a man sitting on a silk rug

NIGO will be leading the creative vision for Penfolds in a multi-year artistic collaboration

Fashion and wine meet with the collaboration of Japanese fashion designer NIGO and the iconic Penfolds wine brand

One of the world’s most iconic wines just got a little more special. For years, collectors have lusted after Penfolds Grange, Australia’s most celebrated wine and quite possibly the most revered luxury brand to come out of the country. The phenomenon of Grange, as it is known to connoisseurs the world over, from Shanghai to San Francisco, is largely due to its sheer quality – many consider it the world’s best wine made from Shiraz (otherwise known as Syrah) grapes, but also due to its originality.

a bottle and a bandana

This collaboration sees the influence of NIGO’s company, Human Made, which was founded in Tokyo and draws upon
graphic design, subculture and streetwear

Unlike every other iconic world wine, whether from Bordeaux, Burgundy, Napa or elsewhere, Grange is not made from a single vineyard, or even from the same designated vineyards in a small, geographically distinct area, every year. Rather, it is made from grapes from Penfolds own vineyards and grower partners’ vineyards across Australia, selected by the Penfolds winemaking team for their Grange-like character. It is an icon that is also an iconoclast.

Read more: Inside Penfolds, the global luxury wine brand

a man with lots of wine barrels

NIGO, visiting Penfolds’ Magill Barrel Room, ahead of his collaboration, ‘Grange by NIGO’

So, how suitable that Penfolds Grange has partnered with the wildly original – some might say iconoclastic – Japanese designer and cultural hero NIGO, who is also Artistic Director of the Kenzo fashion brand and founder of Human Made. Appointed as the wine brand’s first ever Creative Partner in 2023, NIGO is working on a series of collaborations with the brand, none more exciting and iconoclastic than the recently released Grange by NIGO, which has seen NIGO design a limited edition gift box for the 2019 vintage. With each gift box individually numbered and including a bandana and bottle neck tag also designed by NIGO in his signature style, it’s a bold step for a fine wine brand, as Penfolds Chief Marketing Officer, Kristy Keyte, explains:

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“This is a different direction for us, and the first time we have changed the distinctive gift box of our flagship Grange. Collaborating with NIGO has been inspired by Penfolds history of pushing boundaries in winemaking, and now we expand this to exploration of new creative ideas. As a collector, NIGO understands the reputation of Grange and its legacy. He was able to create a limited-edition approach that is both playful and fresh while remaining respectful to the history of the wine. We have never done this before, and the result is brave and refreshing.”

a guy sitting looking at a bottle of wine

‘Penfolds has always been one of my favourites’, says avid wine collector, NIGO

NIGO, a fine wine collector himself, commented : “I have been a collector of Grange for many years, but it wasn’t until I visit Penfolds Magill Estate that I truly understood the craftmanship and history behind the historic wine. It was an honour to be the first person to collaborate on a design for Grange, especially as the brand celebrates its 180th anniversary.”

a man holding a bottle of wine

According to Drinks International’s 2024 list of The World’s Most Admired Wine Brands, Penfolds is one of the top three wine brands globally

There are only 1500 standard-sized 750ml bottles and 150 magnums available globally and they are selling fast in this, Penfolds 180th anniversary year, following their initial release in Australia and Asia recently, and they are likely to become highly collectible. We suggest buying as many as you can: its a wine whose box (and nifty bandana) is as striking and delicious as the liquid inside.

Penfolds Grange by NIGO is available globally. Future projects between Penfolds and NIGO will be announced later this year, 2024.

penfolds.com

 

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Split shot of the oceans and some cliffs
Split shot of the sea and some cliffs

The rocky desert coastline of the northern Red Sea. Sea levels around the world are rising and coral is being bleached by acidification due to increasing CO2 levels

Amid much scepticism about whether the global climate summit COP28, taking place in Dubai over the next few weeks, will actually bear any positive results, there are rays of hope. Ted Janulis, investor, entrepreneur and founder of Investable Oceans, outlines the reasons he is feeling cheerful in the run-up to an event that needs to change the way we think about and deal with climate change

In just a few days, 70,000 people will convene in Dubai to attend COP28 (the 28th annual “Conference of the Parties”), where delegates from countries all around the world will discuss how to address the climate crisis. The UN Framework Convention on Climate Change (UNFCCC) – tasked with finding ways to reduce emissions – will track member states’ progress on emission reductions and negotiate further collective action, alongside business leaders, climate scientists, journalists, and others in attendance. Major topics will include how vulnerable communities can adapt to climate change and how to achieve net-zero emissions by 2050.

We’re at a critical juncture for our climate and oceans, so this COP is particularly important. While increased commitments provide grounds for some optimism, our oceans and climate face continuing serious challenges. We’re not on course to stay within the 1.5C increase above pre-industrial levels scientists warn is required to avoid serious environmental and human consequences, and in addition we’re falling far short of the $150 billion per year cited by recent research needed to achieve the goals of Sustainable Development Goal 14, Life Below Water by 2030. The bottom line, as former president of Ireland Mary Robinson eloquently put it: “We cannot afford to have a bad COP”.

A camel walking by the sea

Desertification and coastal erosion are major issues facing the world

Despite these daunting circumstances, we’re looking forward to seeing oceans having a substantial presence at COP28. This is a continuation of a theme that has gained momentum throughout 2023: there is growing recognition that the oceans, the world’s largest carbon sink, will play a pivotal role in providing solutions for climate change.

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This year’s Climate Week NYC in September was a clear demonstration of this progression, as the number of events, announcements and real outcomes increased substantially from previous years. Amy Novogratz, Co-Founder and Managing Partner of Aqua-Spark, asserted that: “Climate Week is feeling very Blue this year, finally!”

External shot of an ocean pavilion

The Ocean Pavilion at the 2022 COP in Sharm el-Sheikh. The 2023 Pavilion features ten ocean themes

A substantial increase in investable opportunities has added to this marine momentum. At least 10 new blue economy dedicated funds have launched over the past year, bringing the total count to over 30. A major focus of these funds is how to measure the environmental impact of sustainable ocean investing. In other recent news, a variety of blue bonds have come to market that involve debt-for-nature swaps, sovereigns and corporations, and Rockefeller Capital Management and KraneShares now offer an ocean engagement themed Exchange-Traded Fund (KSEA).

On the investor side, oceans made their debut on the plenary stage at the GIIN’s annual conference in Copenhagen, where discussions covered the proverbial waterfront, from ecosystem conservation to coastal resilience to blended finance to nuclear sharks. We also saw increased interest in the ocean sector from “terrestrial” investors. For example, sustainable agriculture funds are beginning to look at aquaculture as an attractive adjacent opportunity to their core focus.

Coral reef under the sea

A towering Acropora coral, one of the hundreds of coral reef species that help support up to 25% of all marine life

The upcoming COP28 will seek to capitalise on this surge of ocean interest and activity. Notably, oceans will be included in the COP28 thematic programme for the first time, with a special focus on 9th December. Together with an array of ocean events, gatherings and presentations at different pavilions, this represents a substantial increase in the ocean’s presence in global climate conversations and solutions.

Read more: Baroness Scotland and Markus Müller: a call for action at COP28

One of the highlights of COP28 will be the return of the Ocean Pavilion, which will bring diverse stakeholders together in a dedicated space within COP’s “Blue Zone” for its second year. The organizing partners, Woods Hole Oceanographic Institution and Scripps Institution of Oceanography at UC San Diego, will lead 32 partners through two weeks of events. The Pavilion programming is structured by ten themes organised under three tracks: Changing Ocean, Climate Consequences, and Future Ocean.

A pod of dolphins swimming in the sea

A pod of charismatic dolphins swimming in the shallows. Overfishing and bycatch are major issues for our oceans

The Pavilion is meant to inspire ocean-focused solutions through 70+ panel sessions, meetings and in-depth discussions. We are particularly excited about the “Blue Economy and Finance” theme, which explores the role that finance can play in ensuring that the ocean can continue to protect and provide for human societies in the coming decades. For example, Margaret Leinen, Director of Scripps Institution of Oceanography, will moderate a panel, Frontloading Equity in Financing Coastal Climate Resilience, exploring questions such as: How can we scale climate finance to reduce climate risks, speed recoveries, and reap the benefits of resilience? And how can our quantification of the financial costs of climate change be redesigned to yield equitable outcomes?

Despite all the headwinds, we are hoping for positive progress over the next weeks in Dubai.

Ted Janulis is Founder & Principal, Investable Oceans

Co-written with Helena Janulis, Business Development and Special Projects, Investable Oceans

All photos by Morgan Bennett-Smith

Find out more: www.investableoceans.com

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Reading time: 4 min
women at charity
women at charity

Wendy Yu on her trip to Rwanda with Women For Women International charity

Fashion entrepreneur Wendy Yu is the founder and CEO of Yu Holdings, an international ambassador for the French Fédération de la Haute Couture et de la Mode, and a supporter of The Metropolitan Museum of Arts, BAFTA and numerous other charitable foundations. As part of our ongoing philanthropy series, LUX speaks to Yu about her long-standing commitment to the arts, female empowerment and children’s education

LUX: As well as supporting the Costume Institute at the Metropolitan Museum of Art, when did you first have the idea to set up a China program and why?
Wendy Yu: Having spent many years residing in London, travelling for business and working with international organisations, upon returning to Shanghai to live a few years ago, I felt an immediate sense of responsibility to my country in terms of helping to shape the creative and cultural space and provide a bridge between East and West.

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This is why conversations about China with The Met were initiated. Having been fortunate enough to spend some time with Andrew Bolton, I wanted to give the design community in China the opportunity to meet him and understand more about his work at The Costume Institute. The Met has such a big following in China, but mostly because of the Met Gala, and yet there is so much more to know and learn.

I invited Andrew to China in 2017, where he and Angelica Cheung co-hosted an event to meet emerging Chinese designers. I’m passionate about providing a platform for creative and cultural exchange.

woman wearing a ballgown

Wendy Yu at The Met Gala

LUX: Have you always been passionate about costume?
Wendy Yu: I’ve always been passionate about fashion as part of the wider creative industry. Fashion and costume are so intrinsically linked to a sense of identity, emotion, stories, a moment in time and culture. It’s also provides us with an opportunity to dream, and further nowadays, share our voice as our wardrobe is beginning to say something about our values.

LUX: Is there anyone the philanthropy world who particularly inspires you?
Wendy Yu: Amal Clooney, and Queen Rania.

LUX: What exactly does the Women For Women International charity do, and how do you ensure your support is optimal?
Wendy Yu: Supporting women is one of my priorities and I have loved to support Women For Women International as they are a wonderful charity dedicated to helping women, who are living in areas of conflict and are often marginalised. I travelled with Women For Women to Rwanda a few years ago to meet some of these women, and it was one of the most enlightening and heartfelt experiences of my life. It was incredible to see how these women had benefited from Women For Women’s training program, which provides them with the necessary skills to become financially independent and support their families.

woman sitting amongst children

Wendy with some of the women helped by the Women For Women International charity in Rwanda

LUX: Do you think that the role of private philanthropy is becoming more important, with increasing limitations on government funding?
Wendy Yu: Absolutely, particularly for the creative industry and especially at the moment, where much of government funding is having to be redirected due towards the pandemic. With philanthropy comes a true personal passion and commitment, often deriving from a special relationship that goes beyond financial support and can be truly game-changing for the people and organisations on the receiving end.

