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.

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.

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.”

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.

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

Il Etait Une Fois, Le Nord-Pinus by Maryam Eisler

Maryam Eisler – the photographer behind many of LUX’s artist covers, including our most recent KAWS cover- continues her fascination with the Sublime Feminine in her latest series of works, If Only These Walls Could Talk

In 1973, Helmut Newton travelled to Arles and photographed Charlotte Rampling for her iconic Vogue shoot. 48 years later Maryam Eisler returns to this precise location, Suite 10 at the Hôtel Nord-Pinus to continue her exploration of the ‘Sublime Feminine’, the focus on sensuality​, and the female gaze ​within the context of this culturally historic space.

Huitres, Coquillages et Crustacés by Maryam Eisler

For this series, black and white photography takes precedence, allowing Eisler to distil figures to create ‘body architecture’ through abstract and emotive shapes. Embracing the beauty of women and their forms, in her photographs, the message of strength yet uncompromising femininity is clear.

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La Lionne by Maryam Eisler

​Maryam additionally looks to Suite 10 ​and it’s context as a place famously known ​for its association with successful bullfighters, such as Luis Miguel Dominguín, who waved at their fans from the balcony. Not only does this series pay tribute to the sport itself but also the artists, poets and writers who have also appreciated bullfighting in their works too.

Read more: A Belle Epoque revival in Paris

​In Maryam’s artworks, the bull is replaced by the strength and beauty of a female protagonist, ​at once the captor and the captivated, holding the power through their red capes.

Autant En Emporte Le Vent by Maryam Eisler

Maryam Eisler’s exhibition of ‘If Only These Walls Could Talk’ will be showing at Alon Zakaim Fine Art from Wednesday 2nd – Thursday 24th November 2022

The accompanying publication ‘If Only These Walls Could Talk,’, which includes a foreword by Brandei Estes, Sotheby’s Director, Head of Photographs, EMEA, will be available to coincide with the exhibition

Sassan Behnam-Bakhtiar and Ali Jassim

One is an artist and the other a financier, but in coming together to create a charitable foundation, Sassan Behnam-Bakhtiar and patron, Ali Jassim have also found themselves blurring boundaries and creating art together, discovers Mark C. O’Flaherty

The relationship between artist and patron is one that has formed part of the bedrock of creative endeavours for centuries. The links between the Medici and Michelangelo defined Renaissance Italy with a complexity and intimacy far more than any of Brunelleschi’s domed architectural gestures, or the fictitious romance of Romeo and Juliet. Masterpieces simply flowed from the marriage of painter and family. Similarly, Peggy Guggenheim freed up Jackson Pollock to create his grand abstract-expressionist canvases through a $150-a-month contract between 1943 and 1947, from Mural, the piece he created for her Manhattan townhouse, to his first major drip-technique masterpiece, Full Fathom Five. Right now, artist Sassan Behnam-Bakhtiar and financial advisor, philanthropist and entrepreneur Ali Jassim are exploring what an artist and patron can achieve in the 21st century. Both men have Iranian heritage (Jassim’s on his mother’s side), with Behnam-Bakhtiar based in France and Jassim in Puerto Rico.

‘Garden of the Soul’ At Dusk, 2020

When I speak to Behnam-Bakhtiar, it is via Zoom and he is in bed, functioning at half speed
after contracting Covid from his wife and child. “It’s okay, it’s just boring,” he says, sitting up to talk enthusiastically about what he was working on before the virus landed, and what comes next. Much of that will involve his relationship with his patron and now partner in philanthropy, Jassim, as they establish the Jassim Bakhtiar Foundation in Monaco, to help children in Iran, Iraq, Afghanistan and the region. “We are doing our first fundraiser next year, in the south of France,” says the artist. “We want to have a huge impact. The language of arts and culture can create momentum and bring on the right people together for a cause, but this isn’t just about donating a few thousand dollars, we are looking at tens of millions.”

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The pair met around 10 years ago, at an exhibition in London. “We immediately knew we shared many of the same attributes, purely as human beings,” says Behnam-Bakhtiar. “Of course, we both have an Iranian heritage, but we found that we share core values. He was an art collector, and we talked a lot about my theories and philosophy, and he wanted to know where I wanted to go with my work. Then as he spends some time in Cap Ferrat, near where I am, we started talking more about Iran and the orphans of the conflict, and we decided to look at creating a foundation. But our relationship is about more than that. I believe we share experiences from past lives. We talk for about four hours on the phone every day. He likes to come and get his hands dirty in the studio, too, and the dynamic goes both ways: I’ve also become an advisor to him in his business endeavours.”

