THE SUSTAINABLE LUXURY ISSUE
The Sustainable Luxury Issue
FEATURES
Forty Two Cut From A Different Cloth
Through her new brand AKYN, Amy Powney has created a business model that she hopes will herald change across the entire fashion industry.
Forty Eight Weaving Her Magic
How renowned environmental advocate Suzy Cameron aims to tackle fashion’s ongoing environmental issues with her latest venture.
Fifty Two Driven To Succeed
Andrea Debbane, Jaguar Land Rover’s Chief Sustainability Officer, on the road to making meaningful progress, step by step.
Fifty Six Pure Passion
How Bas van Kranen’s ‘conscious fine dining’ ethos has elevated Amsterdam’s Flore to Michelin-star status.
One invention at a time
A.-L. Breguet redefined the art of horology with his inventions. His pursuit of perfection continues to inspire those shaping the future. The Type 20 2057 celebrates this extraordinary legacy, a tribute to functional elegance and aeronautical spirit.
REGULARS
Sixteen Radar
Eighteen Objects of Desire
Twenty Art & Design
Thirty Four Timepieces
Thirty Eight Motoring
Sixty Four What I Know Now
Thirty Jewellery
How Hermès’ latest Chaîne d’ancre collection links the historical to the contemporary.
EDITORIAL
Editor-in-Chief & Co-owner
John Thatcher john@hotmedia.me
COMMERCIAL
Managing Director & Co-owner Victoria Thatcher victoria@hotmedia.me
PRODUCTION
Digital Media Manager Muthu Kumar muthu@hotmedia.me
Sustainable Luxury Redefined at The St. Regis Red Sea Resort
Experience refined luxury with purpose at The St. Regis Red Sea Resort, the first Marriott International proper in Saudi Arabia’s Red Sea to earn LEED Platinum certification. Our resort blends eco-conscious design with timeless elegance, powered by solar energy and guided by sustainable innovation. Savor locally inspired cuisine made with ingredients sourced from the Tabuk region, including farms supported by Red Sea Global. Discover pristine marine life through reef-safe practices and bespoke eco-tours. From green housekeeping to sustainable amenities, every detail reflects our commitment to a greener future.
The St. Regis Red Sea Resort
Ummahat Island 1, Red Sea, Saudi Arabia
t. +966 1 450 40000 stregisredsearesort.com
Reservations.redsea@stregis.com
Welcome Onboard
SEPTEMBER 2025
At ExecuJet, we redefine the experience of private travel into an art of unparalleled luxury. From the moment you arrive, we are dedicated to perfecting every detail, anticipating every need, and elevating every moment from takeoff to touchdown, ensuring a journey as effortless as it is extraordinary.
Since we established ourselves in the Middle East in 1999, we’ve had the privilege of seeing travel redefined –one journey, one client, and one tailored experience at a time. Now part of the prestigious Luxaviation Group, we’ve earned a reputation for innovation, precision, and the kind of personal care that truly sets us apart.
Stepping into our world-class facilities is an experience that speaks for itself, with every element carefully designed to enrich your journey. It’s in the discreet checkins and the ease of immigration. It’s the luxurious private suites, where every element has been curated with your comfort in mind. It’s the rejuvenating wellness spaces and the bespoke cocktail and cigar lounge that invite you to unwind. These aren’t amenities – they are reflections of detail and care, designed with you in mind.
Our services – whether bespoke charter flights, meticulous aircraft management, or state-of-the-art hangarage – reflect our commitment to connection. To your time, your needs, and your expectations.
We don’t just deliver luxury. We live and breathe it.