Read more: Why The Alpina Gstaad is top of our travel wish list

LUX: In terms of your support for the educational prospects of China’s children, is there anything that concerns you about the path ahead for Teach for China, and what made you decide to launch an art fund?
Wendy Yu: I believe in the importance of creativity in enhancing our lives and particularly that of children. Teach For China does an incredible job at providing education and facilities for children living in rural areas of China. What I felt I could bring to the table as one of their committee members was to provide the means for them to integrate art in their program, a subject that can often get sidelined when there is a lack of funding. Together we established an art fund, which would see the funding of art teachers and the necessary materials for schools in rural areas.

woman in classroom

Wendy working in one of Teach For China’s classrooms

LUX: Do you enjoy collaborating with Teach for China?
Wendy Yu: Very much so. Working with Teach For China has given me the opportunity to meet and spend time with the children who are benefiting from the art fund, as well as integrate their artwork in some of my own projects, including a clutch for a collaboration I did with Olympia Le-Tan where we used an artwork created by one of the students.

LUX: How will COVID-19 affect what do you do?
Wendy Yu: Covid hasn’t impacted my interests and what kind of initiatives I am directing my energy to; the causes I am committed to continue to be the arts, female empowerment and children’s education. That said not being able to travel means that at the moment any activity is by default mostly China centric.

Read more: Montegrappa’s CEO Giuseppe Aquila on personalised luxury

We have just launched the Yu Prize, which is an annual award and incubator program to support promising emerging fashion designers from China. The CFDA, the BFC, Camera Moda and FHCM are so good at championing creativity and providing a support system for their rising stars; this is something that is lacking in China and yet we have a burgeoning fashion community of very talented designers. I’m excited and want to nurture this generation of designers, who compared with their predecessors, have mostly studied abroad (CSM, LCF, Parsons) and so are more globally minded. They marry this with a sense of pride of their cultural roots, and from this a new wave of creativity and confidence is born, which serves to reposition “Made in China”. Huishan Zhang, Guo Pei and Caroline Hu craft many, if not all, of their demi-couture pieces locally in China to an international standard.

fashion event

Wendy Yu (middle) with Anna Wintour and Andrew Bolton

LUX: Do you often get to personally experience the difference you have made to a foundation or group?
Wendy Yu: My philanthropy has always stemmed from a personal relationship and a special connection that I have felt with a cause and therefore my involvement tends to be hands-on. It’s incredibly grounding and rewarding to be close to the people whose lives and/or careers are being transformed. Equally working with organisations that are specialised, and have the power and platform to make a difference is very inspiring. In today’s world and coming from a position of privilege, I believe in the importance of doing good as part of a wider definition of success.

LUX: Any other advice for our readers who might be considering going into the sector?
Wendy Yu: Follow your passion. Have in mind a wider sense of impact that you would like to make to a particular sector or area of interest, and then cultivate specific objectives and tangible projects that can be brought to fruition. Work closely with professional organisations that align with your vision and from whom you can learn more and gain access, however don’t be afraid also to champion people on a more personal level.

Find out more about Wendy Yu’s work: wendy-yu.com

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Reading time: 6 min
woman on sofa
woman on sofa

Katrina Aleksa Ryemill is a co-founder of Association of Women In The Arts

Non-profit organisation Association of Women In The Arts was founded with the ambition of providing a networking and mentorship platform for women working in the arts in the UK. Since the pandemic, their membership has expanded globally with a new online programme. As part of our ongoing philanthropy series, Samantha Welsh speaks to the organisation’s co-founder Katrina Aleksa Ryemill about the importance of a professional support network, adapting to a digital world and expanding globally

LUX: Tell us about the Association of Women In The Arts, and why is it already such a powerful organisation?
Katrina Aleksa: Since our beginning in February 2016, AWITA’s main focus has been to bring the inspirational women working within the art world together, and this remains our core strength to this day. AWITA’s membership includes gallerists, curators, art advisers and academics as well as auction houses, museum, public sector and art fair professionals.

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Quite simply our members are our key strength and what makes us the powerful organisation that we have become. For so long there was no place where women, who are underrepresented in top positions in the art industry (as they are in many others), could unite, network and help each other in a safe and positive environment. AWITA provides just that, and every time another fantastically talented woman joins our network we become stronger, better represented and more powerful. Leaders across the art world can share and collaborate in a safe way. We adapt and pivot very quickly to changing times the current crisis is just one example of it. Quite simply, we are stronger together.

women standing on stage

AWITA Great Women Artists: why women? panel discussion at Sotheby’s London in partnership with Phaidon. From left to right: Katrina Aleksa Ryemill, Harriet Loffler, Marina Ruiz Colomer, Wells Fray-Smith, Mary Findlay, Rebecca Morril, Kate Gordon. Photograph by Pedro Lima

LUX: What experience and expertise do you look for in your members?
Katrina Aleksa: AWITA is a non-profit membership organisation open to women with a minimum of five years’ experience in the art world. We want gallery owners to connect with curators, arts journalists to connect with dealers, art advisors to meet academics in a lively, informal atmosphere. We believe in collaboration over competition, and want the membership to include as many different voices as possible.

LUX: AWITA is already the most connected network in UK for women in the visual arts, what do you think attracts women who are already influential in their fields?
Katrina Aleksa: Honestly, I think it’s the calibre of women who are already in the network. It’s a safe place to grow and share and ask questions. I think at whichever point somebody may be in their career, you still have questions even if you have been in art world for 20 or 30 years. Of course the questions may change as people advance through their careers, but many of the topics and challenges are the same.

Additionally, the nature of the art world, where creativity is at its core means that it constantly changes and challenges itself, arguably more than any other industry. Therefore, anyone working in the sector must also ensure they stay relevant and current, which means challenging, developing and growing your own thinking, and a network can really help with this. Nothing stays still for very long in the art world.

Of course, there is also the fact that women in senior roles can often feel alone due to their under-representation –  so many pieces of research have shown that women crave a network of peers, which of course is what AWITA is.

women in discussion

Rebecca Morril and Katrina Aleksa Ryemill (right) at the AWITA Great Women Artists event. Photograph by Pedro Lima

LUX: Do you have strong representation from non-UK based membership?
Katrina Aleksa: This is actually something completely new to us, not to mention very exciting. Ever since we set up there have always been a number of international applicants wanting to join and also numerous people who have wanted to set up AWITA entities in their local countries. However, whilst we always have wanted to do this we simply haven’t, until now, had the resources to expand internationally.

Read more: How sustainable knitwear brand Aessai supports female craft collectives

We have, in many ways, really benefitted from the pivot we needed to make during these unprecedented times. Whilst we were very UK and London centric, organising some wonderful events that our members would attend and enjoy, the pandemic has meant that we had to move all of our events online. No longer were we “restricted” to the UK and predominantly London-based events that we were offering. We are now able to reach incredibly inspirational women across the globe that we would of not been able to do locally in London. Our membership has expanded internationally as result of that and I’m so proud that our international membership group is now the fastest growing aspect of AWITA.

LUX: What real life platforms are you working on at the moment?
Katrina Aleksa: We have recently launched a partnership with Cromwell Place, which is a first-of-its-kind exhibition and working space for galleries, dealers, collectors and art professionals seeking a presence in central London. With creativity, connection and collaboration at the core this partnership amplifies our mission and values.

female focused event

Dressed for the art world AWITA event with Edeline Lee at Fenwicks London. From left to right: Indre Serpetyte-Roberts, Kate Gordon, Edeline Lee, Sigrid Kirk, Polly Robinson Gaer, Linsey Young, Helena Lee, Katrina Aleksa Ryemill. Photograph by Pedro Lima

LUX: During Covid, AWITA has turned adversity into advantage by running a series of hybrid events. What works well for live-streaming, and will you continue to exploit this format post-Covid?
Katrina Aleksa: Absolutely! I actually think that this “hybrid model” where the event is both online and ‘in person’ has huge potential to continue to ensure that we are offering a more inclusive model for our members around the world, whilst also offering what so many of our members crave: an in person experience immersed in the art world, surrounded by like minded art professionals.

Read more: Jazz legend Abdullah Ibrahim’s guide to Cape Town

That said, I think the mood from everyone, not just our members, is that we have all now overdosed on “zoom” already. So the challenge is making the authentic and positive experience of our online programme running alongside our live events. I don’t think we will ever return back to being 100% online or offline, I believe the future and certainly 2021 will be a balance between both.

LUX: You have also focused on creating digital content – what kind of conversations has this facilitated?
Katrina Aleksa: We are still learning. My favourite quote is ‘flying a plane while building it’ and this is exactly what we are doing right now. We have had a tremendously positive response from our members, but we need to keep it up, not rest on our laurels and keep adapting to changing times.

panel discussion

Finding Balance: How to thrive in a 24/7 world panel discussion with AWITA at Phillips. From left to right: Catherine Blyth, Jo Stella-Sawicka, Angela Choon and Dr Zoé Whitley. Photograph by Pedro Lima

LUX: Have perspectives and priorities altered in 2020?
Katrina Aleksa: I don’t think there has been anyone who hasn’t been affected by current health crisis, whether you are in or outside of the art world, or whether you are an employer, an employee or even self-employed.

We, of course, had to adapt and pivot to be able to stay ahead of the curve and support our members. It was a priority for us to support our members, in whichever way they needed help or advice. We even instituted a very casual weekly coffee morning, online, which some of our members described as a lifeline, and a welcome break from home-schooling.

LUX: How have collectors adapted to this changed world?
Katrina Aleksa: I love that the art world hasn’t stopped! Whilst it has been very challenging for many people, I have also seen some people really flourish. Whether that be artists that were “breaking through” or professionals who were taking on new challenges, there have been many positive stories that we should all look at for motivation and inspiration. Of course, it is a challenging time and my heart goes out to all of the people who have been ill or have suffered losses during this difficult period, but the world keeps turning and art works have been bought and sold. Many online auctions have been showing a great increase in their results and like many other online businesses have really thrived. I always say, change is always happening and like in nature, the ones that are able to evolve and change are ultimately best positioned to survive and thrive. This pandemic has, in my mind, just presented a sped-up opportunity for change.

LUX: What sort of political or cultural partnerships are your members potentially exploring and can AWITA reach out to their sisters in parts of the world where women’s talents and voices are stifled?
Katrina Aleksa: It’s important to continue to build networks. We are talking to women in organisations around the globe and will be concentrating on leadership and new structures and models. We are concentrating on finding innovative and useful ways to keep the important conversations that need to be had going. While we may not be able to see each other in person, we can still stay connected.

LUX: What are your next plans?
Katrina Aleksa: With the huge increase across our membership we are finding that we are now able to represent more women than ever before, looking at tackling so many diverse challenges and opportunities around the art industry. Every new member we have ensures another voice and another way of thinking, so we will continue our growth drive – adding women into our network from all over the globe and then empowering them through more mentoring, networking and professional development.

Find out more: awita.london

Samantha Welsh is a contributing editor of LUX with a special focus on philanthropy.

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Reading time: 8 min
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woman with red hair

Yayoi Kusama portrait with La Grande Dame x Yayoi Kusama Limited Edition © Yayoi Kusama

Contemporary Japanese artist Yayoi Kusama’s artistic impressions of Veuve Clicquot’s new vintage La Grande Dame 2012 pay tribute to the lasting influence and creativity of Madame Clicquot

After her husband’s death in 1805, Madame Clicquot took the reins of the eponymous champagne house. In era when women were excluded from the business world, this was an achievement in its own right, but she was also extremely good at her job, earning her the nickname ‘La Grande Dame of Champagne’. Two centuries later, Veuve Clicquot is paying tribute to her legacy through their latest vintage and a stunning artistic collaboration with Japanese contemporary artist Yayoi Kusama.

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Renowned for her flamboyant, quirky aesthetic, Kusama’s designs for the bottle and box incorporate flowers and her signature polka dot pattern in yellow, referencing the champagne’s bubbles, and expressing a sense of joy and energy.

floral sculpture

My Heart That Blooms in The Darkness of The Night, special object designed by artist Yayoi Kusama for Veuve Cliquot

polka dot interiors

Yayoi Kusama at Selfridges’ Corner Shop

She has also created an exuberant floral sculpture, in continuation of her Flowers That Bloom at Midnight series, that wraps around the champagne’s bottle. Available in only 100 numbered pieces (12 are available for sale in the UK), the sculpture is cast in fibreglass reinforced plastic and painted by hand in vibrant hues.