From the ‘Garden of the Soul’ series, At Midnight, by Sassan Behnam-Bakhtiar

Jassim is a fascinating character, who has worked extensively with high-profile figures in the business world of the Middle-East and Europe. “When I first met Sassan, I felt an inexplicable connection. Then, over the years, as I found myself growing emotionally and spiritually, I began to understand it was a connection beyond explanation, beyond science and mathematics. It is a feeling that spans many lifetimes,” he says. “I believe the greatest teacher we have in our life is our own soul. Sassan and I both believe this, and we often take time aside to connect and meditate multiple times a week. I would love to live in a world one day where I feel I’ve had a positive impact and where respect is present across the world throughout races and religions, most importantly for Mother Earth. Difference is what we want to portray on the canvas through the art we are creating, but the goal is unity.”

From the ‘Garden of the Soul’ series, Love Always Prevails (detail), 2020, by Sassan Behnam-Bakhtiar

Behnam-Bakhtiar has spent years exploring meditative practices as part of his work, grounding himself with Kundalini principles and, as he says, “focusing on my chakras and accessing dormant power”. He describes a William Blake-style revelatory moment of seeing bright colours after getting deeply into meditation, which fed through to how he creates his work. Many of his canvases have a romantic Monet-like quality to the florals, but also look like pixelated glitches on a monitor. Behnam- Bakhtiar tells me his peinture raclée technique is linked directly to his meditation: “When you strip layers of yourself away, you go inside yourself. I wanted to shut off external layers so I could feed the frequency of my soul. That promoted health and wellbeing and had a profound impact on me. So that’s what I started to do with my painting. I began to scrape off layers. And that physical process takes about six months, even for a relatively small painting. I play with the paint. The consistency of it is crucial. I need to wait after I’ve applied it so that it dries to a certain degree, at which point I can scrape it off to get the texture I am seeking. It is a technique that was born through meditation.”

Sassan Behnam-Bakhtiar at the unveiling of ‘The Journey’, 2022, presented by Ali Jassim

As well as exploring meditative practices and laying the groundwork for their foundation (the HQ of which will also house Jassim’s impressive art collection, putting Behnam- Bakhtiar canvases alongside work by Renoir, Damien Hirst, Andy Warhol and Richard Prince), the pair have been working on a collection of paintings entitled ‘The Journey’. Although the imagery has the same abstract beauty for which Behnam-Bakhtiar is renowned, it is also some of the most political and personal he has done in years, with skulls and crowns manifesting themselves in the mixture of oils, acrylics and crushed stone.

From the ‘Garden of the Soul’ series, At Sunrise, by Sassan Behnam-Bakhtiar

Years ago, Behnam-Bakhtiar worked in the medium of photo collage, and the subject matter was overt. Born in Paris in 1984, he grew up in post-revolution Iran against the backdrop of the Iran-Iraq war. One way of dealing with his traumatic experiences, which included imprisonment and life-threatening episodes, was to address the politics of Iran through imagery in works such as the 2016 series ‘This Way’, which features My Favorite Kinda Soldier is This Way and Tehran is This Way – the latter incorporating a collage of a figure with a gas mask and a dress of Iranian carpet pattern. Subsequently, as he practised meditation, it came to feature in his methodology, and his work became more visually romantic.

From the ‘Garden of the Soul’ series, At Peace, by Sassan Behnam-Bakhtiar

In everything Behnam-Bakhtiar does, there is the resonance of his trauma in Iran. War and its impact on the human psyche are common and essential themes in contemporary art. In 2022, one of the most talked-about installations at the Venice Biennale was Anselm Kiefer’s work that took over the vast walls of the Sala dello Scrutinio in the Doge’s Palace. The series of paintings, entitled ‘Questi scritti, quando verranno bruciati, daranno finalmente un po’ di luce (‘These writings, when burned, will finally cast a little light’)’ created a devastating immersive tableau incorporating blasted landscapes and remnants of clothing. With war raging in Ukraine, it felt apposite, but almost intolerably graphic and moving. I ask Behnam- Bakhtiar why his reaction to trauma is to create beautiful imagery, rather than aggressive pieces.

