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Fashion’s Forward-Thinkers: Genia Mineeva, BEEN London

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

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.

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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.

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.

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!

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.

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.

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.

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

Reading time: 5 min

Culture, Latest Stories, Online Exclusive Slider

Gaggenau launches initiative to support innovative artisans

The Respected by Gaggenau initiative recognises excellence in the categories of food, wine and design

German luxury appliance maker Gaggenau begins its search for three extraordinary makers and producers for their Respected by Gaggenau 2021 campaign. LUX reports

The inaugural Respected by Gaggenau prize aims to bring global attention to three exceptional regional producers in the categories of food, viniculture and design. A team of global experts have put together a long-list of 80 nominees from across Europe, which will be whittled down to 15 by Dr. Peter Goetz, Gaggenau’s Head of Design Sven Baacke, viniculture expert Sarah Abbott MW and culinary critic Tom Parker Bowles before the announcement of the final recipients in January 2021.

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The winning producers will receive a promotional package to support their business and showcase their craft, including videography and photography created by Gaggenau. They will also become an official Gaggenau global brand partner for 2021 giving them access to the brand’s high-net-worth customer base.

The Respected by Gaggenau 2021 long-list nominees from the United Kingdom were selected by LUX’s own editor-in-chief Darius Sanai, Kol restaurant chef Santiago Lastra and celebrated chef Cyrus Todiwala. Nominees include:

Culinary

Caroll’s Heritage Potatoes @carollsheritagepotatoes
Elchies Estates @elchies_animals
Keltic Seafare @kelticseafare
Langley Chase Organic Farm – Jane Kallaway @langleychasefarm
Rhug Estate Organic Farm – Lord Newborough @rhugestate

Design

Billy Tannery – Jack Millington @billytannery
Cara Guthrie Ceramics @caraguthrieceramics
Retrouvius – Adam Hills & Maria Speake @retrouvius

Viniculture

Albury Organic Vineyard @alburyvineyard
Coates and Seely @coatesandseely

Watch the campaign video below:

For more information visit: gaggenau.com

Reading time: 1 min

Art & Design, Latest Stories, Online Exclusive Slider

Gaggenau x LUX: Exploring four forms of artistry

Orange peeled with glassware. Image by Patrice de Villiers

In this series of interviews conducted in partnership with Gaggenau, LUX speaks to four artists, who are seeking to alter our perspectives of the world through their innovative practices and meticulous craft

Creativity is an essential part of humanity. Whether it’s a painting, sculpture, building, object, or a plate of food, we make things to better understand and appreciate the world in which we live.

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As one of the original pioneers of kitchen design, German-brand Gaggenau has long supported craftsmanship through the making of its own range of elegant high-tech products, and through collaborations with like-minded makers. Each of the four artists below was asked to create a work of art to celebrate the launch of the brand’s new steam oven range, engaging with the themes around sensory experiences, sustainability, and innovation. Here, we discuss their unique forms of creativity.

The Dance of the Flying Fish. Image by Patrice De Villiers

Patrice de Villiers

Food photographer

What made you decide to specialise in food photography?

I studied photography, film studies and English Literature at university. Back then, my photography element mainly consisted of shooting portraits of aspiring musicians and actors. It wasn’t until I came to London to assist a still life photographer that I was introduced to the concept of using food as a subject matter, and looking at it in a different way. Still life is a difficult discipline I think, but with food you have everything already there; it’s got form, texture, and colour. It gives you a head-start in making what’s hopefully an amazing and impactful image.

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What comes first the ingredients or the photographic concept?

If it’s a commercial job, I’m given a brief and an ingredient and the concept comes out of observing it, thinking about it. I always try to think about it differently so that if you look at the image of parmesan or asparagus or whatever it is, you think I would have never seen it visually in that way. But then at other times, as I do now with a new project, I have a particular concept in mind and in my forays to the markets, I’ve been thinking about which ingredients would best suit the idea.

How do you think an image can contribute to a person’s experience of food?

It can inspire. If you see an ingredient or dish photographed in a beautiful way, then why wouldn’t it inspire somebody to go off and create something? A publisher once said to me that most cookbooks are aspirational, meaning that an awful lot of cookbooks are bought not necessarily to cook from. People have them as pieces of art to simply look at.

The Octopus and the Belt. Image by Patrice de Villiers

Parmigiano with Grapes. Image by Patrice de Villiers

Your images often have a distinct painterly quality, how do you achieve this effect with a camera?