The La Grande Dame x Yayoi Kusama designs will be on display within the Selfridges Corner Shop in early Spring 2021. The limited edition is available to purchase online via: selfridges.com For enquiries regarding the special object visit: veuveclicquot.com

 

 

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man wearing watch
man wearing watch

Hublot ambassador Maxime Plescia-Büchi. © Hublot SA

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

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

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

watch with blue strap

The Big Bang Sang Bleu II in titanium pavé

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

Designer at work

Plescia-Büchi at work on the Big Bang Sang Bleu

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

Read more: Princess Yachts CEO Antony Sheriff on a new generation of yachting

Hublot’s collaborators, unlike with a lot of brands, work with the watchmaker on an ongoing basis, thus becoming an integral part of the brand’s identity. For the Big Bang Sang Bleu II, which was released at the end of 2019, for example, Plescia-Büchi refined the original design to create a more three-dimensional case and inverted the facets to restore Hublot’s iconic porthole shape. “It’s about combining my DNA and Hublot’s DNA to create something new that is also true and faithful to both of the origins,” says Plescia-Büchi. “Something that I find extremely pleasant is that when you’re designing watches you work over many years on slow incremental changes, which is actually quite akin to designing tattoos. You get time to continue improving the design, which is different from designing fashion, for example, because you have a quicker turnover. You can come up with something crazy and the next season, people will have already forgotten.”

Tattoo hand holding watch

The Big Bang Sang Bleu II in gold

The designer was, in fact, approached by another watch brand before Hublot but declined the opportunity: “It wasn’t the level of prestige where I thought I could be”. Though fifteen years ago, Hublot might not have made the cut. Success truly came from the brand when they started “to connect tradition and innovation,” explains Guadalupe, a concept that is at the heart of Hublot’s universe and rooted in a deep understanding of their consumers’ expectations and lifestyles. “The young generation in particular are looking for something iconic with a strong personality and identity,” says Guadalupe. “For men, especially, a watch is the main way to really differentiate yourself, it expresses who you are.” Part of the appeal of buying a Hublot watch is gaining access to the ‘family’ and all the perks that come with it. Football-loving collectors, for example, are invited to all of the games at Chelsea FC with whom Hublot has an ongoing partnership. Indeed, Hublot was the first luxury watch brand to ever support football, again demonstrating a deep understanding of consumer culture as well as a highly innovative marketing strategy. Since 2008, the brand has been the official timekeeper of all of the UEFA men’s European Championships as well as the FIFA World Cup since 2010, and this year, marks the beginning of the brand’s relationship with UEFA’s women’s football.

When it comes to women’s watches, Hublot is still developing – the brand sells only 25 per cent to women – but their approach is unique in the sense that their designs differ very little for the female audience. With the Sang Bleu timepieces, for example, the ladies’ versions are embellished with diamonds, but otherwise remain the same. Look for a women’s collection on the Hublot website and you won’t find it; the watches are listed only by their collection. “It’s no longer men who buy watches for women as gifts. Women decide to buy whatever they want,” says Guadalupe.

Hublot x Women’s Football

Men shaking hands

Aleksander Ceferin, UEFA President & Ricardo Guadalupe, Hublot’s CEO

Over the past few years, women’s football has increased significantly in popularity with US-based data company Nielsen revealing that approximately 314 million people are now interested in the game. It is perhaps no surprise then, that Hublot recently announced its support, becoming the Official Partner of the Women’s EURO 2021. “In the end [football] talks to the consumer. It doesn’t matter that not everyone can afford to buy a luxury watch, if they know Hublot is a watch that’s positive,” says Ricardo Guadalupe. But the partnership works both ways. As Guy-Laurent Epstein, Marketing Director of UEFA Events SA, puts it, Hublot’s presence as a world-famous brand is “proof women’s football can be supported on its own merits”.

Find out more: hublot.com

This article was originally published in the Summer 2020 Issue.

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Reading time: 6 min
Pastel coloured timepieces
Pastel coloured timepieces

Set with 50 diamonds, the new limited editions of Spirit of Big Bang are uplifting evolutions of the Swiss brand’s iconic collection

The colourful collection of new limited edition Hublot timepieces features an uplifting pastel palette, alongside some bolder takes on Spring shades. Chloe Frost-Smith selects her favourites

Big Bang Sang Bleu

Continuing the Swiss brand’s collaboration with Maxime Plescia-Büchi, visionary tattoo artist and founder of Sang Bleu studio, the intricate geometrical centrepiece of the Big Bang Sang Bleu is softened by a dusky pink face and matching strap. The option of a gold bezel adds warmth to the design whilst the stainless steel version provides a more classic look.

Follow LUX on Instagram: luxthemagazine

Watch with gold face and pink strap

Big Bang Sang Bleu with a King Gold bezel

Spirit of Big Bang

For a brighter pop of pink, the Pink Ceramic Diamonds Spirit of Big Bang is as fresh as it is traditionally feminine. Set with 50 diamonds, the delicate design details of this piece include a satin-finished case, and a white rubber and pale pink alligator strap. Also available in light blue, the colour options for this model are both cheerful and calming.

Pastel coloured watches

Spirit of Big Bang with two pastel variations and a king gold bezel

Spirit of Big Bang King Gold Rainbow

A sparkling showcase of the full colour spectrum, this vibrant edition features over 400 multi-coloured baguette-cut gemstones which make up the colours of the rainbow, a symbol of joy and optimism. The entire dial of the 39-mm model is covered with sapphires, rubies, topazes, tsavorites and amethysts to achieve the striking display. To complete this uniquely chromatic piece, the seven recognisable colours are also blended on the strap to bring the design full circle.

Read more: Isolation relaxation with Monterey Bay Aquarium’s live jelly cam

Rainbow watch with colourful strap and watch face

Spirit of Big Bang King Gold Rainbow

For more information visit: hublot.com

Watch this space: our upcoming Summer Issue features interviews with Hublot CEO Ricardo Guadalupe alongside Maxime Plescia-Büchi.

 

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Reading time: 1 min
Woman sitting on leather sofa in a contemporary space
Woman sitting on leather sofa in a contemporary space

Shirin Neshat at home in New York City

Shirin Neshat’s devastatingly striking art combines dream, reality and an undercurrent of anger and sadness. As a major retrospective of her work is held in Los Angeles, Millie Walton meets the artist at the launch of her collaboration with celebrated Italian winemaker Ornellaia, famous for its artist labels

Portrait photography of Shirin Neshat at home in New York by Maryam Eisler

Iranian-born filmmaker and artist Shirin Neshat sits demurely drinking a cup of coffee in the palatial breakfast room at Baglioni Hotel Luna in Venice. It’s the morning after the Sotheby’s auction at the Peggy Guggenheim Collection which saw the sale of limited-edition bottles of 2016 Ornellaia wine with Neshat’s label artwork. A total of $312,000 was raised, with all profits going to the Mind’s Eye programme, which was conceived by the Solomon R. Guggenheim Foundation to help blind people experience art through the use of other senses.

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The success of Neshat’s collaboration, following that of William Kentridge’s in 2018, was well deserving of late-night celebrations, but the artist is composed and alert, her jet-black hair scraped tightly back from her face, and her dark eyes lined with black kohl. It’s a look that would seem somewhat severe or even theatrical on most, but Neshat wears it with authenticity, grace and a sense of homeliness. She pulls up another chair close to hers so that I can hear what she’s saying over the clamour of the breakfast buffet and tells me that she’s been ordering coffee to her room each morning and is worried that Ornellaia will have to foot the bill. Given the sum raised last night along with Neshat’s status as the world’s most important and widely recognised contemporary Iranian artist, it’s hard not to laugh, but she speaks softly and sincerely, taking time to consider each of her answers and apologising when yet another admirer interrupts for an autograph. She has a lot of fans it seems, yet her politically engaged work continues to generate debate. She admits, “Some people dislike what I do. There are a lot of people who hate my work in Iran, but still it is discussed, so I think I’m relevant.”

Monochrome image of white-shirted men on a cliff edge

Veiled women walking across a beach towards the sea

Here and above: stills from Neshat’s video Rapture (1999)

Neshat was born in the city of Qazvin, north-west of Tehran, but left for California at the age of 17 to finish her schooling. Her training as an artist began with her undergraduate and masters degrees in fine art at the University of California, Berkeley. However, she abandoned art-making and moved from Los Angeles to New York in the early 1980s. It was a decade later, through photography first and then film, that she found her artistic vision. She has now been working as an artist for more than 30 years and has won numerous international awards, including the Golden Lion at the 1999 edition of the Venice Biennale for her powerful short film Turbluent, which explores gender roles and social restrictions in Iranian culture. The film plays out on two screens: one shows a male performer singing a love song by the 13th-century Persian poet Rumi to a large audience of men, whilst on the other screen, a veiled woman waits in an empty auditorium, her back turned to the camera. When the man’s performance finishes, the woman begins a wordless song of guttural cries, mournful melodies, panting and animalistic screeching. This film was not only significant in establishing Neshat’s career, but also in paving the way for her succeeding works, which all, in one way or another, deal with the restrictions of female experience. Though embedded in narratives of conflict, Neshat’s work offers a sense of hope in which women find freedom through art in all its various guises.

Monochrome image of hands inscribed with symbols

Artist labels for wine bottles

Neshat’s designs for Ornellaia’s ‘La Tensione’ bottle label

Man shaking hand of woman at event

Neshat with Ornellaia’s estate director Axel Heinz

Given these preoccupations, the artist’s decision to collaborate with Tuscan winemaker Ornellaia is somewhat baffling. “In our culture, wine is a way not to escape, but to transcend reality and so [drinking wine] is a sacred, spiritual act,” says Neshat. “But in general, I feel like an occasional step out of your own milieu is actually very positive. For one thing, it puts your work in front of a new audience, but also, for me, [commercial work] is an attractive way of financing my projects. I make work that takes me six years and I make zero money so I think that any patronage that finances your practice and gives you the freedom to do your work is great.” Her series of images for Ornellaia, interpreting the theme ‘La Tensione’ which gives this vintage its name, depict white hands inscribed with Persian script, luminous against a black background. The use of hands, along with literature and monochromatic shades are all typical of Neshat’s aesthetic and imbue the work with a haunting, dreamlike quality. “I’m very interested in the subtlety of body postures and how they can reveal emotion, especially coming from the Islamic tradition and how provocative and problematic the body can be,” she says. “There’s a certain universality about hand gestures.” She places one palm against her chest: “This, for example, could be love”.

Portrait of a man illustrated with Farsi script

Ibrahim (Patriots) from The Book of Kings series (2012) by Shirin Neshat

The work is reminiscent of Neshat’s first series of black-and-white photographs, entitled Women of Allah (1993–97), which was created following the artist’s return to Iran in 1990, her first visit following the 1979 Islamic Revolution. When Neshat arrived back in Iran, it was in the wake of dramatic cultural changes. Women of Allah not only marked the rebirth of her making art, but also her engagement with the country’s political landscape – an engagement which led to her current state of exile. The series focuses on female martyrdom, showing veiled women holding weapons, their faces, hands and feet again inscribed with Farsi poetry, highlighting the revolutionary Iranians’ dual identities as both Persians and radical Islamists, as well as the tension between devotion and violence.