Trees of Paradise, 2019, by Sassan Behnam-Bakhtiar

“That’s probably the best question anyone’s asked me,” he says. “It’s been a very important value in my work. And I’ve had the privilege of being in group shows with Kiefer. My life has been filled with traumatic experiences. Back in the day, I would sit with some of my idols, who were older Iranian artists and friends of mine, and ask why we always had to paint sad things. And I knew the answer, of course – the art world wants us to show women in a hijab and show the sufferings of our people. The collages I used to do, that was when I had lost the plot. I had an exhibition in London and showed that work; it was about the children who were part of the war. Then I created another series, ‘The Real Me’, which was around the time we were all portrayed as bearded terrorists. I wanted to show that, despite the Islamic revolution, we lived like anyone else. I’d had enough of seeing sad work. Even if I start from a dark piece, it always ends up being beautiful. You can see the hurt, but I also want you to see the transformation in it, to bring hope and strength and love.”

‘Extremis’, Setareh Gallery, 2019

When Behnam-Bakhtiar talks about his patron “getting his hands dirty”, he means literally. Jassim has been working with him in the studio and, while he is operating under the artist’s direction, he has been physically making his mark on the canvas. The physical connection to the work is important for both of them. “What we are doing with the foundation together is so important,” says Behnam-Bakhtiar. “And this is a unique dynamic, for an established artist to work with someone who isn’t a painter. But I want him to have visual input. And I will credit those pieces to both of us.”

Read more: Domaine Clarence Dillon: L’Art de Vivre

With the duo also developing NFTs as part of their output, as well as building the Jassim Bakhtiar Foundation together, the potential for what began as a straightforward patron-and-artist scenario is limitless. The High Renaissance brought us Michelangelo’s Sistine Chapel, created with as many as 13 assistants and the infinite resources of the Vatican. With every advance in technology, and a will to use art for much more than religious decoration, Sassan Behnam-Bakhtiar and Ali Jassim could create unimaginable wonders.

Find out more: sassanbehnambakhtiar.com

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

Mickalene Thomas with her work Clarivel #6 (2019). Photograph by Maryam Eisler

New York-based Mickalene Thomas is an important and innovative voice in the art world. Her dazzling portraits of African American women use collage, enamel and her signature rhinestones to explore femininity and ideas of beauty. Maryam Eisler visits her in her Manhattan studio to photograph her and talk beauty, sexual politics, identity and racial stereotyping

LUX: Your work is almost exclusively about women – real women, everyday women, in different sizes, with different stories, textures, colours. Tell us a bit about this.
Mickalene Thomas: I love everything about women and more – confident women, smart women, the I-don’t-give-a-sh*t women, with all shades of blackness. When I think of all the women in my life, I think of those who have mentored me, about those I’ve read about in books and their stories. I think about all the women who have trail-blazed and sojourned that I aspire to be, about all the women who I haven’t met yet and who protect me. When I think of blackness, I think of my grandmothers. I remember seeing one of them at 95 years old in her apartment sitting in her favourite chair, and the wrinkling, deep indigo colour of her skin, that blackness, the ageless glow in her eyes, and thinking about all of the history that she’s endured and the things unspoken, all those secrets. I think of her vulnerability, her beauty, her fragility, her strength.

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LUX: There are many stereotypes of black women set by white patriarchal societies. Is there an expectation for you to fit within a white canon of beauty? Not that you have ever conformed to that way of thinking, of course!
Mickalene Thomas: Yeah, especially when you think of the ideology of a beauty that was put forth, setting a paradigm and an agency for everyone to follow. I’ve always tried to figure out how that happened and how it remained at the centre of our world. Because there were so many other powerful empires that had their own notions of beauty and aesthetics.

The artist with her partner Racquel Chevremont, in front of October 1975 (2019). Photograph by Maryam Eisler 

LUX: How did you extricate yourself from this way of thinking about beauty?
Mickalene Thomas: As a woman of colour, I was fortunate to be raised by a very strong group of women. I never grew up wanting to be anything other than what I am, or wanting to question my own blackness. I never thought, “Am I light enough for you?” I’ve always had natural hair or locks. I’ve never straightened my hair. That’s never been an issue. So that white notion of beauty has never been imposed on me.

Installation view of ‘Mickalene Thomas: A Moment’s Pleasure’ at The Baltimore Museum of Art, 2019. © Mickalene Thomas. Photo Mitro Hood, BMA/The Baltimore Museum of Art.

