia dresses, and attracts, a high calibre of woman, including the Duchess of Cambridge. From supermodel Erin O’Connor to art collector and investor Narmina Marandi, this was a crowd as cerebral as it was stylish. Haute style indeed – a match for Paris or Milan, upcoming.

Emilia Wickstead’s A/W Collection

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Reading time: 5 min
Joanna Halpin by Dean Martindale

Unique design title model of the month

Joanna Halpin

British model and blogger, Joanna Halpin. Photograph by Bryan Rodner Carr

Sydney Lima

The models who look at us from our magazine covers and Instagram feeds are often astute businesspeople as well as subjects for fashion stylists and photographers. They are now “360 degree creatives”, raising revenue from everything from social media to events appearances. Our contributing editor Sydney Lima is a model with Storm and has appeared on the cover of Condé Nast‘s glossies; she also works in film and in this new exclusive series interviews her peers about the lifestyle.

THIS MONTH: British model Joanna Halpin joined Premier Models at the age of 20 and has since shot major campaigns for the likes of L’Oréal, Free People and Urban Outfitters. Her clean, minimalist aesthetic on Instagram has attracted a following of over 280,000 and now she’s climbing the blogging ladder too, with her sister and fellow model, Sarah Halpin and their model lifestyle blog, What She Said.

Sydney Lima: How did you get in to modelling?
Joanna Halpin: I went to agency ‘walk ins’ in London nearly 4 years ago now and got taken on by Premier.

SL: What’s been your favourite job to work on so far?
JH: I’m not too sure if I have a favourite job but I have been lucky enough to get taken some of the amazing counties and shoot in the most beautiful locations. So any job where I get to travel to somewhere new always makes the favourite list.

SL: What’s been your proudest working moment?
JH: Sarah and I have recently starting working on a big exciting project through our blog so that’s going to be a very proud moment when I can properly say what it is. So sorry to sound so secretive!

Read next: Jaipur Literature Festival photography series

SL: Did modelling have any influence over your decision to become a blogger? How did it all come about?
JH: Yes modelling did have an influence on me starting a blog. I love modelling but I wanted to be able to have more creative input on shoots. I have a background in graphic design, as does my sister, so we decided last summer to start our blog together so we could be creative, and of course it goes hand in hand with modelling.

Sydney Lima: How do you find inspiration?
Joanna Halpin: With apps like Instagram and Pinterest it’s so easy to be constantly influenced. There are now so many beautiful accounts to follow that are great for inspiration. Accounts such as @c_l_o, @frankieandclo, @maggieontherocks, @oraclefoxjournal and @fredericforest all generally post such a variety of things from campaigns, to art, to fashion, to interiors. I think what inspires me most is imagery over actual designers, or style icons.

SL: What plans do you have for 2017?
JH: I really want to focus on the blog this year, my sister Sarah who I run it with has finally finished university now so we can hopefully both dedicate much more time to it. We also want to travel together this year, we are actually both meant to be in Sydney right now but my visa is taking a little longer than I had originally thought. But hopefully I’ll be there with Sarah in a few days!
@joannahalpin | @whatshesaidblog

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Reading time: 2 min
Marie-Claire Daveu on Kering Sustainability plan
Kering sustainability goals

Courtesy of Kering

The luxury giant is taking the lead in sustainability – and now will the world listen?

We are all now accustomed to what could charitably be called eco-fluff, like the cards by your hotel beds saying the 300 room luxury hotel your are staying in can save the environment by not washing your towels. More effective would be turning the TV welcome messages off, investing in a fleet of electric hotel cars, and only allowing sales staff to attend travel industry events by videoconference; but these would all hit the bottom line, while saving money on laundry is good for the P&L.

One group stands out in the luxury world for the thoroughness and authenticity its messages, though: Kering, the French owner of brands such as Gucci, Balenciaga, Stella McCartney and Bottega Veneta, has gone far beyond window dressing in introducing its strict ‘Environmental P&L’ for its brands. The result has been an acquisition of the high ground in environmental leadership in luxury, at a cost of many millions to the privately-owned company’s bottom line. But, in the refreshingly visionary (in these times) words of company CEO and owner Francois-Henri Pinault: “We have no choice”.

Kering sustainability goals

Kering’s vision for sustainability. Courtesy of Kering.

Kering launches sustainability program

Courtesy of Kering

One curious aspect of Kering’s eco-leadership is that it being done by a so-called soft brand, that of the mothership, and not in the names of the consumer-facing fashion and luxury brands it owns. As a result, few members of the general buying public have any idea about the eco-credentials of the Kering group products they are purchasing, in contrast to much hollow self-publicity around the issues elsewhere. It’s as if they are doing it for themselves.

Kering moved more towards centre-stage this week with the announcement of a broad and dramatic “2025 Program”. This specifies, among other things, reducing its brands’ “EP&L” (broadly, carbon emissions, water use, water and air pollution etc) by 40% over the next eight years; ensuring every one of its myriad suppliers of leather, textiles and other raw materials complies 100% with its strict standards; achieving gender parity at all levels; and building its own laboratories to create sustainable alternatives to unsustainable fabrics and textiles.

It’s big, it’s broad, it’s ambitious, it’s not window dressing, and, as Kering’s Chief Sustainability Officer and Head of International Institutional Affairs Marie-Claire Daveu, it involves “transformational changes”. Other luxury groups must follow suit.

Read our exclusive interview featuring Marie-Claire Daveu in the summer issue of LUX, out in July.

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Reading time: 2 min
Salt Magazine for swarovski

Aside from my role at LUX, I work as Editor in Chief of Conde Nast Contract Publishing, and this week we had a little launch party at Vogue House for Salt, the new fashion magazine we have launched with Swarovski. I co-hosted the party with Nadja Swarovski, and it was an enjoyable occasion in the autumn gloom of London, as Conde Nast editors and publishers mixed it with Swarovski’s glamorous executives, alongside by some interesting figures from the style and design worlds, and models and stylists from our shoots.

Magazine launches are all too rare these days, so it was good to be able to toast the rise of our reborn fashion and design title with a few cocktails and some creative buzz. LUX will have its own party next year!

Maddie Demaine

Saskia Sissons and Rupert Adams

Salt cover model Sydney Lima, Joanna Dalla-Ragione and Darius Sanai

Kate Reardon

Celine Cousteau and Carolin Wegerer

Darius Sanai and Nadja Swarovski

Stephen Quinn and Bill Prince

Darius Sanai, Harriet Quick, Albert Read and Nicholas Coleridge

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Reading time: 4 min
Florence-born Fawaz Gruosi spent years working with diamond expert Harry Winston in Saudi Arabia, learning the intricacies of the industry from within. In 1993 he launched his own brand, de Grisogono in fine jewellery’s capital, Geneva. Despite his lack of formal training, Gruosi is now widely considered one of the most creatively daring, sales savvy and charming jewellery designers on the modern market. He speaks to Millie Walton about black diamonds, celebrity endorsements and the need for experimentation.
Models Kate Moss and Helena Christensen pictured with Fawaz Gruosi

Kate Moss, Fawaz Gruosi and Helena Christensen

Fawaz Gruosi at Eden Roc cocktail party in Cannes

LUX: What do you think makes de Grisogono so successful?
Fawaz Gruosi: De Grisogono is characterised by unique and playful design codes. I like people to feel glamorous in my creations and while I have the greatest respect for them, I am not bound by the conventions of traditional jewellery design; at de Grisogono we like to take risks. When you wear de Grisogono you are making a statement, I think this is what makes us stand out.

LUX: Which markets are most interesting in the luxury world at the moment?
Fawaz Gruosi: We are currently expanding our offering in the Middle East and we are also looking into Asia. In Europe, London remains an important market; our Flagship opened in February 2016 and deeply reflects our brand aesthetics and my personal roots. The plan of the store references the typical Florentine villa – where I grew up – with three distinctive rooms: the Corte, the Grande Sala and the Stanza Del Tempo. The space uses chiaroscuro – playing with light and dark, texture and colour – to add interest to the room and create playful backdrop to the jewellery and watches.

Read next: Christmas in a Mayfair toy shop

de Grisgono founder and creative director pictured with milla jovovich

Milla Jovovich with Fawaz Gruosi at Cannes in 2002

LUX: How do you compete against historic jewellery brands?
Fawaz Gruosi: We do not compete against historic jewellery brands, what we offer is completely different. We are often described as ‘daring’ and ‘trailblazing’ thanks to the fact that my approach does not conform to the rigours of traditional jewellery design. Our clients come to us because they know they will find something different. I made my name by experimenting at a time when the market was tired of traditional pieces that looked more or less the same. My designs are bold and colourful, we mix semi-precious with precious stones to create unexpected, unusual and beautiful pieces.

LUX: How has the fine jewellery world changed since you first entered it?
Fawaz Gruosi: At the beginning, many people were wary of my approach to high jewellery but now people are actively seeking more daring and challenging designs. Conventional design has given way to greater creative freedom.

LUX: You’re famous for pioneering the use of the “black diamond”, what inspired that innovation?
Fawaz Gruosi: I was entranced by the story of the historic Black Orlov, a monumental black diamond. I began to research black diamonds which had been rejected by the industry, largely because they are extremely challenging to cut. I found them intriguing, captivating, and any other gemstone is immediately enhanced by the dark sparkle of black diamonds, creating one of the most striking chiaroscuro effect. In 1996, de Grisogono launched a collection devoted to the black diamond. It was perfectly pitched at a moment when monochrome minimalism was very fashionable, sparking a massive global jewellery style-trend for black diamonds which continues unabated today.

Read next: An insider’s guide to Europe’s biggest car auction

LUX: What are the biggest challenges you’ve faced as the founder and creative director of a luxury brand?
Fawaz Gruosi: The marriage between business and creative approach – thankfully we seem to have struck the right balance.

LUX: How important are celebrity endorsements for de Grisogono?
Fawaz Gruosi: The glamour of celebrity has greatly helped to shape our identity. The tone was set when the first de Grisogono boutique was opened in Geneva in 1993 at a party attended by Sophia Loren. Since then, we have been lucky to play host to many of the world’s most beautiful and famous women who have attended our parties and worn our jewels – Kate Moss, Naomi Campbell, Sharon Stone to name a few. Throughout the years, we have built lasting friendships with celebrities. By personally choosing de Grisogono for their red carpet moment, they express their love and passion for exclusive, distinctive, dazzling jewellery. This year during Cannes, we were delighted to see Bella Hadid and Kim Kardashian wearing our jewellery, as well as Jourdan Dunn, Milla Jovovich, Toni Garn and Natasha Poly.

Kim Kardashian with de Grisogono founder

Kim Kardashian and Fawaz Gruosi in Cannes

de Grisgono founder pictured with Liz Hurley

Fawaz Gruosi with Liz Hurley in Gstaad

LUX: When you look back on your career, what are you most proud of?
Fawaz Gruosi: I am most proud of the de Grisogono family. My closest team members are at my side for 10, 20 years now. We are just like a family and know exactly how each other works and I am proud of each and every one of them.

LUX: What lies ahead for the brand?
Fawaz Gruosi: We continue to expand into new territories and next year will be exciting in terms of some of the high jewellery creations we plan to unveil.

LUX: How do you relax?
Fawaz Gruosi: I have been so busy in the recent years that relaxing is a true luxury! But a perfect way to relax would be spending time with my family, in Porto Cervo or St. Moritz/Gstaad during winter, listening to music or cooking pasta for big groups of friends at home!

degrisogono.com

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Reading time: 4 min
Tuscany Wine Estate
Salvatore Ferragamo has been an Italian luxury legend ever since its footwear was adopted by Hollywood sirens in the 1920s. Recently, Ferruccio Ferragamo, son of the eponymous founder and currently president of the company, and his own son Salvatore, have ventured into the world of fine wine and hospitality (following in the footsteps of Ferruccio’s younger brother Massimo, who owns the Castiglion del Bosco wine estate and luxury hotel). As part of our Luxury Leaders series, Salvatore Ferragamo speaks to LUX about restoring the medieval Tuscan village of Il Borro, ponders luxury’s demand for authenticity, and reveals his favourite Italian dish.
Ferragamo family restore medieval village Il Borro

Salvatore with his father Ferruccio Ferragamo

LUX: What kind of experience does Il Borro offer guests and what makes it unique compared to other luxury estates?
Salvatore Ferragamo: Il Borro is truly unique because at the heart of the estate lies a medieval hamlet, dating back 1000 years which has been transformed into luxurious suites and villas through careful and respectful restoration. Authenticity is the cornerstone of all past and present activities at Il Borro. This place is one of a kind because of its tradition, at Il Borro, history, art, Tuscan culture and nature offer exclusive experiences and atmosphere that are impossible to find anywhere else.

I refer, for instance, to our Wine & Art Gallery, an artistic description of the history of wine through my father’s collection of prints and artworks from the 15th century to the present day which include works by Mantegna, Goya, Rembrandt, as well as modern artists like Warhol and Picasso. The gallery introduces guests to our cellars, which have been enlarged to enable a higher production of wine, yet still represent a respectful extension of the area beneath the 19th century villa.

At Il Borro we take care of our soil with an old-standing organic method and all our products are both pesticide and preservative free. We harvest the grapes, go horse-riding on the estate, pick olives and cultivate vegetables in a spectacular one-hectare garden. Il Borro is a lively place, where we work the land to reap the fruits that our customers can taste in the Tuscan recipes prepared by our chef, Andrea Campani.

And of course there is a relaxation area, with eco-friendly pools and a spa free of machines, where guests can enjoy a range of treatments carried out by our professional team.

[Best_Wordpress_Gallery id=”9″ gal_title=”ferragamo”]

Read next: Motoring Maverick Joe Macari’s investing in classic cars

LUX: What inspired the project of Il Borro Ferragamo wine estate?
Salvatore Ferragamo: It was the history of this place – all we had to do was bring the traditions of this land back to life. Our vineyards are spread over about 50 hectares and we make 4 red wines in total; Il Borro, Polissena, Pian Di Nova and Alessandro dal Borro, our white wine Lamelle is 100% Chardonnay. We also make an exquisite Vin Santo and the jewel in the crown of our wine cellar, Bolle di Borro, a sparkling Sangiovese Rosé made in the classic method.

LUX: How do you compete against more established names and estates in the world of winemaking?
Salvatore Ferragamo: We do this through authenticity and excellence. We could produce three times as much wine, but instead we prefer to offer a product of the highest quality. We don’t exploit our land, we take care of it. Our wines are the result of oenological research, aimed at making premium wines through challenging combinations and effectively looking after the grapes of our territory. On top of all this, we have a unique place: the medieval hamlet where our guests can enjoy an unforgettable experience in an authentic atmosphere, with all the comforts.

Ancient wine cellars of Il Borro

Salvatore Ferragmo pictured in the Il Borro wine cellars

LUX: How has the rise of digital marketing and social media affected the way you approach business?
Salvatore Ferragamo: Digital marketing and social media are the tools of today and they represent a great opportunity for us. Every day we strive to make improvements, using creativity and lots of energy. They offer us the opportunity to communicate in real time and with emotional impact all of Il Borro’s values: hospitality, winemaking, food, health, nature, history, and traditions.

Read next: Frieze founder Matthew Slotover on the future of culture

LUX: Have you always been passionate about wine?
Salvatore Ferragamo: I can’t think of a time when there wasn’t a bottle of wine on my family’s table. Wine is part of Tuscan culinary traditions and being a food lover I cannot imagine dinner, and sometimes even lunch, without a bottle of good wine. Taking care of Il Borro’s winery just came naturally. The best moment of my day is when I start work with a walk through the vineyards.

LUX: Wine and hospitality are relatively new territories for the Ferragamo family. What are some of the challenges you’ve had to face along the way?
Salvatore Ferragamo: Yes, that’s true. But some elements are not new to my family: the Made in Italy mission, craftsmanship, and the Tuscan lifestyle. Il Borro encapsulates all of these elements. The real challenge at Il Borro is respecting the estate, the land and its gifts, through innovations on which we invest considerably, to preserve the authenticity and, at the same time, offer high quality hospitality.

Andrea Campani heads the kitchens at Il Borro

Chef Andrea Campani is renowned for his grilled dishes prepared in a large artisanal oven

LUX: Is your name a passport or a burden?
Salvatore Ferragamo: My name is an honour…except when somebody thinks that I’m “the shoemaker of dreams”, that was my grandfather!

Having said that, I am fortunate to have examples of very successful entrepreneurs within my family, and I can honestly say that it’s a great source of energy and a positive challenge.

Read next: Luxury is making the impossible, possible, says CEO of Heesen Yachts, Arthur Brouwer

LUX: The Relais & Châteaux group, of which Il Borro is a member, is renowned for the best culinary hotels across the globe. What do you think makes food exceptional and what’s your favourite Italian dish?
Salvatore Ferragamo: This is a difficult question, since food, like wine, is a sort of magic. The creativity of a wine-maker or a chef together with high quality ingredients that, in the end, make the difference.

My favourite Italian dish… another difficult question. Probably Tagliatelle with Wild Boar Ragù in winter and Risotto with Tomatoes and Burrata Cheese in summer followed by a barbecue of our Chianina beef.

LUX: How do the other aspects of the Ferragamo family business influence the running of the Estate? Do you see it as a collaborative project?
Salvatore Ferragamo: We prefer to keep the two family businesses separate, however, I would say it is the strong core of business and entrepreneurship which has been inherited from Salvatore Ferragamo (my grandfather) to my father and my father to me, and of course the Ferragamo name, which links the two together.

LUX: Does Tuscany hold any particular relevance for the Ferragamo family?
Salvatore Ferragamo: Tuscany is my land even though my grandfather was from Naples and my mother is English. This is where I grew up, where my family established the brand, and also where a large part of the new Ferragamo generation lives. Tuscany represents Ferragamo’s creative inspiration at all levels, and we are very proud to be recognised as one of the leading Tuscan/Italian brands in the world.

Read next: Driving through the Italian countryside with Jude Law

LUX: How has the world of luxury hospitality evolved in recent years?
Salvatore Ferragamo: I think there is a growing demand for authenticity. Travellers seem to be less interested in serial/signature hotel concepts, and the magnificent but cold buildings without history, without a soul. Travellers want to live and feel the experience alongside luxury and this offers a truly unique opportunity.

Outdoor activities at Il Borro Tuscan estate

Activities at Il Borro include horse riding, cooking classes, trekking, golf, tennis and mountain biking

LUX: What’s next for Il Borro?
Salvatore Ferragamo: We have so many exciting projects in the pipeline, most notably: the launch of a 100% organic wine; the opening of Il Borro Tuscan Bistro in Dubai, the first restaurant in our franchising project, with the aim of eventually taking Il Borro’s Tuscan cuisine and wines around the world; the implementation of the biological production of our honey; and we also plan to provide Il Borro with an olive oil mill to produce our own biological extra virgin oil.

LUX: How do you manage to balance work and pleasure?
Salvatore Ferragamo: I believe I’m lucky, because I love my job. I could never have spent my days behind a desk. Since I love going horse-riding and playing golf, everything is within reach here at Il Borro and I can easily make the most of the little free time I have, doing what I love!

ilborro.it

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Reading time: 7 min
Hublot opening celebrations

The nature of luxury is evolving fast. Producers and consumers should wise up to the emerging multi-level landscape and never forget the power of the right kind of celebrity, says our columnist, Jean-Claude Biver 

Luxury is changing, and we are now more and more aware that there are different levels of luxury emerging. At the highest level, there is luxury for the very few, which is (normally) at the top price level, and is the most exclusive and the most unattainable. In this category, you have all the watches that are made just for one customer. You have also the limited editions of two or five pieces of jewellery.

Actor Patrick Dempsey

Jean-Claude Biver with Tag Heuer ambassador, actor Patrick Dempsey at the 2016 Monaco Grand Prix

Below this level, you have luxury for very wealthy people. This is not necessarily totally exclusive nor does it necessarily include unique pieces but certainly ones that are very special and not easy to find, and quite expensive.

Then, you have the traditional luxury, which is now the luxury for people of what you could call average wealth.

Read next: LUX tests drives the Rolls Royce Wraith

And finally, there is now so-called affordable luxury, which is attainable by members of the upper middle class. This is the newest and most dynamic category because this is a very dynamic level of society and the one that is evolving the fastest. It has the biggest potential, especially in countries such as China, where they previously didn’t have this social class of affordable-luxury consumers. Previously, there were really just two categories in China: people who were very wealthy, and normal people. Now we see a very strong development in this affordable luxury segment.

At a brand like Tag Heuer , we want to be at the front as the leader in the affordable Swiss luxury watch business . You can call it affordable or accessible, but in terms of luxury goods it’s the equivalent of a young person driving a Mini Cooper, a car that’s not as expensive as a Ferrari or even a Porsche, but it already means something when you are seen driving one.

New Hublot brand ambassador Bar Refaeli

Supermodel Bar Refaeli is announced as newest Brand Ambassador at Hublot Boutique in New York City

And people around the world now are becoming more brand conscious at a younger age than ever before. They are exposed to brands when they are as young as five or ten years old, and brands are becoming more and more important in evoking dreams in young people. With Tag Heuer, as with Hublot, I want to make young people dream when they are 15 or 18 years old. I want to get it into their heads that if they want to realise their dream, then they must please buy my brand.

Read next: How China changed the luxury world 

But young people are now receiving so many messages from everywhere, it’s becoming difficult to communicate this distinctly. They have so many brands talking to them, and we are more aware than ever that we cannot tell them any lies, and getting through to them is becoming ever more difficult.

Related to this is the fact that celebrities are becoming more influential than ever. But we have to distinguish between types. There are celebrities of whom there is a huge awareness, but who have very little influence. Then you have celebrities, for instance the Kardashians, or Kanye West, who are very influential: if Kanye West tells people to wear something, they will wear it. If he designs something, his influence is significant, and young people are going to dream about it. It’s the same with Jay Z’s shoes from Nike or Adidas – they have been an incredible influence. So as a luxury brand, you have to choose carefully between people who are widely known to endorse your product, and those who are influential. The most important part of my work today is reaching the young generation, and that means working with the people who can influence them.

Ricardo Guadalupe, CEO of Hublot, and athlete, Usain Bolt

Ricardo Guadalupe, CEO of Hublot, and Usain Bolt at the opening of Hublot’s 5th Avenue boutique in New York

Even with the help of a celebrity to support you, it still requires far more work to get the message across these days than it did before. As an example, in 1982, if you came up with an innovative watch with a minute repeater, you didn’t have to communicate it, you would just show up at the Baselworld fair, and people would come to you and say “Wow!” You would then have more demand than you could supply because you were the first to create such a watch. Today, if you made the same innovation, you would never sell it if you didn’t have a strong promotional campaign and a credible brand. Without creating a brand awareness, you will not sell your product because it is simply not strong enough to be sold alone.

For centuries, a product was strong enough to be sold just because it existed and it was exceptional. Nowadays, the market is so crowded. You need the promotion around a new product, you need marketing and publicity – and that has dramatically changed for everyone.

Read next: Fine wine investment advice from Adam Brett-Smith

Brand, now, will always be king. In the recent evolution of the smartwatch, there is intense competition between Apple, Samsung, LG, Sony and Motorola, all making essentially the same product for the same market. Yet how can Apple sell so many? Because of the brand. For the product alone, without the brand, you could have the same watch from LG or from Motorola or from Samsung, but for Apple the brand brings everything to the product.

And it’s just the same for Tag Heuer: how can we sell a connected watch that does nothing more than the Apple, for $1,500? Because the brand is doing the business for us, the brand makes it okay to spend that much on it. When the competition hots up, the fight is won by not just the product, but by the brand.

New Hublot ambassador Maxime Buchi

River with the tattoo artist Maxime Buchi, a new ambassador for Hublot

Meanwhile, at the top end, word of mouth will sell products as it always has. The more you belong to the elite, the more you want to be different. The higher you climb, the more you want goods that are just made for you. Like the lady I know who has had seven Lamborghinis to match the outfits made for her in the seven colours that she always wears.

Read next: Hermes and horses take over the Grand Palais 

At that end of the market, people are looking for uniqueness, individualisation: for them it’s not enough to buy a Ferrari, it must be a Ferrari in camouflage paint with denim seats. And with this desire for exclusivity driving it, it’s not surprising that the world of luxury is subject to a perpetual escalation.

Jean-Claude Biver is president of LVMH Watch Brands and chairman of Hublot

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Reading time: 6 min
New product by Fendi

Luxury is entering a new phase of uncharted territory as China matures, but at the heart of the consumer world, increasing income inequality will assume luxury brands still thrive, says our columnist Luca Solca

ExaneBNPparisbas_BW_JAlden-6

Luca Solca: head of luxury goods at Exane BNP Paribas

China is no longer a market of very rich early adopters. Now, the most interesting part of the market is middle-class consumers. Discretionary spend per head is smaller than it was 10 or 15 years ago, and these consumers will benefit from price transparency levels which were unimaginable just a few years ago, because of digital luxury becoming mainstream.