Read more: Introducing the next generation of filmmakers at Frieze LA

Her practice continues to be preoccupied with contrasts, highlighted by the minimalism of black and white, but also with conflict. “There are plenty of artists whose making of art is an aesthetic exercise, which is important because it has intellectual and artistic values of the highest level,” she explains. “But for artists born to a country like Iran, the relationship to art is personal in a way that it cannot be separated from daily realities. I don’t think we have the emotional capability of distancing ourselves from these issues, and it is an incredibly fulfilling process when you make work that is politically conscious. It also means that you have a relationship with an audience that is larger than the [usual] art audience because people are able to identify with the subject matter.”

Woman crouches in doorway to stroke dog

Despite Neshat’s acute political engagement, her work has a sense of timelessness achieved by incorporating literature and music as well as elements of the surreal. “Music is very existential,” she says. “It sort of neutralizes a political reality, but it also contains all these cultural references and has a strong physical impact. Powerful music affects your heart.” This is perhaps most apparent in Turbulent, which was inspired by a young blind woman who Neshat saw singing on the streets of Istanbul. Many of her works have involved collaborations with composers and musicians as well as writers and cinematographers. “It’s an essential part of my work to collaborate, especially with people who know me and my work well,” she says. “I’m doing a lot of work in media that I never studied. It’s been really interesting to surround myself with people who have the expertise.”

Artist working in her studio

The artist in her studio

Neshat’s artistic ‘family’ is international, but she has gravitated towards other Iranians in New York: “I am sitting on the outside [of Iranian culture], others are by choice and others not; either way, we’re naturally drawn to each other and spend a lot of time helping each other. I do feel integrated in American culture as far as the artwork goes, but I can also see the limitations of not being Western, when your practice is considered to be a little bit outside the box.” Reflecting this duality, Neshat curated ‘A Bridge Between You and Everything’, an exhibition of Iranian women artists held at the High Line Nine Galleries in New York in November 2019.

Portrait of a girl sitting in front of illustrated wall

Raven Brewer-Beltz (2019) by Shirin Neshat

Neshat has called New York her home for many years, but her latest project, Land of Dreams, is the first time that she has directly turned her artistic attention towards the US. The project explores her experiences of being an immigrant, focusing on an Iranian woman who collects dreams that portray American people and takes them back to an Iranian colony for analysis. The project is now being shown for the first time as part of Neshat’s major retrospective ‘I Will Greet the Sun Again’ at The Broad in LA, and one wonders at the colony’s interpretations. “It’s kind of an absurd comedy,” she laughs, “but it was also [about] how to tackle a very important political subject – the antagonism between the two cultures as well as the corruption on both sides – through a human surrealism so that it escapes absolute realism. I want it to be timely, but I don’t want it to have no value in a hundred years’ time.” Are these surreal imaginings ever drawn from Neshat’s own dreams? “Yes, I try to write down my dreams every time I wake up. I like how ephemeral dreams are. My work is like the story that comes after.”

‘Shirin Neshat: I Will Greet the Sun Again’ is on show at The Broad, Los Angeles until 16 February 2020: thebroad.org.

Shirin Neshat ‘Land of Dreams’ opens at the Goodman Gallery in London on 20 February and will run until 28 March 2020. For more information visit: goodman-gallery.com

This article was originally published in the Spring 2020 Issue.

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Reading time: 8 min
Artist sitting by sculpture of a gorilla
Artist sitting by sculpture of a gorilla

French artist Richard Orlinski is known for his large-scale vibrant sculptures

The contemporary art world might turn up its nose at Richard Orlinski’s Disney collaborations, but the French artist couldn’t care less. For him, it’s about connecting with as many people as possible. Here, Jess Brown speaks to the artist about making his work accessible, saying yes to every opportunity and his love of Andy Warhol

Pikachu sculpture in yellow

Pikachu (yellow resin) by Richard Orlinski

LUX: Can you talk us through your sculpting process? Do you begin by sketching, or by experimenting with your chosen material?
Richard Orlinski: It really depends. Sometimes I start with computers, sometimes I start just by watching nature. I’ve been somewhere like Mexico, for example, watching the animals for inspiration and then I will make a mould. I have so many ideas, I know what I want to do, but what about the size and about the material? So as I said, sometimes I draw the design on computer to try it out and then I 3D print it to see what will happen. So there’s a big block of polystyrene foam and  a real robot picking away at the material until a sculpture appears. Then I can change it by hand and make a mould. For one sculpture, I need 10,15, 20 sometimes even more moulds. These are for the resin and then we stick them together. But I also work with aluminium and stainless steel which requires laser cutting. I’m not working alone though, I work with a big team and together we work out how to fix things. Of course, I have the final say but I always listen to what my team says about the creation – having ten brains is better than one.

Follow LUX on Instagram: luxthemagazine

LUX: How long does it typically take to make a piece?
Richard Orlinski: I’m like a kid. I’m always very much in a hurry to make things, but sometimes, it’s not possible to do it quickly. It depends on the complexity of the project and sometimes it can take a very long time. Time can be a real problem if I have a big commission, for example, someone asking for something to be ready in 15 days. Even if the person is offering me billions, it still wouldn’t be possible. Some of my pieces can take six months to create, sometimes a year.

LUX: How do you think your artistic style has evolved over the years? Was there a moment when you felt that you’d found your niche?
Richard Orlinski: I have no red line underneath my work. One day I do, that day I do something else. I find inspiration everywhere and I want to be free, but also for the auctioneer and the art buyer customers to feel free to take what they want from my sculptures. I find it interesting that you can ask three different people about one sculpture and they’ll say something different: ‘Oh it’s against petrol or it’s against pollution.’ People read the piece through their own emotion and I’m okay with that. I love watching kids seeing the sculptures and laughing. For me, it’s about connection and sharing with the world, I suppose that’s my ‘niche’. I’m really mainstream. I like commercial music, I like the things that everyone likes and I don’t want my work to be elite.

Sculpture of a red stag

One of Richard Orlinski’s resin animal sculptures

LUX: Speaking of sharing and connecting, your work has been exhibited on the ski slopes of Courchevel. Do you ever consider where your work is going to be exhibited when you’re making it?
Richard Orlinski: No, never. In Courchevel, we put animals because it goes with the snow: the wolf, the bear. But you know, my work can go anywhere. Last year, I was in old coal mines in the North of France. All of the people are poor there because there’s no more more work since the mines shut down. I put my sculpture there and they were so happy. I really like that it’s not for money, it’s for sharing and I was so happy to see their reaction. I was supposed to stay for one hour, but I stayed for two days in the end because there were so many people to meet.

Read more: Why we love the ‘Jeux de Liens Harmony’ necklaces by Chaumet

LUX: Do you have a particular type of person that your work is aimed at or is it for everyone?
Richard Orlinski: Any religion, any age, from all kinds of backgrounds. We have sculptures for a million dollars and sculptures for a few euros because I make some co-branding with Disney and you can find a small Mickey Mouse for fifty pounds. I’m very proud of those kinds of collaborations. Many of my followers, don’t have money to buy sculptures, to buy art, but they can maybe afford to buy the Mickey Mouse and they’re proud to show that to their friends. I like this connection with people. Not everyone likes that approach though. I’m not loved by other artists or by the establishment because I break the code.

Large sculpture of a gorilla beating its chest

‘Wild Kong’ by Richard Orlinski

LUX: What draws you to sculpt animals in particular?
Richard Orlinski: It’s really simple. You would have made the same choice. What do you like when you’re a kid? You like to to go to the zoo, you like animals on TV. Basically all of the cartoons have animals in them, and even if you look back historically, humans have always had this connection with animals. Think about ancient Egyptian culture, Greece, all of the old civilisations. So when I was a kid, maybe as young as four years old, I started created small elephants and hippos.

Read more: Jewellery designer Theresa Bruno on authentic bespoke design

LUX: Which artists from past or present have been the biggest influence on your work?
Richard Orlinski: I think maybe Andy Warhol, not so much his work, but I think he is really amazing. He was from the commercial side, he was a publicist and he did so many things. I think if he had internet during his time, he would be huge now. I mean he is still huge now, but he would be like a king of the world because he was making movies, books, kitchen appliances and everything was amazing. Anyway, he started from the commercial side of things and nobody loved him, but I think he opened a way through pop art. I like his mind, his way of thinking.

Product image of a white watch

Richard Orlinski has an ongoing collaboration with luxury watch brand Hublot. Pictured here: Classic Fusion Tourbillon Orlinski Sapphire. Below: The artist wearing the Classic Fusion Aerofusion Chronograph Orlinski

Man wearing a watch draped over a sculpture

LUX: You also make lots of different things: music, sculpture, fashion. How do your artistic mediums intersect or influence one another?
Richard Orlinski: For me, art is not just sculpture or painting or music – art is everything. Nowadays, we tend to put people in a cage, we categorise them, but I think when you have a certain sensibility, you can feel something about music and about sculpture. At my studio, I have a sculptural studio and my studio for music downstairs. I work with a lot of different people: people from music, people from TV, rappers. It’s a real melting pot. I like this mixed energy.

LUX: Finally, what are you currently working on?
Richard Orlinski: I have so many projects. I’m working now on a club in Belgium, and then we’re going to build a huge disco in Europe. I get a lot of offers for collaboration and I always want to say yes, sometimes I can, sometimes I can’t. I also have my sculptures, of course, and my ongoing collaboration with Hublot. I like doing new things, taking on new opportunities.

Find out more: richardorlinski.fr

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Reading time: 6 min
Cinematic still featuring a bottle of champagne
Bollinger event with men in suits

Michael G. Wilson & Etienne Bizot from the Bollinger Family at Hotel de Crillon, Paris

Last week, Champagne Bollinger celebrated the 40th anniversary of its partnership with James Bond with a special event in Paris and a new limited-edition release

On Thursday evening last week, Champagne Bollinger welcomed the producer of the James Bond films Michael G. Wilson as guest of honour in Paris to celebrate the brand’s 40-year partnership with the legendary film series. Hôtel de Crillon played host to an exclusive list of invitees in celebration of the partnership, which dates back to 1979, when Bollinger became the official champagne of 007 upon the release of Moonraker.

Cinematic still featuring a bottle of champagne

The character Jaws opening a bottle of Bollinger R.D.1969 in Moonraker

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Champagne gift set with luxury silver box

The Moonraker Luxury Limited Edition by Champagne Bollinger with a gift box designed by Eric Berthes

Following a speech by Bollinger’s chairman Étienne Bizot, the brand launched its latest release ‘The Moonraker Luxury Limited Edition’ complete with a space-shuttle shaped gift box designed by Eric Berthes and inspired by the shuttle originally created by production and set designer Ken Adam. Guests enjoyed a first taste of this 2007 vintage against a backdrop of design sketches and stills from the Moonraker film.

Find out more: champagne-bollinger.com

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Reading time: 1 min
Abstract painting with geometric patterns
Abstract painting with pink and black

Punta Norte (2008), Ruben Alterio

Argentinian artist Ruben Alterio is known for his large-scale abstract paintings, created in his Parisian studio, two floors up from the one once inhabited by Pierre-Auguste Renoir. We speak to the artist ahead of his upcoming exhibition at the Argentine Ambassador’s Residence in London
Artist portrait

Artist Ruben Alterio

1. Do you need a particular atmosphere or environment in which to create?

Yes, I do. To work properly, I need to be in my studio in Paris. I have been working there for decades now and have created, over these years, an atmosphere that allows my mind to fully focused, a set up that inspires me a lot.

Follow LUX on Instagram: luxthemagazine

2. What inspires you to start a new painting?

My working space is filled with objects, sculptures, photographs, paintings, images that I have created or gathered. I get my inspiration from these shapes and colours that surround me. I must have created that environment with that intention I guess…I collect these images and artefacts because they bear some formal and historical aspects that I can use in my paintings.