LUX: Was this down to the influence of your mother and your grandmother?
Mickalene Thomas: Yes, they let me know that I was beautiful enough for myself and no one else, and that I’m of a new generation and can be a leader and that my blackness and difference is important. I questioned their ideas of beauty because they were vastly different from mine – but I also think that growing up with Black Power in the 70s made me think differently. Looking around the room and seeing women with hair in Afros was very empowering. It’s about freedom, really.

Read more: How Saudi Arabia’s Jeddah is establishing itself as a cultural hub

LUX: Yes. And owning it, right?
Mickalene Thomas: Yes, absolutely. However, you start questioning these ideas of beauty placed on you by the media because it’s the only representation that you see. You know that within your own community some things are considered beautiful, but then the media tells you otherwise.

Untitled (Maya #4) (2019) by Mickalene Thomas. © Mickalene Thomas.

LUX: Does that make you wonder if you’re creating your own bubble?
Mickalene Thomas: Yes. And you’re constantly up against creating your own agency. Where do you fit in exactly? How do you navigate this world and this image consciousness as it is? Forget double consciousness!

LUX: With the histories and background stories involved, it’s probably more like a tenfold consciousness?
Mickalene Thomas: Yes! I think that if we embrace the diaspora and look at ourselves as the melting pot that we are as a people, then we can start tolerating our differences and embrace the various forms of beauty that each of us harbour.

Read more: Why we love Hublot’s limited edition spring timepieces

LUX: Do you think we tend to forget about our humanity as the common ground?
Mickalene Thomas: Yes, that would be a much healthier way of looking at the world – to try and understand the way we are because we had to migrate and move around for a variety of reasons, such as adverse conditions, weather, food, nature and much more!

LUX: What does it mean to question such stories of migration within your own community on a daily basis, in this day and age and in the USA of all places, the country of migration par excellence?
Mickalene Thomas: The entire country is based on migration. And for me, to even have to think about it gives me an ulcer. To think that America is leading this atrocity of deportation, when it is built on people immigrating here for many different freedoms.

Studio shot of two works from Thomas’s 2019 series based on images from the Jet Magazine pin-up calendars from the 1970s. Image by Maryam Eisler

LUX: Where is this re-examination of colour, race, faith, culture coming from?
Mickalene Thomas: I think there are many people in the world who operate specifically out of hatred and fear. I was raised a Buddhist and I think that was one of the fortunate gifts my mother gave my brother and me, this sense of spirituality and the sense of philosophy of life. It’s not necessarily a religious practice, but more a philosophy of understanding, through knowing your causes and effects. The people who commit atrocities, such as mass shootings and bombings, are feeling displaced and threatened in society, and the causes are deeply rooted in their ancestors’ past. We want to live right now and right here, but there’s a lot we don’t look at in our pasts. I really believe that, as an artist, you have to look at history to move forward. We’re just moving forward without resolving our past histories. Times are tough. Our economy is about to take a huge shift, and I think it won’t just affect the poor or the middle classes – it’s going to affect many people in ways that they haven’t really seen before.

LUX: And there’s a lot of anger out there.
Mickalene Thomas: Yes. And people want something that they feel is owed to them, or that they are entitled to. And they think that immigrants and people of colour have been given some special privilege, not realising that most of us, if not all, have worked very hard to get to `where we are.

Installation view of the exhibition ‘Mickalene Thomas: Better Nights’, at the Bass Museum of Art, Miami Beach, 2019. Photo Jessica Klingelfuss, courtesy of Mickalene Thomas and Jessica Klingelfuss

LUX: Can we talk about ownership of one’s sexuality?
Mickalene Thomas: You’ve got to own it! You only have one life. Period. And it took me a long time to recognise my own power and strength.

LUX: And while it’s okay to flaunt it, it seems that women and men are judged differently when they do…
Mickalene Thomas: Men have much more access to self-expression as well as the freedom to navigate the world and go about doing whatever they want to do. I remember arguing with my brother and having to figure out how to deal with those complications and being very argumentative with my family about it: “So why is he able to do certain things and I can’t but that I do better?”

August 1977 (2019) by Mickalene Thomas. © ARS, NY and DACS, London 2020, photo Elisabeth Bernstein

LUX: Your work can be flamboyant, exuberant and cacophonous, with much layering and fragmentation. Is this a case of eye candy on the outside, but with deeper issues beneath?
Mickalene Thomas: These ways of telling stories, of thinking about how the women I depict collected their own histories, making sacrifices and compromises with little means and making the best of it. They went from one place to the other, transcending time and space.