The other obvious factor for any luxury brand in China is that gifting has completely gone away ever since the new leadership came on board, and this has demanded a fundamental readjustment by brands. Meanwhile, the early adopters first moved on to products and brands that were perceived to be more exclusive, to differentiate themselves, and then moved on to different product categories altogether. If we look at what the rich Chinese have done in recent years, we can see that they have bought a lot of property abroad, have spent money to send their children to schools overseas and to have very expensive individual holidays and medical checkups abroad.

Read next: Inside Knightsbridge’s newest luxury residence 

For the luxury brands, the best customers are the ones that have lots of money and empty wardrobes; then, as they spend their money on luxury goods and fill their wardrobes, they get to the point where they only buy replacements when needed. There are only so many Italian suits, so many Swiss watches, and so many branded handbags that you need. The rich early adopter Chinese went through that accumulation phase, and now are in a replacement mode, like many rich consumers in the west. In replacement mode, your wardrobes are full and you buy with significantly lower spend per capita in comparison to the past. Five years ago, the rich Chinese spent five to ten times more per capita than corresponding consumers in the US or Japan. As we move forwards and as the accumulation phase is finished, we find that spend per capita tends to converge in all these markets.

Bar at luxury hotel in Knightsbridge

The bar at the Rivea restaurant in the Bulgari hotel, Knightsbridge in London

There is an element of luxury spending now being more on experiences like travel and food. Also, there are different product categories: there are products that are more immediate and easier to buy, like a watch or a handbag, for example, and there are products that are more complex to buy because they require you to develop your own taste, like fashion. With clothing you need to mix and match different pieces, to develop some kind of personal taste. Then there are products that need you to own other significant products already: if you buy certain types of furniture and lighting, you will have a significant home already, so you will have already been down the learning curve. Taking Fendi in China as an example, they communicated that they were a relevant brand in furniture, and they are solidly among the top three brands in China, while in the West, they are nowhere near as relevant.

Read next: Horses, riders and geese at Saut Hermes 

And then at that stage, you shift your spend towards experiences which include travel, spending time with family and friends, good food and good wine.

Luxury typically develops via nationality. The 1980s was the decade of the Japanese, when they represented between 40 and 50 per cent of the global luxury market. The 1990s was the decade of the Russians. Twelve years ago, the Chinese were accounting for two or three per cent of the global luxury market, last year they accounted for close to a third. What is happening with China is not so different from what happened in the past, and for luxury brands, the growth formula of adding more stores in China and increasing prices because you have queues in front of your stores is no longer working.

Inside the Dubai's luxury hotel, Armani

The restaurant at the Armani Hotel in Dubai

There is another element at play in the luxury world, and that is the continuing increase in income inequality. If we go back 40 or 50 years or so to the 1960s and 1970s, we find what triggered the very significant development of the luxury industry in the United States was income inequality. This is the industry’s best friend, because you have a group of people in society significantly richer than the rest of the population. If you have the same level of wealth across a nation, luxury goods are not very relevant because there a very significant function these products play is conveying your status. First of all you need the money to seek satisfaction for relatively sophisticated needs: the need for beauty and refinement. But you also find these products attractive because of what they say about you, and who you are.

Read next: Real luxury strives for more, says Vilebrequin CEO Roland Herlory

When we look back in history, income inequality peaked in 1929, it then went down and reached the bottom of a trough in the early 1970s, and then rose and went roughly back to where it was in 1929, by 2008. And as long as we have interest rates at approximately zero worldwide, inequality will continue to increase because asset prices will go up. So while we may have reached the peak of the Chinese wave, I do not see a return to a situation where luxury brands are irrelevant as they were in the 1960s. If you strip out China, luxury growth over the last decade has been around two per cent, and now we have other nationalities in Asia coming on board, and the potential of India. At the moment, though, they are totally irrelevant: Indian luxury spend is worth less than one per cent of global luxury spend.

New product by Fendi

Bag by Fendi from the AW16 women’s collection

There is a debate within luxury about broadening the scope of your brand to get more consumers closer to it: the Bulgari  diversification into hotels is an interesting one, the properties are very good and this is a positive for the brand. But this is not core: such diversification is more of a nice-to-have than really relevant. You can’t address the key issues at the heart of developing a brand via such diversification. Brands are most relevant and most desirable closest to their core, and the further you go from the core, the less relevant and less desirable they become.

Luca Solca is head of luxury goods at Exane BNP Paribas and one of the world’s most respected luxury analysts

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Reading time: 5 min
Saut Hermes 2016
Saut Hermes 2016

Sunlight streams through the glass domed roof of the Grand Palais

Hermès, maker of handbags and scarves to the world’s celebrities and super-rich, still celebrates its roots as a saddle-maker in a very different world. Millie Walton goes behind the scenes at the annual Saut Hermès in Paris, with the beau-monde, and geese, for company

Standing at the ringside of the warm-up arena at Saut Hermès, the brand’s annual showjumping event held under the glass-domed roof of the Grand Palais in Paris, is quite unlike any other experience. While the smell of warm horsehair, oiled hooves and leather is immediate, and almost reassuring in the way it says that this is really happening, there’s also something a little otherworldly about it all. There are horses, glamorous spectators, the world’s best riders and, strangely, a flock of trained geese. An unusual mixture in an even more unlikely setting, yet anyone who is familiar with Hermès will know to expect the unexpected. A traditional brand still owned, despite the best efforts of the luxury industry, by members of the extended original family, it’s constantly innovating too. This multibillion-euro behemoth takes a playful approach to luxury; Hermès really wants to welcome you into its magical world.

Hermès may be known for its Birkin bags (for which there is a waiting list, from a few weeks to five years, depending on who you are and how bespoke you want it) and handmade silk scarves, but at its heart it is what it says under its original logo: a sellier, or saddler. The only things made in its atelier above its world flagship store on the rue du Faubourg Saint-Honoré in Paris are saddles; the most desirable and expensive saddles made anywhere, in fact. They are a tiny part of the business, but at the heart of the brand.

Hermes saddle

Cavale saddle by Hermés

Read next: Watch guru, Jean-Claude Biver predicts the future of luxury 

“A customer once complained that the stitching had come undone on one of our saddles,” Marion La Rochette, Equestrian Métier Director, recalls. “Everyone in the workshop was so upset about it but when we pulled out the records, we found out the saddle was 100 years old. A 100 years old and only a little bit of stitching had come loose!” She smiles as she tells me the story. It may or may not be apocryphal (I’m sure it’s true), but it’s certainly true that Hermès products really are made to be enjoyed down the generations, not just years, which helps to explain their price tags.

So why the horses, riders and geese? “For a whole century Hermès worked only with equestrian products such as harnesses and saddles,” La Rochette points out. “In 1837, when the company was founded, Paris was full of horses, but now, of course, they’ve disappeared from the city.” Over the years and under the leadership of various family members, Hermès has extended its repertoire to everything from the must-have Birkin bag to picnic hampers, jewellery and clothing to what can only be described as exquisite objets such as lamps and even a special edition Apple Watch with a Hermès strap.

Read next: From London to Monaco on a private jet

“With Saut Hermès, we wanted to reopen the doors of the Grand Palais to the horse,” La Rochette continues. The Grand Palais is the landmark Beaux-Arts exhibition hall located in the park next to the Champs-Elysées. “It was built for exhibitions including equestrian events. From 1901 to 1957 there were annual horse shows held here and below us, in the basement, are stables.” The geese are there for fun, along with an interactive Pegasus animation and daily performances by the acclaimed French horse trainer, Bartabas.

Over the weekend at the 7th edition of Saut Hermès, there’s a huge sense of excitement. As well as marking the official launch of the latest Hermès jumping saddle, the Allegro, the main event involves 30 of the world’s best riders tackling a complex, though naturally elegant, Hermès-branded showjumping course. Heels and hooves are aligned. “We get really passionate horse lovers, of course, especially on the Friday,” La Rochette says, “but Parisians come here who would have never normally thought about going to a horse show. Because it’s so accessible and centrally located, they think why not and they love it.” Watching the horses effortlessly vaulting over the jumps with sunlight streaming through the glass, it’s hard to imagine a more majestic or fitting setting for such an impressive display of equestrian athleticism. La Rochette agrees, “It’s very special because you’re sitting so close to the ring, to the horses, that you can feel and hear the thud of the hooves.” A few cleverly placed microphones under poles, I suspect, help enhance the tense atmosphere.

Winning horse rider at Saut Hermes

Moroccan rider, Abdelkebir Ouaddar won the Grand Prix Hermés CSI 5* on Sunday afternoon riding Quickly de Kreisker

Read next: An unexpected paradise at Ritz-Carlton Abama 

Hermès works very closely with riders too, hand-picking international rising stars in equestrianism (including Simon Delestre, currently ranked number one in the world in showjumping), to represent the brand as partner riders, kitting them out in full Hermès gear and also inviting their input into the actual design process of the saddles. “What makes a good saddle, in my opinion,” comments Swiss rider and Hermès partner rider, Romain Duguet, “is one which brings you as close as possible to the horse so that you can really feel the movement. That’s exactly what makes the Hermès saddles so special.” Each saddle is made bespoke for horse and rider, and put together from beginning to end by a single, skilled craftsman who pulls and stitches the leather to create an extraordinarily beautiful object. La Rochette stresses, however, that beauty in appearance and construction is not the real aim: “Our master saddler’s only objective is to make it as functional as possible and when it’s finished, it’s beautiful. To me, that’s what Hermès is about.”

Winners at Saut Hermes are awarded prizes

Presentation of prizes with (at right) Anne-Sarah Panhard, President of Saut Hermés, and Olivier Fournier of the Hermés executive committee

The inspirations for Hermès reside a mile or so down the road, past the Hôtel Matignon (official residence of the French president), in the private museum above the St-Honoré flagship store. It holds a unique collection made up of wonderful and eccentric objects from founder Emile Hermès’s travels round the world; huge spurs from Argentina, saddles from Tibet, sketches, paintings, books, cots, sculptures and luggage – the list goes on (including rather terrifying giant studded dog collars which were the inspiration for a line of jewellery).

Read next: Why this billionaire loves investing in Switzerland 

Back at the Saut Hermès as the showjumping continues, the under 25s are taking to the ring for Les Talents Hermès class, a competition restricted to 20 up-and-coming riders from around the world. Though these youngsters, one just 15 years old, are the future stars of the equestrian world, the course is cleverly constructed to unnerve even the pluckiest of riders and it causes a few problems. One jump away from the fastest time, Ireland’s rider takes a fall and the crowd gasps. After a painful few seconds of total silence, he gets up and remounts to make a second, successful attempt to huge applause. We’re all relieved, almost panting with exhaustion after mentally making every enormous flying leap with horse and rider, regardless of their nationality. Though, naturally, it is an especially gleeful and patriotic moment when the British national anthem is played to a standing ovation as a young pair of English riders gallop round the ring, red rosettes flying, having triumphed in Sunday’s Les Talents class. This is a competition, after all – the applause is notably louder for the French, as you would expect – but it is decidedly less cut-throat and more sophisticated than most sporting events. When the bell rings to start the clock, it all comes down to just the rider and the horse and their partnership.

Junior rider at Saut Hermes

USA rider, Catherine Pasmore (aged 24) on Z Canta, 2nd in the Les Talents (the under-25s class)

Axel Dumas, the company’s CEO (and the sixth-generation scion of the family), is at the ringside, looking relaxed with his children. It would be easy to suggest that this is what any brand with Hermès’s history and status should do, a strategy straight out of business school: establish brand story, create experiences around it, invite media and VIPs, be in evidence.

Read next: The hottest new residential development in London 

Yet Hermès isn’t just a brand. It’s also as far as it can be from being a business school creation – famously it doesn’t even have a marketing department. It is a maker of some of the most beautiful items in the world, a family company whose owners have so much pride in their name and history that they fought, and won, a bitter battle against luxury supremo Bernard Arnault, who wanted his company LVMH to acquire a majority stake in Hermès. To have given in to Arnault would have meant cashing out and acquiring wealth beyond the imaginations even of the most creative souls in the brand’s studios; but that just wasn’t what Hermès is all about. Somehow, geese and saddles at the Grand Palais kind of sums it all up.

uk.hermes.com

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Reading time: 8 min
LFW backstage image of Emilia Wickstead models

Emilia Wickstead SS16 Collection, backstage at London Fashion Week

Emilia Wickstead’s designs are attracting the attention of Hollywood royalty (and even the real thing) for their mix of the classic and the modern. LUX discovers what inspires her

Emilia Wickstead is hot, hot, hot. The 31-year-old, London-based fashion designer has become one of the biggest draws of London Fashion Week in the four years since she started showing. Her grown-up, dressy, classical yet contemporary style has attracted the likes of the Duchess of Cambridge (Kate Middleton), Gwyneth Paltrow and Diane Kruger; and the architectural cut and quality of her garments has earned the praise of fashion directors and drawn the attention of the industry’s big guns.
What’s the secret of the New Zealand- born designer’s success? Is it her clever references to the 1950s Modernist design movement (not just Dior and Chanel, but the whole of design), creating pieces which look like they have been inspired by an architect’s pen? Her philosophy, which she describes as “classic with a twist”? Her smiling, outgoing, gregarious yet steely personality? Or her sheer hard work – the mother of two small children is known for her 18-hour days?

Read next: Vilebrequin’s CEO on the importance of heritage 

Alexandra Shulman, Editor-in-Chief of British Vogue, comments: “Emilia has a very strong vision for her label. She has a clear idea of the woman she is designing for and she is also an excellent brand ambassador.”

Wickstead also has influential followers among the people she counts among her customers. Says Narmina Marandi, a friend, supporter and confidante of Wickstead: “Emilia is a rare person in fashion, a brilliant designer with a strong view on how the modern woman should dress up. She’s also fantastic company, with a great sense of humour, charm, and a very powerful philosophy and determination underneath.” These are views you will find echoed among her friends and admirers around the world.

LUX sat down with Wickstead in a room with bare-brick walls, dark varnished wood floors, and four racks of her next season’s collection, in muted yet joyous colours we promised not to identify, to find out more.

LUX: Is fashion is in your genes?
Emilia Wickstead: My mother [Angela Wickstead] started studying fashion when I was born, and then began her business from home when I was a little girl. It was just my mother and I. Designing was instilled in me from a very young age. I didn’t know anything else. Her business went through different moments and growth then. She worked from home and went from designing and selling through word of mouth (similar to how we started our business) on to building her retail model.

LUX: Do you have childhood memories of taking bits of fabric and creating pieces?
EW: Absolutely! There are many memories of being in her workroom all the time – weekends, after school. I would sit in on her fittings, I still laugh about it with some of her existing clients who she still has today. Without even realising, I would just sit, watch and observe, and take in everything: fashion weeks, late nights… It was just the two of us. Her workroom and her store – that was where I had my upbringing. I didn’t go home after school, I went to her work to do my homework and just be there until we went home, which sometimes could be quite late at night.


LUX: What do you think you picked up?
EW: I learned from my mother that it was all about the cut and fit and the quality of fabric. The theory that the quality on the inside should be the same as on the quality of the outside of the garment. Those are things you don’t necessarily learn at university, as there is so much focus on design, experimentation and building your philosophy of who you are as a designer. So I do think I learned from her the majority of what I know in terms of those very important factors, without which you couldn’t have a successful line of business.

Read next: Art is the greatest legacy, says renowned auctioneer Simon de Pury

LUX: The architectural cut is something you’re renowned for. Do you think that’s something all designers should pay attention to?
EW: I think that it’s something that’s very ‘old world’. It depends on who they are as a designer, their aesthetic and what their business model is. I always believe that, for me and my business, what I would hope for in years to come is that people will pull out an Emilia Wickstead piece as though it is a Chanel suit. You will still wear that Chanel suit because (a) the quality of the fabric is brilliant and because the quality of the garment is excellent and (b) it is just a beautiful cut. So when I look for inspiration, I will look at anything from old Christian Dior to Christian Lacroix to Chanel and look at the way they have constructed a garment. The design lines are incredible and I do feel that with fast fashion sometimes that’s a little bit lost. There is a little bit of a trend going on at the moment of not focusing necessarily on the fit or the cut of the garment, but when a designer does get it right, I think that’s when it plays a tremendous part in either becoming a brand or becoming a garment that’s going to stay in your wardrobe forever.

LUX: How do you create something that is timeless yet fashion forward?
EW: I’d like to think that we’re creating ‘the new modern’. I’ve always used the reference of old world design, which I find incredibly inspiring. But for me, it’s about modernising that, too. That’s something Raf Simons did when he entered into the world of Dior; he was playing on archive pieces and old-world silhouettes. He was creating clothing for a new modern woman in the way that he was designing clothes. In the same way, I think that by playing on the traditional while keeping myself very fashion forward, my clothing represents someone who’s confident and incredibly feminine. I showed that during London Fashion Week [in February 2016]. I am always pushing the boundaries, but at the same time it’s very important that I’m selling clothing that women want to purchase.

Backstage at London Fashion Week with Emilia Wickstead

Emilia Wickstead’s clients include royals and A-list celebrities

LUX: Is there an age group who buys your clothes?
EW: I think that Emilia Wickstead is for all women. That can be a girl in her twenties and it can be a woman in her nineties. Up until three years ago, I worked in my store every single day and did every single fitting for the major side of the business. What was so wonderful about it was that you just got to understand that the collection was for every woman, which is such a nice touch for a business model to have – to be able to think that yes, it’s youthful because everyone wants to feel fresh, young, and modern, but at the same time it is really for everybody.

Read next: Chopard’s Caroline Scheufele’s vision of the future 

LUX: You mention “business” a lot for a designer…
EW: I’ve always had a business head on my shoulders, which has meant that I haven’t designed a collection and didn’t know who I was going to sell it to or what I was going to do with it. I built a client base; I showed to friends and family and through word of mouth, so I tested the product and market that way. I basically did everything backwards! Given the financial constraints, we couldn’t afford to create units or to sell through wholesale. We couldn’t afford to carry stock and we didn’t take on any investment either to do that. I guess people did genuinely like the clothes and that’s how the business grew. As we started making money, we started taking on stock, and then in the next chapter we started to build wholesale relationships and wholesale accounts. It’s been a very organic and natural process. Now we’re speeding things up. I always knew I wanted to have my own business and always knew that I wanted clothes that sell – to make money out of my business as much as love what I do. That was always very clear in my mind.

LUX: At Central Saint Martins, what were the most valuable things you learned?
EW: The most valuable things I learned were how to think outside of the box. I never picked up a fashion magazine. You would be in a library photocopying and looking through books. I didn’t Google images! It was a very raw education. For inspiration we went to galleries, watched old movies, old fashion shows that were all archived in the Central Saint Martins libraries. It was a really different way of researching compared to today… I Google everything now! What Central Saint Martins pushed you to do was, for example, to look at a window frame and see how that inspires you, see what’s beautiful about it, and to understand what you gain from that, where it leads you and what it does for you. You had to approach things in a different way. It was a creative process being educated there; it was very raw and very wonderful.

LUX: Has your success and endorsements by prominent people taken you by surprise?

EW: Yes, and they still do!

LUX: What do you think made them come about?

EW: From a modesty perspective, I don’t know! You really just count your lucky stars, I guess. Every time you make a collection, you put yourself out there. You do it because you want to change the way people dress, you want to say what people should be wearing for the season, as well as what you believe in and what you’re passionate about. It always catches me by surprise when people are shown [in the media, wearing my designs]. I believe that we have a niche in the market and that we have a point in difference. I am a real believer in what I am doing. I absolutely love it and I love my client base, which has some big supporters in it. It is always a nice surprise to see someone else really believing in your brand and wearing your clothes beautifully.

LUX: How did you find that niche in the market?
EW: I love anything nostalgic and old world, that’s really what gave me the drive to create my own business and to do something different. I loved the idea of playing on how women used to dress in shops, the women who love to dress up, who go somewhere and can sit down in a room and have something made for them, who can have a say in what they’re having made for them, choose the colour and fabric, and who want to be really fashion forward as well. That always inspired me. It was always going to be very important to meet the demands of today’s woman. She wants to buy it off the rails and wants to wear it that night or she wants to go on e-commerce and wants to have it in a few hours. We tap into that like every other designer, but our point of difference is that I wanted to keep a little bit of tradition. We have made-to-measure, which is a full service in which we have a fitter and fittings. That is very old school. But then it was also very important to have a modern version of that for today’s woman. For example, if you come into my store, see a dress and absolutely love it but want it in a different colour, you can order the garment in the preferred colour in your size and have it made in Italy in 20 working days. My business model offers those different services, which is very important. I never wanted it to feel too much like a normal retail experience, more a little bit of a salon when you walk into the store. On Sloane Street [in London’s Knightsbridge], I truly believe we have created just that. We sit alongside Chloé and Valentino and we are not a fuddy-duddy, old-fashioned, made-to- measure house but a modern version of it. What you are measured for is what you see during London Fashion Week and on the catwalk.

Read next: Exclusive interview with photographer Tierney Gearon 

LUX: Is there pressure to constantly produce new collections?
EW: A little bit. We used to design just two collections a year, for the fashion weeks in February and September. But this year, I have designed – I am the only designer, we don’t have a design team – six collections.

Clothing by Emilia Wickstead

Wickstead is known for the architectural cut of her garments

LUX: You started up six years ago. In six years’ time, where do you see the business?
EW: Everywhere! Stand-alone stores, stand-alone salon with made-to-measure areas, like we have on Sloane Street, and more variation within a collection. Since December we’ve had a slightly better infrastructure in our business model, whereby we have made key hires, and that’s been incredibly exciting, because it’s meant that we can build bigger collections. It also gives more scope in terms of accessories; also we worked with Matches and designed cotton dresses for them, which reached out to another group of clients; I had never done cotton dresses before. It was really different but still carried the Emilia Wickstead aesthetic, but it just meant that you could wear them in the south of France or Italy.

LUX: How do you balance being a mother with everything else that you do?
EW: I don’t really balance it very well [laughs]. I don’t think there’s any right answer to that. I think in what I am doing. I absolutely love it and I love my client base, which has some big supporters in it. It is always a nice surprise to see someone else really believing in your brand and wearing your clothes beautifully.

LUX: And finally… your style is dressy and also everyday. How does that work?
EW: What I always try to project is that an Emilia Wickstead piece, like a pair of trousers, shirt or a dress, dresses you up, but it’s a very effortless way of dressing. You put on that piece and you are dressed up, comfortably. It’s meeting the demands if you are a stay-at-home mother but if you want to look a little dressed up, or if you’re a workaholic and work five to seven days a week, it works as well. You can tap into anything in the collection, as there’s something for everybody. For example when we were styling our Spring/Summer fashion show last year the model had little gold hoop earrings, very little makeup, brushed back hair with little bits falling out at the sides and was wearing a piece with flat shoes. It goes to show that there is a way that you can make yourself look absolutely fantastic and feel great in your own skin with what you’re wearing. Emilia Wickstead can do that.

emiliawickstead.com

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Reading time: 13 min
Vilebrequin model cactus

Roland Herlory, CEO of luxury swimwear brand Vilebrequin continues our Luxury Leaders series. He speaks to LUX about Saint Tropez’s 1970s rock’n’roll lifestyle, the influence of social media and working in St. Bart’s

CEO of Vilebrequin

Roland Herlory

LUX: How would you describe the Vilebrequin lifestyle?
Roland Herlory: When you think about Vilebrequin, you think about holidays and fantasy. About having a good time, relaxing, and sharing privileged moments with your loved ones. Vilebrequin wants to make this feeling of “lâcher prise” last all year long. Our style is elegant but casual and fun at the same time.

LUX: In the fast expanding luxury market, is heritage still as significant?
Roland Herlory: Of course it is! We were born in St-Tropez in 1971. At that time it was just a little harbour where many artists and icons gathered. It was a time when carelessness was allowed and freedom was in the air. Brigitte Bardot , Gunter Sachs, Françoise Sagan  …They all met and had fun together. It was rock’n’roll at that time and Mick even married Bianca Jagger in St-Tropez in 1971. Now times are different, but Vilebrequin still claims its St-Tropez 1970’s roots! It is very important because no other swimwear brand has this kind of heritage and expertise – apart from probably  Eres  created in 1969. Most of our clients work throughout the year in dark suits. Its only during their holidays that they allow themselves humour and freedom. Vilebrequin’s expertise is this delicate fine line between elegance and the joy to play. This is part of our heritage and we will keep working around this. The secret about men is that they embody strength when they feel comfortable with their bodies. Only then, they wear green elephants or pink crabs with an ultimate, male allure. For me, this is the St-Tropez spirit of the seventies for which Vilebrequin is still a symbol.