Artist studio filled with artefacts and paintings

Alterio’s studio is located in the same building that Renoir once worked from

3. Can you tell us about the concept for your upcoming exhibition?

It is the gallery, the space in itself that gave me the idea for the exhibition. I wanted to create a crowd of paintings, a group of 21 paintings to be precise. This is to be seen as an installation, a stage occupied by 21 painted-beings welcoming the viewer into their personal journey.

Read more: Why responsible travel means authenticity

4. As well as painting, you’ve worked on set and costume design, and collaborated with major fashion brands. How does your creative process change when you’re making commercial work?

I’ve had the chance to collaborate with amazing, creative people all along my career. It has always been a pleasure to share and work with such people that trust you and your vision. My creative process doesn’t change that much, it’s mainly a matter of adaptation. Whether it’s in my personal work or in collaboration, the goal is always to create a window for me, and I hope the viewers, [through which] to escape.

 

Abstract artwork

Flores (2016), Ruben Alterio

5. How often do you throw away works?

I throw sometimes, yes, but I usually prefer to consider these works as part of a work in progress, which, as a matter of fact they are. I keep them because it’s always interesting to let time do its magic and look at them [again] after a while. Time can bring many surprising elements to my work.

6. Which artists from the past or present do you admire the most?

Velázquez, Piero Della Francesca, Picasso and Francis Bacon.

Ruben Alterio’s exhibition at the Argentine Ambassador’s Residence runs from 4-8 November 2019, 49 Belgrave Square, SW1X 8QZ. Entrance by appointment only. rubenalterio.com

Ruben Alterio is represented in the UK by Laurence Bet-Mansour of Art in Style. For all enquiries, please contact: [email protected]

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Reading time: 2 min
Man in a suit standing next to a red ferrari sportscar
Detail shot of a sports watch with black and red watch face

The Hublot Classic Fusion Ferrari GT 3D

No detail is small enough to escape Ferrari designer Flavio Manzoni’s razor-sharp focus. Rachael Taylor discovers how his expertise in supercar design lends itself masterfully to the Hublot and Ferrari watch collaboration

In the Ferrari Maranello plant in northern Italy, you will often find Flavio Manzoni and his team convening at a ten-metre-tall LED wall display. The images they’re looking at are often enormously scaled-up photographs of the miniscule parts of a Ferrari engine or exterior. The extreme magnification is used to perfect infinitesimal details you might never notice should you take the car for a spin. And this, says Manzoni, is the essence of luxury design.

“The luxury of a Ferrari is more a consequence than an objective,” says Manzoni, the car manufacturer’s senior vice president of design, who this year accepted the Red Dot Design Team of the Year award. “There are two perspectives [of design]. One is from the distance, where you see the whole harmony of the object. The other is with the lens, when you magnify every element and put a lot of art into every single detail.”

Follow LUX on Instagram: luxresponsibleluxury

Focusing on each and every element – no matter how small – and making sure that it not only performs brilliantly, but is also aesthetically exciting, is what makes Ferrari cars among the most sought-after, and expensive, in the world. It is also this zoomed-in approach to design that has made the switch to designing watches a seamless transition for Manzoni.

Manzoni joined Ferrari in 2010. The following year, he was working on a top-secret project for the company’s first hybrid sportscar, LaFerrari, when he was also brought in to oversee the development of a watch in collaboration with Swiss atelier Hublot. He kicked off their first meeting with a rejection.

Man in a suit standing next to a red ferrari sportscar

Award-winning designer Flavio Manzoni has been with Ferrari since 2010

“At the beginning, their idea was to propose some concepts to us,” says Manzoni. “They wanted to draw inspiration from the central shape of a Ferrari, the dynamic shape, but my idea was to avoid that because it makes no sense to give an aerodynamic shape to a watch.”

Instead, he wanted the Hublot team to look beyond the obvious and dive deep with him into the romance of the details. “I tried to guide the research towards the technical beauty of certain mechanical components of a Ferrari, like the engine for example.”

Luxury watch product image in black and gold

Hublot Classic Fusion Ferrari GT King Gold

Product image shot of a luxury watch

Hublot Techframe Ferrari Tourbillon Chronograph

The result – the Hublot MP-05 LaFerrari watch – was spectacular. A tapered, angular case covered entirely with sapphire crystal, showed off the inner workings of an unusual movement, with the time displayed on off-centre cylinders rather than hands. In place of the traditional flat cogs and springs, an industrial-looking central column of gleaming aluminium barrels gave the impression of a watch that revs rather than ticks. Being Ferrari, performance excellence was important too, and a super- charged power reserve function was created that allowed the mechanical tourbillon watch to carry on ticking off the wrist for what was, at the time, a record 50 days. “I think they attract customers because of their uniqueness,” says Manzoni of the Hublot Ferrari watches, which he believes appeal to a much wider audience than the Ferrari fan base. “They speak out from the mass in the field of watchmaking because they are different. We try to use an out-of-the box approach, which comes from the attitude that we have towards our cars.”

Read more: Rockstar turned designer Lenny Kravtiz on champagne and creativity

It has been eight years since Hublot and Ferrari first joined forces, and Manzoni and his team have very much taken control of the design process. They select which movements to build around, and work up 3D models of prospective timepieces before presenting the concepts to Hublot. Each watch produced (using that same digital ‘wall’ for extreme close ups) continues to focus on the details of Ferraris – the ceramic carbon brake discs, the peccary leather seats – and often uses the same materials that are lavished on the supercars. No flourish is too small to champion, and it gives the team a platform to celebrate much-considered elements of the cars that might otherwise be overlooked simply as pleasant minutiae.

Black watch pictured on a red background

The limited edition Scuderia Ferrari 90th Anniversary Platinum and 3D Carbon watch

This year, Scuderia Ferrari is celebrating 90 years of making supercars, and to celebrate, three Hublot Ferrari watches have been released to mark its past, present and future. Each a twist on Hublot’s popular Big Bang model, the trio of timepieces are all powered by a UNICO movement with a flyback chronograph that offers a 72-hour power reserve and are anchored with bezels cut from the same ceramic carbon that helps Ferrari’s cars to screech to a halt.

Man in a suit standing by an abstract artworkThe first watch in the series recalls long- past glory days with a brushed platinum case to echo the dashboards of classic Scuderia Ferrari models, as well as a leather strap and bright-yellow markers and hands to bring to mind old-fashioned speedometers. The model celebrating the here and now does so with a 3D carbon case and a strap made from Nomex, the fire-resistant material Ferrari drivers rely on to keep their suits from going up in flames.

The third watch, the one that nods towards what Ferraris might look like in the future, uses sapphire crystal to create a see-through case that exposes its inner workings. The futurist aesthetic is continued with a strap made from Kevlar, a composite material that Ferrari uses to protect its carbon-fibre chassis from stones spraying up from the road.

The latest automotive launch from Ferrari is the SF90 Stradale hybrid, an evolution of the LaFerrari that inspired that first Hublot Ferrari watch. So are we likely to see this latest model transformed into a wrist-ready format? “I don’t think that there will be a literal translation, but for sure there will be some inspiration,” muses Manzoni, who never feels bound to tie the latest watches into the latest cars. “It’s always nice to create cultural bridges between different disciplines.”

Discover Hublot’s collections: hublot.com

This article was originally published in the Autumn 19 Issue.

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Reading time: 5 min
Installation shot of racing car photos in black and white against a yellow wall
Installation shot of racing car photos in black and white against a yellow wall

Installation shot from the Koto Bolofo x Connolly Goodwood style exhibition

Ahead of this weekend’s Goodwood Revival, an exhibition of photographs by South African photographer Koto Bolofo celebrating the glamour of the famed racetrack opens  alongside the launch of a new motorsport inspired capsule collection by British fashion brand Connolly

We are brought back to the track as it once was in Koto Bolofo’s photos of the Goodwood Revival. The South African photographer documented the race where vehicles from the ’40s, ’50s and ‘60s are revived, reliving the excitement, glamour and romance of Britain’s leading racing circuit. The collection of silver gelatin prints capture the curved, voluptuous car bodies, the drivers and mechanics bent over engines and meeting in the cockpit, encapsulating the beauty, style and danger of motor racing in the most intimate manner.

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Engineer sitting in his workshop in a white coat

Racing team push off vintage racing car

Here and above: images by Koto Bolofo

Bolofo is known for his romantic approach to photography. Part of his process is to visit and become familiar with the locations and people that he will be shooting, claiming that he wants himself and the location to ‘grow as friends’. His work at Goodwood is no different, having previously worked at the track on a shoot for Italian Vogue in July 2004. His monochromatic, low and close shots invite us into the private world of drivers and their teams.

Read more: Mustafah Abdulaziz wins 2019 LOBA photography award

Portrait of a racing car driver

Curvacious bodies of racing cars

Here and above: images by Koto Bolofo

Alongside the exhibition, British fashion brand Connolly will launch a new collection this Autumn celebrating the heritage of motorsports. The timeless fabrics and tailoring of Goodwood’s drivers, mechanics and spectators are the inspiration for the capsule collection, which incorporates leather goods and cashmere knits.

Rosie Ellison-Balaam

The ‘Connolly x Koto Bolofo’ exhibition runs until 2 October 2019 at Connolly Townhouse, 4 Clifford St, Mayfair, London, W1S 2LG. The ‘Connolly x Goodwood’ capsule collection is launched on 13 September 2019.

For more information visit: connollyengland.com/koto-bolofo/

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Aerial view inside a bed making workshop
Double bed with gilded decorative head board

The KIKU by Savoir Beds features panels of hand-painted gilded silk wallpaper by London-based company Fromental

In 1905 The Savoy Hotel decided to create a bespoke bed for its guests, and so began the legacy of what’s now known as Savoir Beds. Every Savoir bed is crafted from chemical-free natural materials, carefully selected to provide the optimum sleeping environment. Here, we speak to the Savoir’s Managing Director Alistair Hughes about mastering craft, delivering consistency and the brand’s efforts to be sustainable.
Man leaning against the edge of a bed in a showroom

Alistair Hughes

LUX: Can you tell us how a Savoir bed is created from start to finish?
Alistair Hughes: Every Savoir bed is tailor-made for the client to ensure it fits them perfectly. The process starts with a ‘fitting’ at one of our showrooms, where our expertly trained staff will discuss the needs of the client and try them on the various models and different support options in order to make a bespoke bed. We have created four varieties of Savoir beds, named No. 1, No. 2, No. 3 and No. 4, and they all have infinite customisable options. Beyond comfort is the design and styling of the bed, our sales team will work to the client’s requirements offering unlimited fabric options for upholstery and styles for the headboard and base.

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Following the fitting, the order is shared with our in-house design team at our Bedworks in North London. Our CAD designer will work with the showroom to create a render which is sent to the client for approval. Once the design has been reviewed and approved by the client, it is then passed on to production. Our fabric specialist will order the clients’ chosen fabric for the headboard and base, once delivered they will carefully check every inch to ensure it is absolutely perfect.

The fabric is then passed on to our cutting room which will cut the fabric. It is also during this stage that our seamstresses will cut the signature Savoir Trellis ticking which is used for all our mattresses, toppers and top of the box springs. Once cut, the fabric is left for a minimum of 24 hours to allow it to relax (when it’s on a roll, it is stretched slightly). The Savoir seamstresses will then sew the mattress, topper and mattress cases, ready to be passed on to the craftsmen.

Craftsman constructing spring base of a bed

Here and above: craftsmen assembling a Savoir bed inside the workshops

The bed set starts with the box spring. A wooden frame is created in woodwork, in which large hourglass springs are carefully secured. The springs are then hand-tied together, using eight-way star-lashing. A stitched hair role is then created on the edge of the base, through packing horsetail hair in to a neat roll and stitching in place. An abundance of hand-teased loose hair is then placed on top of the boxspring, with tufting the last stage to ensure all the hair stays in place.