Read more: Gaggenau presents new combi-steam ovens

LUX: So, it’s about stitching together a patchwork of life events?
Mickalene Thomas: A lot of the layering of material and patterning is about their own journeys, their own perseverance, their own struggles. The residue, the unearthing of time and space, is about their scars, and mostly it’s about the artifice of what you may think you see and the reality of it being another truth.

Installation view of ‘Mickalene Thomas: I Can’t See You Without Me’ at The Wexner Center for the Arts, Columbus, Ohio, 2018. Photo Luke Stettner, courtesy of Mickalene Thomas and The Wexner Center for the Arts.

LUX: The visual effect is powerful, and the nostalgia palpable.
Mickalene Thomas: There’s the power of the visuals, yes, and how we begin to believe our own truths or memories, whether or not there’s myth, and how they then become our reality. And so, as artists we create time capsules for histories. I find this very interesting, how people believe their own lies, their own truths, or their own memories or fantasies or dreams. These become reality to the point one might think: “Well, did that really happen?” When my mother passed in 2012, I came across photos that were almost a validation of my memory of childhood experiences. The photos encapsulated many moments for me – “Okay, now I have some evidence of what happened in my life. Now I have images from which to work. So now I have material to use for creative ideas and put the pieces of the puzzle together.”

LUX: So, above all, is your art a journey of research and self-discovery?
Mickalene Thomas: I think, as an artist, if you’re not doing self-discovery, then you’re really no longer making the art. It’s always a journey.

For more information visit: mickalenethomas.com

This article will also be published in the Summer 2020 Issue, hitting newsstands May 2020.

Two Point Two AW20 collection

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.

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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.

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.

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

A pregnant woman wishing her child to be beautiful must look at beautiful objects by artist LouLou Siem

Young British artist LouLou Siem’s latest solo exhibition entitled A pregnant woman wishing her child to be beautiful must look at beautiful objects at MAMCO Pavel Șușară in Bucharest centres around contagion, or more specifically the contamination and interplay of materials. Working chiefly in sculpture, Siem’s work delves into the realm of the macabre, presenting a perverse kind of beauty that’s born out of mutilation and sickness.

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The faces and objects Siem sculpts appear drowning in their materials, as if the work of the artist is less about giving shape to her own creativity and more about returning the material to its raw state. Throughout the exhibition there’s a palpable sense of struggle that’s simultaneously repulsive and compelling. It’s the struggle of the artist and her materials, but also of life and object. As the viewer confronts the rippling gold shapes seemingly erupting before the eyes, we are invited to more closely consider the value of artefacts and the processes of their making.

‘A pregnant woman wishing her child to be beautiful must look at beautiful objects’ runs until 3 November at Pawel Susara Museum of Contemporary Art, Bucharest, Romania. For more information visit: loulousiem.com

The Swiss alpine village of Andermatt. Image by Laureen Missaire

The fairy-tale village of Andermatt is fast becoming one of Switzerland’s most desirable destinations with the recent opening of a new ski region as well as a scattering of luxury hotels and holiday homes. But what’s it like to live and work in the region? A new documentary series investigates

The Swiss village of Andermatt sits nestled amid the towering peaks and forested slopes of Switzerland’s Saint-Gotthard Massif, some of the world’s most dramatic  scenery. The recently launched twelve part YouTube documentary series, aptly named Mystic Mountains is an ode to the region’s beauty, nature’s captivating power and an investigation into living remotely.

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Filled with panoramic images of drifting clouds and snow-covered mountains, each episode runs for approximately ten minutes and features interviews with locals, guests, historians, artists, free-riders, farmers and business people. The final script was the result of discussion-led workshops with director Benoit Pensivy of 3W, during which mysticism became the overarching theme as way of describing the individuals’ experience of the Andermatt landscape.

Watch the first episode below:

Find the full series here: andermatt-swissalps.ch/en/andermatt/mystic-mountains/

Hublot Classic Fusion Bucherer Blue Edition

Hublot’s recently launched timepiece in partnership with Bucherer is at the top of our Christmas list. Here’s why it should be on yours

1. It’s classically beautiful

Dark blue and ageing copper make for an elegant, timeless look.

2. It’s limited edition

Often a loose term, but in this case, it’s actually true. Only 30 pieces have been made.

3. It’s two for the price of one

It’s designed by Hublot for the Bucherer Blue Editions collection, which means you get to say you have a Hublot watch and a Bucherer watch…

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4. It’s unusual

Hublot’s Art of Fusion concept seeks to combine unexpected materials; in this case, the watch’s case brings together ceramic and bronze.