Read next: LUX takes a VIP tour of the Monaco Grand Prix 

LUX: What makes a product truly luxurious?
Roland Herlory: Quality is restless. The characteristic of real luxury is to always strive for more. For our golden swimsuits, it was our Italian embroidering company that came up with the idea to work with threads of real gold. Now, there are 15 grams of pure gold embroidered onto these special editions, plus 2 sapphires for the ends of the cords. Half of the 80 pieces that were produced were sold out in a second.

LUX: What are the most challenging issues you face as a CEO of an international business?
Roland Herlory: We always need to evolve. We still have the same ocean vocabulary but we always need to reinvent our classic, with the iconic turtle becoming bubbly or 3D. We don’t follow fashion, instead we are guided by our technological advances. What makes the human hand also allows us to progress stylistically. Today, thanks to ink jet printing, we can reach qualities of unsurpassed delicacy on a fabric, which is nevertheless extremely difficult.

Read next: LVMH’s Jean-Claude Biver on the singleness of real luxury 

LUX: How do you balance business with pleasure?
Roland Herlory: I live 10 days each month in St Bart’s, but I’m not at the beach as often as one might expect me to be living in the Caribbean. Having lived in St Bart’s for 15 years, you tend to look at the beach in a different way to tourists. If you’re were on holidays there, you would probably spend the whole day at the beach. But I work there, even if people don’t believe me when they hear ocean waves in the background of a phone call. The rest of the time I live in Geneva and Paris, travelling from subsidiary to subsidiary. I am moving around a lot.

LUX: How has the rise of social media affected or influenced your business decisions?
Roland Herlory: Under the #Poolside365 this year, and #SummerAllYearLong last year, fashion and lifestyle bloggers presented their favourite pools on the Vilebrequin blog and social networks. The whole digital Mise en Scène is a trend that is represented by these bloggers. Tradition stays alive if you inject modernity. It’s a skill I’m well accomplished in, having been at Hermès for 23 years. Tradition can become a part of the past very fast. We need these bloggers to add part of the modernity.

Read next: Bringing back the sounds of the seventies 

LUX: You’re a pioneer facing increasing competition, how do you deal with that?
Roland Herlory: You have to keep on fighting to maintain the level or to improve something. For example, quick dry was a big challenge during the last two years. The new collection dries three times quicker – I don’t know if I should even be telling you this yet – but my dream is to make completely water-resistant swim shorts. We are working on it, with nano-technology . But I don’t want the competitors to know more. Fabrics that dry fast are easy to be found, but they are thin and technical. When you leave water in such a fabric it sticks to your legs. Bad for selfies…Our material is- thanks to an elaborate fabrication process and incredible expertise – the ultimate elegance. Wet or dry , the swim shorts keep their look. But still the easiest solution for the problem is a second pair of shorts: one for the water, one for the beach.

Commercial shot of Vilebrequin swimwear

Vilebrequin menswear

LUX: What are the most important developments for Vilebrequin this year?
Roland Herlory: Vilebrequin was created 45 years ago so for us, this is an age of maturity. We will open more shops in Asia and Australia. We have been developing accessories, including shoes and soon sunglasses. We grow at our own rhythm, step by step. We will continue creating more products.

LUX: How do you relax?
Roland Herlory: The best way to relax is yoga. Otherwise, when I am home in St Bart’s, on a beach at sunset.
vilebrequin.com

 

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Reading time: 5 min

For the launch of UP COLLECTION, luxury accessory designer Stefania Pramma teamed up with artist Sara Berman to create a playful installation of handbags and paintings, displayed for one night only in the colourful interiors of 5 Hertford Street’s exclusive nightclub, Loulou’s. Millie Walton spoke to the designer about her inspiration, Italian heritage and obsession with dogs.

Designer Stefania Pramma at Mayfair nightclub, Loulou's

Stefania Pramma

Millie Walton: How did your collaboration with Sara Berman come about?

Stefania Pramma: I met Sara through my sister who is an art collector and we just clicked. I love the colours and the sense of the humour in her paintings – they’re so beautiful – and so I asked her almost immediately if she could create something that’s not too pretty and not too perfect that would work with Pramma’s playful ethos. The paintings Sara produced are about gesture and moments, and are inspired, I think, by images I have of my sister and I with the bags in a cab in New York and also dogs… I love dogs! Pramma is really about the intimacy of the bag, the way you hold it, everything that it means to be a woman. That’s why I paid particularly close attention to the bags’ clasps – they’re more mechanisms than locks – you really have to think about how to open it so it feels secret and personal.

Read next: Chopard’s Caroline Scheufele on the consumer of the future

MW: What are the inspirations behind this new collection?

SP: I always want to create timeless pieces. The bags have a signature shape, and then the freshness comes from different textures. For example with this collection, I wanted to feature embroidery, but not classic, ladylike embroidery, something a bit cooler and unique, which is why I chose chain embroideries although its extremely difficult to do! I am also really inspired by architecture and geometry; the way the bag is constructed is very specific so it stands in a certain way and the handle has a certain shape so you feel elegant when you hold it. The bags need to be special, which is why I incorporate precious gemstones and jewellery, but not untouchable. These are sturdy, day bags, but feminine too, there’s a softness created through curves and smooth lines.

Read next: Leading auctioneer Simon de Pury on the enduring legacy of art

MW: How has your approach to design changed over the years and is that a reflection of the contemporary consumer?

SP: I don’t design for any specific type of woman. I design into an idea or something that inspires me. It’s not that I think okay there is a hip-hop or Boho trend and design around that – I could do my own version of it, but the inspiration for this collection and all my collections is fundamentally about the timeless of an object. Women want something that they can keep and that’s out of the ordinary. Its not about a particular demographic; I want the bags to be versatile so they can be worn in different ways and by different people.

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MW: Is it important to you that your bags are constructed in Italy?

SP: Yes and by craftsmen in particular, but its actually very difficult to find artisans nowadays because so many have closed down. It has changed so much in the past twenty years. When I started working in fine jewellery in Italy, there were lots of craftsmen but they were already old – sixty or seventy years old – and the young people didn’t want to work in a little artisan shop so many of them didn’t have the support to keep going. There has been such an abuse of the “made in Italy” label with people just putting in the last stitch in Italy, but constructing the bulk of the product elsewhere. I really wanted all of my products to be truly, completely and honestly manufactured in Italy even if it is more of a struggle to find the hands.

<a href="http://pramma site link.com” target=”_blank”>pramma.com

 

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Michael Wainwright boodle fine jeweller

Michael Wainwright is Managing Director and co-owner of Boodles, the British society jeweller, which has nine stores in London and its heartland of northwest England. Soon after the opening of the brand’s spectacular new flagship on London’s Old Bond Street, he spoke to LUX  as part of our on-going Luxury Leaders series, about Britishness, the retail experience, and possibly going to America.

Michael Wainwright co-owner of British brand Boodles

Michael Wainwright

LUX: What is the state of play for the luxury industry?
Michael Wainwright: Our business is less tied to the economy than you might think. We are more dependent on wealthier people who don’t lose their wealth overnight. My thinking these days, after years of economic crises, is fairly optimistic. The prognosis is pretty good for the luxury goods and jewellery sector. The world is a richer place than it has ever been and people will continue buying.

LUX: Boodles is the only significant British jeweller and one of the only family-owned ones anywhere. How important is that?
Michael Wainwright: Britishness is important to our business. British people like to deal with a British brand and our overseas clients love to deal with “Britishness”. British clients account for 75% of our business. Telling the British story is important for us, and also the family story: we are a family business, and maybe we don’t tell that story enough.

Read next: LVMH and Hublot’s leading man, Jean-Claude Biver on personalising luxury 

Refurbished Boodles store on bond street

The Boodles boutique on Bond Street

Mayfair Boodles store interiors

Inside the newly refurbished Boodles boutique

LUX: Are there disadvantages to being British?
Michael Wainwright: There are disadvantages to not being overseas. Lots of brands have presence in Hong Kong, Dubai and Paris. Clients see their brand everywhere; it’s a huge head start. But now there are quite a few Middle Easterners looking for more localized niche brands, which is an advantage for us. They don’t want a brand that is in every mall in the Middle East. Asians still are more about following the herd, but that will change.

Ring from the Raindance collection by Boodles

Raindance Ring

LUX: What are your views on e-commerce?
Michael Wainwright: Only one percent of our sales are e-commerce at the moment, which is not high, but it is growing fast. I think it has potential to reach four to five percent. Most people will want to experience the story, to touch and see things. Online is a very cheap sale, which is very profitable. But in a shop, you have the chance of making an add-on sale, you build a relationship. If a customer buys online, you may never see them again. It doesn’t build the brand experience. Relationships are absolutely fundamental to business.

Read next: British businessman, Javad Marandi talks investment philosophy and strategy

LUX: What’s the greatest challenge you face?
Michael Wainwright: The Walpole Group (the British luxury association) recently noted there are two hurdles to growing a business: one at £20m (annual turnover) and one at £80-100m. We are now at the second hurdle, we are a £80m turnover business. We don’t feel we can build to the next stage just by being in the UK. We are very involved in our business as a family and we have not yet really learned the art of delegation, which is what is required if you are overseas. We would need to pick the right partners for, for example, opening in New York or the Middle East. We would need to acquire those skills of delegation. It’s an interesting stage. These are big hurdles.

boodles.com

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LVMH President, Jean Claude Biver portrait image

With a billion people about to become luxury consumers over the next decade, real luxury will become more personal, more individual and more secretive. So predicts our columnist, Jean-Claude Biver, continuing our series on business philosophy and strategy 

LVMH President, Jean Claude Biver

Jean-Claude Biver

Luxury will always will be here. Growth will always be here. When people do better, they want to differentiate themselves, so the growth of luxury will always track economic growth.

But in the future we will have two different levels of luxury: accessible luxury, items that have an incredible image but an affordable price, and inaccessible luxury. This is the extreme luxury of people wishing to have something made for themselves or being completely different, being unique, saying, “What I have, you will never have”.

Accessible luxury will be huge: the middle class in China will develop to 500 million people, in India maybe 300 million, in Latin America around 200 million, so you will have a billion new customers in the next 20 years. This middle class will definitely go for the accessible luxury, but maybe 10 million out of this billion will want real luxury. That will comprise exclusivity, incredible quality, and uniqueness. And these two types of luxury will develop together. Luxury will be like a building with two floors – only a few people will go up to the second floor, while most people will remain on the first floor.

Read next: Leading auctioneer, Simon de Pury on the eternity of art 

The upper tier of luxury will be defined through exclusivity and also through the fact that it will adapt to the facets of made-to-measure luxury. These people want individuality, something made just for themselves. They want something that other people’s money cannot buy, because that’s the ultimate. You get access to something that normally money cannot buy, but you can buy it because you have the relationship and the contacts. That will be the extreme level of luxury, only for you, and to enable you to stand out from the masses and their accessible luxury. The way this extreme luxury is communicated will also change. It will be word of mouth, very discreet and only for the few who know. Like a secret: “Ah, you know this brand, wow, you belong, because you wear this shirt or this special tie or these special socks made in Rome.” The ultimate individualization of your person.

Model Cara Delevinge with Jean Claude Biver in Monaco

Jean-Claude Biver with Cara Delevingne at the TAG Heuer Yacht party during the 2015 Monaco Grand Prix

People will still collect, will always collect, but the problem with today’s goods becoming collectible is linked to the concept of eternity. If I collect a Ferrari that is from the 1980s or 1970s, that is a car that will enter eternity because whatever the new industrial revolution brings us, this car will comfortably be repairable. But modern cars, because they are not mechanical any longer, will not be repairable in 100 years because the microchips that control everything from the gearbox to the windows will be useless. That is why a Ferrari Testarossa (from the 1980s ) or a 275 GTB (from the 1960s) will still be collectible. Why should people collect what is due to die when they can collect what is due to become eternal? That’s why you can have an old Lockheed Constellation plane (from the 1950s) and it still works – you can fly with it! An Airbus A380 will not still be capable of flying in 50 or 100 years.

The opening of Hublot's second manufacture

(From left) Lapo Elkann, Jean-Claude Biver, Bar Refaeli, Esteban Gutiérrex, Pelé and Ricardo Gudalupe celebrate the opening of Hublot’s second manufacture in Switzerland

Luxury should be marked by eternity. Great art is eternal and there is nothing else made by humans that doesn’t die, just art. So that means luxury is eternity and luxury is art; and if you can create the eternal, you have the business of the future in luxury.

Read next: Chopard’s Caroline Scheufele on the young luxury consumer 

But accessible luxury is very different, a more competitive field where you have more marketing and illusions. But everywhere there is going to be a reaction to mass luxury. People will want more and more to be considered individuals. We all need to be treated like kings, to be treated differently, because we are surrounded by mass. Look at travel – that’s why people have a special area to check in when they fly first class, a special line for security, a special seat, special food and so on. People need to be treated differently because now everything is going mass.

In the area of accessible luxury, the same brands are adapting, they are comfortably innovating and comfortably renewing their offering and positioning so they stay current. They will adapt and survive. In accessible luxury, it will be more difficult for newcomers to enter the market. But in the area of higher quality luxury, we may have new artists and creators coming. Because it will be very personal.

Jean-Claude Biver is president of LVMH Watch Brands and chairman of Hublot. lvmh.comhublot.com

 

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luxury hand bags Moynat boutique

Guillaume Davin is CEO of Moynat, the uber-luxe leather goods brand established privately by Bernard Arnault as a rival to Hermes. Moynat is not part of Arnault’s LVMH group, and the brand is run as a boutique global atelier. In the second part of our series on luxury leaders, Davin, previously a Louis Vuitton veteran, speaks to LUX about conquering the East, and how to keep a brand’s mystique

CEO of Moynat, Guillaume Davin

CEO of Moynat, Guillaume Davin

LUX: Is Moynat a new luxury brand or an old one reimagined?
Guillaume Davin: Moynat is a House that is more than 160 years old, in which we have infused a new soul. We have been giving new life to a great name, staying focused and true to the essence and heritage of the Maison. This is not merely a renovation of what existed. The result is something that is true to our heritage but relevant to the present.

LUX: What is your consumer craving, that you provide?
Guillaume Davin: We create objects that contribute to fine living, objects which will become known for their craftsmanship, endurance, discretion, elegance and their innovative design rather than bowing to the trends of the day. A Moynat bag is of today and also timeless: always beautiful, always relevant. Moynat appeals to people who are independent in their tastes and choices and not influenced by fads, but looking for beautifully made objects.

Read more in this series: Interview with Javad Marandi, global investor

LUX: The luxury conversation has turned towards ‘experiences’. How does a purveyor of goods provide luxury experiences?
Guillaume Davin: When you enter a Moynat boutique, you discover a new world, you learn about natural leather and traditional techniques such as leather marquetry, angle stitching, wood sculpting, painting… We also feel that the purchase of a beautiful bag should be linked to a moment of your life, such as a memorable visit to Paris for example. Luxury is not just about the object you purchase but your personal connection to the brand and to the story that it tells. That is why we tell the story of our brand and of each product so that is becomes intimate and real for each of our clients.

LUX: Are stores still essential to the luxury experience?
Guillaume Davin: Our clients are looking for the human touch and are very attached to the service they receive. Our team is kind, friendly and passionate; they know our heritage, the leather, the craftsmen, our creative Director… they focus on building relationships and communicating our values. Our visitors can understand who we really are. You need to see our vintage trunks, touch the leather. The Moynat experience is very sensorial and cannot be fully transmitted in a virtual environment. Our products are quite sophisticated and one of our strengths is personalisation and customisation.

LUX: Your personal journey involves a deep understanding of Japan. How does Japan fit in the luxury world now that China is so dominant?
Guillaume Davin: Japan is a place where tradition meets innovation. The Japanese people respect tradition but love innovation: they actually hate change but love newness, a paradox! They protect their ancient crafts, ceramics, lacquer, textiles, woodwork, but expect the artisans to fuse modernity with ancient skills. It is a culture that has an eye for quality and a refined sensibility, which is a perfect fit for Moynat. China is often considered a newcomer to the luxury market, however our customers are just as discerning and sophisticated. We just opened our first boutique in Tokyo in March; it is as exciting to introduce Moynat to the Japanese as it is to bring Moynat to China.

LUX: What does it take to be CEO of a brand owned by your proprietor?
Guillaume Davin: Mr Arnault is a passionate explorer and a competitive entrepreneur. He decided to revive Moynat out of a “coup de coeur”. Moynat is a personal project for Mr Arnault, not a part of LVMH, so we are very different from the group in every sense, from size to way of functioning. Mr Arnault gives Ramesh the creative freedom to express his vision and Ramesh in turn challenges the craftsmen to express their talents.

LUX: Media and advertising has been so central to LVMH brands. Moynat stands apart – how do you do it and is it a challenge?
Guillaume Davin: We have been lucky to have clients who are have been our ambassadors. Their word of mouth has been the best and most authentic marketing tool that we could imagine. We use the best of social media (such as Instagram and Twitter ) to share our stories and life as a way of direct contact with our clients and friends.

hand bags by Moynat luxury boutique

The recently opened Moynat boutique on Madison Avenue in Manhattan

LUX: How do you see the climate for your products developing?
Guillaume Davin: We are seeing a return to the true meaning of luxury, where the product is invested with meaning and true rarity. Our clients are happy not to be just a cog in a machine, but to own something truly precious, authentic, timeless, historical, a product that requires time and patience.

LUX: What excites you most about opportunities going forward?
Guillaume Davin: We are growing in an organic way with total control on our manufacturing and quality. This is a challenge but also a great opportunity, to find new trends in social media to connect with people who share our vision of luxury and are looking for new, authentic experiences. We have to tailor the experience we offer to each market, and at the same time keep a common core that is constant and true to the spirit of Moynat.

LUX: What does your travel schedule involve? Why do you love doing what you do?
Guillaume Davin: Along with growth comes non-stop travel, which is exciting as well as exacting, because you can see the results of every decision on different markets. Each day brings its challenges, which is what keeps us passionate about our work. Being a marathon runner, I am in it for the long haul.

moynat.com

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Fair-mined gold jewellery by Chopard

As artistic director and co-president of Chopard, Caroline Scheufele sees it as her duty not only to keep the famed jewellery house’s A-list clientele happy, but also to have a vision of the consumer of the future. She tells LUX why provenance will be everything

Chopard's leading lady

Caroline Scheufele

The ultimate luxury is when you really know how your product was produced. I met Livia Firth (Colin Firth’s wife) in Los Angeles, where she was representing Eco-Age, and she asked me, ‘Where do you get your gold from?’ I said, ‘from the bank’, but the minute I answered, I knew what she was really getting at and I admitted that we don’t really know where the banks get the gold from. It is obviously from mines, but the set-up is not at all transparent or regulated, and it made me think.

We started working with the Alliance for Responsible Mining (ARM), who certified the first mine in Colombia as fair-mined – not fair trade, there’s a big difference. From A to Z the process is transparent; there are no kids working; the workers have a fixed salary; they have insurance. The mine is secure, and although they are still using mercury, they are doing so in very small volumes, always following the guidance set out in the fair-mined standard, which ensures that they’re not putting it in rivers or the earth when separating the gold from the stones, which is the most important issue. As a result, the village where the mine is located is clean for people to live in. It’s a really beautiful project. Recently, a second mine has been certified in Bolivia and there will be another one in Colombia, so things are moving forward. For three years now Chopard has been engaged in what we call ‘the journey’ to reaching our ultimate aim of using only fair-mined gold, but it’s not something you can accomplish in one day.

Read next: Interview with Javad Marandi, global investor 

Fair-mined gold jewellery by Chopard

Palme Verte pendant and earrings

Clients like the story behind the gold. The first piece that we were able to produce was a cuff worn by Marion Cotillard on the red carpet in Cannes, and immediately it was a tremendous success with the media and clients. We sold it the next day. Of course, it is also a beautiful design – that has to come with it. We then made additional pieces, one of which was worn by Cate Blanchett when she won the Golden Globe for Blue Jasmine in 2014, and my brother has recently unveiled the first fair-mined gold mechanical watches. The whole company is behind the project and has to be because we cannot mix fair-mined gold with the other gold – I like to say it goes through the company like a VIP customer.

The younger generation, in particular, seems to be more sensitive to where their products come from. It’s the same as food – when you buy a piece of beef you want to know that it’s really a piece of beef and nothing else. You want to know the whole story. This is a huge problem in fashion, of course, because workers are dying just so that a T-shirt costs five cents less. Fortunately, being more alert and aware of the planet, nature and saving energy seems to be on trend now – or, as we say in French, du temps.


Jewellery in general has become more democratic in the way you wear it and the way you mix colours and stones. Even men are wearing more jewellery now. The influence of social media definitely has a part to play in this – fashion bloggers and faster ways to communicate make it more of a movement. We’ve brought a lot of colour, for example, into the boutique collections like Happy Hearts, and there are lots of different shades and semi-precious stones set together. I think a lot of women like to have something colourful and light. It is so much more liberated than it used to be.

That said, at the highest price level I think people are still looking for something purer. The diamond will always be at the core. The high-end jewellery market is less affected by social media trends in that way. It is more intimate, people want to go into the store and see the quality. Whereas at the lower level, lots of pieces are now getting sold through online boutiques. For real luxury, people still like to get a physical feeling of the brand and be consulted, but when you’re living in a city where you don’t have a boutique and you want to buy a present, for example, that’s when online shopping becomes really useful and practical. Take China: the cities are so huge and there’s so much traffic that online boutiques save a lot of time. Also, people often go to the internet to get information first, visiting different websites of different luxury brands before they choose where they really want to go in person. We’ve got an online boutique in the US now and have just started one in the UK.

We are moving forward as fast as we can. My aim is ultimately to produce all the high jewellery pieces with fair-mined gold, and my brother wants to do the same with all the Luke Chopard watches. The ultimate goal would be for everything to be fair-mined gold.

chopard.com

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Léa Seydoux, the French star who’s conquered Hollywood and is the new face of Prada Candy, speaks to Caroline Davies about childhood, perfume and Nietzsche

Screen Shot 2015-03-28 at 18.29.20

Serious yet joyful, sleek yet dishevelled, Léa Seydoux is an elegant enigma. The actor is one of only three women to have won a Palme d’Or, has just been announced as the next Bond girl and is also the face of Prada Candy perfumes. Following the recent launch of the third fragrance in the series, Prada Candy Florale, and ahead of her role in 2015’s dystopian love story The Lobster, alongside Colin Farrell and Rachel Weisz, Seydoux spoke to us about her journey to the silver screen.

LUX: Were you a quiet child? Was acting an obvious path?
Léa Seydoux: Absolutely! I was a quiet child, but that is precisely why I decided to be an actress. I wanted to counter my shyness. As a child, I dreamed that I would become an opera singer; I don’t think I was predestined to have a quiet life.

LUX: Do you put your past experiences into your performances?
LS: I’m convinced there are no rules to follow when becoming an actress. Every path is personal. Learning from our own story is quite logical, as we have to put a bit of our life into the character played. However, it’s not always enough. Role- playing also involves being able to imitate reality.

LUX: How has your character in the Candy adverts evolved?
LS: Candy’s evolution is linked to the evolution of the fragrance. She has always been a very colourful and original character; she’s a very impulsive young woman who does what she wants, when she wants. I think that in the first film, directed by Jean-Paul Goude, Candy was more spoilt and rebellious, but now she’s grown up a bit and is more rounded as a character. With Prada Candy Florale, there’s a greater sense of freedom, lightness and sensuality that comes across in a sophisticated manner.

LUX: You’ve said that you find it difficult to be light on screen. How do you find the lightness to play less tightly wound characters like Candy?
LS: Candy is bold and light at the same time. It’s the contradiction that I find deeply interesting. That is what I drew upon when embodying that character.

LUX: Why did you want to work with Prada on this campaign?
LS: Prada is a brand that I’m particularly fond of; I feel very close to the spirit of the House. It’s a very singular brand, and very audacious.

LUX: What is your current fragrance?
LS: Prada Candy, of course! I love wearing fragrances. I use many of them. In general, I look for perfumes with a strong personality and lots of originality.

LUX: Does the perfume remind you of anything?
LS: The first time I experienced Prada Candy Florale I was pleasantly surprised. You feel like you’re being taken on a voyage into a world of flowers, a world that is in full bloom in spring.