It’s less to do with the camera and more about the lighting craft so I observe the object and I experiment with light on it in various compositions. With experience, you learn instinctively where things should be and equally, where they shouldn’t be. When I come up with my ideas, I certainly don’t do it all on set; I sketch out almost all of my work.

When I was at Uni, I was particularly struck by Edward Weston and his beautiful photographs of peppers. They’re black and white so you’re not distracted by colour. He just wanted to focus on the incredible form and texture, but the beauty of the ingredient, of course, is in the eye of the beholder. When I’m shooting a food editorial that needs let’s say a pepper or an orange, then I will go and get it because if you’ve only got that one thing in the image, as Weston only had his pepper, it has to have character.

Jan Wines (with sketches) by Patrice de Villiers

‘Food is definitely a natural form of art. The joy of photography is that I get to […] abstract it so that what people might view as something purely edible becomes something else.’

I was shooting some endives for the Independent a few years ago. It was when I went closely in with a longer lens that I could see they had tiny hairs coming off the leaves. It was about the intimacy [of the image]. The hairs of the yellow endive were just close enough to slightly touch the red one – it’s a tiny thing, but it’s about finding that beauty. I’ve photographed practically everything on the planet in the edible world and there’s usually something incredible about it whether it’s something quirky or beautiful.

Touch Softly. Image by Patrice de Villiers

Tender Kiss. Image by Patrice de Villiers

Celery Cheese (with sketches) by Patrice de Villiers

Has this current period affected your perspectives and relationship to food?

During this time, working from home, being isolated, I think food and meal times have become the punctuation for many people’s days. It gives you some sort of schedule, something to focus on when everything else is so hazy, something to look forward to.

How do you think your practice aligns with Gaggenau’s ethos?

I feel that we come from entirely the same place. There’s a shared dedication to craft and to [producing] the ultimate in quality. We both pay attention to the really tiny details and have an eye for beauty.

@patricedevilliers
patricedevilliers.com

‘The Rising Tide’ (2016), The River Thames, Vauxhall, London by Jason deCaires Taylor

Jason deCaires Taylor

Underwater artist

How did your interest in ocean conservation progress into making underwater art?

I studied public sculpture at university so I always envisioned a career in the arts, but at the same time, I had a love for the sea and I trained to be a diving instructor, which I thought could be a hobby or part time thing, but then slowly, I started to think about the two things being connected. I became disillusioned by public art because besides its inherent message and aesthetics, I felt that it also needed a practical reason to occupy the space. It was through diving and exploring the underwater world, that I realised I could create artworks that also worked on a practical and functional level.

What are some of the challenges of working underwater?

They are all very challenging projects; I haven’t done an easy one yet. First of all, there are the materials. Most public sculpture uses metal either foundry castings or armatures, but underwater, that’s not a very sustainable material, and practically it’s quite difficult to implement so we use types of cement that are formulated with marine biologists. We have to make the works extremely heavy to survive the harsh marine elements as there are a lot of forces taking place underwater. There’s a balance between trying to make the works that are solid and can be attached to the sea floor without creating monumental logistical challenges on land.

How much does the location of the sculpture influence its form?

It’s really vital that each project has a strong connection to the place where it’s set. There are a lot of community consultations and for a lot of the projects, I’ve actually lived in the locations for many years. It’s only by spending time with people, learning the languages and getting to know the local culture, that you’re able to produce designs that are relevant. I’ve also cast a lot of people from local communities so that they feel more connected to the work. On a practical level, there are many different regional currents and the transparency of the water differs, along with the marine life, which are all important considerations when creating a work.

Top image: ‘The Coral Greenhouse’ (2019) at MOUA, The Great Barrier Reef, Queensland, Australia. Below: Installing ‘Disconnected’ (2016) at Museo Atlantico, Lanzarote. Both pieces by Jason deCaires Taylor

Jason planting fire coral on his sculpture entitled ‘Man on Fire’ (2011) at MUSA, Mexico

As your works are naturally transformed by the sea, they appear as ruins from another age or culture. How do you think this contributes to the way viewers respond to the works?

I always felt that it was like looking at ourselves from a wider angle or from much further away. We have this inbuilt desire to conquer nature; there’s that traditional mentality of ‘man over nature’. I hope that my work shows that we are integral part of nature, but also that we are, ultimately, at its mercy.