5. It’s wearable with anything

Okay, so it might be slightly on the smarter end of the scale, but it’s surprisingly hardy too. The strap combines blue rubber with alligator leather for extra durability and comfort, and it’s water resistant up to 50m.

6. It will get better with age

Bronze is a material that develops over time, meaning it will only get more and more beautiful.

Convinced? You can buy online via: uk.bucherer.com/hublot-bucherer-blue-editions-watch

Gabon is one of the few countries on this planet that is still relatively untouched by tourism, says Geoffrey Kent, it’s also where you can find mountain gorillas

In his latest column, Abercrombie & Kent Founder Geoffrey Kent considers the difficulties of discovering new destinations and crossing frontiers – from space travel to Gabon’s national reserves

In the noughties, I decided that having explored every continent in the world, I would set myself a new challenge: to add space travel to the range of tours offered by my company. Space is the ultimate unexplored destination.

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In South Africa, at a place called Thunder City – at the time, the site in Cape Town for ex-military jet flights – I boarded an English Electric Lightning plane, captained by a pilot named David Stock. We took off and went from zero to 40,000ft in one minute. We levelled out at 65,000ft and accelerated to full speed (Mach 2.2) whilst looking at the purple curvature of the earth. After I landed back on earth having taken on 5.5 GS, with my feet firmly back on the ground, I called the head scientist and engineer on my A&K Space team and asked about the chances of accidents occurring during space travel. He replied: “There’s a 100 percent chance we will have an accident”. I quickly took stock and decided to cancel the whole thing. It was too risky.

Suri tribesmen waiting for a stick fight (donga) to commence in the village of Kibbish in the North Western Omo valley, Ethiopia. Image by Trevor Cole.

It was one of my most audacious exploits, but a good entrepreneur knows to pull the plug when all the odds are against you. I may be a risk-taker in my personal life but when it comes to travel and my clients, safety is paramount. When some holidays have been dismissed by A&K staff as unfeasible, I have undertaken them myself to ensure they can be offered safely to travellers. This has involved travelling from the source of the Upper Amazon in Peru to where it enters the Atlantic Ocean – a hairy experience with a swift current and moving sandbanks – and cruising to the North Pole.

The colourful skyline of Tbilisi and Narikala Castle, Tbilisi, Georgia

It’s true that the world is well-travelled, but there are still unexplored spots. The limitation is that in these places there is no hospitality infrastructure, and few have a desire to really rough it like explorers of old. I launched my eponymous Inspiring Expeditions with Geoffrey Kent based on the question: why not take people to spots of immense beauty and interest, but where others rarely venture? I lead every expedition and if required, we bring in everything required: beds, Michelin-starred chefs, specialist guides, and even espresso machines.

Read more: Co-founder & CEO of Spring Francesco Costa on creative co-working

I’ll be at the South Pole with my guests this December. Next year on various voyages, we’ll travel by private jet to lesser-visited places like Georgia – that great cultural crossroads; Kamchatka, Russia’s last wilderness; the Omo Valley and the Danakil Depression in Ethiopia; and West Papua in Indonesia.

Ethiopia’s Danakil Depression has one of the most extreme climates found on Earth

These Inspiring Expeditions are all about where I haven’t been. I’m mildly obsessed with an app called Been, in which I list all the countries to which I have travelled – around 140, which equates to 70 per cent. In a decade, I want that figure to be at 100 per cent.

One country to which I’d never been before but had the privilege to travel to recently is Gabon. An impressive 11 per cent of this unexplored part of Africa is designated as national reserves and, in this parkland, mountain gorillas can be found. From a luxury executive Puma Helicopter, I cruised the coast and flew over forests, the sand cliffs and Kongou and Djidji Falls. I fell in love with Loango National Park where I spotted elephant, hippos and buffaloes. One group of elephant were swimming off the beach with their trunks raised out of the water like snorkels. Tourism is still a fledgling industry in Gabon, but I predict it will take off in a big way and very soon, and I hope A&K can be at the forefront of that.

Find out more about Abercrombie & Kent’s ‘Inspiring Expeditions with Geoffrey Kent’: abercrombiekent.com/small-group-journeys/inspiring-expeditions-by-geoffrey-kent

Dead End, 2015 by Mouna Rebeiz

Mouna Rebeiz in the studio

French-Lebanese artist Mouna Rebeiz lives and works in London and is debuting her second solo show in the capital at the Saatchi Gallery, The Trash-ic or Trash in the Face of Beauty. Showcasing 17 works of mixed media – including digital and musical installations – the exhibition explores the expression of natural tensions between beauty and its counterpart, the grotesque and ugly, in art and society today. She tells LUX why she supports the charity Innocence in Danger and how internationally renowned designers and artists came to create their own unique ceramic piggy-banks to auction at Sotheby’s in aid of the charity.