LUX: How do you prepare for a role? Do you prefer directors who take control or leave you to find your own path?
LS: I really appreciate stage directors who are always attentive to characters but, more broadly, I can’t say that there is one better way to guide actors. Generally, I prepare myself in different ways; it depends on the role I am playing.

LUX: How do you view Hollywood in comparison to French cinema?
LS: There is a real and deep cultural difference between Hollywood and French cinema. Hollywood cinema makes me think of great epic stories and entertainment, while French cinema is based much more on realistic and intimate stories. French people are at the origin of the auteur film industry. “ose very peculiar specificities make both Hollywood and French films unique and complementary.

LUX: How do you choose a script?
LS: For me, the director choice is crucial as he is going to lead everything.

LUX: What is the best piece of advice you have ever heard about life and about acting?
LS: “Become what you are” – Nietzsche. It is the best piece of advice for both life and acting. It means that you have to look for your talent and then continually improve it. We are constantly evolving and changes in our life have a real impact on how we are going to play a role and vice versa. Today, I’m not the same actress or woman that I was yesterday.

prada.com/candy-florale

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Green Carpet Challenge - The brainchild of Firth has seen strong support from high-profile actresses

Green Carpet Challenge – The brainchild of Firth has seen strong support from high-profile actresses

What are the greatest challenges Eco-Age faces moving forward?

Each business we work with involves a different challenge. But this is what we do – we help companies undertake what could seem like a huge challenge and make it easy for them! Until last year no one would have thought it possible to connect a Gucci handbag with the cows in the Amazonian forest, and yet we made it happen. Or Chopard’s stunning earrings with the miners who dig out the gold in Colombia. These are processes which take time, but as Caroline Scheufele of Chopard always says, “Rome was not built in a day”!

Rodriguez & Bottletop - The bags are made from deforestation-free leather and recycled aluminium pull tabs

Rodriguez & Bottletop – The bags are made from deforestation-free leather and recycled aluminium pull tabs

What are the rewards?

Huge. Both economic rewards (to be a sustainable business means precisely this – to save money and become more agile) and social rewards – we all need to reconnect with the people at the beginning of the supply chain. This is what we strive to do at Eco-Age: help brands and businesses to establish this powerful connection.

How are businesses responding and adapting to sustainability challenges?

They are all trying to figure it out, but most importantly they all acknowledge we need to change. This is the first step to change. It is about future proofing a business, securing long term supply of consistent resources, both natural and human, and continually ensuring consumers that when they buy what you are selling, they are making a positive impact.

When clients come to us, we try to help them meet their sustainability challenges and then benefit from those improvements through business efficiency, secure supply chains, reputational benefits and ultimately, increased sales.”

eco-age.com

Campaign Ambassador - Supermodel Candice Swanepoel (left) is the face of the Rodriguez collaboration

Campaign Ambassador – Supermodel Candice Swanepoel (left) is the face of the Rodriguez collaboration

GCC Brandmark - Narciso Rodriguez worked with Bottletop Foundation on an eco-friendly range of bags

GCC Brandmark – Narciso Rodriguez worked with Bottletop Foundation on an eco-friendly range of bags

Industry Support - Firth’s work is backed by industry heavyweights such as US Vogue Editor-in-Chief Anna Wintour

Industry Support – Firth’s work is backed by industry heavyweights such as US Vogue Editor-in-Chief
Anna Wintour

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Online shopping may be thriving, but the world is awash with swanky boutiques offering indulgent fantasies of every type to the wellheeled and the dreamer synthroid tablets online. KARYS WEBBER picks some of the best

Chanel, Paris

chanel

For fashion lovers, no one tops Chanel of course, and while a visit to any of the iconic fashion house’s worldwide boutiques is a treat, for the most hedonistic experience it must be the Avenue Montaigne store in Chanel’s home city, Paris. A stone’s throw away from the legendary Coco Chanel’s old living quarters at Rue Cambon, the 600 square metre store, designed by Chanel’s resident architect and interior designer Peter Marino, is in fact partly inspired by Mademoiselle Chanel’s apartment, echoing the timeless modernity and elegance which epitomises the brand. Tweed wall panels, rock crystal chandeliers by Goossens, pearl embroidered curtains and Ingrid Donat coffee tables come together inside the store which centres around a theatrical double height space devoted to the most precious of accessories and exceptional pieces from the Métiers d’Art collections. Adjoining rooms offer up two spaces dedicated to watches, two to accessories, one showcasing shoes and a VIP salon, whilst the first floor houses the ready-to-wear collection. The classic Chanel colour scheme of pearly whites, glossy blacks, beiges and gold is as evident as ever with contemporary works of art from the likes of Idris Khan, Jean-Michael Othoniel and Mark Swanson thrown in for good measure. chanel.com

Harry Winston, Paris

harrywinston

Arguably the most hedonistic item to purchase, diamonds are of course a girl’s best friend and nowhere more so than at Harry Winston’s Shanghai Pavilion. The 80-year-old luxury brand, renowned for being the jeweller to the stars, opened the unique store in the prestigious XinTianDi district in 2012, designed with the aim of creating “an experience that was both intimate and monumental”, according to New York-based architect William Sofield. The freestanding boutique aptly shimmers like a jewel from the outside with much of the façade clad in zigzagging panels of clear and misted gold glass, and features a carved stone gateway (a reinterpretation of Shanghai’s historic Shikumen style). Inside, shoppers are greeted by a soaring two-storey oval atrium with a black and white marble floor that references the brand’s Fifth Avenue store. Chinese architecture and its shape-shifting approach to space is cited as part of the design inspiration and as a result few of the shop’s walls are set at right angles and no room is perfectly square, meaning the store appears to evolve before your eyes. Dedicated areas for the brand’s signature collections (such as Sunflower and Cluster) and the High Jewellery collections are each designed with individual materials and colour palettes to compliment the pieces. The store also features a custom-designed Bridal Bar and, for the first time, a designated Timepiece Salon complete with LED screens which display behind-the-scenes footage of the watch development. harrywinston.com

Gastón y Daniela, Madrid

daniela

Founded in Bilbao in 1876 and still owned by the same family, Gastón y Daniela is a treasure trove of textiles housed in a grand former mansion in Madrid. The store offers over 40,000 fabrics ranging from contemporary designs (like the new Uptown collection inspired by the use of geometric patterns between the 1930s and 1960s) to unique heritage fabrics from their extensive archives. You can peruse luscious silks, intricate brocades and rich damasks at your leisure whilst enjoying a cup of coffee or a glass of sherry (depending on the hour), which the staff will whip up for you. Alongside the swathes of tactile fabrics, the store also impeccably displays their own wallpaper designs, upholstered furniture and Persian carpets, making it a haven for interior design lovers. Plus, with plush sofas sat in front of fireplaces and a beautiful private garden accessible via the sitting room, you’d be hard pushed to find a more pleasurable retail experience. gastonydaniela.com

Fortnum & Mason, London

fortnum

One of London’s most iconic and oldest emporiums (and not to mention grocer to the Queen), Fortnum & Mason has been a foodie favourite since it was established over 300 years ago, when it was famous for offering up exotic delicacies from around the world. The quintessentially English store (it stocks over 200 varieties of tea if you were in any doubt about its British heritage) sells everything from cheeses and preserves to macaroons and fudge in its vast food hall, which spans two floors connected by a grand spiral staircase. Gourmet gift hampers are Fortnum & Mason’s forte with signature hampers including the ‘Mayfair’ and ‘West Country’ although bespoke versions can also be stashed with an array of sweet or savoury treats like champagne truffles and beluga caviar. The store also houses five restaurants across its seven floors including the 1707 Wine Bar (named after the store’s foundation year), designed by David Collins, where you can order any bottle of wine from the extensive collection in the adjacent wine department for just a £10 corkage fee. Alternatively, head to The Parlour on the first floor for a naughty Knickerbocker Glory. fortnumandmason.com

Alfred Dunhill, London

dunhill

Alfred Dunhill’s flagship store (or ‘home’ as the brand likes to call it) is a former Georgian mansion in the heart of swanky Mayfair, which was previously the residence of the Duke of Westminster. The British luxury label has been dressing the most discerning gentlemen with their exquisitely crafted goods for over 100 years and everything from leather brogues to silk pocket squares are available over three spacious floors, alongside a bespoke tailoring room for custom-made garments. Not just an impeccable shopping experience however, the grade II listed building also doubles up as an exclusive members club with other on-site offerings including a marble-clad spa and an intimate, traditional barbers where men can treat themselves to a classic wet shave. The Cellar Bar meanwhile serves up a perfectly spicy Bloody Mary as well as providing the food for the charming courtyard restaurant. Plus, for film buffs bored of the generic multiplex experience, there’s a luxurious subterranean private cinema room, equipped with the finest visual and audio equipment from Meridian, which is available for hire. dunhill.co.uk

Bijan, Beverly Hills

bijan

Unashamedly billed as “the world’s most expensive store”, Bijan is an exclusive appointment-only boutique housed in an extravagant Mediterraneanstyle palazzo on Beverly Hills’ famous Rodeo Drive. Founded by Iranian designer Bijan Pakzad in 1976 (though now run by his business partner Dar Mahboubi since Pakzad’s passing in 2011), Bijan is predominantly a menswear store offering ‘one of one creations’ of the utmost opulence and finest quality (a coat made out of vicuña wool for example, the rarest and most expensive material in the world, for an eye-watering USD 15,000). The store counts the most powerful men of politics and fashion as clients, including Presidents Ronald Reagan, Barack Obama and Vladimir Putin and designers Oscar de la Renta and Tom Ford. Alongside fashion, Bijan is also known for its perfume range (currently consisting of 14 unique scents for both men and women, all contained in elegant Baccarat crystal flaçons) and custom-designed accessories with past requests including bulletproof lined jackets, chinchilla bedspreads and, naturally, bespoke yacht and private jet accessories. The last and most lavish string to Bijan’s bow however is luxury supercars, born out of Pakzad’s personal passion for them, which has culminated in a series of limited edition and highly bespoke Rolls-Royce and Bugatti Veyron cars being designed exclusively for the store. bijan.com

Lane Crawford, Greater China

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Originally a provisions trading post for the navy in 1850, Lane Crawford is today a benchmark for innovation due to its retail concepts and design. Spearheading retail indulgence across the region since the 70s, the retail mogul brings the world’s most luxurious and coolest brands to Hong Kong, Beijing, Shanghai, and soon to Chengdu. With more than 602,000 square feet of prime real estate across five stores in three of the world’s most expensive cities, Lane Crawford doesn’t have branded shopin- shops like many other department stores but instead whisks its Louboutin-clad customers across its meticulously curated displays – much like reading a magazine from cover to cover. Clean-cut, contemporary and sleek, the stores house menswear, women’s wear, beauty, homewear and even a dedicated music bar where patrons can order complimentary coffee while sampling the world’s newest tunes on iPods. Oh, and the next time you’re looking for that perfect gown or clutch, you might want to check in and ask for the collection that won’t be shown on the racks. lanecrawford.com

Roja Dove, Harrods, London

roja

Offering a welcome respite from the never-ending stream of mass-market fragrances, esteemed master perfumer Roja Dove (regarded as the ‘connoisseur’s connoisseur’) creates scents that are full of emotion, sophistication and ‘grounded in memories of love’. At the Roja Dove Haute Parfumerie, nestled in a hard-tofind enclave of iconic department store Harrods, scent is regarded as powerfully evocative and incredibly personal. Customers seeking true fragrance fulfillment can embark upon a unique journey to ‘unlock their perfume personality’ in the intimate space which is lavishly decorated with mirrors and black lacquer furniture. If you don’t fancy the completely bespoke service however, elaborate crystal decanters containing pre-made Roja Dove fragrances are still created using the finest and rarest raw materials in the world including Jasmine de Grasse and Rose de Mai (both from the South of France and more expensive than a gold bullion). The store also offers Mr Dove’s own personal edit of the most luxurious fragrances from other renowned perfume houses including Guerlain and Clive Christian (the latter famous for producing the world’s most expensive perfume, the Clive Christian No. 1, the bottle of which was decorated with diamonds and cost a whopping £115,000). rojadove.com

Level Shoe District, Dubai Mall, Dubai

levelshoeDubai doesn’t often do things by halves so it’s no surprise that the cosmopolitan city boasts the world’s largest shoe store, within the world’s largest shopping centre. The Level Shoe District is 96,000 square feet dedicated purely to luxury footwear and is home to over 250 brands, of which, over 100 are exclusive to the region and 40 are stand-alone designer boutiques. To avoid overwhelming shoppers with such a vast shoe metropolis, the store is divided into four more digestible sections: Women’s Designer, Women’s Contemporary, Men’s and Trends, with each quarter designed with its own distinct aesthetic and ambience. Among Women’s Designer – a chic boudoir-esque space with gilt birdcages and a powder pink colour scheme – you’d be hard pushed to find an international designer brand missing with everything from Valentino and Louis Vuitton to Miu Miu and Alexander Wang elegantly displayed. Women’s Contemporary meanwhile features the more cutting edge, up-and-coming luxury designers like British exports Nicholas Kirkwood and Sophia Webster. Men have everything from Berluti to Oliver Sweeney at their fingertips as well as concept store The Cobbler, which is designed like a gentleman’s club and offers traditional shoe repair and a bespoke service workshop. On top of this, visitors who are exhausted after a hard day’s retail therapy can indulge in a treatment at the Sole Lounge by Margaret Dabbs (the renowned celebrity podiatrist’s only foot spa outside the UK) or treat themselves to high tea at the region’s first Vogue Café, which is decorated with iconic photography from the fashion magazine’s archives. levelshoedistrict.com

Hajenius, Amsterdam

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Housed in a historic Art Deco building on Amsterdam’s Rokin boulevard since 1915 (though the company dates back to as early as 1826), the renowned House of Hajenius is widely regarded as one of Europe’s leading cigar houses. With the interior remaining virtually unchanged since Hajenius’ inception, cigar aficionados are greeted with a remarkable backdrop of fine Italian marble, oak panelling and colossal chandeliers that date back to a time when Amsterdam was still lit by gas, before so much as a whiff of a tobacco. Venture further in and the finest selection of cigars are available, from Hajenius’ own brand to an entire room dedicated to Havanas as well as cigars from Sumatra and Brazil, plus smoking accessories ranging from lighters and cigarette holders to handmade clay and ceramic pipes. In addition to the retail aspect, the grand building also houses an exceptional walk in humidor that features a richly decorated vaulted ceiling – the doors are activated by a key fob held by staff members who screen entrants – and regular cigar and whisky tasting evenings are held at the venue. hajenius.com

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Reading time: 10 min
The business model proves how important close bonds are to achieving success

The business model proves how important close bonds are to achieving success

For family-run objet d’art purveyor and producer Lotus Arts de Vivre, it is all about relationships – and not just within the family. YUEN LIN KOH catches up with the von Buerens

Their sprawling family home, hidden in the high-rise jungle of Sukhumvit 23 district of Bangkok, has for decades been a sanctuary for travellers from near and far. Rolf von Bueren, now 73, a prominent industrialist who arrived in Thailand from Germany in 1962, and his wife Helen – also of the same age and of Thai and Scottish parentage, are the hospitable couple who lavished dinners and parties on friends visiting Thailand from around the world. Witnessing and interacting with a cosmopolitan mix of guests passing through their doors as young children, elder son Sri and younger son Niklas von Bueren – the second generation of the family – perhaps understand better than anyone else that the world, huge with different and divergent cultures, can also be very small.

After all, the von Buerens were as cosmopolitan as it gets for a family living in Thailand during the sixties. Despite being seen as foreigners, given their European blood, they embraced traditional Thai culture with fervent passion. Their home, sitting on grounds purchased by Helen’s family close to a century ago, is a vision of classicism. Nine hardwood houses with soaring peaked roofs and generous wooden decks rise from the verdant 1.5 acre plot, and are connected by a maze of wood and stone paths meandering across a garden lush with tropical flora. When locals were looking to shed that heritage while they were moving forward with times, Rolf embraced it as someone enthralled with this new culture he was experiencing. The Catholic later even converted to Buddhism. His passion for Thai culture – which is passed on to his children and distinctly showcased in Lotus Arts de Vivre pieces – makes the von Buerens perfect ambassadors of the graces of the Thai culture. Yet at the same time, they are also familiar with the fashions and aesthetics of the European culture.

Sri and Niklas’ cosmopolitan views and tastes were also nurtured through their many journeys around the region. “We were always travelling to Indonesia, India and other destinations all around the Asian region even before they were fashionable,” recalls Niklas, now 41 years of age. “Father of course, was the disciplinarian. But the most valuable thing he taught us was curiosity. He has a curious mind and is always interested in art and culture, and would constantly be making us learn and enjoy other cultures, be it trying new things, eating new foods, visiting temples… All that learning was quite boring when we were young, you know, but today we know that this curiosity is the root of all of Lotus Arts de Vivre’s new developments.”

This galuchat (stingray leather) elephant stool has a touch of silver sterling to make it shine

This galuchat (stingray leather) elephant stool has a touch of silver sterling to make it shine

For the benefit of the uninitiated, Lotus Arts de Vivre – though with a history of just 30 years – is one of the most revered names in the niche jewellery business of producing one-off pieces. In fact, it is one of the largest producers of single-piece jewellery in the world. Their statement pieces, adorned by members of high society and royalty alike stretching from Palm Beach and New York to London and Cannes to Beijing and back to Bangkok, are sought after worldwide. Elizabeth Taylor, Gore Vidal and even Gianni Versace are just some personalities who have fallen under its spell.

Each unique piece is inspired by nature and crafted from a fantastical combination of wonderous materials – from humble coconut shell to innovations of gold-fused glass, from sparkling diamonds, rubies and emeralds to iridescent scarab wings. Sumptuously textured, riotously colourful, outrageously glamorous and exquisitely graceful, they are pieces not to be carelessly worn by all and sundry. With the pieces from Lotus Arts de Vivre, you have to carry it with all your personality, lest it outshines you.

They are also producers of fantastical homeware – ranging from gold-leaf and lacquer-lined ostrich egg containers and black onyx and silver toothpick holders in the form of a miniature porcupine, to stools clad in stingray skin and a magnificent mahogany eagle that took 17 artisans and more than a year to carve and cast with 99 pounds of sterling silver.

For all its sophistication, Lotus Arts de Vivre has amateurish beginnings. It was set up as a mother’s way of keeping herself busy when her children had left the country to study abroad. Though of course, the von Buerens didn’t just set up a shop at any place; they placed themselves strategically at what is now the Four Seasons Bangkok. It was 1983 and the hotel, then the Bangkok Peninsula, was the place for anybody who is anybody to see and be seen. “My father encouraged my mother to start the first shop through selling pieces that have been purveyed and collected through their travels. But my mother is not a businesswoman – if anything, she didn’t want to carry on with this!” reveals Niklas.

Abalone Shell Bowl - The sterling silver grasshopper features onyx stones for eyes

Abalone Shell Bowl – The sterling silver grasshopper features onyx stones for eyes

Even though he and his brother were sent to boarding school in the United Kingdom when they were about 10-years-old, it is clear that unbreakable bonds with the family have been fostered even in their tender ages. Without the slightest bit of pressure from their parents, both Sri and Niklas eventually joined the company, in their own time. Sri, now 45, went on to study gold and silversmithing after his studies in the United Kingdom. “It was after I returned that we started our own jewellery workship; it then slowly morphed into a retail business. It was really run very much as a hobby until about 10 years ago, but a lot of the philosophy still stands, in that it is inspired by travel around the region, by places such as China, India, Japan, Indonesia and of course, Thailand.”

Niklas himself went to business school and entered the banking industry upon graduation. Spending four years in the finance industry, he saw the family operation very differently. Where others saw exoticism, he saw Unique Selling Points. Joining the company in 1998, after the economic crisis, he made it his mission to market the brand globally in a time when Asian aesthetics were not widely appreciated.

Together, the brothers injected new vigour into the company and created a brand – a name known today for its inimitable style that applies delicate, time-honed traditional craftsmanship to bold, innovative designs from a distinctly young spirit.

Through exhibitions, events, dinners – each month sees an average of two events, one held in Bangkok and another internationally – and naturally, their personal connections, the von Buerens keep their global audience enthralled with their unique sense of style. It’s a work that sends the entire family to different parts of the world: as Niklas speaks to us from their home office in Bangkok, Sri is at Mozaic Beach Club, one of the two boutiques in Bali where their pieces are sold – and attending Jeremy Irons’ Indonesian screening of his environmental documentary, “Trashed”. In the meantime, Rolf and Helen are in Europe talking to a carpet purveyor for their other retail business, Theatre of Indulgence, before moving off to London for an exhibition with Couture Lab, an impossibly chic retailer of exquisite luxuries, founded by Carmen Busquets, previously a major investor and board member of Net-à-Porter.

Dragon Ring - A key symbol of Chinese mythology, this dragon features diamonds, citrine and pink tourmaline

Dragon Ring – A key symbol of Chinese mythology, this dragon features diamonds, citrine and pink tourmaline

But their work is not just about spreading the word. It is really all about the pieces they produce. “Over the last 30 years, we have probably created some 10,000 pieces,” shares Niklas. “We are in the midst of doing a large format coffee table book, and in the process have spoken about our favourite pieces – as it turns out, some of the pieces dearest to each of us are custom orders for our clients. These pieces are special to us because there is a sentimental story behind each commission, and each piece holds a profound meaning for them. To us, the profound meaning comes from the fact that these people have entrusted us to create this for them.

“Our pieces are predominantly one-offs, 50 to us is a big number. Each piece – even those that are not bespoke – has a story behind it.”

And it’s not just a story of the wearer that it tells. Working with Her Majesty Queen Sirikit’s SUPPORT Foundation, Lotus Arts de Vivre collaborates with silk embroiderers of Thailand. The von Buerens family also takes years to cultivate relationships with master craftsmen such as a Chinese cinnabar lacquer artist based in a place five hours outside of Beijing; maki-e painters in Noto, Japan; and even Indonesian ivory carvers, now preserving their skills through carving coconut shells. Each meticulously crafted piece is a many-fold story of traditional craftsmen from Asia, each lending his unique touch to the piece, and in turn, leaving a little piece of his own story in it.

Each piece also tells very much a story of the von Buerens – their taste for Old World charms, their rich globetrotting life, their all-embracing spirit, their sense of wonderment. Their principle of being true to themselves extends to beyond the immediate family, now expanded with Niklas and Sri becoming fathers themselves. This is because every patron, every craftsman and everyone from the team of over 200 is considered family. Niklas for one is quick to declare that theirs is not a closed operation limited by blood ties – kindred spirits who hold the same values are also welcome to join them in Lotus Arts de Vivre’s journey into the future.

“It is the network that we created over the 30 years which has opened us to business opportunities – it’s an interesting way to move forward. We never really plan to go into something, we just naturally go into it because our customers were looking for these services or products.”

And perhaps therein lies the beauty of keeping things in the family. The brand isn’t developed – it is nurtured; the company isn’t developed, it grows organically. Certainly there are challenges to working with family members – even staying under the same roof can be a trial for some of us – but for the von Buerens, the pros outweigh the cons. “And it allows me to spend more time with my kids!” beams the usually-stern Niklas. And that alone, for anybody who understands the joy of a family, is priceless.

lotusartsdevivre.com

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Reading time: 8 min

London Fashion Week is an increasingly unmissable item on the global style calendar. With the help of Tom Ford and friends, DARIUS SANAI celebrates its unstoppable rise

For decades, it was a curious anomaly. London, the creative hub of the globe, the capital of the country that gave the world Alexander McQueen, Dizzee Rascal, The Clash, Damien Hirst, Jonathan Ive, Michael Caine, Vivienne Westwood, Anna Wintour, The Beatles, Corinne Day and Jessie J, had no fashion industry to speak of.

There were plenty of brilliant designers – who, like McQueen, were snapped up by big houses from Paris or Milan or New York, because that’s where the industry and the money was, and where the shows were. London was somewhere you went when the fashion shows were over.

Wander through the shows and the parties at London Fashion Week this February and you would be forgiven for wondering if London, not Paris or Milan, is now the engine of the global fashion industry. The shows – scattered around the centre of a city so bursting with creativity that Fashion Week is always just one of lots of things going on simultaneously – have an energy, panache and confidence that looks sharply to the future. Parties are not just attended by the requisite beautiful, glamorous and wealthy, and the nowmandatory celebs (from A to G list, depending on the party) but by aneverrotating phalanx of creative types who make their own fashion, sometimes literally. London has the buzz: Paris, immediately afterwards last September, felt a little sedate by comparison.

The numbers don’t lie and despite the tide of brands showing in London, Paris and Milan are still the fashion industry powerhouses: London is still dwarfed in terms of its commercial clout. But for creative buzz allied with a rising commercial significance, London, once ignored, is now a destination.