Next is the mattress, hand-tied pocket springs, which are produced in the Savoir Bedworks, are sandwiched between masses of hand-laid, long, loose horse tail, with cotton and wool. The mattress is then hand-slipped to close and hand-side-stitched to ensure the springs stay in place. Like the box spring, the mattress is also tufted, stopping the natural materials moving.

The final element of the bed set is the topper, the natural casing that the seamstresses cut and sew together is filled with long, loose, hand tease horse tail, along with a layer of lambs wool, cotton or yak fibres, depending upon the chosen topper. The topper is also tufted, with beautiful fabric tufts on both sides to create a petal effect when a stitch pulls them closer together.

For clients that have specified a bespoke headboard, this will be crafted by the highly skilled Savoir upholsterers. The frame will be carved and constructed in the expansive woodwork workshop. Once created, this is passed on to the upholsterers, where the fabric which was cut by the seamstresses is carefully applied to the frame. No two beds are the same, so our upholsterers have years of experience to ensure the finished headboard is perfect.

Before every bed is delivered to the client, it is set up by the Savoir Quality Control team. The team will ensure that every detail of the bed is to the clients’ specification. The finished bed is then shipped around the world, direct to its new home.

Read more: Test driving Michelin’s tyres for supercars

LUX: How do you ensure a consistent quality of product?
Alistair Hughes: We make less than 1,000 beds a year because we are focused on making the best, not the most.

We continue to hand craft our beds at our North London Bedworks and in Wales, just outside Cardiff. Every Savoir bed is made to order for a particular client, built by hand to meet specific needs and deliver unsurpassed comfort.

We use only the finest, natural materials including Argentinian curled horse tail, which provides a breathable sleeping surface and the ultimate temperature control for enhanced sleep. The high standard of materials and skilled craftsmanship result in a consistently comfortable bed for our clients and one that matches their style aspirations, as only a bespoke product can.

LUX: The original Savoy bed was designed in 1905 and has changed very little since – how do balance heritage and innovation?
Alistair Hughes: I am immensely proud of the heritage of Savoir, I couldn’t imagine a better legacy for a bed company.

The beds were first created for The Savoy Hotel whose sole aim was to give the best night’s sleep to the most demanding clients in the world. The result was The Savoy Bed, now named the Savoir N°2, and it remains our most popular bed. Liza Minnelli had refused to leave the hotel without one; Emma Thompson said the bed had cured her insomnia.  The product had been raved about for over 100 years by the most demanding guests in the world.

However, innovation is very important to keep driving our business forward. We pride ourselves in being at the forefront of designer collaborations and each year we hand-pick the best brands and designers to create inspired designs. Last year we collaborated with the National Gallery, Fromental, Nicole Fuller and Steve Leung.

Read more: Bentley auctions new model for the Elton John AIDS Foundation

As we have control over every element of production, anything is possible which excites designers. Beds for superyachts or fantastic headboards inspired by art or architecture, we can craft and create anything. Our Savoir designers work closely with collaborators to design a personalised, unique piece of furniture. It’s always a special moment when we have designers visit the Bedworks and they are astounded by the amazing and extremely skilled craftsmen.

This month we launched our most innovative design yet and the world’s most luxurious bed: The Three Sixty. Available exclusively at Harrods, the bed is the epitome of contemporary design and bespoke British craft. It seamlessly combines aesthetics, technology and ultra-luxury.

Luxurious circular bed in showroom setting

The Three Sixty, Savoir’s latest bed design

LUX: Why did you decide to change the company name from Savoy to Savoir?
Alistair Hughes: Our heritage is of course The Savoy Hotel, but we also wanted to supply other hotels who might not want the name “Savoy” across their beds!  We liked the idea of Savoir Faire, with all its associations with quality craftsmanship, and the fact it was not a million miles from Savoy.

LUX: Having recently expanded overseas, how does Savoir cater to these new markets?
Alistair Hughes: We have 14 showrooms around the world from London to New York and Paris, as well as worldwide in China, Germany, Russia, Taiwan, Korea and Hong Kong.

We have collaborated with a number of international designers to create beds for different markets. We have worked with Nicole Fuller in the US, Steve Leung and Teo Yang in Asia and we will soon be unveiling a new partnership with Bill Amberg, the UK’s leading bespoke leather product, interiors and furniture designer.

LUX: Where is the biggest emerging market for you?
Alistair Hughes: Asia is developing rapidly and Savoir is growing its presence in Asia with showrooms in Hong Kong, Seoul, Shanghai, Taipei and next month we will be opening a 1,385 square foot showroom in the new Raffles Hotel Arcade in Singapore.  We are in advanced discussions about a showroom in the south of China too, so a lot to look forward to.  But that said, America is still the largest luxury market in the world, and as an emerging brand it is an absolutely key focus.

Read more: Meet the young model who creates ads for Nike

LUX: How do you create a sustainable product?
Alistair Hughes: All Savoir bed sets have a 25 year guarantee and we turn our back on the throw-away culture.

We refresh beds and mattresses through recycling materials. For example, the existing horse tail is removed from a mattress, it is then re-carded through the use of a carding machine, and then hand-teased and redistributed within the existing mattress casing. The re-carding machine is over 100 years old and is thought to be one of only two in the country. We can also recycle casings for mattresses, re-making and re-tying box springs to re-invigorate the perfect and bespoke mattress tension, which may have been lost over time.

Aerial view inside a bed making workshop

LUX: How does your previous role in management consultancy inform the operations of Savoir?
Alistair Hughes: I think it helped to bring a broader perspective to what I do and how the business can best meet the needs of our clients.  Within bed manufacture in general there had been a strong focus on driving down cost.  Retailers often see a mattress as a grey box, they all look the same, just get the price down. Savoir thinks more of the end client and what they want: a great night’s sleep.  So the focus has been the best product, and understanding that clients are willing to pay for something better.

LUX: Where was your best night’s sleep?
Alistair Hughes: I’m spoilt, having the best bed in the world at home.  At the end of the day, there is nothing like getting into a Savoir.  I love the feeling, especially with fresh, cool and crisp percale sheets.  I’m instantly relaxed…it’s a great feeling!

Beyond that, I grew up in Ethiopia and Malawi and have always had a thing about the big African skies.  On recent family trips we have had some great under canvas holidays, most recently in Botswana.  There is something magical about the lack of light pollution, the stars and the sound of nature (not always quiet, but definitely music to my ears).

Discover Savoir’s range: savoirbeds.com

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Reading time: 9 min
Two businessmen standing beside a giant sculpture of a blue gorilla
Two businessmen standing beside a giant sculpture of a blue gorilla

Ricardo Guadalupe (left) with Richard Orlinski and one of his ‘Wild Kong’ sculptures

Luxury Swiss watchmaker Hublot is letting artists design their timepieces, and their customers and collectors love them. Rachael Taylor examines a new trend in horological branding

Hublot chief executive Ricardo Guadalupe was on a skiing holiday in the exclusive Courchevel resort in the French Alps when he spotted unusual sculptures rearing out of the powdery white slopes. The giant faceted animals, including a howling wolf, a chest-beating gorilla and a bright red Tyrannosaurus rex, were the work of contemporary French artist Richard Orlinski, and this chance encounter with a mountain-top menagerie would go on to inspire a surprise hit for Hublot.

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“Maybe Hublot was surprised, but I wasn’t,” laughs Orlinski, commenting on the success of the first watch he designed for the brand. “I don’t know if I have talent, but with my eyes I can see what people see. I’m a mainstream guy. When I like something, a lot of people like it.”

Indeed, Guadalupe has described the demand for Orlinski’s Hublot watches as “unbelievable”, and impossible to fulfil. The collaboration first started in 2017 with the Classic Fusion Aerofusion Chronograph Orlinski, a polished titanium skeletonised model with a sharply faceted case and bezel that mirrors Orlinski’s iconic sculptures. The Swiss watchmaker, passing creative control to an artist for the first time, created a modest run of 200 watches, unsure of how they would be received. The collection quickly sold out, attracting existing Hublot collectors, as well as aesthetes, art buffs and quite a few of Orlinski’s famous friends who were new to the brand.

A black wristwatch pictured against a black background

Hublot’s Classic Fusion Tourbillon Orlinski Black Magic

Since then, Orlinski and Hublot have partnered to create a further 10 editions of the watch. These include a vivid-red ceramic version that launched last year; the colour, which is technically very difficult to achieve and is exclusive to Hublot, matched a shade applied to many of Orlinski’s sculptures. For luxury collectors, there is the Aerofusion Chronograph Orlinski King Gold Jewellery, a 18ct solid-gold version set with more than 300 diamonds. And at the top of the range is the Tourbillon Power Reserve 5 Days Orlinski Sapphire, limited to just 30 watches, with a case made entirely from polished sapphire crystal.

Read more: Trevor Hernandez’s surreal urban photography

The faceted cases and bezels of Orlinski’s watches dazzle with light and shadow, adding a sculptural edge to the design. Keeping the watch functional, legible and wearable was important to Orlinski, who is himself a watch collector. “I know a lot about watches,” he says, but admits that until this collaboration his hoard did not include a Hublot as it was focused on vintage timepieces. “I wanted to make a mix between a watch and a sculpture – something you can wear every day, not something very strange.”

Hublot was not the first watch brand to come knocking at Orlinski’s door. Others had tried, but they offered the chance to customise rather than create. For Orlinski, this was not enough. “I always declined because they wouldn’t let me do anything,” he says. “Hublot treat me as a watch designer.”

Portrait of artist Richard Orlinski with one of his sculptures

Richard Orlinski

By giving Orlinski autonomy over the watches that bear his name, the mainstream magic that the bestselling French artist claims to wield has rubbed off on Hublot, making it a commercial success, while also giving it a dose of art kudos. The collaboration has also had benefits for Orlinski’s art, as the global exposure he has enjoyed while touring the world for Hublot events has widened his fan base.

Such synergy between the contemporary art and luxury worlds has led to many such hook ups, as brands use artists to inject fresh vigour into heritage labels. Last year, Chaumet celebrated modern African art by enlisting Kenyan graphic designer Evans Mbugua to create a collection of high-jewellery brooches, while Dior invited 11 artists, including Isabelle Cornaro, Li Shurui and Poppy Apfelbaum, to reimagine its Dior Lady Art handbag.

Side view of a red wristwatch

The Classic Fusion Aerofusion Chronograph Orlinski Red Ceramic

“Nowadays, art gives a credibility to brands,” says Orlinski. “A lot of them understand that they have to tell stories; selling things is not enough now. We live in the World 2.0, and things are changing so fast. If you want to stay in the game, you have to be open minded. People want something different.” It’s also, he says, about using popular art to engage with a wider audience: “Even if you are a luxury brand, you have to talk to everyone. If you only talk to the rich people, you’re dead. The brands that don’t change are going to die.”

Read more: Art collector Kelly Ying on the contemporary artists to watch

As art and watch collectors line up to own a wearable piece of Orlinski, Hublot plans to keep this particular point of difference very much alive and ticking. While the core design of the watch will stay true to its faceted form, Orlinski believes there are myriad possibilities for the future, such as fresh colourways, new materials and increasingly complex horological complications. And at Baselworld watch show in March 2019, the first line of Orlinski Hublot watches for women will be unveiled, opening up a whole new market. “This model will evolve a lot,” says Orlinski. “I have so many ideas, we can go on collaborating for 20 years. It’s just a matter of talent, energy and brainstorming.”

A man and a woman standing on stage holding a watch with street art behind them

Orlinski with actor Jacqueline Bracamontes at the launch of the Mexico variant of his Hublot watch

The case for collaboration

Hublot, like most watch brands, is best known for its sporting collaborations – its long-running partnership with Ferrari continues to be the vanguard of such alliances. Deals like this, and its sponsorship of the Fifa World Cup in Russia last year, are, according to chief executive Ricardo Guadalupe, the “premier league” of collaborations, to use a suitably sporting analogy. Uniting the worlds of timing and art is a less obvious strategy, but brings other benefits that Guadalupe is keen to cultivate.