‘The Coral Greenhouse’ (2019) by Jason deCaires Taylor at MOUA, The Great Barrier Reef, Queensland, Australia.

‘There’s something about seeing ourselves in a different environment and with a different sense of time that contextualises our lives, but also makes us aware of our underlying fragility.’

What role do you think your art plays in wider discussions around the environment?

We need a fundamental reset of our relationship to the natural world. The capitalist system of us looking at the natural world as a giant resource has to change, and it will change because we can not continue as we have been going. From a marine point of view, it’s a harder challenge because it’s an environment that’s out of sight and out of mind for most people. I hope my work brings the underwater world into urban environments.

Scientists put forward all of these figures and stats, but we’re extremely emotional beings and we respond much better to an emotive argument than to a factual one. I think that’s where art, and hopefully, my work, can play a fundamental role; it can transform those facts into an emotional message, and also bring these kinds of issues to a more mainstream audience.

What led you to collaborate with Gaggenau?

Over the years, I’ve been approached by quite a few different brands and I very rarely do them, but Gaggenau has a good appreciation for the arts and supporting artists. Their products are about quality, good design and engineering, which I think complements my own practice.

Calcareous tubeworms on part of a piece entitled ‘Crossing the Rubicon’ (2018) by Jason deCaires Taylor at Museo Atlantico, Lanzarote

‘Inertia’ (2014) by Jason deCaires Taylor at MUSA, Mexico

Have you managed to create in lockdown?

I have two young children so it hasn’t been that easy to come up with new ideas or designs, but at the same time, it’s an opportunity to reset. We have all been living too fast, and it’s a time to re-evaluate what’s important. In terms of actually creating, I get excited about an idea, and then, sometimes I feel that things are a bit futile, that I’m just finding ways to preoccupy myself.

Are you afraid of the future?

Yes. It’s hard to comprehend the magnitude of what’s happening. There are three monumental challenges that we are facing: the virus, the economy and climate change. I think it could go one of two ways. It could be an amazing opportunity to rebuild ourselves in a more sustainable way, but it’s also going to really test humanity as to whether people will think only about their immediate reality and their families, or whether they can look past and see themselves as part of a global entity. It’s tricky when fear is involved. Fear can be used for manipulation, and I worry that might happen.

@jasondecairestaylor
underwatersculpture.com

Prudence Staite and her team creating an edible countryside landscape from popular breakfast foods to celebrate Farmhouse Breakfast Week. The artwork used 11 different types of breakfast cereal, including 169 wheat biscuits and 42 shredded wheat parcels, 500g of porridge oats, 21 slices of bread, 14 bread rolls, 14 crumpets, 2 jars of marmalade, 12 rashers of bacon and 42 apples.

Koala CFA made from nuts & seeds by Prudence Staite

Prudence Staite

Food artist

When did you decided to combine your passion for food with making art?

When I was doing my art degree, I got bored of what we were supposed doing – it was an old fashioned art school, very traditional – and instead I started creating artworks out of chocolate and sugar. The idea was that people could interact with the artwork; you could go into the gallery and actually eat it. Art to stimulate all the senses. Initially, my tutors were totally against it and said that art isn’t something you’re supposed to touch, it’s something you’re supposed to look at, but my degree show was made out of food. It was a room that you could actually go into; you could look through chocolate windows, and you could eat the chocolate skirting boards. The idea was to make people think how interiors link to real food. For example, how ceiling patterns sometimes look like frosting. That was back in 2000, and I set up my company the day after I graduated.

Giants Codway by Prudence Staite

Are all chefs are artists?

The way you set up to create a painting or a sculpture is quite similar to how you set up a plate of food. You’ve got a canvas or a plate and you have to collate ingredients or your artistic materials, and you plan and you prep. So yes, I think artists are chefs and chefs are artists.

What are some of the challenges of using food as an artistic material?

One of the main challenges is the lifespan of the food substances. Also, all of the work that we tend to do has incredibly short deadlines. We’re always chasing our tail and juggling different jobs. We try to always come up with new things that haven’t been done before, but often, we don’t have time to see whether it will actually work so we just have to figure it out whilst we’re making it. It’s fun and I love it, but it can be challenging.

We had one job where we had to use edible insects and chocolate. Since a lot of our artworks are eaten, we always have to make sure that it’s safe and meets food safety standards so for this project, there was a legal limit of how many insects you can have per ratio of chocolate and we had to get a veterinary certificate to make sure the insets been harvested correctly. For that kind of thing, there’s a lot of paperwork and a huge amount of planning.