What catalysed the change? Alexandra Shulman, Editor-in-Chief of Vogue in the UK, tells me, “London Fashion Week is an example of how successful something can become when you can combine great talent with first rate organisation and support. British designers are currently playing a major part in the international fashion world and the collections they are showing are both inspiring and successful on a commercial level.”

Meanwhile Tom Ford, the thinking man’s style guru, and a designer who made significant waves when he decided to show in London, says, “I am so happy to be showing my menswear and womenswear collections in London. It is one of the most influential cities in the world for fashion. The design schools are exceptional, and the street style and youth culture have started some of the most important global trends ever. My design studio is based in the UK and I am pleased to help support the British fashion industry.”

But you don’t need to take their word for it: just wear it instead. London doesn’t have a constricting style; Erdem, Simone Rocha, Nicholas Kirkwood, Burberry or Tom Ford? All of them? Or get a ticket to a show or a party: at the last LFW in September, I bumped into Erin O’Connor, Poppy Delevingne, Roland Mouret, Antonio Berardi and Philip Treacy at the Claridge’s ‘preparty’, amid a buzz of anticipation rarely seen anywhere else in the world. Meanwhile at the Browns Focus party the next day, where the high-octane mood was fuelled by high-octane tequila cocktails, the guests were not famous, just brilliantly and creatively put together, a perfect walking, dancing uber-street-style Instagram. A hop and a skip away at Longchamp’s dazzling opening party, Kate Moss, Georgia May Jagger, Lily Cole, Mick Jagger and Otis Ferry created a kind of pop-up Studio 54 on Regent Street.

London has always known how to party. Now, everyone’s paying attention.

londonfashionweek.co.uk

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Reading time: 3 min

It’s the combination of history, hospitality and a superb location in the heart of South Kensington that makes Cranley Hotel the ideal home away from home in London. Explore the neighbourhood with ANDREA SEIFERT

There are few hotels that make you feel instantly at home from the moment you set foot through the door, but The Cranley is one such place. Tucked away on Bina Gardens, a quiet side street in elegant, historic South Kensington, it is an intimate hotel more akin to a friend’s grand home. It is perfectly placed for exploring the myriad of charming shops, legendary auction houses and world-class museums that the area has to offer.

Distinctly British, with the nostalgia of yesteryear evident in the classic fit-out of antiques, grand oil paintings and gilded mirrors, The Cranley is comprised of three intimate Victorian townhouses that date back to 1869.

Each of the 39 well-appointed bedrooms is comfortable. The focal point of mine? A Beaudesert four poster canopied bed with handstitched Irish linen – certainly a decadent cocoon to slip into at night. Modern amenities are not forgotten – a contemporary limestone bathroom houses Penhaligon’s toiletries and all rooms boast LCD flat screens and complimentary WiFi.

The inviting sitting room with its Regency blue palette is a relaxed setting to indulge in the champagne and canapés that the hotel serves each evening. During winter, sink into an armchair and enjoy the roaring fire. The terrace is heated, but I had the luxury of languorous mornings in the sunshine with numerous cups of tea and freshly baked pastries.

The Cranley is well-served by Gloucester Road station just a few blocks away, and the shopping areas of Knightsbridge and Kings Road are also close by. But for those who would like to really feel like a local resident, the staff can let you in on the gems that are but a few steps away.

You really don’t have to venture far to enjoy the riches of London; you’ll find a vibrant neighbourhood teeming with things to do, right on your doorstep. Read on to explore some of the highlights

EVOLVE WELLNESS CENTRE
Holistic Healing

london1I try to maintain a consistent yoga practice whilst on the road, and a brisk eight-minute walk to a dear little leafy mews off Old Brompton Road brought me to Evolve Wellness Centre. A vine-clad façade opens up into a tranquil haven from the busy London streets. Evolve offers not only superlative walk-in yoga classes and Pilates instruction, but also integrative holistic medical therapies. Acupuncture, massage, craniosacral therapy and osteopathy by well-regarded practitioners are heaven-sent for weary travellers.
evolvewellnesscentre.com

NATURAL HISTORY MUSEUM
Science and Nature

Take in nature’s wonders at this impressive free museum: there are over 70 million specimens to view from botany, entomology, mineralogy, paleontology and zoology. The Diplodocus dinosaur model and colossal 1,300-year-old sequoia tree are worth the visit alone, but one should also explore The Vault, home to extraordinary treasures, gemstones and meteorites.
nhm.ac helpful hints.uk

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© Trustees of the Natural History Museum, London

HEXAGON CLASSICS
Motoring Marvels

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Car buffs will enjoy a visit to this fine showroom, exhibiting vintage racers and roadsters. Established in 1963, Hexagon has a storied 50-year history in car dealership, having traded just about every type of fine motor. They also deal in historic racecars and truly exotic models such as the Aston Martin DB4 Zagato, DB3S Coupé and the Ogle-designed Aston Martin DBS V8. Hexagon can source rare models, restore them and ship internationally.
hexagonclassics.com

AUX MERVEILLEUX DE FRED
Pastry Perfection

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Frédéric Vaucamps’ London outpost of this decadent homage to the meringue is a veritable parlour of sugary sin. His creations come in six flavours and three sizes, beautifully displayed underneath a gleaming counter. The eponymously named Merveilleux consists of a marvelously more-ish meringue base, encapsulated in lightas– air chocolate whipped cream and hand-rolled in shavings of dark chocolate. Enjoy your treats alongside a cup of coffee or tea. So simple and yet so divine.
auxmerveilleux.com

THE LIBRARY
Menswear Chic

Peter Sidell is the owner of this luxury multilabel menswear boutique. He has an exacting eye for selecting edgy threads, and this is a good thing for the fashion-forward gentleman customer. Expect heavy weights like Alexander McQueen, Saint Laurent Paris and Lanvin alongside cult labels Carol Christian Poell, LGB, The Label Under Construction, Lost and Found, Lumen et Umbra and many others. They also carry a selection of accessories, shoes and books, and a small women’s range.
thelibrary1994.com

STAR OF INDIA
Upscale Indian

Feast like a Maharaja at this world-renowned Indian stalwart. The family-owned restaurant has been going strong since 1954, attracting a loyal following of locals and visitors alike who come for their favourite dishes from all around India. Light and crispy poppadums, tangy chutneys, fiery curries and sizzling tandooris are on the menu alongside a good wine list. The ambience is cosy with an Italian-style frescoed ceiling complementing an otherwise simple décor in slate grey and earthy, muted beige.
starofindia.eu

BUMPKIN
Brit Bites

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The rustic environs of Bumpkin channel country-chic, with the open-plan kitchen adding a convivial and relaxed atmosphere to the Brit-centric eatery. Their seasonal menus use only the freshest of UK produce sourced directly from farmers to ensure sustainability and quality. Enjoy quintessentially British dishes like lightly spiced cured Highland venison with beetroot relish and foraged leaves, british beef pie, award winning English cheeses and sticky toffee pudding. Beverages are similarly patriotic – try Bumpkin’s house ale brewed in Kent.
bumpkinuk.com

SLIGHTLY FOXED
Rollicking Reads

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With the advent of the digital age, bookshops large and small have been under pressure. That makes a place like the Slightly Foxed bookstore even more special. Luckily there are enough bibliophiles that agree. What could be better than browsing the shelves of antiquarian, out-of-print and secondhand tomes for hours on end? There is also a curated selection of new reads, and “The Sly Fox”, their resident bookworm and literary advisor is available to answer all your bookish questions. Email him at [email protected].
foxedbooks.com

CHRISTIES
Arty Endeavours

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Founded in 1766 by James Christie, the world renowned private sales and auction house has enjoyed an illustrious reputation for dealing in all areas of fine and decorative arts, jewellery, photographs, collectibles and wine. Over 450 auctions in more than 80 categories are held here annually. Prices range from a prosaic $200 to a cool $100 million. Don’t let that put you off though. Browse the lovely South Kensington showroom for a slice of history and you just might see a thing or two you’d like to bid on…
christies.com

ECLIPSE
Lounge Lover

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This mainstay of the South Kensington bar scene is not the newest kid on the block – far from it – but it has maintained its reputation as a happening spot. The bijou, dimly lit art deco setting is perfect for pre- or post-dinner sips from a stellar cocktail list. Later, adjourn to their subterranean club for a gander on the dance floor. It also happens to be right opposite The Cranleyvery handy for stumbling home.
eclipsebars.com

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Reading time: 5 min
Mother and Daughter Olivia (left) and Andrée shared similar design sensibilities

Mother and Daughter Olivia (left) and Andrée shared similar design sensibilities

Head to central Paris and you might just catch a glimpse of Olivia Putman. CAROLINE DAVIES speaks to the designer who left her partying past behind her and became a highly respected interiors guru

“I was very wild,” Putman says. We are sitting in the French designer’s apartment and show studio overlooking Place de la Madeleine, the thrum of traffic muffled to a distant hum by the heavy cream drapes and no doubt rocket proof window. In here, amongst the elegant, clean-cut furniture, the Lalique chandelier and in the company of the composed Putman, the hectic streets of Paris seem another world.

Putman is the head of Putman studios, considered to be the epitome of clean, French product and interior design. The studio was established in 1984 by Putman’s mother Andrée Putman, a fiercely glamorous designer, known for her straight posture – she was said to have appeared as though she were always walking a tightrope, the result of a bike accident at 20 – and her flawless taste.

Images of Putman (junior) in her early 20s show a bright young thing of the Parisian artist set; A Bardot-style sweep of brunette hair, a careful flick of black eyeliner and immaculately worn Breton striped tops. Today, she is dressed sharply in a black pencil skirt, white shirt and a well-chosen lipstick that compliments the splash of her red sole Louboutin shoes. It is an unsurprising choice of accessory. Christian has been her partner in crime for over three decades. “We were bad little boys and girls,” says Olivia.

“We went out a lot. I met Christian at La Palace, a night club in Paris. It was an incredible place where you could bump into Yves Saint Laurent and Andy Warhol. At that time, there was no VIP area, it was just a melting pot. There were no rules about whether you should dare speak to anyone. True, we were very young, which makes things easier because you aren’t shy about anything.

“We used to go shopping in the flea markets in Paris for old shoes; he wouldn’t care if there was only one shoe, which I always thought was stupid. We went to Morocco when we were 15 with no money. I was so wild that I was put in boarding school for a year and a half on Bexhill-on-Sea. I learnt to appreciate authority there, it gave me some security.”

Today Putman’s mane may be tamed, but she still has a gleeful twinkle about her. On returning to Paris, a reformed 16-yearold, she finished school and studied History of Art at the Sorbonne. She spent a few years transforming old buildings into artist studios before she decided to follow her passion for horticulture and trained as a landscape gardener, a pursuit she owes to Christian.

“I was Parisian; I didn’t realise you could plant a little thing in the ground and it would become big,” she says. “Christian showed me that. He and I toured England looking at the wonderful gardens there.”

Putman’s skill took her around the globe, but she eventually returned to Paris in 2007 to become the Art Director of Putman Studios.

“I have no interest in going back to landscape gardens,” she says. “Today, I am more impatient. Even now, about 20 years after I designed my first garden, I still don’t think I have seen a garden as I hoped it could be. It takes time. It did teach me some patience. You can’t have a garden within an hour.” Putman continued to work alongside her mother for a couple of years. Andrée died in January 2013, aged 87.

“She wasn’t the cold woman you believe she might have been if you look at photos. She was warm and funny. We had a wonderful relationship. She left me to be free. Even at the age when you rebel in a dramatic way, she was free enough to think it was great to have someone expressing themselves as they wanted.”

Anything Putman did could hardly have surprised or shocked her mother. In her 20s – in an act of self-discovery – Andrée stripped her room bare, furnishing it with an iron bed, a chair, white walls and a Miro poster on the wall. Possibly one of the few minimalist acts of youth rebellion.

Elegant Lines Nina Ricci’s L’Air du Temps perfume is an example of Putman’s inclination for timeless design

Elegant Lines Nina Ricci’s L’Air du Temps perfume is an example of Putman’s inclination for timeless design

“We used to think we had very similar sensibilities,” Putman says. “I prefer timeless design, not creating something that no one has ever seen before. That was something that my mother believed. She didn’t think you should be revolutionary. She thought that people who wanted to invent something entirely new were daydreaming because everything is almost nearly discovered. You have a wonderful vocabulary of forms and things that are already available and you can express yourself through that rather than think you can create an entirely new way.”

Putman’s work with Nina Ricci for the L’Air du Temps limited edition bottle is a good example. The swirling edges have been striped with blue, as have the entwined doves on the bottle top. It is clean, elegant and unobvious.

“It is a very simple addition, very subtle,” she says. “But it makes a difference. I tried other more complicated designs, but ultimately it was the simple one that worked the best.” Rather sweetly, this perfume is also the first Putman was given by her husband and the one she wears today.

“I like perfumes that have a floral smell. I was always aware of making scented gardens. You have 200 roses but only a few that smell incredible. Why bother with ones that don’t smell at all? I think flowers are the most magic, most natural perfume.

“In France this is the first perfume for a lot of girls. It’s important for many people, although it smells different on everyone. I kept it because I like the idea of scent being part of your identity; I like the idea of having this as my personal smell. You can leave a room and your perfume follows you. The people in my office say that they know whether or not I am already in as they say they can smell me in the elevator. I remember my mother by her perfume too.”

You can hardly forget the presence of Putman senior. Her studio, her taste and her creations surround Olivia, down to the chairs we are sitting in.

“An armchair is an armchair,” says Putman. “You can find nice details and nice wood, you don’t change the essential purpose. But I love these chairs, I always have. They are half round, partially protective, but you can’t slouch.”

She smiles. Perhaps among the many gifts Putman left her daughter, the teenage rebel, a chair where you have to sit straight, is the most maternal reminder of all.

studioputman.com
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Reading time: 5 min
Heir to the tailoring dynasty, Luca Rubinacci is a regular on blogs around the world

Heir to the tailoring dynasty, Luca Rubinacci is a regular on blogs around the world

Our columnist is renowned as one of the world’s most inspiring dandies; and he says wintertime can combine flair with practicality, whether your February is spent in Mayfair, Moscow or Manila

LUCA RUBINACCI

To be unique, you don’t have to be fashionable; you just have to build your own style. It is your profile, your message to the world. It isn’t about wearing the most glamorous clothing, it is about making your own mark and you shouldn’t be afraid of asking for inspiration if you need it.

In winter, heavy cloths, unlined, are always a good bet. Colours appear much warmer because the materials – cashmere, wool and heavy tweeds – give a deeper tone.

Pick your colour palette carefully. Black and brown are a very gentlemanly combination look at these guys. Red, green and mustard yellow worn during the day give a rural impression. Colour will almost always make you feel a little happier. I tend to prefer darker colours in the winter for the city, but lighter colours do look good when skiing. It brings a countryside ambience to the slopes.

With 45 tailors in the studio, Rubinacci is arguably the largest handmade tailor company in Europe

With 45 tailors in the studio, Rubinacci is arguably the largest handmade tailor company in Europe

I have recently created ‘Dandy Pashminas’. Closed, you just see a dash of colour, but when you open them up you see a cartoon of ‘La Toilette du Dandy’, an image I discovered in a vintage book of my father’s from the thirties. It captures the dandies as they are primping and preparing. Only you know what’s inside your scarf, it’s your secret. I like to parody fashion, which is why I created the ‘Happy Skull’ pashminas, a play on the reams of skull motifs that emerge from designers’ studios. We don’t use characters like Superman; we are tailors, not a fashion brand.

Winter shoes can be difficult. This season, I was inspired by Knickerbocker shoes, but tried to create something warm. The shoes have a formal shape, so I used tweeds in grey, green and brown, with a splash of colour on the inside. They have a thicker sole than our winter shoes and double canvas to protect from the rain. They are not boots. They are the sort of shoe worn by a gentleman who walks a few paces from the car to the restaurant, or from the hotel to the meeting room.

An image taken from a vintage book, ‘La Toilette du Dandy’ is a secret known only to its owner

An image taken from a vintage book, ‘La Toilette du Dandy’ is a secret known only to its owner

I personally don’t like carrying an umbrella, so I replace it with a flannel hat. People have a tendency to think they are oldfashioned, but with a little colour they can be made more modern. Forest green, tobacco or blue are popular with younger customers and it’s better than a baseball cap. There’s something quintessentially English about it.

I noticed that whenever men arrive at a dinner or at their friend’s home, the first thing they do is remove their coat. They feel constrained by it. It is stiff, you can’t stretch your arms – it isn’t comfortable. If they are wearing a jumper, they keep it on. However, if you remove the lining from the coat and use softer materials, it changes how you behave in the coat. It won’t only be the man that notices; any woman he is accompanying will also feel the difference when she touches his arm.

There is a misconception that work clothes mean you must be conventional. I created a Korean style jacket pullover in cashmere for my friend with a painted silk Thai lining. You can be smart and retain your individuality and humour. I’m always wary of a customer who arrives in the store and asks for the most fashionable item. It may well be a red jacket, but there’s no guarantee that it will suit them. They might look like a clown. If it doesn’t look good, I won’t sell it to them. They may not like, or be used to hearing no but it shouldn’t be about fashion. It needs to be about you, what you feel comfortable in. That’s when you receive admiring looks, in summer or winter.

marianorubinacci.net

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Reading time: 3 min
Christian Hemmerle and his wife Yasmin

They may have begun by bejewelling Bavarian royalty, but Hemmerle is far from being a throwback. CAROLINE DAVIES speaks to the family-owned German jeweller about breaking the rules 

It is October in Munich. I am nestled in a wooden booth in a “traditional” Bavarian inn, erected 15 days previously. Oktoberfest songs blare from painted speakers, echoed by the swaying crowd. Our table is laden with sausages, roasts, apple sauce and several half-finished litre glasses of fine German beer.

“First time at Oktoberfest?” Seated to my right is my host, Christian Hemmerle. He also happens to be the next generation of fine jewellers. Hemmerle jewellers is a Munich dynasty. Founded in 1893 by Joseph Hemmerle, Christian’s great-grandfather, the company has been decorating Europe since they won the warrant to produce medals for the Royal Bavarian court. They even occupy the same spot on Munich’s Maximilianstrasse as they did in 1904. Yet there is nothing staid about Hemmerle.

Today the company is renowned as one of the most innovative jewellery houses in the world, setting rare precious stones into copper, iron, steel, bronze and even wood. The end result is elegant, but minimal. The textures and colours, simply but smoothly arranged, make for tactile and unique pieces. Their one store, an understated glass façade on a street crammed with designer labels, is a favourite for art world impresarios including New Yorker Beth Dewoody.

“We definitely have a tendency towards art more than other manufacturers,” says Christian, shouting over the trombone. “We are just not afraid of doing something unusual.

“My father realised that there was a strong need for understatement. People in the 1980s had very grand jewels. They were getting them out once a year for a gala event, but the jewels were not incorporated in their daily lives.”

In 1995, Christian’s father, Stefan, tried something that would send a shiver down some fine jewellers’ spines. He set a diamond in iron. “My father realised that with these new materials and new possibilities you can make something much more wearable,” says Christian.

Christian Hemmerle and his wife Yasmin

Christian Hemmerle and his wife Yasmin

Hemmerle remains a family company. Stefan and wife, Sylveli, continue to manage the business alongside the dapper couple, Christian and his wife Yasmin. Perched neatly at the table, dressed in a traditional Bavarian dress, white blouse and green corseted top, Yasmin has been fully enveloped in the fold. Originally from Egypt, she once worked at a diamond dealer in Paris, long before she met Christian.

“I always knew I had a passion for jewellery,” she says. “But I never knew why. I think it was meant to be.”

The creative process is a collaboration.

“We start with a stone,” says Christian. “There is a momentum, having these two generations together. We bring out the maximum creativity in one another. We sit around a table and criticise it until, by the end, it is a perfect thing.” It wasn’t always destined to be like this. Raised surrounded by jewels, Christian was uninterested.

“After school I wanted to get involved with real estate,” he says. “I couldn’t have imagined starting to work for the family business at that time.

“It was a very sudden change. I wanted to go to New York and my studies required me to find a work place for six months. I called my father, because it was short notice. He said, ‘I can help, but the bitter pill is that it has to be in my industry because those are the people I can call on.’

“I worked for a very small diamond dealer’s firm and I really fell in love with it on the first day. It was doing something natural. Working with precious jewels felt so normal.”

None of the Hemmerle team are nervous around priceless stones. It is unlikely many of their designs would have made it past the first sketch if they were.

“I like to think of myself as someone who pushes boundaries,” says Christian. “A lot of people only do things that have been done before because that is the way it has always been. I like to be innovative and try something new, to try to optimise.”

Creating something new requires an understanding of the old. Hemmerle’s workshop is particularly unusual for its glass beading technique, the 200-year-old skill of ‘sorting and knitting’. The work is so detailed, stones appear as though they are woven together, without a visible binding “

I want you to realise there is engineering behind it but you don’t need to see it,” says Christian. “I want to see the beauty of the piece. It should be beautiful at first sight. Love at first sight.”

Particularly popular with the art world, Hemmerle’s understated pieces are a collector cult.

“I’ve heard stories of people bonding over it at dinner parties,” says Yasmin. “They recognise a brooch or a bracelet from across the room. It’s a good conversation point because many of our clients are very passionate about it.”

“Some people would call it daring,” says Christian. “Others would say we are crazy.

“But there are other people who think the same way as we do and are very supportive of our work. We make so few pieces that we want to attract people that feel the same way about beauty as we do.”

hemmerle.com

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Reading time: 4 min
Thomas Wong - ‘Shi Fu” has been in the tailoring business for 56 years

Thomas Wong – ‘Shi Fu” has been in the tailoring business for 56 years

Master tailors are not confined to the town houses of Savile Row or the ateliers of Italy; with the boom in Asian prosperity has come a boom in Asian style. Erica Wong speaks to a Singapore-based tailoring maestro about his unique style

Shi Fu, or master, as Thomas Wong is commonly referred to, asks if I’d like a cup of tea as I take a seat next to him at a quaint coffee shop along Orchard Road. His tone is calm and certain, almost Mr. Miyagi-like. Chairman of the Master Tailor Association Singapore for the last two terms, lecturer at the LASALLE College of the Arts, and owner of one of the oldest tailor shops on the island, Wong has been making suits for the regions’ elite for well over four decades. The industry has changed much but the fundamentals remain the same, as Wong explains…

EW You’ve seen the industry through thick and thin…

TW I started in this line of work when I was 16. I was an apprentice and at that time shops in Singapore were in shophouses. Each shop housed their entire ‘production line’ from start to finish. Tailors trained their teams to do everything from scratch in their own character using their unique methods. As a result every shop has their own style, their own ideas about how to make a suit. The team would discuss the orders or any problems that arose, work out solutions together, which would reflect the philosophies of the brand. If a customer finds that ‘chemistry’ with Tailor A or B or C, they would consistently return to them. There was no competition between A, B or C because they each had their unique cut, style, quality and fit which was very different from one another. Without intentionally doing so, each tailor was a ‘brand’.

Today, the shophouse ‘all under one roof’ concept is gone. Tailors outsource the different parts of the job to independent workers who at times sub-outsource out, since there are only a handful of craftsmen who know how to do each job. Most of these independent workers accept jobs from a number of tailors so you can imagine how the original set up of the tailor ‘brand’ has been lost, the traditional collaborative production lines severed and the uniqueness of each brand has been diluted. The tailor’s role has become that of a coordinator who charges a middle-man fee. In my mind, that’s not a tailor. To be a bespoke tailor, you need to make a particular garment per a customer’s particular request. Instead, tailors are now middle-men who take the request and pass the garment around to various parties who make it in whichever way they know best. This isn’t a very responsible way of offering the bespoke tailoring service.

EW What is at the core of your design ethos?

TW I’ve always been interested in illustration and so naturally in [Chinese] calligraphy. I believe that when people are interested in the visual arts they have sensitivities towards the minute details. Whether that dark green is the right tone or the stripe is slightly too wide, the demand for perfection is innate. When it comes to designing or making patterns or cutting fabric, I apply that same temperament and attitude. Throughout every step of the process I keep thinking about how the suit will fit on the client. Should this cut, length or even shadow appear on his frame? Will the suit look forced or natural on him? Wearing clothes need to be a comfortable affair. If the suit isn’t comfortable or doesn’t make its owner feel better about himself, he winds up as a hangar for the clothes. Then he might as well not wear it at all. The person cannot be a mannequin for the suit, the suit must highlight the man’s strongest features. Of course as a bespoke tailor I need to adhere to the client’s requests so I also need to fit my design into the parameters of his request. This is the challenge.