1. In your view, what’s the role of the artist in contemporary society?

In any society at any time, the role of an artist is that of a mediator between what the world would have one see and reality itself; they make you see things. Like oracles or “la pythie” they are translators — between gods/nature and humans.

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2. Do you think our perception of beauty has changed as a result of social media?

No. Art has made us change our perception of beauty, because art is a translation of our era. It’s art that makes us see beauty in a different way. That’s why we see trash in beauty; because we are in a period of time where trash is glorified.

L’insoutenable légèreté de l’Etre by Mouna Rebeiz

3. How would you define ‘trash’?

Trash is something you don’t want to live with, something you reject, something you want to discard. That’s trash. Could you live with a trashcan that smells? No. It’s not meant to be lived with. Ugliness is not necessarily trash; hideous things can be beautiful.

Read more: Why you should be checking-in to The Thief hotel, Oslo

4. How do you think your fine art training has informed your contemporary practise?

You can write an essay without knowing the alphabet. You cannot build a building without a foundation.

Mouna Rebeiz with the piggy-banks designed by the likes of Buccellati, Christian Lacroix, Emilio Pucci, Esther Freud, Etro, Giles Deacon and Swarovski

5. How did you select the artists and designers to create piggy-banks for the online auction, and why the Innocence in Danger charity?

I was lucky enough the designers chose to work with us. As for IID, I’ve been supporting them for 15 years because I believe its the hardest thing to deal with, children who are abused. And I don’t think humanity, the “civilised world” is as civilised as it proclaims to be. I think we are barbarians.

6. What’s next for you?

Big things are on the horizon — I’m going to continue in this “trashic” theme and merge beauty and trash together in a way that’s never been seen before.

‘The Trash-ic or Trash in the Face of Beauty’ runs until 7 June at The Saatchi Gallery, King’s Road, London. For more information on visiting the gallery click here.

To view the silent auction of piggy-banks visit: www.trashicauction.co.uk 

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.

Read next: Czech designer Jiri Kalfar’s bumble-bee collection at London Fashion Week

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“.

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.

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.

Read next: Ruinart’s decadent art hub at Rosewood London

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.

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

The Three Magic Flowers Of Jitchu, Kagami Lake, Todai Ji Temple in Nara, Japan by Nadim Karam

Born in Senegal, and raised in Lebanon, Nadim Karam is an architect, painter, sculptor, writer and designer. With his Beirut-based multidisciplinary design studio, Atelier Hapsitus, Karam has created large-scale urban art projects in Paris, Prague, Dubai, London, Melbourne, Tokyo and Chicago. His work has been exhibited at several Venice Architecture Biennales, and his first major exhibition in the UK is currently on display at The Fine Art Society. Millie Walton speaks to the creative polymath about urban toys, artistic challenges and the importance of fun.

LUX: Your sculptures and paintings are often quite fantastical. Where does your inspiration come from?
Nadim Karam: Life! I believe, like Gabriel Garcia Marquez, that an element of fantasy in a serious context or with a serious message can transport an idea or story, and help it catch alight. A judicious dose of fantasy is one of our antidotes to apathy, ugliness, and pessimism.

Inspiration, I suppose, comes from our experience of life and the way we look at the world… I am lucky to come from Lebanon, with its wonderful, chaotic energy and endless contradictions, and I spent ten years absorbing Japanese cultural philosophy, which is now very much a part of me. I have so many ideas; I just need to find the quiet in-between-work moments to put them down in my sketchbook.

Genesis Diptych 2016 by Nadim Karam

LUX: At Atelier Hapsitus, you combine several different creative disciplines – art, architecture and design – is there an over-arching theme or vision that ties these altogether?
NK: Probably that would be absurdity, memories and stories, which constantly feed into each other. Their meeting point is the public art projects that I create for cities or public contexts.

LUX: You often describe your sculptures as ‘Urban Toys’ – what do you mean by that?
NK: My work is whimsical; I make toys to the scale of the city to create question marks, open a dialogue and introduce moments of delight, or fantasy to urban contexts.