Much of your artwork is assembled on site, why did you decide to work this way?

For me, it’s that part of the theatre of my artwork. I like that people can see it all coming together. Often they see the vegetables, cheese, chocolate or whatever we’re working with, but they can’t see how it’s going to turn out. I think that seeing that process adds something to the eventual eating experience. Having people watch me work can also be a little bit stressful because things do go wrong, but overcoming the problems is part of it. Also a lot of the projects we do are large scale so you can’t transport them easily in one piece.

‘The Girl with a Pearl Earring’ created by Prudence Staite for Gaggenau’s steam oven launch, 2020

‘My whole philosophy is to give people a different viewpoint so that they can appreciate the art of food.’

What led you to partner with Gaggenau?

I was approached by the brand and asked whether I could create something that reflected the ingredients that could be used in their new steam ovens. Their ethos is very much that the products are masterpieces in themselves, they’re works of art, and that really fitted with my philosophy that food is art. The ovens are not so much of a tool, but a vehicle to create masterpieces at home. I love that idea. Gaggenau’s colour scheme had the feeling of Dutch Old Masters [paintings] with lots of rich greens and purples, which inspired the idea of re-creating The Girl with a Pearl Earring using vegetables.

How do you think your artworks contribute to the viewers’ experience of food?

My whole philosophy is to give people a different viewpoint so that they can appreciate the art of food. Food should be an enjoyable experience and not something you just quickly shovel down your throat to fulfil a calorie intake. It’s about getting people to stop and think about where we get food from and how it’s grown.

The making of ‘The Girl with a Pearl Earring’

Chocolate Motorbike Exhaust by Prudence Staite

Have you been creating in lockdown?

We were working on three different projects and they were all put on hold because a lot of what we tend to do is in a public place or in a restaurant. So, I’ve been looking at new inspirations and I’ve been experimenting with making a series of chocolate vinyl records that are actually play music. I’ve also been trying to get a rainbow, the light spectrum, captured in chocolate, which I’ve managed to do by using diffraction grading so when you move the chocolate around under the light, you can actually see a rainbow.

What’s next for you?

I never really know what’s coming next – it has been like this for twenty years. One day I’d love to do a twelve course dinner which are all individual works of art served within a chocolate art gallery. So you can go and eat all the walls, the doors, the floors, ceilings, the chairs that you’re sitting on and chocolate records are playing music as entertainment whilst you eat. I would also like to work with more fresh produce and flowers, and to experiment with immersive produce installations.

@prudenceemmastaite
foodisart.co.uk

Brill from the menu at Paris House

Paris House in the Summer (top) and Phil Fanning in the kitchen

Phil Fanning

Executive Chef & Owner of Paris House

Your cooking focuses on seasonal British produce – where do you generally source your ingredients?

The general principle is that we find purveyors of the best quality produce and we rely on their connections with suppliers, farmers and producers. We are keen to use local people as long as their product is good. The quality of the product is paramount.

What appeals to you about Japanese cooking techniques?

I’ve always loved Japanese culture. My wife and I are sushi addicts. I’ve been into martial arts all my life and I’m an amateur carpenter; Japanese carpentry is incredible. When you set up a business, you need some kind of USP or direction so it made perfect sense for me to follow that route. The principle behind Japanese food is the quality of technique, driving towards a kind of simple perfection. It’s to do with extracting the best flavours from what you put in. What I especially love about Japanese culinary techniques is that you don’t necessarily know it’s Japanese from a flavour point of view so you can enhance British ingredients with Japanese techniques without turning it into Japanese food.

Native Lobster at Paris House

How are you incorporating sustainability into your kitchen?

We have a kitchen garden so all of our vegetable trimmings go on the compost heap and the compost heap goes onto the garden and the produce from the garden comes back into the kitchen. We are closely advised by our fish suppliers as to what is the best fish to be using that season. We very recently flipped our entire kitchen to induction services and low energy refrigeration, which saves us a huge amount of money and also means that we’re not wasting energy. We also recycle everything we possibly can. There’s plenty more we could do, but we have already improved in many areas.

Who or what do you think influenced your tastes in food and cooking?