For example if a larger man wants a double-breasted suit even though most tailors might think it a bad idea, I try to figure out how to not only defy the theories against it but to make him look slim in the cutting of his choice. How should I do the cutting? What kind of fabric should I recommend? What fabric patterns will be the better option? The quality of the fabric also makes a difference. So, in-depth knowledge about all these factors is imperative for a bespoke tailor. Even before you take the job, you need to offer your professional opinions. If you don’t have the fundamental basis and you deliver exactly what the client asks for, then you’ve escaped your responsibilities.

Every aspect — the cut, darts, seams, fabric and accents — plays an important role in the final product

Every aspect — the cut, darts, seams, fabric and accents — plays an important role in the final product

EW With 40 years of accumulated knowledge, what are the main lessons that you relay to your students?

TW Firstly, never take short cuts. Not in any step of the process.

Equally important is to work with integrity. Other players in the field have asked why suppliers provide me with top quality work and lesser quality to them. The answer is very simple. An analogy I often give is a woman who sees her friend’s perfect glowing skin after leaving the spa and requests to achieve the same results. But if she’s not willing to pay for the same top quality skin care products or use the same top aesthetician, how can she expect the same results? It’s just not possible. The same applies for my craftsmen. Everyone may share the same pool of talent but if I pay top prices for top quality and others aren’t willing to do the same, who do you think will be given priority? It’s a simple formula. I always tell my students that we can’t deliver anything sub-par because the dollar notes customers give us are not partial dollars. The $1,000 they give us is $1,000, no less. So if you charge $1,000 you can’t provide a $100 product.

EW There seems to be less and less people who fit into your traditional sense of a tailor. Where do you see the industry heading?

TW Last year, the Asia Tailor’s Congress was held in Singapore and it was Loro Piana who noted that Singapore’s tailors aren’t charging enough. Times have changed and yet we continue to charge low prices so our pricing strategy benefits the end customer, and we don’t pay our workers enough. That’s why less and less people are entering the field and those who are skilled have turned to other lines of work such as driving taxis, which is more lucrative.

What’s more, there’s an interesting phenomenon at play today. Technically the more affluent the country, the better their know-how ought to be and the more demanding the customer, and yet they try to take shortcuts. On the flip side, the poorer the country, the more traditionally trained craftsmen they have, and yet the market generally can’t afford the good fabrics and infrastructure to produce the suits. Over the long run, I hope to see a revival of the traditional crafts and skills, applied in modern contexts. That’s why I teach, in hope that my students will pick up some of the things I learnt many years ago, and apply them in their future careers.

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Reading time: 6 min
An expert team of make-up artists and beauticians make every request happen

An expert team of make-up artists and beauticians make every request happen

Does make-up all look the same to you? Are you tired of telling your Revlon from your Lancôme? If that’s the case, you might want to pay a visit to a small boutique where every foundation or eye-shadow is bespoke, says Caroline Davies

Near the coffee shops and restaurants of Motcomb Street, in a quiet corner of London’s Knightsbridge, sits Cosmetics à la Carte, small and unobtrusive. Cream carpeted with soft furnishings, make-up displayed plainly on the small table in the centre, it has the reassuring feel of a store that has no need to shout; the people who know about it, know it well.

Cosmetics à La Carte began in 1973, founded by Christina Stewart and Lynne Sanders. The two originally met in the lab, working for Unilever Research and moved together to Yardley where they formulated Marks and Spencer’s first make-up range and various Vidal Sasson hair products. Bored of the mass production line, they left to start their own make-up revolution — tailor-made make-up. Need a lipstick to match your dress, an eye-shadow to suit your floral arrangements or a foundation that, well, matches you? Stewart and Sanders had the know-how to whip one up.

In the company’s laboratory in Battersea, two large white rooms are piled high with carefully marker-penned cardboard boxes, neatly sealed bags of multi-coloured powders and Bunsen burners. I find Sanders, dressed in a white lab coat, bent over the hob. It isn’t a hob of course, but to my untrained eye, this is the closest I can come to describing the black heated pad where she is carefully melting a blood red waxy chunk.

In her 60s, the founder still works in the lab

In her 60s, the founder still works in the lab

Now the sole proprietor since Stewart retired in 2009, Sanders is still in the laboratory although she is in her 60s. Her lab coat flaps around her neat skirt as she swirls across the room and I am surprised to notice only a touch of makeup, a slight line of carefully applied blue eyeliner over her wide eyes. She greets me with a broad smile and a brisk, perfect Received Pronounciation ‘hello’ before energetically enlightening me on the contents of the bottles on her worktop. She is currently melting me a lipstick, a mixture of ‘Santa’ (“we used to call it ‘blood’ but that proved an unpopular name”) and ‘Tulip’, combined together to make the colour of a red hat I brought into the shop a few days before. My eyes wander along the surface to the small glass beakers, filled with varying shades of beige to brown liquid and marked in black pen with household names; foundations in progress for famous faces.

“She requires a thick layer to cover the marks on her skin,” says Sanders, pointing to one such pot. “You would never know though.” She is right, you wouldn’t.

Cosmetics à La Carte did not meet with immediate success. When the revolution proved rather slow to pick up, Stewart and Sanders found themselves without much income and without a team. Undeterred, Sanders found a job in a wine bar to pay for the bills and keep the business afloat.

“Can you imagine?” she says. “Well, it all seemed rather jolly at the time.”

Bizarrely, it does sound it, although perhaps because Sanders’ bright, matter-of-fact manner, not dissimilar to a retired old-school Montessori teacher, means most things sound enjoyable. The grand tour continues into the other laboratory where she pops open tubs of brightly coloured pastes and gels, rubbing them on the back of her hand to show the colour and the consistency before explaining the science. She speaks about polymers with much the same interest and passion as a new parent talks about their child. Jumping from science to backstage anecdotes at fashion week and film sets, Sanders’ enthusiasm for her profession is infectious if occasionally over my head.

Cosmetics à La Carte’s luck started to change and gradually the pair began to gain recognition. Make-up artists hunting for an exact historical shade, ravaged screen sirens looking to replicate the dewy complexion of their youth, trendsetters pushing beyond the palette; the drip feed of visitors to the little shop grew. Sanders still remembers the late afternoon in the 80s when Princess Diana dropped by.

“She wanted a nude lipstick, a very particular colour that would suit her,” she says. “We tried out a few selections, made them up and put it together. We still sell her shade today.”

Picking up on the popularity of bespoke make-up, other companies began to try to mimic Cosmetic à La Carte’s model, but none of the large make-up brands have sustained it. The company’s size has fuelled its success — small, but precise.

While most tailored services rely on remixing pre-existing colours, chopping a little more crimson with peach to roughly suit, Cosmetics à La Carte goes a step further. Arrive in store with the remnants of an old lipstick, blusher, foundation or eye powder and they will remake it, from scratch, to suit. Allergies, sensitive skin, thicker consistency; they can accommodate it. Perhaps this is why they are such a success with pedantic period dramas; I am told the Downton Abbey girls adore it.

As she rummages into another corner, Sanders suddenly stops. A look of horror creeps across her face and with a small gasp, she runs from the room. “Oh no, no, stupid.” Bemused, I follow to find her sighing over the hob.

“Singed. That was not the shade we were going for.”

Apparently, the bloody red wax has now gone past the point of return. She throws it away with an air of sadness. Despite spending over 40 years in the laboratory, Sanders’ attachment to her work and her creations is touching. I watch her carefully dissect the wax again, keeping a suspicious eye on it as it melts into a dark red liquid. She pours it into a mould, cuts it out and fastens it into a gleaming new case, complete with a hand written label.

“I’ll keep this with the others,” Sanders says, slicing away a small section of the remainder of the lipstick still in the mould and sealing it in a bag marked with my name. “For when you come back.”

She opens a drawer under the cabinet and I glimpse a host of names and titles that would rival a royal wedding party guest list, all written in the same handwriting with fresh waxy off-cuts. It seems I’m not the only one expected to return to the little cream shop in Knightsbridge.

alacartelondon.com

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Reading time: 5 min

Red is autumn’s punchiest colour so surround yourself with bright flashes at home and out  and about to keep your spirits lifted. View the slide show above.

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Reading time: 1 min

moynat-1

Moynat could justifiably claim to be the world’s most luxurious bag maker, but it doesn’t. It is both historic and brand new. It is owned by the greatest luxury tycoon in history, who doesn’t talk about it. Darius Sanai gets an exclusive insight into the luxury brand of the future with its CEO and its creative director in their Paris flagship store

“Luxury is the time taken to make something. It’s about the effort put in to every element of making something, it’s not just about a label or a brand. It’s about taking it to the limit of the best that I can be proud of.”

Ramesh Nair is talking animatedly in a hushed boutique on the Rue St Honoré in Paris. If luxury were a religion (and it might be) the St Honoré would be its equivalent of the Vatican: where pilgrims the world over come to worship. The striking, sweeping boutique we are in, with its open, circular design and leather goods displayed as artworks on plinths and up walls, is metres from the global flagships of Hermès, Louis Vuitton, Goyard and Chanel.

Nair’s colleague Guillaume Davin takes up the thread. “From the very beginning, we felt the object had to be beautiful, so beautiful. This house is only about superior craftsmanship; we concentrated on the product and only the product because that was all there was.”

For Davin, a former highly successful marketeer, this is a striking statement in itself. But everything about Davin and Nair’s business is striking. We are at the flagship (and to date, only) store of a very particular luxury brand, Moynat. And if you haven’t heard of Moynat yet, prepare to be very surprised.

The heritage archive trunks are displayed alongside the modern-day creations

The heritage archive trunks are displayed alongside the modern-day creations

Wander up to the Moynat store on the Faubourg St Honoré unaware, and you would be forgiven for being a little intrigued, or even confused. You would be correct in assuming you hadn’t heard of it because it hasn’t spent a cent on advertising or product placement: which puts it among numerous tiny niche brands trying to carve a place out for themselves in a growing market with limited budgets.

But the huge, striking storefront on the most prime piece of retail real estate in the world is not something that a niche brand could possibly contemplate. Equally, the artistry and the scale of the shopfit and arrangement inside seems too perfect, more museum of contemporary luxury, than something a non-advertising niche brand could manage.

Take a closer look at the goods on display. Pick up one of the signature Pauline bags, for example. The leather is lustrous, thick, unblemished, perfectly grained, and all of one piece. The detailing shows the bag is plainly hand-made, and yet it is also perfect, minimal, classic contemporary. No niche operation could source leather of what is plainly Hermès standard, in unmarked single pieces big enough, and find the craftsmen to create them.

And yet everything about Moynat’s marketing, or lack of it, is entirely niche. It is not affiliated with any other brand; it sells through word of mouth only; it has no ambitious store opening program, and not a single celebrity has been given one of its products. Somehow, though, uber-model Natalia Vodianova and Chanel creative guru Karl Lagerfeld both proudly display their Moynat bags.

For Moynat is the new private brainchild of Bernard Arnault, Chairman of LVMH, the world’s biggest luxury goods conglomerate and unarguably the most important luxury tycoon in history. Arnault owns Louis Vuitton, Dior, Marc Jacobs, Givenchy, Lanvin, Bulgari, Loro Piana, Dom Perignon, Veuve Cliquot, Château Cheval Blanc and numerous other brands at the top of the luxury tree (most of them through his holding in the LVMH parent company).

But Moynat is different. Conceived in 2010, launched in 2011, but dating back to 1849, Moynat is a trunk and bag maker — a malletier, in French — taken by Arnault, privately, and revived and relaunched by him for the 21st century. It is, plainly, a vehicle for Arnault to conquer the very highest peaks of the luxury market, currently claimed only by Hermès, the family-owned company he would love to get his hands on, but can only (currently) hold on to a 23.1 per cent stake in. Moynat is the attempt by the greatest entrepreneur in luxury to create the most rarefied — not the biggest, or the best known, or widest-selling, but simply the best — brand in luxury.

Nair and Davin are leading the charge for Arnault. Nair, formerly of Hermès and Maison Martin Margiela, is the creative director, charged with oversight of the designs and the small atelier in the French countryside where Moynat products are currently made. Davin, as CEO, is in overall charge. Formerly the highly respected director of Louis Vuitton in Japan, he says he had left LVMH when a call came out of the blue from Arnault.

Moynat re-opens its doors at 348 rue Saint Honoré

Moynat re-opens its doors at 348 rue Saint Honoré

“The very beginning for me was Spring 2010, when I got a first call from Monsieur Arnault, and he said he wanted me to come to Paris to see something,” says Davin. We are sitting in the salon privé of Moynat on its upper floor, enclosed from the tide of luxury on the street outside.

“He was not very…he did not disclose the name, he did not disclose the project, it sounded like a precious house or a little gem, and he had just bought the name. And he was undecided about doing something, but he wanted to just share some of the elements about the archives of the house.

“So I came to Paris to see what he had to show, and of course I did not recognise the name. Moynat was really a forgotten house, and only trunk and vintage car collectors knew about the house. They also had one concave-based trunk (in the archive), and you know, I had spent a few years at Vuitton and I had never seen this. And then I heard the house was founded and run by a woman, I started understanding the feminine side of the trunk, and I felt, oh, there is something different. And the fact that the house was a bit older than Vuitton or Goyard was also very interesting.”

Arnault had bought the name and archive of a defunct Parisian trunk maker, so long gone that not even his own directors at Vuitton knew its name: but Moynat had proper heritage. In the Belle Epoque era of the early 20th century, archives showed it was one of the most desirable trunk and bag makers in the world. “It started with a little atelier in 1849,” says Davin. “In 1854 — that’s before Louis Vuitton is even created — Moynat patented a waterproof trunk using materials from Indonesia.”

Nair takes up the tale of the creation of the modern Moynat from when he joined, recruited by Davin in 2010 from a senior craft position at Hermès. “It all seems to be a bit of blur now! Monsieur Arnault wanted to open the store at the end of 2011, so we had just a year to work everything out. So I had to quickly come up with something, study as much as possible, collate the archives because we really didn’t have anything much, so I feel that we needed a strong base, we needed the roots to really come up with everything and be authentic.

“I’m a minimalist, and I find ideas everywhere. For instance, Pauline (the signature bag) became the profile of a trunk… I, a purist, I prefer going towards high-end leathers; I love leathers, I love skins, I love the textures and the odour, so I’m more into high-end leather. And of course our construction is really, really, really good. (With my background at Hermès) when you’ve studied with the best, you cannot take a step downwards, it’s very difficult. And it’s a question that which I used to ask myself at Hermès, was ‘What next?’ Quality is something which really fascinates me; there are times when I’m still not happy enough, I still want to keep pushing, to see what more I can do.”

And were they confident from the start or were they nervous about creating a new brand for a boss as demanding as Bernard Arnault?

“We still are nervous,” says Nair. “It’s a market which I would say is almost saturated, and you’re trying to battle, I mean whatever has to be done, has been done. So you’re just reinventing the wheel, and yes, we’re always nervous. But I always feel that if you go high in, if you go with what we call the know-how, the workmanship, the savoir faire, and excellent quality, I don’t think there’s a reason you could go wrong.”

Moynat opened its first boutique in 1869 at 5, place du Théâtre Français

Moynat opened its first boutique in 1869 at 5, place du Théâtre Français

I suggest that it is unusual for Bernard Arnault, the undisputed emperor of luxury marketing, to launch a brand with no marketing at all. They both smile slightly wryly in agreement, before Davin suggests that Moynat is more a labour of love, a personal passion, a creation for the history books, for Arnault than it is another money-spinning venture.

“It is quite mysterious to people, that Monsieur Arnault is not talking about it at all. He never made any announcements, yet he keeps us under his wing. He calls like twice a day, but it’s the tiniest business he has.”

Is it about a personal desire from Arnault to create something that is simply the very best? “We think so,” nods Davin.

“It’s also I think like his little baby, and his little experiment,” says Nair. Presumably, I suggest, they have access to the vast expertise of Louis Vuitton and the rest of the LVMH group in terms of leveraging suppliers, craftspeople, sourcing hides…

“Nothing. Nothing. Nothing,” says Davin, as emphatically as one can in a hushed private space. “Even on the materials, the leather… we are on our own!” In fact, they say, it works the opposite way: some of the materials and techniques Moynat is using are so high-end and so original that they are filtering down into the LVMH brands.

“It was not like Monsieur Arnault ever pushed this and said, let’s open a store every 10 months. In a way …it’s a different M. Arnault I see here,” says Davin.

Because it’s a personal project?

“It’s a personal project. It’s very small. And he wants to take it step by step.”

Nair adds, intriguingly, “And I think also, for (Arnault), I would say, it’s the very first campaign that he’s starting from zero. A luxury house which is his own creation effectively, so he’s also interested in a very personal way, it’s almost like a baby. It’s interesting, he would see a bag and he’d say is this really good quality? Where is this leather from? Things you normally wouldn’t find a CEO asking, and he’d really be interested in knowing where the leather came from, in a certain type of finish…”

“It is a luxury startup,” agrees Davin, “but it is also for him a piece of savoir faire, a piece of the French patrimony. He is very interested, really going into questions like should the edge be a bit thicker or slimmer, or how do you polish it. He’s incredibly in tune with the little details, and these are questions, because we are so small, we can adjust from one product to another product. Ramesh will say oh let’s do a contrasted edge, or let’s do same coloured edge, and we can adjust and show different things, because it’s one craftsman doing the bag from A to Z, so if we want to just ask a different colour combination we just do one unit.

In an interesting insight into the modus operandi of the LVMH chairman, Davin points out that while Arnault is interested in the product detail of Moynat, this is not unusual.

“I have known him for a long time; I was in cosmetics (as head of Dior cosmetics in Japan), and when he was coming to Japan, we had a little lab, and he was always coming and saying ‘try using this… don’t you think this is still a bit sticky?’, or whatever. He was smelling things, he knew about it, he is obsessed with products, and the weight of the packaging. I think that one of the reason why he is so successful today, is that he has an incredible eye for products and quality. I mean, yes, Hermès is supreme quality, but I think M. Arnault has a sense of this.

“And it’s true at the same time he’s leading a group that now have so many brands, so I’m sure some times of the day he’s also focusing on other elements of the company, but he is completely driven by products and stores. He’s obsessed with what the client sees and touches. You know, when he was coming to Japan he was coming three days, and it was two and half days visiting stores and touching products. And business reviews was one hour for three brands — three hours, then finished. The numbers he can access them any time. It’s all product. Stores. And he has an opinion on absolutely every single piece, you know if he feels it’s a bit too matte, or if it’s a bit too shiny, or if there is a powdery feeling he does not like he will tell you, ‘are you sure about this? Try to show me something different next week’. I think there would be no success (for LVMH) if he was not completely obsessed, he knows that product quality is essential. So we try not to disappoint him on this that’s for sure!

moynat-5

“And with Moynat, Monsieur Arnault doesn’t want to advertise, he doesn’t even want us to communicate, he wants to concentrate on the products, on the atelier, on hiring more craftsman, he’s more obsessed with this — that if the product is right, the house will be right.”

And what are the products? The signature product for women (they don’t describe it as such, but it is plainly so) is the Pauline bag which comes in various sizes and can be bespoked in any colour you like; the Rejane is a smaller city bag, the Quattro more of a super-luxe tote. For men, the curved Limousine cases (as purchased by Karl Lagerfeld) are the standouts, in various sizes and styles. Up in the workshop, I also saw a couple of one-off works in progress, attaché cases and portfolios, not yet released, but which looked sublime.

moynat-6

And where, I wonder, are their clients from, these highly-well-heeled, highly knowledgeable customers who are so sophisticated they wish to carry a brand nobody else will recognise? “The number one nationality is the Americans,” says Davin, “but Asia is also a very big proportion. Japan is probably around 10- 12 per cent, South Korea is six or seven percent, Greater China (including Hong Kong) is around 20 per cent but mainland China is quite small, but South East Asia is big. Indonesia, Malaysia, Singapore, the Philippines. It is all word of mouth.”

And will Moynat remain the luxury world’s best-kept secret? There was a pop-up at the Galeries Lafayette in Paris this summer, and there are unconfirmed rumours that the brand will open a second and even a third store somewhere in the world in 2014. “We cannot accelerate, we are doing everything we can to hire craftsmen, to train them, but this will take time,” says Davin. “We hope that Moynat will really be a beautiful house in 10 years, or 20 years. I am not sure Monsieur Arnault is joking when he says it’s for your grandchildren.”

A privately-owned luxury house sitting atop the world of leather goods and bags, passed down the Arnault family from generation to generation, whatever happens to the megabrands of LVMH. That would be a legacy. And you can witness its birth now, on the Rue St Honoré. Just don’t tell anyone.

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Reading time: 13 min

 

Lanvin is a great French fashion house that no longer (since 1992) creates Haute Couture, the most exclusive and bespoke of all the collections. However, some might say the artistry of its revered creative director, Alber Elbaz, makes couture irrelevant. When LUX asked Elbaz for his thoughts on the relationship between the house’s couture past and its high-end readyto- wear present, he gave us these measured — and exclusive — thoughts:

“For the latest collection [Winter 2013], I wanted to take the time for once and to treat it like real luxury. I wanted to go back to the preciousness, to the emotion, to the know-how of the French atelier.

“I wanted to show that couture is an experiment and it’s a laboratory of forms, of shapes, of colours, of fabrics. I wanted to show that it is something that is relevant and you can wear it with flat shoes. I wanted to bring that Parisian French feeling to it, of workmanship.”

“An atelier for me is mostly a laboratory with amazing people that in a few years will be retired. So we might as well enjoy it while it’s there. When I arrived at Lanvin, I realised that the ateliers were the same as the time of Haute Couture at Lanvin. Today, there are still people who have worked at Lanvin for the Haute Couture. This savoir-faire is extremely important. And I have a very close relationship with the people at the atelier. I don’t work with a head of seamstress like the other couture houses usually do.

“I found that it was better to speak directly to the ‘modéliste’ (pattern maker). So I am like the head of seamstress. I work with them every day, speaking of the problems they have on a dress, doing fittings three, four or five times on a model. And the studio is just at the top floor of the atelier, so it is very easy to meet each other. I love these amazing people who help me to realise my dreams day after day.”

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Reading time: 1 min

By Jessica Bowen

For full style marks this summer have the courage to go bold with super-bright colours and clashing prints

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Reading time: 1 min
Applying fresh radical applications to indigenous craft traditions sit at the core of Head of State

Applying fresh radical applications to indigenous craft traditions sit at the core of Head of State

Quality and quantity might just be what Singapore needs to be in with the rest of the cool kids in the international fashion arena. Just what kind of quality and quantity are we looking for here? Lucinda Law ‘talk shop’ with some of Singapore’s fashion stalwarts and decide on how Singapore can have it all

A surreptitious makeover is taking place in the fashion industry in the last ten years. While Singapore has certainly touted itself as a shopper’s paradise, more savvy shoppers are turning their heels away from the rapid rise of homogenous shopping malls housing run-of-the-mill high street brands. A new generation of Singapore business owners, artists, designers and visionaries – shoppers – are filling the supply that they have demanded. A more diverse shopping experience made up of concept stores or shopping venues away from the malls, with an increasing range of local design-led fashion products with a focus on quality is upon us.

The hunt for quality amidst the massproduced goods readily found in Singapore gave rise to a number of bespoke services and artisan brands. With almost 25 years of experience in the fashion scene, Kevin Seah, Director of Kevin Seah Bespoke, says he is “targeting men with discerning taste who appreciates quality and well-made products.”

Carolyn Kan, Founder and Designer of Carrie K. Artisan Jewellery, is toeing the front line for quality in Singapore. The former Managing Director of M&C Saatchi started her jewellery line in July 2009 and in 2011, launched KEEPERS, an artisan showcase bringing together independent designers, artists and artisans, and lends these brands more visibility. Kan says, “I see a greater appreciation of artisan craftsmanship and bespoke design. I’ve also noticed a growing pool of people who value quality over quantity. So we started KEEPERS to give people an opportunity to learn more from the artisans and independent designers behind the work”. And they come from a range of fashion products, namely bespoke shoes, timepieces and hats.

A more robust fashion economy certainly calls for a more diverse range of fashion products, and as confidence in the industry grows, more cult brands emerge. One such designer is Chee Sau Fen, Founder & Designer, Heads of State Millinery. Chee is a self-taught designer who has worked for more than fifteen years in the visual arts and events industries before starting her own millinery label. It is quite curious to observe that the media release includes a footnote explaining that ‘millinery refers to the art of hat-making’. A consideration on Chee’s part, perhaps due to fact that a local brand dealing in millinery is largely unheard of. Her beautiful sculptural head pieces are made from traditional handloom abaca fabric of the Daraghuyan Community of the Bukidnon Tribe in Philippines and they are each hand-draped and sewn by Chee.