Read next: Why you should invest in a modern classic car

LUX: How do you persuade clients that spending money to make their urban environments ‘playful’ is important?
NK: I believe in it. I believe in it so much that I invest years and years working with communities, municipalities and bureaucrats to persuade them to introduce playfulness to their cities. Urban environments can be lonely places, dominated by real estate, communication and transportation systems and the business of making money. Adults need dreams, fantasy and moments of wonder just as much as they did when they were children, but at a certain point they were required to put their toys away and get on with the serious business of living. If we can introduce organic flexibility within rigid systems through interactive works, we can help reinforce a sense of belonging to a community, and celebrate enjoyment for its own sake.

This will never work if you just cut and paste an artwork into a context – that is not the kind of public art I am talking about. Before proposing a project to a city, I study, with my office, the history and culture, the geography and built context, because I want to create works that feel like they have grown out of the place or in contrast with it, and are adopted by the people who live there.

Urban Stories by Nadim Karam

LUX: What’s been your most challenging project to date?
NK: In different ways, many have been challenging; Prague because I had to negotiate through a tense post-communist social climate, Nara (Japan) because it took twenty years to get the Buddhist monks’ acceptance and Melbourne because I had to create ten kinetic three-story high sculptures on the other side of the world in just 9 months.

The scale of my work is getting bigger, though, and this is providing fresh challenges. For Dubai I want to create “The Cloud”, a public garden 300m above ground, and for Lagos I am working on an Elephant City, a dynamic urban system within a giant sculpture. Currently, I am working on projects for Shenzhen, Dilijan and Singapore. They might be far from realisation, but I never stop to think about whether I can do these projects or not. If I don’t stop working, at some point opportunity and encounters will create a window in time to make a project work.

LUX: Do you believe urban environments should be inclusive for everyone and, if so, how do you ensure this is possible in your art/architecture?
Nadim Karam: When you create an artwork, like a painting or a sculpture, and you hang it in a gallery or institution, the context is purposefully neutral and the focus is on the dialogue between the work and the viewer. In the urban environment, the placement of an artwork becomes politicised because the context has its history, memories, sights, sounds and moods. Public spaces are necessarily democratic arenas where opinions are challenged and it is not easy to reach consensus. So a public art project will not happen if people don’t believe in it. But if we can enrich our public spaces with stories, beauty, absurdity, fantasy or questions, we are enriching the community as a whole and enhancing the quality of their shared experiences.

Dreams and Journeys 2017 by Nadim Karam

LUX: What’s your creative process like?
NK: All my projects grow from my sketchbooks, where I record my raw ideas. A series of these sketches will form a significant part of my new exhibition at The Fine Art Society. I use lapses of time while travelling from one place to another to generate ideas, and when I get back to my office, I work with ten to fifteen people to transform these ideas into workable projects or sculptures. Otherwise, they might become paintings when I reach my studio.

Read next: Modern interpretations of the body at Past Skin, MoMa PS1

LUX: What’s it like to be an artist in Lebanon?
NK: It is challenging, because there is no support from cultural institutions. At the same time, we live with uncertainty; at any time, bombs can explode and we have to close the office. You have to be sufficiently independent to be an artist in Lebanon, because you cannot live from it otherwise. My projects are all over the world, so I spend a lot of time travelling, but I generate all my work from Lebanon – it is a place of continuous energy and inspiration.

LUX: Where are your favourite urban environments in the world and why?
NK: I love the richness of all urban environments and their different cultures. They are a collision of so many factors; each city has a completely different aura and way of being despite all our globalisation efforts. The projects I have created all came from the serendipity of encountering a city and being inspired to interact with it. I celebrate the identity of each place by first trying to understand it, then offering it a bouquet of stories.

T-Race’s PCB 13 General View, Public Art, Prague 1997 by Nadim Karam

LUX: What’s next?
NK: Currently, I have an exhibition entitled ‘Urban Stories’ at The Fine Art Society in London, which showcases over twenty years of my practice. The exhibition came about through the shared motivation of The Fine Art Society and myself to draw a connecting line from my early sketches to my latest works. Meanwhile, I am designing and building my own art studio, “The Muse” in the Lebanese mountains, and the Pavilion of the Whole World.

‘Urban Stories’ runs until 19 May 2017 at The Fine Art Society, Mayfair, London

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

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

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

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

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

I 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

© Trustees of the Natural History Museum, London

HEXAGON CLASSICS
Motoring Marvels

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

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

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

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

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

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 Cranley; very handy for stumbling home.
eclipsebars.com

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

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