It stared off with Gary Rhodes who was on TV. His passion and enthusiasm was infectious. Then my grandpa, bought me a Ken Hom wok when I was about ten – I’ve still got it and it’s used on a regular basis – which opened my eyes to the Asian route. I also had a very powerful mentor: Michael MacDonald who now owns the Vanilla Pod in Marlow. He directed my skill set and greatly influenced my understanding in the kitchen. Then, there’s my chef idol: Thomas Keller.

How do you think your cooking style has evolved over the years?

As the years go by you work out what it is that the guest wants, more than what it is you think they want. In other words, you become better at understanding your customer base’s requirements. So I think I’ve become closer to what my customers like and I’ve definitely focused more on Asian techniques.

Craftsmanship is the cornerstone of what we do. Over the years, I’ve become better and better at my craft, but I don’t think I’ve drastically changed what I’m doing. Every time you go out for a meal you get inspiration and gain a deeper understanding, but you always cook what you like. Fundamentally, if you wouldn’t eat it, you shouldn’t cook it. Yes, you have to listen to your customers and ensure you fit into the market, but you have to cook food that you love.

‘The fundamental principle is that you eat with your eyes. A good dish needs to taste, feel and look amazing; all three of those things have to be right.’

What’s your process for developing new recipes?

Our current format is heavily driven by tasting menus. We have a six, eight, and ten course tasting menu, which are influenced by the Japanese concept of Kaiseki. It’s an incredibly seasonal and locally driven food concept, and as with all things Japanese, there’s always a reason for dishes to be in a specific order, combination or at a specific time of the year. There’s a set of principles that you follow to build the Kaiseki menu.

By using some of the same principles in our menus at Paris House, we have a better and more consistent way to develop dishes. Now, we have dish “holes” so we know, for example, the dish at the beginning has to be slightly bitter, it has to be really fresh and probably seafood or vegetable-based. The next one down has to be hot, vegetable-based and with a fried element. These principles build a nice flow. Point one for us is to think about those principles, and then to look at what’s seasonal and whether there are any new or exciting ingredients, and the third point is if we want to try and incorporate any new techniques into the menu. Then, there’s experimenting and tasting. It takes about three to four months to bring a menu together.

Crab (top) and Beef Rib dishes from a menu at Paris House

A plum dessert at Paris House

Do you consider yourself an artist, and is cooking an art form?

I think I’m a craftsman, but you could argue that all craftsmen have an element of artistry. The fundamental principle is that you eat with your eyes. A good dish needs to taste, feel and look amazing; all three of those things have to be right. The taste and texture of the piece is definitely down to craftsmanship, but the visual representation requires an artistic perspective.

What led you to collaborate with Gaggenau?

We’ve worked closely with Gaggenau for many years now. They’re a massive producer of technology, but they’re so artisan about what they do. For Gaggeanu, it’s never about mass production, it’s about quality, which fits with what we do at Paris House.

What have you been cooking in lockdown?

I’ve been cooking more than I have for years. At work, I’ve been doing the take-out menus, but at home, we’ve been baking baguettes, pizzas, sausage rolls. My favourite thing to eat in the sun is bouillabaisse so we made a big batch with mussels, which was incredible. Usually I don’t have a chance to bake bread at home, and in the first few weeks when the restaurant was closed, I was baking pretty much every day. I love baking bread – it’s such a therapeutic process. Spending more time with the kids has also been a huge silver lining.

@parishousechef
parishouse.co.uk

Reading time: 26 min

Culture, Latest Stories

Baku Corner: one-of-a-kind designs by talented artisans

Baku Corner was launched by Leyla Aliyeva, vice-president of the Heydar Aliyev Foundation and Founder of IDEA Public Union as a non-profit project designed to support the work of local Azerbaijani artisans and talented craftspeople from across the globe. The online boutique stocks a collection of beautifully curated fair-trade products, and a line of Aliyeva’s own striking designs. We love the bright colours and bold, quirky patterns. Here we select six unique pieces from LUX’s wish-list.

This iPhone cover is one of our favourite designs, featuring a detailed drawing by Leyla Aliyeva of a monochrome panther with bewitching emerald eyes.

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This floral silk scarf illustrated with artwork by Leyla Aliyeva fits with this season’s penchant for bright, clashing colours combined with delicate fabrics.

This structural basket bag is handmade in Colombia from sugar cane and decorated with ‘Molas’, colourful fabric which is sewn with a reverse-appliqué technique to create an intriguing textured effect.