Dumani Ndebele
Regional
FBO Director, Middle East
Cover : Model wears AKYN
Setting New Standards in Private Aviation
How ExecuJet Middle East has transformed private aviation on the ground and beyond
ExecuJet Middle East
‘ ExecuJet Middle East offers more than a journey; it delivers an experience ’
As private aviation adapts to evolving client expectations and global connectivity, ExecuJet Middle East stands at the forefront, shaping the industry for both aircraft owners and travellers alike. From its flagship terminal at Al Maktoum International Airport (DWC), the company combines advanced infrastructure, technical expertise and personalized hospitality to deliver a seamless experience that redefines ownership, elevates the passenger journey and sets a benchmark unmatched in the region. This commitment to excellence begins with an advanced fleet of next-generation aircraft. Among its managed portfolio are some of the most sophisticated jets in business aviation, including the Bombardier Global 7500, Global 6000,
Gulfstream G650ER, Dassault Falcon 8X, and the Boeing Business Jet. These additions enable ExecuJet to deliver comprehensive management solutions, from crewing and maintenance oversight to cost optimisation, ensuring aircraft owners benefit from unparalleled reliability, efficiency, and peace of mind. But ExecuJet offers more than a journey; it offers an experience. The heart of this lies in ExecuJet’s exclusive spaces, designed for those who value privacy, comfort, and exceptional service. The Al Samaa Suite, an elegant retreat overlooking the runway, provides a serene sanctuary for relaxation or preparation before a flight. Complementing this, the Junior Suites offer a comfortable environment for short stays, ensuring every moment on the ground
is as considered as the journey ahead. Guests can also indulge in wellness and rejuvenation at the ExecuSpa, featuring signature therapies and thermal circuit treatments, or savour refined moments at the Cocktail and Cigar Lounge, an intimate escape with panoramic runway views. Looking ahead, ExecuJet is committed to expanding its managed fleet, supported by strategic investments in next-generation technologies and sustainable practices. From the moment you arrive at our world-class terminal to the meticulous care of your aircraft, every detail reflects our pursuit of excellence. ExecuJet Middle East delivers a standard of private aviation that goes beyond expectation, an experience that is exceptional on the ground and in the skies.
This month’s Munich Motor Show will see BMW take the wraps off the eagerly anticipated iX3, the first of its Neue Klasse models, which prioritise sustainability throughout a vehicle’s lifecycle. This meant reducing the iX3’s environmental footprint to a new low and adopting a circularity approach to its design, with the innovative use of secondary materials – the likes of recycled PET, old fishing nets and ropes, which would otherwise be dumped in the ocean –implemented at various stages throughout the production process. Proof that luxury can be crafted with a light touch. IAA Mobility 2025, September 9-14, Munich.
OBJECTS OF DESIRE
Master craftsmanship, effortless style and timeless appeal; this month’s must-haves and collectibles
A love letter to Rome and its myriad artistic and architectural achievements, Dolce&Gabbana’s jaw-dropping high jewellery creations convey the city’s cultural and symbolic heritage in the brand’s distinctive design language. The Roman era takes centre stage, with busts and statues recreated by
hand using an innovative technique involving marble powder, hand-painted miniatures of its architectural triumphs, and miniature stone micro mosaics. Bold and colourful, the stones are plucked from a palette that includes sapphires, kunzites, rubellites, diamonds, emeralds, and aquamarines.
DOLCE&GABBANA
ALTA GIOIELLERIA ROMA 2025
“The creative language of this collection speaks to the earth itself, the cradle of the diamond and the very essence of our Maison,” says Valérie Messika, who this year celebrates 20 years of daring designs. Her latest high jewellery collection takes its visual cues from the spectacular
landscapes and abundant wildlife of southern Africa, describing it as “untamed beauty.” All 16 sets of Terres D’Instinct are certainly beautiful, particularly this stunning Kalahara necklace, crowned by two exceptional yellow diamonds, the largest near 35 carats.