The three driving forces behind label Mystic Vintage were brought together by their passion for eyewear

The three driving forces behind label Mystic Vintage were brought together by their passion for eyewear

Highly-coverted, never-been-done before, hip and made from utmost quality, brands like Heads of State check all the boxes for the new emerging Singapore labels. Likewise, Mystic Vintage Eyewear, is just one of the brands that understands cool eyewear is part of the complete head-to-toe assemblage in fashion. Mystic Vintage was started in 2008 by Alvin Tan, Jason Tong and San Yin Mei, the three veterans in the design and creative industry were brought together by their passion for eyewear.

A bespectacled, Alvin Tan, who is also part of PHUNK, a famous Singapore art collective, says, “Mystic Vintage is very focused on design and the theme revolving around it. Each model is inspired by a different theme, for eg, Music, Aviation, Magic, etc, and its design relates to that. What’s unique about each design is that the frames have different quotes engraved on the arms of the eyewear, it could be lyrics from a song or a quote from a movie, something that might bring a sense of familiarity to the person wearing it.” Their obsession for details and quality has garnered them a sizeable following and helped raise the bar for cult labels in Singapore and their presence overseas.

Tan adds, “There’s a heightened interest in creating locally and also more awareness for supporting local labels. The market in Singapore is small so many brands might find themselves having to explore foreign markets. We think the fashion industry will grow regionally, creatively and gain international awareness.” Because Singapore is a little red dot, she is immensely conscious of the need to reach out to an international audience, but first, some local attention never hurts and is imperative for the makeover to take place. There has been a longstanding sentiment about the lack of support for local products, but all this is beginning to change.

Ling Wu’s python skin handbags and clutches are all ethically sourced.

Ling Wu’s python skin handbags and clutches are all ethically sourced.

Goh Ling Ling, founder and designer of LingWu bags, a lecturer in Fashion at Lasalle College of the Arts and a veteran of the Singapore fashion scene says, “In the last 10 years, I’ve seen such a dramatic increase of designers developing their own creations; not just fashion but visual artists and designers, jewellery, textile, etc. But for a long time designers in Singapore were having a pretty hard time getting acceptance from people here, and Singaporeans like to compare the local with the international, which can be unfair at times.”

So the time has finally come to do away with the naysayers. Instead, a more enthusiastic and ‘pret-ta-support’ attitude fans the industry.

Samuel Wong, Creative Director of evenodd, a young menswear label says, “Singaporeans now support and buy local designers and is proud of it. There is a significant growth for ‘made in Singapore’ fashion. The media attention and customers patronage have increased.” Wong’s edgy and youthful menswear label is a testament to the confidence among young start-up brands, with a good measure of business sense thrown in.

There is an unprecedented rise of independent fashion labels. Some freshly out of school, but those with prior experience in the creative industry are helming the fashion industry.

The message is loud and clear: We are doing it ourselves and we are doing it our own way.

Mash-Up, an independent street-wear label is just one of the brands that is echoing this zeitgeist. Daniel Monasterios Tan, Nathanael Ng and Shaf Amis’aabudin says, “we design for ourselves and because we are always changing it means our brand is always changing and growing. Everything about our brand is about promoting the D.I.Y. Spirit and mashing together different elements of the world around us with stories/cultures from the past to create a new visual language through fashion design.”

The D.I.Y and entrepreneurial spirit is palpable across the country. Tan says, “the very fact that a non-corporate and niche label like us exists in Singapore will hopefully inspire and encourage other brands/designers to make their own ideas come alive, no matter how whacky.”

Look around and you can begin to see that it is certainly taking place. “It feels like everybody in our generation is starting something of their own and it feels like the whole world is connected and supporting each other”, says Tan.

Singapore’s fashion is gaining traction. Fast. Tan says, “currently it’s an ‘act local, think global’ scene for fashion and small cult labels.” Goh also notes, “I think creative Singaporeans now feel they are competing on an international stage. You can see this across all creative industries – fashion, art, music and design. This is partly due to various government support initiatives, and partly because there are some really prominent Singaporeans out there – Andrew Gn, Ashley Isham, Ethan K, Phunk Studio, Tham Khai Meng. This helps build a sense of pride and responsibility in the industry and the next generation of creative thinkers.”

Carrie K’s aptly titled ‘A beautiful mess splat Necklace & Spill Cuff ’

Carrie K’s aptly titled ‘A beautiful mess splat Necklace & Spill Cuff ’

A new level of playing field has been created and Alvin Tan notes, “with more fashion and trade shows coming into the country in recent years, local fashion brands are exposed to a growing number of international press, media, buyers and consumers”. This influx of interest is working in favour for everyone, as quality gets better and the quantity of diverse fashion products increases.

You can witness this progression yearly at Blueprint. A four-day fashion trade and consumer event organised by the Blueprint Group, a joint venture between the Textile and Fashion Federation of Singapore, MP Singapore and Mercury Marketing and Communications to catapult emerging talents to international prominence. All in order to help these brands grow their export market.

Tracy Phillips, Project Director of Blueprint Tradeshow and Emporium, says, “as Asia’s fashion gateway, we want to feature the best of Asian fashion design talent, including a good mix of emerging talents to be discovered, as well as established brands looking to grow their distribution, all together under one roof ”. Besides Blueprint, there are also events namely, the Asia Fashion Summit conference, Audi Star Creation competition and Audi fashion week to engage the fashion community.

A rise of such events are great opportunities for labels to showcase their works and certainly help foster a bigger, better and stronger community.

Lasalle College of the Arts is also one to recognize this need as it launched the Asian Fashion Graduate Showcase 2013 (AF/GS) in May to showcase its fashion graduates’ work from across Asia. Nur Hidayah. A. Bakar, Dean, Faculty of Design at LASALLE College of the Arts, says, “the objective of AFGS is to develop a network linking fashion schools in Asia. I would like AFGS to be the official platform for these institutions to discuss and exchange ideas on what could be the next phase of the fashion industry in the region”.

So as Singapore continues to get creative in whether launching new malls, new fashion labels or showcases, the industry is making strides in creating a myriad of artisan-quality fashion products, meaningful showcases and hopefully exploring further developments of new market segments, thus moving the scene ahead, fashion forward each time.

Lucinda Law lectures, writes and creates art installations inspired by music, fashion, literature, arts, design, spirituality and travel.

 

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Reading time: 8 min
The century old White Chapel Gallery is still a Mecca of contemporary art

The century old White Chapel Gallery is still a Mecca of contemporary art

 

Mayfair is so 2012. The future of London retail, art, cuisine, and trends, is east, on the grimy streets of Shoreditch, Hoxton and beyond. Kitty Valentina Harris selects her favourite boutiques and also quizzes John Skelton, founder of cult Dalston fashion store Late Night Chameleon Café, on the secrets of his success

 

Nelly Duff

‘Not on your Nelly!’ Even the name, rhyming slang for life, oozes cool and conjures intrigue like the treasure chest that the gallery is. Located in a small pocket of East London, Nelly Duff was brought into the world by Jessie Dyer and Cassius Colman to serve a purpose. Its calling: ‘to exhibit emerging and explosive talent.’ They buy the artwork that evokes an emotional response and pieces ‘that will feather the nest that is their home’. The lino-cut work of Baltimore’s social muralist Gaia and Obama’s favourite Ben Eine are a few gems cloistered in this truly original and precious artistic hub. nellyduff.com

I Boundary, where London and Paris fashions meet

I Boundary, where London and Paris fashions meet

11 Boundary

Born and bred in East London, Debra Winstanley dreamed of owning her own boutique. Spotting a niche in the market for a womenswear store, 11 Boundary is now ‘a chic London boutique with a Parisian edge.’ Filled with diverse and exciting labels, the store is refreshing to wander around in. When she buys she goes for ‘versatile pieces that are wardrobe staples.’ Her perfect customer would be Keira Knightley or Sienna Miller as she already stocks lots of the labels they wear. Labels range from Tom Ford sunnies to American Vintage. 11boundary.com

 

Tatty Devine is all about fun to wear, original design jewellery

Tatty Devine is all about fun to wear, original design jewellery

Tatty Devine

In 1999 after graduating from Chelsea School of Art, Harriet Vine and Rosie Wolfenden came across a bin liner of discarded leather and decided to create their own cuffs to sell on a market. Now their shop in Brick Lane is ‘fun, original and all about jewellery.’ They look for pieces that are different and that excite them and ‘more importantly things they want to own.’ Currently they are focusing on Tatty Devine’s own collection. In celebration they throw a party in traditional Holi Style from which everyone emerges covered head-to-toe in powder paint. tattydevine.com

 

Present, from retro to the latest in men’s fashion

Present, from retro to the latest in men’s fashion

Present

 On entrance Gwilym, the world barista champion, is there to hand-pull you an espresso and while you wait one can flick through an issue of Monocle or take in the fantastical, fanciful smells of their candles such as one titled ‘Mars’. Further into the store the walls are adorned with one off items collated from around the world. The sophisticated and fun shopping arena houses both international and British brands such as Bass Weejuna leather shoes and Hartford clothing. Founders of the new age store, Steve Davies and Eddie Prendergast, balance their stock with both established and niche brands. It captures oldschool retro with new school swarve bringing men’s fashion into the present. present-london.com

 

Start Store is the latest edition to Start’s growing empire

Start Store is the latest edition to Start’s growing empire

Start

Where to begin? One has to choose where they wish to start; in the newest addition to Mrs Brix and Mr Philip Start’s: Mr Start’s store empire, in the Suits Store, in Start for women, or in Start for men across the street. Start cherry picks their buys with items from designers such as Helmut Lang and Rick Owens, and if you are puzzled how to piece them together, don’t panic! All the staff are trained stylists. Coming in July is the Mr Start Woman AW13 range; expect structured slim fit trousers with soft, plush jumpers and elegant overcoats. The bonus of a visit to the shop is meeting the fashion famous Gladys and Pixie. These are Brix’s (who was a guitarist and lead singer respectively in post-punk cult bands The Fall and The Adult Net) precious pugs that were the faces of the Christmas scarf last year. start-london.com

 

A Child of The Jago

Expect the unexpected is generally a good mindset to approach this store with. Founded in 2007 by Joseph Corre and Simon ‘Barnzley’ Armitage (who has now left for Peru) it resides in a former Victorian slum and is described as ‘a child of the street. The destitute and illegitimate progeny of a hopelessly rundown environment.’ ACJ seeks to cause trouble while it interrupts the status quo of menswear with high quality garments ruling over pre-packaged trends. Made in Britain, in nearby Clerkenwell, these pieces are limited and unique as they are dependent upon the length of the different British fabrics they source. achildofthejago.co.uk

The Tunnel at LN-CC

The Tunnel at LN-CC

MEETING THE CHAMELEON

A hybrid of creativity and determination that is rapidly becoming a global discovery icon, Late Night Chameleon Café is an evolutionary anomaly in the retail biosphere. Its arena is the up and very becoming Dalston and its camouflage is a cave like structure in what appears to be a derelict building. The benefit of such a misleading exterior: one is transported to another realm of outspoken luxury. LN-CC’s cofounder John Skelton became Selfridges’ youngest buying team member at age 20 before moving to Harrods two years later. Now as LNCCs Creative Director, Skelton takes a birds eye view and hands-on approach to styling shoots, market perception and brand direction. LN-CC.com

Where does the name Late Night Chameleon Café come from?

John Skelton: LN-CC stands for late night chameleon café. The name comes from a variety of places, and is kind of tongue-in-cheek but at the same time is a true reflection of how we came about and what we are about also. The idea of LNCC was born over many late nights, mostly music related and just coming up with ideas in the early hours and developing them through the very early hours over the course of years I guess. I like the idea that a chameleon is constantly changing and is such an interesting creature and we had always planned to have a library, a club, and a café so it just stuck. It just felt right, and it still does.

Why did you choose Dalston for LN-CC’s home?

J.S: Dalston is a place where most of us were living or have lived over the past 8 years, and when we decided to launch LN-CC it was a very natural choice. Even though there was nothing around here three years ago when we secured our space, we knew the area was ready for something like LNCC. In the last year the area has exploded with new stores, bars, galleries and restaurants opening up weekly. Initially people told us an appointment only space carrying some of the most expensive products in the planet would never work in a run down area like Dalston. We believed in it and it’s been an incredible ride.

Now revamped how would you describe the vibe at the hub that is LN-CC? J.S: I think the beauty of LN-CC is the simplicity of what we are doing. Yeah, sure our store may be seen as a concept store however I don’t believe what we do to be overly conceptual, or conceptual at all for that matter. I’ve spoken about this with Dan (Mitchell) the other half of the creative here at LN-CC and our concept essentially is to put all the things we love whether it be clothing, music, books etc in an environment that is interesting to us. That is quite simply our concept. The good thing about us is that we get bored very easily so were always looking to progress, create, re-create and keep moving the project forward from all angles as to keep ourselves interested. The vision is quite simply that, to excite ourselves, as if we can do that then you will excite and interest others also.

How has your original vision changed over time?

J.S: I don’t think the vision has ever changed, we have just evolved and moved things in the direction that feels right at as we develop. Our main aim is to keep pushing things forward and keeping everything we do on the front foot as to push not just our concept forward but retail in general.

LN-CC’s Light Room

LN-CC’s Light Room

With LN-CC in mind and on a broader scale where do you see the future of retail going?

J.S: Retail is quite simply in the hands of retailers and it can go anywhere they want to push it. At the moment it is very easy to make an impact and do something new and interesting as the mass majority of retailers’ offerings are so safe that there is a lot of room and scope for development in the sector.

Which designers do you see leading the way?

J.S: It’s hard to say really. The future of retail is about carving your own niche, a world for people to come and get inside. The formula for that is to put your own selection of brands together in a way that is personal to you and then to develop the customer base as you grow. This therefore means that you will benefit from doing something different as opposed to just selling the hot brands of the moment.

Which designers do you currently carry and can you tell us a little bit about them?

J.S: In terms of brands that I think are in a good stage of development and will become more relevant for the future, I think Yang Li is currently leading the pack. For a new designer his production and fabric choice is second to none and has a very strong idea of where his brand is going. I also have to say that I think JW Anderson’s womenswear is developing into a really strong brand and will be a force to be reckoned with going forward.

Bottle Apostle, one of the city’s finest independent wine shops

Bottle Apostle, one of the city’s finest independent wine shops

JOHN SKELTON’S SELECTION OF MUST SEES IN DALSTON

Trangallan

This restaurant has been set up by 2 young (very nice) Spanish couples who have a real love of food/wine/culture. The food is delicious, very interesting yet refined Spanish cuisine, and the wine list is great also. It obviously has a great selection of Spanish wines; a lot of them on the front foot but offers the best of the French and Italian staples also. In the basement they have a space that they use for more cultural events and have done all kinds of things from independent film screenings, offbeat music projects, etc, etc. trangallan.com

 Trullo

Restaurant For those who know the area and are into food then they will obviously know about this place, but if you don’t, then you should go. You’ll need to book a few weeks before. The food is (in my opinion) the best Italian food you will eat in east London and as a full package is amazing. The staff are friendly and knowledgeable, the atmosphere is relaxed and very comfortable (ask if you can have a table upstairs; downstairs feels a bit like sitting on a dancefloor full of tables as the lighting isn’t quite right) and the wine list is diverse, extremely well considered and not crazy expensive. They do however have a specials wine board which has more expensive and really good staples and experimentals. trullorestaurant.com

 Bottle Apostle

This wine store in Victoria Park is a great little independent. It covers everything from the best of the Italian and French (which it does extremely well) but also has some very interesting Portuguese, Swiss, Hungarian and many more that are very well edited and curated. They also have supper clubs downstairs with guest chefs and wine pairings which are really good also. bottleapostle.com

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Reading time: 10 min
 A young model shows off Kenzo’s SS13 designs

A young model shows off Kenzo’s SS13 designs

DESIGNERS ARE SETTING THEIR SIGHTS ON THE NEXT GENERATION, AS THE FIRST GLOBAL KIDS FASHION WEEK IN LONDON PROVED

High fashion for little people. The first ever Global Kids’ Fashion Week, in association with designer children’s outfitters AlexandAlexa.com, was held in London’s Freemason’s hall this spring.

With not a miniature fashion faux pas in sight, the catwalk featured designs from Chloé, Junior Gaultier, Supertrash and Little Marc Jacobs to scratch the surface.

With ambassadors including model, Portia Freeman and founder of my-wardrobe.com Sarah Curran and Jodie and Jemma Kidd on the front row, no one could deny that the show had style. Taffeta party dresses, neon laced new rave trainers and real indie kids tiptoed and clomped down the catwalk, cooed and snapped by well-heeled mothers and fathers. But how much sartorial elegance does an eight year old need?

Opinion may differ on having children on the runway, but the show wasn’t a solely commercial exercise; all proceeds from the SS13 public fashion show were donated to Camila Batmanghelidjh’s highly respected Kids Company charity, which works with dispossessed children a million miles away, metaphorically, from the privilege of the party. globalkidsfashionweek.com 

The grand finale

The grand finale

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Reading time: 1 min

From ‘Princess Kate’ Middleton to Lady Gaga, celebrities are nobody without a Philip Treacy hat. But what drives London’s divine milliner? Caroline Davies probes for the answers from the god of gorgeous headwear

“It’s a bit like being a missionary,” Philip Treacy says. “I’m preaching, ‘hats are good.’”

To many Philip Treacy is not just a dedicated evangelist of millinery; he is one of its gods. His designs adorn the heads of Royal Princesses and Harry Potter characters, Sarah Jessica Parker and of course, Lady Gaga. He has collaborated with designers of every ilk including Chanel, Versace, Givenchy, Alexander McQueen, Valentino and Ralph Lauren. But while he is adaptable – his designs may be outlandish, ironic, classic or surreal – they are recognisable. A small quirk, a way of designing, of seeing the world, a creation of this designer is unmistakably a ‘Treacy’.

His hats are eccentric and dramatic. They pull your stare, captivate and amaze. They are unapologetically whimsical, direct but from a new perspective.

“When you meet somebody you meet their face not their foot,” Treacy says, bluntly. “It is a very potent part of the body to decorate and embellish.”

Is what he does challenging? “When you design hats people want something new that they have never seen before, has never been invented and that’s not easy,” he says. Does he worry he will run out of ideas? “Every day. But it hasn’t happened yet.”

With constant demand flying in from around the globe – “Lady Gaga likes a hat a week” – the ideas need to flow thick and fast. “It is catching all over the world,” he says. “We have interest from cultures that didn’t necessarily think they could wear our hats before. Fashion is a big communicator today. Lady Gaga has introduced my hats to 11 year olds. That’s quite fun, because she’s a hat wearer of the world. She’s a 21st century Isabella Blow.”

Treacy tone changes, softer and almost conspiratorial. “I’m not giving her Isabella’s crown, that’s not mine to give. But she reminds me of her, rather alarmingly. I don’t think anyone has any doubt about that. They do have a certain similarity. What’s most interesting is that Isabella was a very, very sweet person and so is Miss Gaga. A very, very sweet person.”

Gaga’s appearance at Treacy’s 2012 September London Fashion Week show, his first in 8 years, was the surprise entrance of the season, even to Treacy. “She said if she went to my show, she would come in her own way,” he says. “It was all her idea to come to the show. An hour before, she called me up and apologised that she was running 10 minutes late. “She said ‘I’m wearing a brown wig and I’m channelling Isabella’ and I said ‘Ok, I hear you’ thinking ‘Yikes’. And then she turned up looking like her.

“She’s a conceptual artist. She told me what she was going to say and I said ‘please don’t say that, they are going to think I told you to say that.’ She said ‘Philip, don’t worry, I’m not going to mess up.’”

Dressed in a florescent pink shroud that covered her entire face, draped over her arms, Gaga walked down the catwalk with echoing footsteps. She stopped, raised her arms and said in a deep, echoing voice “Ladies and gentlemen, the greatest milliner in the world, Philip Treacy.” She was cut short by the crowd as they erupted in applause.

Born in Galloway, Ireland, Treacy began making hats – “because I was good at it” – while at Fashion College in Dublin. In 1988 he began his MA at The Royal College of Art. Aged 22, he met Isabella Blow.

“Oh God.”

Speaking about Blow, an illustrious magazine editor and then legendary style editor of Condé Nast’s London-based Tatler magazine, Treacy’s voice becomes softer. It is clearly a story he has told before, but one he doesn’t mind revisiting.

“The first time I met her, I was in Tatler’s art department. It was the late 80s and the power suit look was in; navy, white, red suit. It was very suit with pearls.

“Isabella was in evening dress; transparent Galliano cobweb top with a satin skirt and yellow Manolo Blahnik satin shoes. Evening wear while everyone else was in day wear. Today that is a common look, but then it was very unusual. She stood out, she was different. It wasn’t an extreme outfit but she was certainly different. And she had lipstick on her teeth.” He pauses. “She wasn’t friendly, she wasn’t not very unfriendly… but she was checking me out.”

Treacy had been called in by Michael Roberts, then fashion editor of Tatler, to create a green hat, the centrepiece for a fashion story based on the 1920s novel of that name.

“It’s difficult to find a green hat, because weirdly enough people can be superstitious about them. I’m not, I love green hats.” When Treacy returned to college, he had a message. It was from Isabella. She wanted him to create something for her wedding. “I was used to white brides, so I thought she meant a veil. But Isabella was wearing purple. Velvet. With Aquitaine embroidery. So I made her a golden wimple.”

The hat and wimple sparked off a fashion partnership far more significant than designer and muse. After graduation, Blow not only wore Treacy’s creations, but arranged for him to set up his workshop in the basement of her house. “She changed my life.”

Today, Treacy rarely stands still. I have caught him while he is momentarily in his London studio. His itinerary over  the next week alone will take him to New York for Grace Jones’ concert, back to London and on to Melbourne for the Melbourne Cup before working on hats for Armani’s couture collection. London, however, remains his home.

“England is the home of the hat,” he says. “I make hats for very conservative English women who think my hats are normal. That’s why I work in England, I love it here. That is the epitome of English eccentricity as far as I am concerned. Many of my customers are very conservative dressers, but when it comes to a hat they like a very stylish hat. They want something more from a hat.”

Treacy’s craft can be divisive. The image of Princess Beatrice in his creation, a swirling cream, pink hat, at the Royal Wedding in April 2011 caused a stampede of criticism from twitter to the mass media. A month later it sold for a record breaking £81,101 on a charity eBay auction.

“Hats are provocative, they always have been,” says Treacy. “You love it, you hate it, you think it’s wonderful, you think it’s ridiculous. Hats have always brought about conversation. People are attracted to that person; they want to talk to that person.”

Treacy’s recent partnership with Asprey, a company that has centuries of experience in catering to the most extravagant eccentric tastes, is not unusual. The outcome is. He has designed a Christmas cracker.

“They thought I was joking,” he says. “I wasn’t. I love Christmas. Christmas reminds us of our childhood when we were at our happiest.” The cracker is unexplored territory. It’s another version of a hat. It’s something you don’t need, but you do need. It’s food for the soul. A cracker can be beautiful too.”

Every detail of the cracker, on sale at Asprey Bond Street in November 2012, was overseen by Treacy, from the pop up hat that unfolds when you remove the ribbon, the sterling silver thimble engraved with his signature, to the jokes curled inside. His vision, rendered completely, translated to something new.

“We live in a world of shape and I make shapes,” he says. “I have my own style of shape so I can adapt what I do to anything potentially. Designing a building would be fun, in Shanghai, China; they are very open to the future. Sydney Opera House is my favourite hat in the world. It’s not a building, it’s a hat. It’s a symbol of Australia, it’s the most exquisite building.”

“I’m happy with my lot,” says Treacy. “When Isabella [Blow] started wearing my hats first, no one wanted them. Now they all want my hats, her style of hats, interesting hats. People are much more adventurous than they have ever been before.”

asprey.com

Philip Treacy by Kevin Davies, published by Phaidon now available 

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Reading time: 7 min

 

ROJA DOVE’S SCENTS ARE THE ROLLS ROYCES OF THE PERFUME WORLD. AND THE FLAMBOYANT ENGLISHMAN WHO HAS REWRITTEN THE BOOK ON HIGH-END PERFUME FROM THE GULF TO HOLLYWOOD HAS NO INTENTION OF SLOWING DOWN, AS Caroline Davies DISCOVERS OVER GREEN TEA AT CLARIDGE’S

Roja Dove’s worst nightmare is to catch a cold. “I find it frightening. I become very panicked. It is like someone, I imagine, would feel if they lost sight. We take in so much about our world through a sense of smell. It gives you the power of memory whether you like it or not.