“We’re always looking for new inspirations, and we have found that we should not stay in our industry, but go outside,” he says. “When you come with something unique and different, I think consumers are really waiting for that.”

Read more: Why you need to see Sarah Morris’ latest exhibition at White Cube, London

As well as working with Richard Orlinski on his hugely popular line of faceted watches (“The demand is still unbelievable. We can’t keep up with it”). Hublot has also engaged Los Angeles-based street artist Tristan Eaton and London tattoo studio Sang Bleu to reinterpret its Aerofusion and Big Bang models.

“[Working with artists] positions us as a trendsetter in creating new designs for watches and this is really important,” says Guadalupe. “We are at the beginning of the process with Richard Orlinski, with the tattoos, so this is something really new that is appearing in our world. Probably it will bring new consumers into our brand, but it also allows our actual consumers that love Hublot to buy a new watch. You must bring always something different and innovative. [Through art] we are creating a new way of making watches.”

Find out more: hublot.com

This article was originally published in the Summer 19 Issue.

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Sculpture of a family in a domestic setting by artist Cathy Wilkes
Sculpture of a family in a domestic setting by artist Cathy Wilkes

‘Untitled’ (2012) by Cathy Wilkes at MoMA PS1, New York, 2017

Black and white illustration of Zoe Whitley

Zoe Whitley

Traditionally, art exhibitions have been directed by curators, but now there is a move to hand the reins over to the artist. As the eighth edition of Frieze New York gets underway, Zoe Whitley, curator of the British Pavilion at the 2019 Venice Biennale, discusses how allowing artists the freedom to realize their vision can lead to a deeper, shared experience of the work

DEUTSCHE BANK WEALTH MANAGEMENT x LUX

Artists encourage us to see things around us anew, pushing us to reframe and re-examine contexts that are already well established. As a curator, working with and learning directly from artists has given me the greatest insights, which is why I think it is crucial to listen to artists when it comes to putting together a show.

‘Artist-led’ has become something of a buzzword lately, but it is easier said than put into practice. It is certainly not easy to put one’s ego aside and listen – really listen – to what an artist needs. Rather than asking an artist, “I have this idea, can you illustrate it?”, a curator should instead establish trust and, perhaps counterintuitively, ‘do’ less by allowing the work to unfold and by supporting the artist as they need it, particularly where new commissions are concerned. Of course, as in all projects, there are production and press deadlines to juggle and other logistical realities, but one has to also be sensitive to the fact that artists can’t necessarily (and shouldn’t have to) work to a Gantt chart. Ultimately, deadlines are imposed and as a curator one needs to focus on creating (within a framework) as much space as possible around the artist so they are able to think, respond and reflect. Only then can one come in and ask questions.

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This is particularly relevant in a context like the Venice Biennale, in which you are essentially inviting an artist to realize one of their most ambitious visions. In fact, this year’s Biennale marks a shift in how we have tackled the curation of the British Pavilion. For the first time, an open call by the British Council, which has been responsible for the British presentation at the Biennale since 1937, invited mid-career external curators to apply for the position, creating an opportunity for an international arts professional working in the UK. That, too, is a more collaborative, outward-looking approach. I am honored to have been selected and am the first African American to hold such a position attached to a national pavilion. (Given that firsts are built on other firsts, I credit Kinshasha Holman Conwill and Grace Stanislaus, who, in 1990, curated five artists from Africa at the Venice Biennale, under the auspices of the Studio Museum in Harlem.)

A collaborative approach is important in showing that there is not only one way to work or live or even to be. Collaboration can yield brilliant ideas and greater diversity of thought and creativity, no matter what the end format of those ideas is. This year’s British Pavilion and the Biennale are a reminder that things don’t have to be done the way they have always been done, and there is a sense of hitting ‘refresh’ every two years that feels very affirming to me right now.

The artist representing Britain, Turner Prize-nominated Cathy Wilkes, is testament to this. Working with her has been fascinating and an exercise in humility. Cathy and I have had a fruitful rapport, thinking through the subtleties in her work. From the get-go it has been important to me to take her lead, and I have said to her, “Even if the show is a huge success, if you are unhappy with it, then I will feel like we failed.”

I always say that Cathy’s work is art that whispers rather than shouts. She won the inaugural Maria Lassnig Prize for mid-career artists in 2017, and the resulting show, at MoMA PS1 in New York City, was not only incredibly beautiful but also very subtle. It featured minimal curatorial interventions. There were no texts obfuscating the works, instructing how the viewer must respond to them. It allowed for a particularly contemplative experience but also, honestly, a slightly disconcerting one without those usual didactic prompts. I’ll say it: contemporary art can sometimes be tricky to engage with if you don’t have any prior knowledge of the art or the artist. But not everything has to be easy or prescriptive. Cathy’s work comes from her singular vision, yet she doesn’t want to impose one preconceived experience upon the viewer, hence the constant attempts at paring back and stripping away (texts, titles, even light fittings) to make as much room for the viewer as possible. I find that hugely refreshing and honest. It’s also incredibly freeing, because we can all find our own way and together pose a series of questions, or come to her work with our own personal experiences.

Read more: Art collector Kelly Ying on supporting young artists

It is also significant that the UK artists at this year’s Bienniale (Charlotte Prodger for Scotland and Sean Edwards for Wales), like Cathy, have all contributed to dynamic and vibrant artistic communities outside of London, in Glasgow and Cardiff. It suggests we can move beyond what we think of as the default capital centers of cultural production and, perhaps, question the very notion of national representation as suggesting only one allegiance. Cathy herself was born in Northern Ireland and lives and works in Scotland. National boundaries don’t need to be fixed or prescribed. This matters to me now more than ever, and is something that the British Council has embraced.

Where is all this heading? Are the arts, like so many other sectors, moving more towards a mindful experience? I’m not one for trend-casting but I’d say there’s space for everything. What I really appreciate is that, in Venice at least, we have been given the chance to create a space for quiet and for seeing with an innocent eye and we can all discover something new in a shared space. We can all be non-initiates – together.

The 58th Venice Biennale runs from May 11 to November 24, 2019. For more information visit: labiennale.org/art

This article first appeared in the Deutsche Bank Wealth Management x LUX supplement inside the Summer 19 Issue.

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Reading time: 5 min
Eccentrically dressed artists pose in Bicester Village luxury retail destination
Eccentrically dressed artists pose in Bicester Village luxury retail destination

From left to right: fashion designers Mei-Hui Liu and Anne Sophie Cochevelou, stylist Daniel Lismore and Sue Kreitzman pictured at Bicester Village

Today marks the beginning of luxury shopping destination Bicester Village’s springtime campaign featuring artists and designers from East London

If you happened to be at Marylebone Station this morning in London, you might have noticed a gathering of vibrantly dressed individuals waiting on the platform for the next train to Oxford. This was the starting point for artist and designer Sue Kreitzman‘s ‘Colour Walk’, which led a group of East London‘s creatives deep into the heart of Oxfordshire’s countryside and along the paths of Bicester Village.

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The practise of ‘colour walking’ is to encourage like-minded artistic people to dress up in as many colours as possible, and meet to walk and discuss ideas; usually beginning in Old Spitalfields Market, today’s walk kicked off a new artistic campaign at Bicester Village. Inspired by artist and LUX contributing editor Maryam Eisler‘s book Voices East London , ‘Spring Fever’ aims at supporting the work and practises of artists and designers from London’s East End. Amongst those involved is artist turned fashion designer Meihui Liu, whose pop-up art-inspired concept store will feature limited-edition artworks by the likes of ‘post-it poet’ Andy Leek (the man behind the ‘Notes to Strangers’ series), French fashion designer Anne Sophie Cochevelou and celebrity stylist Daniel Lismore.

Read more: President of LEMA Angelo Meroni on business with a soul

Meanwhile Bicester Village itself has undergone a transformation, with a VIP building resembling the club lounge of a particularly luxurious hotel. Shoppers can relax in marble-swathed private rooms while being served cocktails and snacks by butlers; fruit bowls overflow and the experience is enhanced even further by the hands-free shopping service that is also offered, meaning you can wave your Amex Black in Prada and Dior and have the butler carry your bags back to the lounge, where you can sip a glass of champagne before reluctantly setting out for home. LUX loves.

For more information on the upcoming events and experiences visit: bicestervillage.com

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Campaign for Alsara by Damiani jewellery collection inspired by Kazakh traditions
Jewellery campaign for brand Damiani starring Aliya Nazarbaieva

An image from the first Alsara by Damiani campaign with Aliya Nazarbayeva wearing earrings and ring with turquoise and black-and-white diamonds

How does a historic Italian jewellery brand come to dedicate an entire collection to the traditions and culture of Kazakhstan? Through a little bit of serendipity, and some inspiration from one of the world’s ancient nomadic cultures, as LUX Editor-at-Large Gauhar Kapparova discovers
 Guido, Silvia and Giorgio Damiani of Italian jewellery brand Damiani

Guido, Silvia and Giorgio Damiani

Italian fine jewellery brand Damiani first opened stores in Almaty and Astana in 2005, following the brand’s strategy for global expansion under the leadership of third-generation Damiani family members, Guido, Giorgio and Silvia. The brand’s sensuous Italian style and commitment to hand-crafted detail quickly captured the attention of Kazakh women, whilst the Damiani siblings, who travel frequently to the country on business, became increasingly fascinated and enamoured by the culture and traditions there. A deep and mutual affection grew organically between brand and country, leading to the idea of a cross-cultural collaboration.

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To create Alsara, a collection inspired by and dedicated to Kazakhstan, the President’s youngest daughter Aliya Nazarbayeva teamed up in 2011 with Zhanna Kan, the owner of Damiani Kazakhstan and the driving force behind the new line. The name Alsara is a portmanteau combining Aliya and her mother’s name Sara, and pays tribute to the influence of not just them but also all the Kazakh women the jewellers have met.

Traditional Kazakh style necklace by brand Damiani

Unique necklace ‘Tumar’ with blue sapphires, rubies, diamonds and semi-precious stones

The collection began as a conversation between Aliya and Damiani’s Italy-based designers, during which Aliya educated the brand on ancient Kazakh ornament, such as the traditional tumar necklace and bilezik cuff. These styles were reimagined and transformed by expert craftsmen in Damiani’s historic ateliers in Valenza, where Enrico Grassi Damiani opened his first goldsmith’s laboratory in 1924. The result was a collection of intricate gold and precious stone pieces, marrying refined Italian craftsmanship with Kazakh heritage. Following a sold-out range, the collection broadened to include silver and semi-precious stones, such as onyx and turquoise, typical of Kazakh jewellery.

Read more: Meet the new creative entrepreneurs

Bridging two distinct cultures, the Alsara collection melds tradition with contemporary fashion. “Alsara pieces became not only stylish accessories for modern Kazakh women but also perfect gifts for weddings and kudalyk, which are the engagement ceremonies,” comments Zhanna Kan. “They are regarded as family jewels to be preserved and handed down.”

Campaign for Alsara by Damiani jewellery collection inspired by Kazakh traditions

The Alsara by Damiani campaign with Gulnara Chaizhunussova wearing silver earrings and a bracelet and ring with green agate, citrine and diamonds

Alsara’s most recent designs reveal a striking modern look for the collection, reflecting the evolving cosmopolitan culture of Kazakhstan. Colourful gemstones have been replaced with black and white diamonds, producing a pared-back aesthetic with hints of Art Deco and oriental motives. The Kazakh heritage has not been lost, however, and neither has the craft; the collection continues to be entirely handmade in Italy whilst the influence of traditional Kazakh jewellery remains in the threads of delicately curved silver, drawing on artisanal methods of filigree.