MESSIKA TERRES D’INSTINCT
A. LANGE & SÖHNE ZEITWERK DATE
The Zeitwerk Date debuted in 2019, a fusion of the digital and the mechanical and notable for featuring a ring-shaped date display that highlights the current date in red. While it was crafted from white gold, this new version is a touch warmer in pink gold, pairing
beautifully with its grey dial – the first iteration in the Zeitwerk family to marry the two hues. “The Zeitwerk Date gives traditional A. Lange & Söhne watchmaking artistry a distinctive, contemporary face,” says Anthony de Haas, Director of Product Development.
“I knew immediately that we would create something together. It was such a powerful and unique moment,” remembers Stéphane Rolland of his first meeting with Henry Jacques’s Anne-Lise Cremona. The result of that encounter is a magnificent fragrance
that blends myriad scents that evoke memories of Rolland’s life and travels, beginning with a burst of sun-kissed oranges, which draws him back to his childhood; sneaking into his father’s bar, the room filled with carafes of homemade punch, an intoxicating smell.
HENRY JACQUES & STÉPHANE ROLLAND HAUTE COUTURE X HAUTE PARFUMERIE
OBJECTS
CHANEL
FALL-WINTER 2025/26 HAUTE COUTURE
With Matthieu Blazy due to unveil his first collection for the brand next month, Chanel’s Creation Studio was on haute couture duty, dipping into Gabrielle Chanel’s fondness for the great outdoors – a love nurtured by her holidays in the English countryside and
Scottish Highlands – for inspiration. This feeling of freedom is expressed in suits of natural shades, their proportions borrowed from menswear, granting space to move unhindered. Wheat ears, beloved by Coco, are the star turn throughout: their pattern woven and embroidered.
OBJECTS OF DESIRE
Rami Al Ali is no stranger to showing in Paris, but this collection marks the first time he’s done so as part of the official calendar of the Fédération de la Haute Couture et de la Mode – a first for a Syrian [and UAE-based] designer.
To mark the occasion, Ali drew on his heritage; the fading grandeur of Old Damascus and the beauty hidden behind carved doors, painted ceilings, and intimate courtyards, the cherished work of the country’s artisans that came before him.
RAMI AL ALI FALL-WINTER 2025/26 HAUTE COUTURE
Pomellato’s new high jewellery launch, Pentagoni, brings to bear decades of goldsmithing and jewellery-making expertise. A modern take on the pentagon shape, each statement piece in the collection – a trio of rings, earrings, and a single necklace, the collection’s
masterpiece – sees the design alternate between diamond-set surfaces – created by the brand’s signature irregular pavé technique – and polished rose gold facets, a harmonious mix of white and brown diamonds and light-reflecting rose gold. A set that deserves its sparkle.
POMELLATO PENTAGONI
Richard Mille and bespoke motorbike manufacturer Brough Superior have teamed up to create a thrilling, limited edition of 150 motorcycles. Indulging his lifelong passion for speed, Richard Mille worked directly on the bike’s design for eighteen months alongside Thierry
Henriette, CEO of Brough Superior, funnelling their unconventional ideas into a single, bold vision that harmoniously integrates many design aspects of Richard Mille watchmaking. Lightness is another shared characteristic, the bike’s enhanced by extensive skeletonization.
RICHARD MILLE X BROUGH SUPERIOR RMB01
OBJECTS OF DESIRE
Shared Values
Chanel brings le19M to Tokyo this month, for an exhibition designed to spark wonder, discovery and exchange
WORDS: JOHN THATCHER
Chanel enjoys a long history with Japan. As far back as when Gabrielle Chanel was shaping collections, the country’s craft and celebrated aesthetic permeated her designs, the functional aspects of the kimono a particular influence. In 1978 Tokyo staged a Chanel show for the first time, later hosting the first Métiers d’art show to take place outside of Paris. That was 2004, the same year that Chanel’s Paris-Tokyo collection was launched to usher in a deeper connection between the two cities, capitals of two countries rich in artistry and tradition.