“I haven’t travelled on the underground for years. If you imagine smells are music, it is as though someone has put all their records on at once at top volume.”

The curator of Harrods Haute Parfumerie, creator of bespoke perfumes for the global elite and his own range – the number one and two best selling perfumes in Harrods – Dove is The Nose. Commonly renowned as the most significant perfumer of this century, he has helped pull back his industry from the brink.

“There was a point when most houses were launching with 30ml sprays with a free gift,” he says of the old days. “People forget that, that’s how debased it had become. I was embarrassed to tell people my profession after 15 year of training. 15 years! Surgeons take eight.”

Carefully combed back hair, Indian-yellow coloured silk cravat bulging illustriously from his open crisp, white shirt, cuffs just hiding gold bracelets and a chunky watch, Dove is dressed precisely and flamboyantly. His manner is soft and careful, punctuated with the occasional dignified sniff. With the wafts of breakfast, coffee and the floral display, I catch only a whisper of his scent, “something I created just for me, one of the perks of the job.” Those devoted to his work can tell his creations from just a sprinkle.

“There are elements I come back to, because I like them,” he says. “When I was little, my mother used to bake something between a bread and a cake. She made it very rarely, perhaps twice a year and  only in the evenings as we were going to bed. It would go in the oven and as we were up in bed, the scent of this thing, laden with spices and a lot of cinnamon,” Dove wafts his hands “would fill the room. I like very soft spices and I have no doubt that is where it came from.”

Dove began his career at Guerlain, where he stayed for 20 years. Harrods approached him.

“I was invited in for a cup of tea” says Dove, delicately. “Before I was seated they said “We would like to open a perfumery with you”. I said “I would just like tea please”. I didn’t know what they wanted to see me for, but that wasn’t in my realm of consciousness.”

Harrods persuaded Dove to curate his own ultimate collection within their store. “If we were going to open a perfumery, it had to have a raison d’être,” he says. “The world does not need another  regular perfumery. Everything in there is my personal edit of what I think is great perfume. It’s not about whether it is old or new, it’s not particularly driven by its price, it is whether I think it is a good example.”

A perfume historian, Dove found that he often had a better knowledge of a perfume house’s work than they did.

“I spoke to the managing director of Dior to request Diorama and Diorling,” he says. “He told me that they didn’t make them. ‘You do make them, you never stopped making them, but that they only sell them in the Avenue Montaigne.’ They found that they did sell it and allowed us to stock it.”

Dove pauses and shrugs, raising his eyebrow slightly. “Eight years later, those scents have now been re-launched and you can buy them from any Dior counter in the world.”

Although he had been creating bespoke perfumes after his lot gained a storm of interest at a Christie’s charity auction, raising more money than a Mercedes sports car or a holiday for 8 in the Maldives, Dove steered clear of creating his own range until he had dinner with an old friend.

“She said to me ‘wherever I look in the world of perfumery I see your name. Your shadow is enormous. As a client, if I read about you and I want to walk into your shadow, how do I because I can’t find your products anywhere. You need to create your own range so that customers can discover your work.’ I realised that she was right.”

Dove launched his own house in 2007. “Within a month I had the number one selling perfume in the shop, which was one of the pinch, pinch, pinch, pinch, is this really true, moments,” he says, eyes shining, pinching his shoulder. “Now we have the number two best selling perfumes in the shop.

“What I find the most amazing is that we don’t advertise. What seduces the client is actually the perfume. People find my work beguiling enough it seems so that when they smell it they say I will take one.”

Today Dove’s reach stretches across the world. London –“in Harrods, the only truly international address”–Dubai, Russia –“I speak it a little, but only enough to make a Russian smile” – Switzerland and Abu Dhabi . This year he will open in Oman –“I have always wanted to visit, they have the best frankincense” – Germany and Jeddah. He is careful to avoid the mistakes of the other major perfume houses.

“I don’t want to be in lots of places,” he says. “It is very important that wherever we sell the perfumes I will always go to the store and explain to the staff what the stories are and the ideas behind them. I don’t want someone else doing it. It’s too personal for me.”

Dove’s way of introducing scent is unique. Working with a palate of smell across four different families – three feminine, three masculine and two crossing in the middle – he guides you across the spectrum to find your favourite.

“When you meet people who are informed about scent, they talk to you about ingredients. “This contains heliotrope and celiac and exotic benzoine.” How does that help you? We need to get people to understand that a perfume is sweet and sexual. It is a bit like when you go to a restaurant. Do you actually care what the chef was doing in the kitchen? You want to know that what you eat is delicious.”

Dove’s kitchen is a complicated concept. “There are fewer perfumers on earth than there are astronauts,” he says. “If you want to understand my world, close your eyes and try to think of a colour you have never seen using no reference point; so you  can’t say a peachy shade of turquoise because you already know those two colours. Then try to imagine a smell you have never smelled before.

“My world is trying to think of an idea. I sketch an idea of the sorts of smells that might be part of that idea, put them on blotters then put them on a wheel. They mix in the air and you try to see if that will give you what you want. It is trial and error, patience, memory and hopefully having a little bit of good taste.”

Inspired by a selection of adjectives which become the tongue in cheek names for his creations, Dove creates a story, an image behind each. “Take something like mischief,” he says. “I knew I wanted a fresh floral in my palate. Freshness suggests movement and lightness. I thought mischief is perfect. If you think of a child when it has been mischievous what does it normally do? It normally nips there and does the thing it shouldn’t, stands there looking very innocent or it zips out again” he whistles. “You can feel the movement in your nose.”

Some of Dove’s perfumes have a much darker, seductive edge. “When I created Reckless, the name came about in a totally different way. I was on holiday with my partner Peter and he read out a fabulous line; “reckless maybe, foolish never,” he says, gently. “It put an idea of a woman in my mind, a woman who has got what she wants out of life. I saw this woman in the theatre or opera house in the half light with a big open décolleté and a diamond necklace. I had the idea of how the diamonds would shimmer and tremble; the same effect is created in the perfume by the aldehydes. I wanted to create a scent where you imagine the woman going home, slipping out of her silk dress and if you picked it up,” he pauses and takes a deep sniff, far into the back of his nose. “You would smell the softness and warmth of her skin and her perfume.

“It is the antithesis of a man’s world, but something they find irresistible. The woman knows that. She will always take risks and follow her heart, but she will never do anything to damage herself as she is reckless maybe, foolish never.”

So how should you discover if you are a ‘Mischievous’ or a ‘Reckless’? Dove recommends trying each first thing in the morning, firstly on blotters, comparing each one to another until you find the one you prefer. Do not use hand cream or hand wash, wear it and let the perfume sink in.

“Scents are like love affairs, you only know whether it works when you have spent the night together.”

And how do you know if you have found the one? “If you spent the night with a lover,” says Dove, leaning in conspiratorially, “You would know whether or not you would want to go back a second night.”

rojadove.com

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Reading time: 8 min
Giorgio Sermonetta

Giorgio Sermonetta

GIORGIO SERMONETA RESPONSIBLE FOR THE WORLD’S MOST DIVINE GLOVES, IN EVERY CONCEIVABLE HUE. Caroline Davies TRAVELS TO ROME FOR AN AUDIENCE WITH THE WORLD’S SUPREME GANTIER

When I arrive in Giorgio Sermoneta’s flagship store in Rome, things get off to a slightly unnerving start. Squeezing into the multi-coloured glove store – floor to ceiling of outstretched elegant hands, greens, yellows, browns and blacks, studs and bows, cut-outs and ruffles – I muscle my way over to what Google images had promised me must be Sermoneta. Bright blue eyes, square figure, neatly cut white hair and a serious mouth. I tap him on the shoulder.

“Mr Sermoneta?”

He looks blank.

“Me? I don’t work here. You’ll have to ask someone over there. I’m just browsing.”

There is an awkward pause as I hurriedly scan the room. The serious mouth twitches then beams and the blue eyes crinkle. “I got you then!”

Before I have time to force a relieved laugh, he says we are heading off for lunch. I follow, past the browsing crowds into the glaring sunshine. Sermoneta’s first glove shop could hardly be in a more perfect location. In the shadow of the Spanish steps, its rainbow colours and glowing reputation attracts passers by and those in the know. While the

tourists marvel at the sheer number of ways you can decorate a hand, connoisseurs march to the front desk for the owner’s advice. Wise decision. Were it not for a helping (well-dressed) hand, you could easily spend hours hypnotically running through the options. Some wide-eyed, open-mouthed wanderers in the corner look like they might have done just that. Carefully crafted, beautifully dyed and exquisitely designed, Sermoneta gloves have graced some of the most influential hands in business, fashion, music, film and politics. Without knowing it, you have watched them seduce and enrapture, part a crowd and denounce dictators. With that sort of power, you had better pick the right pair.

And if you were looking for a guide to gloves, you would be hard pressed to find one more knowledgeable or experienced than Giorgio Sermoneta. He first established his glove business in 1964 after he left the army at the age of 21. Keen to make his own mark away from the family business, he adopted the idea of glove making from his 17-year-old girlfriend’s family, now his wife. With little experience in business or gloves, Sermoneta relied on his wits and wide-eyed creativity to pull him through.

Carefully crafted, beautifully dyed and exquisitely designed

Carefully crafted, beautifully dyed and exquisitely designed

“When I started, I knew nothing about gloves. I was surrounded by monsters in the business,” he says. “Big names. It was like a comedian between mummies. They were old, dedicating their gloves to blue blood; they had only black and brown leather. We wanted to bring something new.”

It isn’t particularly difficult to imagine Sermoneta as the only one refusing to take glovemaking quite so seriously. We take our seats on a busy side street tucked moments from the Piazza di Spagna, but no sooner have we sat down then Sermoneta is up, greeting friends who pass by in streaming Italian, always ending with a husky laugh and a teasing joke as he waves them on.  Unfortunately, to start with, Italy didn’t seem to like his sense of humour.

“At the beginning it was very, very, very, very difficult,” he says, fixing me with a serious stare, emphasising each “very” with a soft bang on the table. “Then I started to find a new way to do business.”

Before I can venture a guess, Semoneta continues.“Tourists!” he says, triumphantly. “They want to buy gifts for their family, maybe five, 10 people to make happy, but they do not have much space in their suitcase. Gloves are very easy, very easy to carry. People started saying to people ‘Go to Sermoneta.”’And this is how I started.”

Trade picked up rapidly.

“I remember the time we didn’t even go to lunch. Starting from 9 o’clock in the morning to 8 o’clock in the evening,” he says of the early days. “No lunch.”

The waiter approaches our table with a hefty maroon coloured menu. Sermoneta waves it away and orders several plates of fresh mozzarella, tomatoes and basil and a mysterious local dish of spaghetti and pancetta, mixed in front of your eyes in a hollowed out bowl of hard parmesan.“

Do you like cheese?” He asks. I nod. He gives me an approving smile.

In his time, Sermoneta has seen many stores come and go. What is the secret to his success?

“Nobody is perfect,” he says. “Something could happen to a Mercedes, a 777 plane, anything, so we give a guarantee. Even from Rome, Japan,  Australia and we still do it. We always put our customer first.”

It probably helps that Sermoneta is an outstanding salesman. Watching him at work is a marvel. As smooth as his leather, he glances at each hand, perhaps gives one a small squeeze then burrows into the rolls of gloves tucked in the shelves behind him, barking ‘what length?’ over his shoulder. Finger gloves to elbow length, embellished or classic; with a no nonsense, experienced tone, he will cut down your options, flicking through the layers of leather hands as though they were pages of a notebook.

“The first pair of gloves you have should be black, because you can do so many things. You can go to a party, an opera, they go with everything, even if you don’t like black,” He says. “Then you can progress.”

And goodness, is there room for progress. The sheer variety is impressive. I ask Sermoneta where his ideas come from.

“Sometimes I wake up in the night, make a little sketch and go back to sleep,” he says. “I came up with the idea of the iPhone touch glove which everyone is copying. This year, I’m doing denim.”

You can see how a love for gloves can become an easy habit to slip into. Some visitors return so regularly that they become friends. When she was U.S. Secretary of State, Madeleine Albright once diverted her cavalcade simply so she could pop by to say hello.

“I was in my store in New York,” he says. “There was one lady trying on gloves while her friend smoked a cigar outside the window. I came out and started talking to her. ‘Do you like gloves?’ I asked. ‘I have a pair of gloves my father left me 30 years ago. They are so worn. No one in the world can make these gloves.’ I asked to see them and she pulled out a pair of beautiful chicory yellow gloves, so used and damaged they looked like they should be in a museum. ‘It is easy. I will make them for you, but I don’t want to be paid. Give me your name and address and I will deliver them’ ‘Annie Leibovitz.’ I didn’t realise who she was. She was so happy though.”

The most beautiful gloves you'll own

The most beautiful gloves you’ll own

Despite the variety of celebrated hands that now boast Sermoneta’s gloves, he realises that gloves are not for everyone.

“If they don’t match your personality or your dress, it is better not to wear them at all,” he says. “It is like having chocolate on a pizza. Disgusting. When you see certain people who have matched their gloves correctly you can say ‘There is a gentleman with a capital G.’”

We stroll out onto the afternoon sunset streets of Rome, Sermoneta chatting to tourists – even once bursting into Japanese – waving at shop keepers, punching the arm of a passing leather goods man.

“Now you have had a long day, I think you must have an ice-cream.” He does not, however, have gloves designed specifically for ice-cream consumption. Yet.

sermonetagloves.com

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Reading time: 6 min
Virgola Seating System

Virgola Seating System

NOW HAS A THRIVING HOMEWARE BUSINESS AND IS LAUNCHING SELF-DESIGNED HOTELS AROUND THE WORLD. LUX EDITOR-IN-CHIEF Darius Sanai CATCHES UP WITH ANGELA MISSONI, CREATIVE DIRECTOR AND DRIVING FORCE OF THE BRAND, OVER COFFEE IN KNIGHTSBRIDGE

Angela Missoni

Angela Missoni

DS: What is the key to your longevity?
AM: I often ask myself the same question, I think it is a miracle. I think really it is because my parents invented the style. I was lucky enough to inherit style from them and was able to revamp it and make it fashionable again. Missoni was not only a zigzag and it isn’t only a zigzag. It is a style, a colour base, they were pioneer in many things in fashion. The palate of Missoni is vast in terms of patterns and colours, I’m not scared in adding to it.

I’m never working on the past, I always work on the future. I never go to archives. I know the archives by heart, I was there. Every reference in my mind of my youth and growing up is related to a pattern, to a dress, to a person, to something related to fashion. If ever I ask to see something from the archive I tell them the precise year and I know exactly what I am asking for.

How do you stop everything from slipping into the past and keep it moving forward?

I use my instinct, with my knowledge of the pattern. I don’t have a recipe, I work by instinct which luckily has worked till now. I think I have courage. I was asking myself “how can I be so sure of what I am doing?” but I’m not, anymore. I like things and I go on. Season after season, I follow my instincts. There is something which is a continuation. Every collection has a precise identity but the research work never stops. There is a continuation. Maybe someone from outside can analyse better.

You have this reputation for being an earth mother… I like to live in the country. I like to come out of the country of course, but I do like to come back. I started an organic chicken farm 30 years ago, maybe that’s where the reputation started. The two things can go together.

Do you ever try to combine them?
What fashion and the chicken farm? No! Fashion is fantasy, you try to work with natural material, there is a comfort that has to be there for me in our clothes which is part of something. Those clothes have to make you feel better, or at least I hope that they do. I don’t look at trends. Either you see them or you don’t and you filter. I think I have good eyes. I see details that the majority of people don’t see. In a good sense as well as a bad sense, as you see defects everywhere. I see that there is a plug under the couch over there. I see when it’s dirty and I want it to be clean. I am very curious and I try to see as much as I can in general and I am attracted by many different things, I analyse everything and I translate it into my work.

Your mother lost interest in fashion, which is part of the reason she passed the business over to you. How do you stay engaged and interested in it?

Bowl design for Target with the characteristic Missoni zigzag pattern

Bowl design for Target with the characteristic Missoni zigzag pattern

My mother felt trapped. When she asked me to do the main line, she was tired of fighting with the commercial side. As soon as she stepped out of it, she said she wanted to retire. She has many other interests in life, but then she started with the Missoni home collection. She still does research. If she goes to a flea market, she will bring me something back so she hasn’t lost her passion for fashion. At the time she felt alone, fighting the commercial side, and she said to me “fashion you have to do when you are young and passionate, and you have the strength to fight with the commercial side otherwise they will ask you to always do the same thing that they sold yesterday.”

What keeps you inspired?
Sometimes you finish a collection and you are very tired. You might not even have the time to finish one before you start on the next. Sometimes you don’t know where you are. A little thing is enough to start it. You might see a small thing that opens the door again and you can start the process to go on. Of course, that’s what keeps you going on. I don’t only design fashion, me and my brothers own the factory and the brand. It means you are involved in all the processes, you have various things that can keep your attention alive all the time. When I see that my clothes are well received, I do have a sense of satisfaction. It is good to see that you are on the right track, so that you can go on. When I see that my daughters enjoy my clothes too, they are also very inspiring. [Angela’s daughter Margarita is an A-list model and unofficial face of the brand].

What does the Missoni brand mean?

Three generations of the Missoni family

Three generations of the Missoni family

It is fashion, but I would like people to think of it as more than fashion. It is artisanal, craftsmanship and many values. It is a brand with a very long history so that’s what I was trying to communicate. Sometimes I can hardly distinguish the brand from the family. Doesn’t mean that we all eat together everyday or that I see my mum everyday, I might see her three days in a row. I do talk to my daughters very regularly. At the moment my daughter is getting married so I seem to talk to her every 30 minutes! She was in New York for five years and one day I told her that instead of her having a phone she should have an intercom from New York and here because we speak so often.

What would you like people to think when they think of Missoni?
First thing is I would like them to have a smile. Then think of something positive. They should think beauty, joie de vivre, a lift in the spirit. You can think of art, of good food, dinner with friends. Family is not only family members, it is a large sense of family which includes your friends. A sense of hospitality. It started with my father at the very beginning. The first collection that my father decided not to show in Florence (which was in Palazzo Pitti) because he realised why go there when there was an international airport 15 minutes from the house. That was how the Milan fashion week started. Others followed. They were not showing in Milan, they were showing in the factory. That is incredible when you think of it today, but in 1970-1971, all the fashion crowd was 150 people from magazines to Bloomingdales and buyers from Hong Kong. My mother was organising lunch and dinner for them too.

Angela Missoni design for the A/W 2012/13

Angela Missoni design for the A/W 2012/13

What is the relationship between art and fashion for you?
Both subjects are the expression of the moment together with other forms, music and film, etc. I don’t think that fashion is an art but more of a craftsmanship. That’s what makes the link. We are talking the language of now or rather of tomorrow. Art also is an expression, an extract of what is now. This setting is the link.

With my work I just want my clothes to look beautiful, to give you something more. Art sometimes can be disturbing. I’m not going to make clothes that disturb you, so it isn’t the same process as art can be. I like the interaction with artists. More recently I have been asked by several artists if they can do a collaboration with us, which is very interesting. They want to work with us, with our materials. Last week I was asked by Nick Cave who I would love to work with. I would like to ask them what they think about Missoni. I wanted to work with Peter Blake, but I convinced Juergen Teller to have his photo cut out. No one touches a photo of Juergen Teller, but he let it happen. It was done at the Museum of Everything. We did a campaign inside the museum. For the summer campaign I put together Juergen Teller, Pedro Almodovar, Rossy de Palma. Everybody enjoyed it. Put creative talent together and shake. Artists are very much in their own world. Rarely you see them watching other artists. I had the image of Sergent Pepper’s Lonely Hearts Club Band in my head and I wanted to have an image like that with all our family.

My projects, I have to work fast. If I am working for a campaign I need to work with a very fast rhythm. From the show to the day you have to have the material in your hand, you have a month, a month and a half. You can start thinking before but not much because the collection is really defined when it is on the catwalk.

We did a movie with Kenneth Anger two years ago. Sometimes you think people are very hard to approach but actually it is very simple. Kenneth came and stayed five days with us.

How does the fashion side relate to the home, the hotels?

Spool Tables

Spool Tables

It relates because there are some patterns that can translate. What I like is that patterns in fashion stay there for 6 months or even less, but the same pattern you can put on an armchair and it has a life of 15 years. It gives you satisfaction. Certain patterns maybe are not instantly recognisable as Missoni, particularly from the outside, but they became Missoni classic designs.

You’re wearing some very cool accessories. Can you explain what they are for the benefit of our readers who can’t be here?
I always create my jewels myself. I don’t like to wear the things that other people wear. I do it instinctively. This is a souvenir chain with little presents, charms. It is a long chain from the beginning of the last century, I think it was meant for a monocle. I am wearing black trousers, black t-shirt, boots, and a sweater wrap. The earrings are the same. I was in Columbia at the end of the year and bought a little coffee grain from the airport, which I have hung on it too.

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Reading time: 9 min

Chinese jewellery designer Dickson Yewn combines contemporary chic with rich historical references – and is a favourite of Michelle Obama. Karys Webber meets him

jewel-1 “It’s akin to asking if one likes a pretty girl with no soul”, says Hong Kong-based jewellery designer, Dickson Yewn, in response to my asking about the importance of symbolism in his designs. “It wouldn’t be a piece of Chinese jewellery if it doesn’t represent something auspicious, important designs need to have a story and I have plenty of untold stories.” Jewellery that is designed simply to be pretty to look at, this is evidently not. And it’s really rather refreshing. Each of Yewn’s unique and exquisitely designed pieces aim to tell a story, his collections are lessons in Chinese history and culture, told via the medium of jewellery.

jewel-3Born and bred in Hong Kong, Yewn started drawing when he was just nine; “since then I haven’t stopped learning about art nor seeking beautiful things,” he claims. His fascination with all things oriental also took a hold of him in his early years. “I was top of my class in Chinese history and literature,” says Yewn, “What’s more, I was in a Catholic school where only two subjects were taught in Chinese, the rest were in English, so Chinese became something of a rare gem to me.”

Despite this, Yewn went on to study elsewhere, in Vancouver first, then Ottawa, and ended up in Paris at the Sorbonne studying French literature and civilisation. Once his studies were completed, Yewn first channelled his creativity into the world of film and advertising; “I’ve always had a burning desire to express myself in some sort of medium, as a teen, film was my first love.” But after four years, it was his self-confessed “poor verbal communication” that prompted a change in direction. “Film and advertising demanded a lot of communication, so I withdrew to something more personal, some form of expression that didn’t require me to work with others. I picked jewellery design and fine arts.” With that, Yewn went off to study again, this time in New York, at the Fashion Institute of Technology where he completed two courses to master the art of jewellery design. By 2000, Yewn’s conceptual jewellery store, Life of Circle, had opened in Hong Kong’s trendy Tsim Sha Tsui district and swiftly acquired a dedicated and elite clientele.

Yewn gained the ultimate seal of approval from the first lady herself, Michelle Obama


Since then, Yewn has gone on to receive impressive worldwide acclaim – Life of Circle was named one of the top 25 stores in the world by Forbes magazine in 2005 (alongside fashion forces, Hermés, Manolo Blahnik and Ralph Lauren) and a collaboration with Sotheby’s in 2008 saw Yewn’s jadeite, diamond and melo pearl (extremely rare due to its vibrant, apricot orange hue) collection sell for a whopping HKD$5.32 million at auction.

jewel-2

More recently, Yewn gained the ultimate seal of approval from the First Lady herself, Michelle Obama, when she wore his Jadeite Diamond Wish Fulfilling Lattice Ring to a high profile dinner at Buckingham Palace in honour of the British Royal Family. “I didn’t know about it until a month after the event” Yewn declares, “a Danish jeweller congratulated me at a trade show and showed me a gossip magazine of her wearing it. I found out later that she bought it at Bergdorf Goodman in New York.” Despite not being one for celebrity endorsements, Yewn admits that he was thrilled; “to have Michelle Obama wear my creation at such a major event is definitely an important milestone and an influential one, given that she is probably the most powerful woman any woman could aspire to be.”

Still drawing inspiration from the rich culture of the Orient, Yewn’s recent Imperial Cage collection portrays the ancient craftsmanship of bird cage making and China’s long-standing tradition of breeding birds for display, a symbol of wealth, social status and power. Yewn’s homage to this ritual incorporates black and white diamonds to depict a birdcage and traditional Chinese flowers, chrysanthemum and plum blossom. The equally stunning Fragrance Locket collection tells the story of the fragrance pouch, stuffed with aromatic herbs and worn around the neck in ancient China, thought to ward off evil and bring good fortune.

yewn.com

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Reading time: 3 min