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 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.

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.

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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.

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

Due to the technological revolution, design is more integral to our daily lives than it ever has been; but creativity will always be a fundamentally human trait, says our columnist, Gorden Wagener.

Gorden Wagener, Chief Design Officer at Daimler

The world is changing rapidly and the pace of change keeps accelerating. Because of that, there is a growing awareness about the details of every aspect of your life. The fact that our knowledge is shared globally, instantly, has created a greater awareness of design and the things that surround us. What everybody is aiming for is to create their own perfect world, and design is a key part of achieving that.

You can see this happening in the design of cars. Just 15 years ago, you would have a car, add some instruments and surface details and that was it – there was no design at all. Now, the complexity of this process has increased by a factor of about 100. We design each and every little detail. The seats and their surfaces are very design-driven, and so is all the digital stuff. The satellite navigation screens have become such a big topic. Previously, the headlamps were just there to illuminate and it didn’t matter how they looked; now each one of them is a super-complex little piece of art and technology. And, of course, good technology always has to work hand-in-hand with good design – think of your smartphone.

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Gorden Wagener in the studio

All of this has made the world change utterly, and it’s cool to be part of that movement. When I studied design, it was very much a niche. But now you see how powerful it is to the point where it’s actually transforming the world and it is reshaping multibillion-dollar industries like ours in a dramatic way. It also means there are other areas where designers can focus.

Mercedes-Benz is not just a car company but an international luxury designer label. It’s important to create a holistic brand experience that extends from the product to the retail stores (which we design) and to selected luxury goods – to create an entire world, in fact. On the one hand, that positions us well as a luxury company, and on the other, it gives us feedback from other creative design disciplines, which in turn influences our own work and opens new doors to let us create things differently.

Gorden Wagener with a Mercedes-Benz concept design

In the past three years we have moved from being a traditional luxury company to being a modern luxury company – from the parents’ generation to the next generation, and it seems to have happened in an instant. Our aim is to attract our consumers into a total world so that they never leave Mercedes. We design their apartments, their homes, their cars, their commercial airplane, their boat and private jet, the Mercedes Me Store where they can go for dinner, and so on. It’s about creating a world that completely surrounds you.

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Our philosophy of Sensual Purity is a new movement; no-one has combined emotion and intelligence, the two basic tenets of humanity, within a single design movement before. Our designs are becoming more simplistic while keeping their sex appeal, which is again a natural thing. In the end, simplicity is always longer lasting than drama.

Emotional intelligence is deeply enmeshed in modern luxury and it is something a computer cannot have. A computer may have more intelligence than a human one day, but emotional intelligence is different. And to this day, we still make our key sketches on a piece of paper and only then do we digitize them and render them into 3D. Humans still lead design, despite the technological revolution.

Gorden Wagener is Chief Design Officer at Daimler, parent company of Mercedes-Benz. ‘Sensual Purity: Gorden Wagener on Design’, published by Condé Nast, is available at good bookstores worldwide.

In the heart of Knightsbridge overlooking one of London’s most beautiful garden squares is a new residential conversion that is long on that rare blend of uber-luxe and subtlety

A rooftop terrace at the exclusive Kingwood development overlooking Hans Place in Knightsbridge

London’s garden squares have been a lure for investors and residents for centuries. A home on a garden square has all the advantages of city centre living, but with a view of trees, grass and carefully tended flowerbeds, and the opportunity to chill out in your private gardens – often surprisingly extensive – on the days when summer comes to town.

Many garden squares are, through a function of history, also in the most exclusive areas of town: Knightsbridge, Chelsea, Belgravia, Notting Hill. With typical London eccentricity, the most exclusive garden square of all is not technically called a square, but a ‘place’. Hans Place is just around the corner from Harrods – a hundred metres or so away, near enough for a quick dash for that Chanel gown for tonight. More oval than square, its northern side is being transformed into Kingwood, six of the most luxurious lateral apartments in Europe.

The informal kitchen and dining area in one of the luxury residences

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The development was made possible due to the simultaneous conversion of four neighbouring historic townhouses. “What is incredible about Kingwood is that you have four houses together, built as vertical townhouses, which we are now converting into lateral apartments, on one of the best, if not the best, garden squares in London,” says Alex Michelin, co-founder of Finchatton, the developer. “The person we purchased the properties from spent half his life putting them together.”

The elegant dining room of one of the new Kingwood apartments

In a city not known for its opportunities for lateral apartment conversions, to get 600 sq m on a single floor was “entrancing”, says Michelin.

Some recent developments in Knightsbridge have owed more to Hong Kong or Dubai style, all glass and gold, than London. Not this one. “It’s an incredibly discreet development. We have taken the buildings as they were, with their original facades, and just restored them,” says Michelin.

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The interiors, designed by Finchatton’s in-house team, are subtle chic, with taupes and muted tones, evoking a contemporary luxury that would be as familiar to a fashion designer as a private equity principal. “It’s very sophisticated and elegant; there’s no steel, glass or chrome. Our style is understated elegance. People these days don’t want to be flaunting their wealth.”

A Kingwood master bedroom with a four-poster bed and floor-to-ceiling windows

But while the historic significance of the architecture has been respected, the build is completely up to date. The homes are governed by the latest Crestron home automation system, so you can switch on your air conditioning and the Café del Mar soundtrack, and have your robot butler fix you a dry Martini as you approach in your self-driving Tesla. (OK, we made up the part about the Martini but we’re sure it’s going to happen soon.)

The catch? Three of the six apartments have been sold already. We suspect LUX readers will purchase the rest now.

finchatton.com/project/kingwood/