Further strengthening that historical and creative bond, la Galerie du 19M – part of Chanel’s overarching le19M architectural gem in Paris, which houses the brand’s Métiers d’art ateliers and hundreds of artisans – will this month take up residence in Tokyo’s Mori Tower for an exhibition that
celebrates both Japanese and French savoir-faire. Split into three chapters – le Festival, an introductory, immersive installation comprising tools, materials and samples, built to honour the skills of le19M’s many artisans; Lesage: 100 Years of Fashion and Decoration, which celebrates the prestigious embroidery and tweed-making house that has been part of Chanel’s Métiers d’art since 2002; and Beyond our Horizons, which brings together close on 30 Japanese and French creatives, ateliers and workshops – it is less an exhibition and more an homage to a shared respect for the handmade, for the beautiful.
Helping to shape Beyond our Horizons as part of its editorial committee, Aska Yamashita is Artistic Director at Atelier Montex, a revered name in haute couture and member of Chanel’s Métiers d’art, whom
she joined aged just 19. Acting as a link between France and Japan, the Métiers d’art of le19M and Japanese craftsmanship gave Yamashita unique insight into the creative approaches of both. In what ways do they differ? “Generally speaking, I have found among Japanese creators a different appreciation of temporality, as well as a very strong relationship to nature, imbued with spirituality,” she says, describing how, from a personal perspective, the experience allowed her to reconnect with her Japanese roots.
“In Japanese craftsmanship, the trade is passed down through generations, seeking the most beautiful form, the most beautiful colour nuance, perfecting ancestral gestures. There is also great importance given to the usefulness of the object, which is not our primary concern in the workshop. But Japanese creation is also marked by contrasts, with very offbeat universes, particularly in Japanese fashion. This is a field where a common language can also emerge. It is this dialogue and adaptation between our different approaches that I found particularly interesting and enriching: through these encounters, our perspectives evolve and combine, leading us to new creations.”
The selected artists include Okinawan textile artist Akiko Ishigaki, a specialist tsumugi weaver, whose technical mastery and eco-conscious approach were a natural fit for the exhibition. And Parisbased Clara Imbert, a multidisciplinary artist who works with materials like metal, stone, and clay to create symbolic sculptures and installations that show how traditional handcraft and contemporary art can converse.
“For this exhibition, many Japanese creators and artisans collaborated with the Maisons d’art based at le19M, blending different and complementary universes,” outlines Yamashita. “This results in a variety of projects across various fields that express the creative richness of le19M. The collaborations carried out at Atelier Montex illustrate this diversity well. We worked with Konomad, a wig artist with a colourful and exuberant universe, using his very particular medium in installations and artworks.
‘We try to stay attentive and open to everything that can nourish our crafts’
For another project, we collaborated with the ceramic artisan Zengoro Eiraku, the eighteenth generation of his lineage, recognised for the excellence of his work and his openness to new projects.”
A n exchange of know-how is one way in which traditional crafts can not only be preserved but flourish, the intent of le19M. And while some crafts are still disappearing, the emergence of AI and new materials may well create a richer toolkit for craftspeople while encouraging new artists. Yamashita, for one, is optimistic. “We try to stay attentive and open to everything that can nourish our crafts, including new technologies and new materials. Thanks to the visibility brought by le19M, especially through la Galerie, a wide audience is becoming aware of manual trades. We also participate in various training fairs and stage an annual event, Mains d’avenir, which help to promote our crafts and make them attractive. And we observe that interest in our know-how has no boundaries of age or social category.”