The ‘Eclipse’ hat is also made by Colombian artisans utilising traditional materials and techniques to weave an intricate pattern that’s made all the more pretty with a cut out back.

From Leyla Aliyeva’s home collection, this stunning cushion cover features different illustrations on both sides so that you can flip it over and transform the room.

This loose weave alpaca scarf in cherry red is both cosy and stylish, best worn with statement artisanal jewellery (as above).

Reading time: 3 min

Fashion & Jewellery, Latest Stories

6 Questions: Tyler Ellis, Accessory Designer

LA based accessory designer Tyler Ellis SS18 Handbag Collection

Handbag from the latest collection by designer Tyler Ellis

Tyler Ellis SS18 Collection

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.

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

Reading time: 6 min

Cars & Collectibles, Leaders & Philanthropists, Leaders Slider

CEO & President of Acqua di Parma Laura Burdese on the beauty of imperfection

Picture of model will chalker and his family in black and white for Acqua di Parma. Natural beauty

Model Will Chalker and his family star in the campaign for Acqua Di Parma’s newest fragrance, Colonia Pura

As famous for its striking yellow Art Deco packaging as its ‘colonias’, Acqua di Parma has developed over the years into a lifestyle brand that embodies the romance and artistry of Italian culture. Now under the leadership of new CEO & President, Laura Burdese the LVMH-owned brand is moving in new directions. Following the launch of Colonia Pura, the brand’s latest fragrance, LUX’s Digital Editor Millie Walton speaks to Burdese about the beauty of the Italian lifestyle, working with artisans and the future of luxury.

Acqua di Parma CEO & President Laura Burdese

LUX: All of Acqua di Parma’s products are handmade. How do you maintain a high-level of craftsmanship in the fast paced, technologically driven world?
Laura Burdese: I must admit that matching hand-crafted processes with an always faster time to market, while delivering outstanding products, is not easy at all, but this is our mission. We have some very clear convictions as a brand. We love things made slowly and by hand, so they develop a soul and we cherish the imperfect as the only true form of perfection. We admire the handcrafted, the slightly irregular, the almost perfect. As you may notice, labels on our products are not perfectly applied sometimes, this is because they are applied by hand. So are our iconic rounded hatboxes.

With this in mind, the high-level of craftsmanship resides in the ability to work closely with our artisans since the very inception of a product, controlling each phase of the process and not only the final outcome. I believe this is a very productive and stimulating way to manage the creative process, which let the essence of our products shine through.

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LUX: How does the city of Parma – the birthplace of the brand – continue to inform the company?
Laura Burdese: If you just have a walk in this beautiful Italian city, you can easily recognise that our iconic shade of sunny yellow resonates with the yellow façades of Parma’s historical buildings.

Elegance, beauty, harmony, mastery of craftsmanship: this is what you perceive in Parma and what the brand first experienced in this city, making its own from the very beginning in 1916. More than that, today Parma is a vibrant, lively Italian city, still a source of inspiration for us because here you can truly “smell” the warmth of the most authentic Italian way of life. And I believe that it’s the same spirit you can smell in all our fragrances.

LUX: How do you see the luxury market developing over the next ten years?
Laura Burdese: It’s a very difficult question. Things are changing so fast nowadays that it’s already difficult to foresee what could happen in 1 or 2 years’ time, nothing is written in stone and 10 years is an eternity. However, I do believe that the luxury market will continue to grow, even if probably at a slower pace, therefore strategy will become paramount. Emerging battlegrounds will be e-business and data management, with the necessity to drive-up investments into luxury, bespoke and taylor made experiences and “lifestyle branding“.

Will Chalker and family in the new acqua di parma campaign for colonia pura

LUX: Acqua di Parma supports many art forms and is culture partner of venues such as the Peggy Guggenheim Foundation in Venice. How do visual arts influence the brand?
Laura Burdese: Acqua di Parma has always supported the best of artistic creativity in all its expressions with publications, partnerships and events. As you properly mention, one particularly prestigious activity is our collaboration with Guggenheim Intrapresæ, a group of companies dedicated to sustaining the Peggy Guggenheim Collection.

We understand the importance of our cultural heritage and we keep considering it as a major source of inspiration in all our creations. In this respect, the values that Acqua di Parma espouses are perfectly reflected in Italian visual arts: the same adventurous spirit and the courage to set aside what is good in order to achieve the best. But also the ability to create styles that resonate with people, that communicate something new, something truthful, allowing the essence of things to shine through.