Discover the collections: damiani.com

This article was first published in the Winter 19 Issue.

Luxury fine jewellery earrings by brand Damiani

Earrings with wings motif in white and yellow gold with smoky quartz, garnet and icy diamonds

 

 

Ornate necklace by Italian brand Damiani

Jewellery from Damiani’s Alsara collection, including necklace in white and yellow gold with black and white diamonds and pearls, inspired by Art Deco and Kazakh ornament

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Miniature painting by artist Hana Louise Shahnavaz of galloping horses
Miniature painting by artist Hana Louise Shahnavaz of galloping horses

‘Shabdiz and Gholghoun, horses of Persian poetic myth;’ Hana Louise Shahnavaz (2018)

Are you a scientist or an artist, a genius or a poet? Do you really have to choose? Perhaps humans are more rounded than that. Some of the world’s leading scientists tell us about their favourite poets, cutting-edge poets nominate the scientific geniuses who changed the world

A LUX x ROSEWOOD COLLABORATION

Genius: Douglas Eck

“I studied English literature as an undergraduate, so I read a lot of poetry at that point in my life. I like structure, so I’m drawn to poetry that plays with metre and rhyme such as Elizabeth Barrett Browning’s love sonnets. I also enjoy the work of American poets Elizabeth Bishop and Ezra Pound. I could [also] go on for hours about lyrics, particularly from artists such as Kendrick Lamar, Joni Mitchell, Jay-Z, Tom Waits, Björk and Georges Brassens.” For an artist to be successful, Eck believes, “They must create something new that extends our understanding of the world around us, persuading us to think differently.”

Principal scientist on the Google Brain team in San Francisco, Douglas Eck spends his days working on Magenta, a research project exploring the role of machine learning in the process of creating art and music.

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Poet: Sabrina Mahfouz

“The concept of a singular genius to me is something very male – that one person can have a great idea and that all the hundreds or thousands of people responsible for making it happen can get pushed into anonymity! I believe in collective genius but not in an individual one. What’s happening in the worlds of technology and activism seem to be the most illuminating examples of collective genius around today – both areas which inform and inspire my own work constantly.”

An award-winning writer, playwright and poet, Sabrina Mahfouz is one of the most exciting voices on the creative arts scene today.

Genius: Richard Sargeant

“I don’t foresee my favourite poems in my battered copy of Francis Turner Palgrave’s Golden Treasury ever being replaced by AI, because we don’t buy art for its function, but for its story and experience. I might admire poems for their cleverness, but I love them for the character they reveal. I love Milton’s courage in the face of his blindness (which is described in his poem When I Consider How My Light Is Spent) and G.K. Chesterton’s joyful humility in the epic The Ballad of the White Horse.

“As with other art forms, it isn’t ultimately the quality of the stanzas, but the resonance of the experience that stands behind them that gives poetry its purchase on our mood and our imagination. In poetry, the spirit of the work is the essence of what we value.”

Richard Sargeant is chief commercial officer at ASI Data Science, a leader in the application of machine learning and artificial intelligence to real world business and public policy problems. The company was listed on this year’s Tech Track Ones to Watch

Poet: Hollie McNish

“I recently watched the American biographical film Hidden Figures, so right now the three geniuses inspiring me are the mathematicians who worked in Nasa during the space race: Katherine Johnson, Dorothy Vaughan and Mary Jackson. I am so fascinated by this sort of mathematical brain. Saying that, I’m not sure how I feel about the idea of a genius. The first idea I had of this concept was Roald Dahl’s Matilda. But after that, in all my education and university life, geniuses – until this film– were so strongly aligned to the white male that I found the concept almost ridiculous.”

Performance poet and writer Hollie McNish has published five books of poetry, including ‘Nobody Told Me‘, which won the 2016 Ted Hughes Award for New Work in Poetry

Read more: Philippe Sereys de Rothschild on fine wine & supporting the arts

Genius: Ian Blatchford

“Poetry has a rapier-like quality, revealing our emotions, motives and sometimes hubris,which is why I love the work of John Donne so much. You can find it in science too. I like to think mathematics is the poetry of science,a kind of haiku in which you can spin a whole universe and its destiny out of a few symbols.”

Ian Blatchford has been director and chief executive of the Science Museum Group for the past eight years. Previously he was deputy director of London’s V&A Museum

Poet: Rosy Carrick

Nikola Tesla was the Serbian-American inventor and electrical engineer who was best known for his contribution to the design of electric currents. What’s interesting about Tesla is the line between creativity and insanity. Often the work of a creative genius can seem like magic or craziness but we realise later that it is someone simply ahead of their time.”

For the past eight years, writer and performer Rosy Carrick has been a co-host of the Latitude Festival poetry stage and also co-curates the Port Eliot Festival poetry stage.

The top of the Carlyle hotel in New YorkTHE CARLYLE, A ROSEWOOD HOTEL

New York is a city steeped in poets, from the likes of Walt Whitman and Allen Ginsberg to today’s virtuosos on the slam poetry scene. The Carlyle Hotel has the great fortune to have a legacy in both camps, as legend on the Upper East Side, home to the city’s aristocracy, and for its Bemelmans Bar, famously decorated by illustrator extraordinaire Ludwig Bemelmans.

rosewoodhotels.com

This article was originally published in the Winter 2019 issue

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Reading time: 4 min
stylish contemporary interiors of a lounge space with orange chairs, big glass windows and wooden detailing
stylish contemporary interiors of a lounge space with orange chairs, big glass windows and wooden detailing

Spring Place New York: members-only collaborative workspace and social club

Co-working spaces are already well integrated into our urban landscapes. Companies like WeWork provide communal offices for start-ups and self-employed workers whilst the likes of Soho House invite members to use their residences for wining, dining and the occasional signing of a multi-million deal. Spring, however, aims to marry the two by offering physical studio spaces to rent and membership to a network of high profile brands and individuals. LUX Editor-in-Chief Darius Sanai speaks to the co-founder and CEO Francesco Costa about his vision
Colour portrait of founder of Spring Studios Francesco Costa wearing a black blazer and a blue shirt, smiling

Francesco Costa

LUX: Can you tell us about the concept of Spring?
Francesco Costa: I see Spring as a brand and an experienced company. It’s a brand that helps other brands and individuals in the luxury and aspirational industries to grow their businesses. We work with already established brands and freelance individuals, and it is the connection between these more established brands, emerging brands, talented young people and established talents that creates a unique environment.

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We now do creative agency production, post production and digital; we have studios, we have event spaces, we have co-work spaces and all of this together means that our clients or members or even our shareholders see us not as transaction opportunity, but as a long term opportunity. We are building a community and as a member of that community you are entitled to certain benefits. For example, we did an Estee Lauder campaign with Misty Copeland, the first African American Female Principal Dancer with ABT (American Ballet Theatre) and then we started working with ABT, and now we are the agency for ABT. We create certain content for them and some programming and then through us ABT got in touch with other brands that they want to sponsor ABT, and that creates further opportunities. That’s how this ecosystem works. Of course, the physical space has a key role because a lot of co-brands are trying to complete this without the investment – by that I mean not just a financial investment but an investment in time and the effort of finding a physical space – and it’s very difficult to do without having a physical hub in New York, Los Angeles, Paris, London, Milan where people can actually meet, where people can create opportunities. I think it is impossible to achieve what we are trying to achieve now.

Contemporary co working space with shared tables and woman working on laptop

An example of Spring’s stylish co-working space at Spring Place New York

LUX: When you started Spring, was the intention always to go in this direction? Or did it start more as a studio space that companies could use?
Francesco Costa: It’s interesting because everything started as a real estate investment in New York. Myself and Alessandro Cajrati, my business partner, had the idea to create a studio event space, a hub for fashion. Our partner was Jimmy Moffat, the creator of Art and Commerce, let’s say he was our expert in the field. And then we discovered this company in London called Spring Studios (founded in the late ’90s strictly as a studio space), which we thought could be a good partner – they approached us and we liked their vision.

Read more: 6 Questions with world record-breaking sailor Giovanni Soldini

colourful contemporary interiors with pink arm chair, patterned pink wall and an electric guitar

The music room at Spring Place NY

Robin Derrick had just joined and Robin’s vision was to create content for companies that were functioning in the digital space. Then at a certain point, when the project in New York was growing, we saw that there was a synergy in what we were doing so we merged the two companies (the American investors remain the majority investors). That’s how Spring Studios as we now know it started.

Then a bit later, approximately two and a half years ago, there was a co-worker revolution which attracted a lot of attention – it became a kind of trend – and I thought it was interesting to give a physical space to the fashion community. The fashion community, but also the art community and other communities involved in the business of culture, tend to travel a lot and have a lot of social interactions. Frieze is a good example, or events or fashion shows or dinners that fashion brands put on, but there was no place where you could meet more professionally and during the daytime so I thought that there was a need for this kind of space, a place where CEOs or the head of communications can connect and collaborate with other brands and individuals.

Open plan industrial style dining room with exposed ceiling and square wooden tables

The main dining room at Spring Place NY where professionals can meet and socialise

LUX: How does your business model work? How do you benefit from the collaborations?
Francesco Costa: There two things that I get out of it: one is the attachment to the brand, to the physical space. The co-brand has an advantage working with Spring or being at Spring which brings them closer to us. The second is on the offer and the pricing. For example, we have showrooms that we rent for 2000/3000 dollars a day and we don’t rent for 2000/3000 a day because the real estate is better that the real estate next door which rent for 1000 a day, we rent it at that cost because the odds are that a journalist or a CEO or a famous blogger walks by, sees the product and thinks that it’s worth talking about or engaging with. I actually have a recent example of this. A very small, new shoe brand run by two young women with limited capital, launched their product in one of our showrooms and a buyer for one of the biggest retails was in the space for another meeting at that time. He saw the product, loved it and they signed a multi-million contract. This is what we offer, and this is what I mean about the benefits the community can provide.

Stylish industrial style bar with leather stools, exposed ceiling and bar tended preparing drinks

Travelling professionals and members of Spring can also make use of the bar area to meet with friends or relax

LUX: Finally, can you tell us a little bit about the brands that work with you and the kinds of projects you might work on together?
Francesco Costa: Of course – Estee Lauder might shoot a campaign in the studio, but that’s just the start. If we talk about our clients for whom we do the production, we have Tom Ford, Marc Jacobs, L’Oreal to name a few. We do their campaigns. Then we have a whole other set of partners or clients for whom we run events. For example, we work with Universal Music, we did the Grammy’s week in January, New York Fashion week twice a year, Tribeca Film Festival, the list goes on.

To learn more about Spring’s studios and events visit: springstudios.com

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To mix art and wine is a heady contemporary combination: fine wine and contemporary art are two of the hottest ‘investments of passion’ in the world right now. One of Italy’s greatest wine brands, Ornellaia, beloved of oligarchs and thought leaders from Moscow to Hong Kong, has been working with contemporary artists for the past five years, and has just announced the results of its latest collaboration, with Italian artist Michelangelo Pistoletto.

The 2010 vintage marks the 25th anniversary of Ornellaia, from the celebrated Tuscan coastal region of Bolgheri. Pistoletto has interpreted ‘La Celebrazione’ (The Celebration) for the labels of a limited and numbered series of large-format bottles of Ornellaia 2010 that will be sold at auction in London later this year. If you don’t manage to secure one of the ‘vendemmia d’artista’ – artist’s vintage – bottles, don’t fret. Not only is 2010 an excellent year for Ornellaia in particular and Tuscan wines in general: Ornellaia and its sister wine Masseto have been among the best-performing wines in investment terms over the past 12 months. Secure a few cases, and either enjoy with a Chianina beef tagliata in five years time, or sell them and buy a Pistoletto painting for your wall. Perfetto. – Darius Sanai 

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