La Galerie du 19M Tokyo is another opportunity to engage, to learn of Japanese and French creative heritage and to understand why preserving these exceptional crafts matters. To experience how these traditions remain modern, spark new ideas and connect to contemporary creation. And to ensure that these skills, this knowledge, are passed on to future generations.
la Galerie du 19M Tokyo, September 30-October 20, 2025, Mori Tower, Tokyo
Opening pages, from left to right: Lesage x Akiko Ishigaki; Lemarié at 1e19M
This page, from top to bottom: Lesage at 1e19M; Lesage tweed x AA Murakami; weaving, shot by Laurent Poleo-Garnier
Opposite page: Montex x Lesage
Precision In Motion
The new RM 33-03 Automatic sees Richard Mille go round again, while introducing a brand-new skeletonised movement
‘ As with every creation in the Richard Mille collection, the blend of elegance, technicity, and ergonomics exhibited by the RM 33-03 attests to the care that went into it ’
Come summer, come rest. At least, that’s the idea. Yet Richard Mille has never been one to follow convention. So while others have slowed in the sunshine, Richard Mille has gone full throttle, not only issuing new models with F1 driver Charles Leclerc (RM 72-01) and basketball legend LeBron James (RM 65-01), but also finding time to craft a limited-edition, track-focused motorcycle in a rather cool collaboration with Brough Superior.
Hot on its heels comes the new RM 33-03 Automatic, a circular watch that sets it apart from Richard Mille’s trademark tonneau-shaped timepieces and the third in a series that began in 2011.
The RM 33-03 adds a level of greater complexity to its predecessor via a brand-new skeletonised automatic RMXP3 calibre, its architecture threedimensional and its slim profile (a mere
3.28mm) made possible by the off-centre positioning of its solid platinum monobloc micro rotor. “The idea is to accentuate the volumes within the calibre,” says Cécile Guenat, Creation and Development Director at Richard Mille. It’s issued in two equally striking iterations – one in full grade 5 titanium, the other in the brand’s signature Carbon TPT® with 5N red gold, each with a small-seconds display at 6 o’clock and both measuring just 9.7mm thick – and further reflects Richard Mille’s commitment to the exceptional, whether that be through the marriage of cuttingedge and high-end materials, precision engineering, or daring design. “As with every creation in the Richard Mille collection, the blend of elegance, technicity, and ergonomics exhibited by the RM 33-03 attests to the care that went into it,” adds Cécile.
At Richard Mille, time never stands still.
Eye Candy
How self-taught Lito Karakostanoglou turned fun into a brand that now celebrates twenty-five years
WORDS: JOHN THATCHER
Do something you love. It’s career advice we’ve all received at one point in our lives, yet for many it remains an elusive target. A distant dream.
While studying for a master’s degree in advertising at a college in Boston, Lito Karakostanoglou considered herself among the many. Then she decided to have some fun. “I started making jewellery with my roommate,” she recalls from her home in Athens. “It began as something fun – we were creating pieces and selling them to friends at school. That’s when I realised how much I loved it. I loved having something creative in my daily life.”
It was around the same time that Lito read an article in W Magazine about British jewellery designer, Pippa Small. “She talked about being self-taught, and I thought if she can do it, so can I. That moment really inspired me to follow my instinct, and that’s when I decided to go for it.”
It was a good decision. This year, Lito’s eponymous brand celebrates twenty-five years. “I think the most important lesson over the years has been to stay true to myself – both creatively and in business. There were many times
when I have had to stop and remind myself why I started designing jewellery in the first place and what brings me joy, and to stay focused on that. That kind of inner clarity is what has helped me grow the brand authentically.”
Being self-taught has played a pivotal role in her success. “It gave me a sense of freedom. I looked at things from a fresh perspective, without fixed rules or limitations. From the very beginning my work was playful and instinctive – and I think that sense of freedom made it stand out. Women were drawn to that energy.”
They’re also drawn to Lito’s innovative designs, a harmonious mix of modernism, romance, futurism, science and tradition, individual at their core. Nonconformist. “For me, jewellery is about expressing individuality. When a piece carries personal meaning –through symbolism or storytelling – it becomes even more powerful. In a world where we’re surrounded by excess and sameness, I focus on creating jewellery that truly speaks to you, that feels like yours and no one else’s.”