LUX: Your leather and home collections also promote hand-crafted products. Is it difficult to find traditional artisans nowadays?
Laura Burdese: Honestly, it’s pretty difficult. Making a creative process, such as the artisanal one, also effective and efficient is not simple, but this is how we work. This ambitious objective is possible only if you, as a brand, co-operate closely with your craftsman, motivating them, stimulating them and making them proud to work for you. And I believe this is what give our products such a shining soul.

Collection of fragrances by Acqua di Parma

Acqua di Parma’s latest fragrance, Colonia Pura

LUX: Do you have a favourite fragrance?
Laura Burdese: While I wear different Colonias, depending on the season, I prefer to wear Blu Mediterraneo Fico di Amalfi in summer. Usually I gravitate towards scents that are unisex or more masculine. Lately, I’m in love with Colonia Pura, our new fragrance, a light, modern interpretation of the iconic Acqua di Parma Colonia. True to Colonia, Pura opens with the brand’s signature citrus top notes of crisp bergamot, orange and petit grain. A heart of narcissus, jasmine and coriander, and base of cedar wood and patchouli give Colonia Pura a youthful energy.

LUX: What’s next for Acqua di Parma?
Laura Burdese: We have always represented the most refined elements of the Italian way of life, but in an understated, discreet way. We are now leading the brand to the next level and keep developing this beautiful Italian story into a global success. Our new fragrance, Colonia Pura, opens a new chapter in the history of Acqua di Parma. Undeniably, Colonia Pura advertising campaign makes a turning point in the way we’ve always communicated. For the first time in our history, we presented an advertising campaign which features a man and his family.

Small boy eating yoghurt pot in a scene of natural beauty

We chose Will Chalker because we believe he embodies the spirit of the brand and conveys a strong yet modern and open masculinity. We were quite fortunate that Will’s family is in the campaign – his wife and young son add a lovely spirit of authenticity and warmth. The campaign images depict Will as a sincere and affectionate father and husband, values that are important in the Italian culture and resonate with the Acqua di Parma client.

As for the next launches, I cannot really reveal our new creations at the moment, but I can assure you they will express the Acqua di Parma personal signature and perfectly embody our brand equity. They will be scents of Italy and scents of life. The ultimate in sophistication: light and simple. Stay tuned.

LUX: How do you relax?
Laura Burdese: I do relax spending time with my kids and my husband. I know it might sound weird, but honestly I have a hectic life and quality time with them is just a gift. We do a lot of sport together, watch movies, talk, share experiences. It’s just about little things that make me feel complete and relaxed!

LUX: What’s the secret to Acqua di Parma’s success?
Laura Burdese: Acqua di Parma is so successful because it is much more than “just” a fragrance brand, it’s a way of life in its most sophisticated form. Our secret has always been moving forward into the future while keeping our DNA intact. We are very proud of our heritage, history and values but we never forget to keep an eye to the future and new generations. Our most important skill and what distinguishes us is the ability to bring style – specifically Italian style – into life.

acquadiparma.com

Reading time: 6 min

Fashion & Jewellery, Taste Issue

Hand in Glove

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

“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

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

Reading time: 6 min

German luxury appliance maker Gaggenau begins its search for three extraordinary makers and producers for their Respected by Gaggenau 2021 campaign. LUX reports

Culinary

Design

Viniculture

In this series of interviews conducted in partnership with Gaggenau, LUX speaks to four artists, who are seeking to alter our perspectives of the world through their innovative practices and meticulous craft

Patrice de Villiers

‘Food is definitely a natural form of art. The joy of photography is that I get to […] abstract it so that what people might view as something purely edible becomes something else.’

Jason deCaires Taylor

‘There’s something about seeing ourselves in a different environment and with a different sense of time that contextualises our lives, but also makes us aware of our underlying fragility.’

Prudence Staite

‘My whole philosophy is to give people a different viewpoint so that they can appreciate the art of food.’

Phil Fanning

‘The fundamental principle is that you eat with your eyes. A good dish needs to taste, feel and look amazing; all three of those things have to be right.’

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?

2. Your designs have attracted an impressive celebrity following, how influential do you think celebrity endorsement is for contemporary luxury brands?

3. What makes the perfect bag?

4. What are some of the challenges that face small independent luxury brands today?

5. Do you have a favourite material to work with and why?

6. What’s next for your brand?

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