In that sense, Lito believes that her vision remains the same as it did when she started. “I design jewellery
‘ I design jewellery for women to remind them of their sensuality, their inner beauty and their individuality’
‘There’s a sense of soul, strength and timelessness that comes from my heritage ’
for women to remind them of their sensuality, their inner beauty, and their individuality. Through my pieces, I want to offer them a way to express themselves, to wear something that resonates with who they are.”
To develop her craftsmanship, Lito spent two years in Paris, studying sculpture and life drawings at the Ecole des Beaux Arts as well as technical drawing for jewellery at the Ecole du Louvre. During that time she created pieces for Kenzo and Jean Paul Gaultier.
“Moving to Paris for two years was one of the best decisions I’ve ever made. It shaped me in so many ways, aesthetically, creatively, and personally. Paris was where I matured creatively. That really became clear while designing my Peacock collection, which was inspired by Art Deco and Art Nouveau. After I returned to Athens, I realised I was seeing things differently. My design language had become more refined. There was less playfulness, more intention. The rawness had been replaced by finesse.”
Paris remains influential in her thoughts, the city’s Art Deco heritage and Roaring Twenties mystique the inspiration for the exceptional Paris 1925 collection, a series of bold pieces crafted from gold, diamonds, rubies and other semi-precious stones.
“The Roaring Twenties had this incredible energy of liberation, artistic innovation, and fearless
self-expression, all of which are very close to my DNA,” says Lito. “It was a time when traditional boundaries were being challenged, especially in art, fashion, and women’s roles in society. That bold spirit resonated deeply with the themes I wanted to explore – freedom, elegance, and the joy of breaking norms with grace.
A recurring design inspiration in Lito’s imaginative designs is the evil eye symbol. “As a Greek – and more broadly, as a Mediterranean – the evil eye has always been a powerful symbol of protection. For me, designing eye jewellery is a way of offering women something beautiful and meaningful: a protective talisman they can wear with style.”
The heart of Lito’s creativity is her Athens boutique, which she christened Cabinet of Curiosities. It’s here where she works with her master craftspeople to bring her visions to life.
“It’s been deeply influential, though in a subtle way,” she says of how her Greek heritage has influenced her aesthetic. “It’s not something that’s immediately obvious in my designs; it’s more about the feeling. There’s a sense of soul, strength and timelessness that comes from my heritage, and I think that energy is something you feel when you wear my jewellery, rather than something you just see.”
We have the feeling Lito will get to celebrate many more milestones.
Chain Reaction
Hermès' latest Chaîne d’ancre collection links the historical to the contemporary
Opposite page: Chaîne d’ancre Danaé necklace in yellow gold
This page: Chaîne d’ancre necklace in white gold set with 3,532 diamonds (34.02 carats) and one oval-cut diamond (2.02 carats)
In a much-coveted role as the creative director of Hermès jewellery – and one of the most gifted designers in the industry – you don’t suspect Pierre Hardy is envious of much. Yet there’s something that slightly niggles.
“I didn't come up with the idea of turning the anchor chain into a piece of jewellery, Robert Dumas [a member of the Hermès family and the man behind the Kelly bag] did, but I would have liked to have thought of it first.”
Hardy can console himself with the fact that since starting with Hermès
he has had more than a few good ideas of his own, often resulting in high jewellery creations so spellbinding they appear otherworldly.
Turning his hand to new interpretations of Chaîne d’ancre, Hardy rounds, lengthens or interlaces links, creating necklaces, rings, bracelets and a single earring, while weaving in the likes of black spinels, blue sapphires and diamonds – a wonderful surprise is a little sac bijoux.
“There are a lot of stories and messages in it,” says Hardy. “Among
them, we can think of the robustness and fluidity, or solid and liquid, reminiscent of the origin of the motif, the maritime theme. The chain is both strong and fluid, like the flow of water. Thanks to this, we were able to emphasise the robustness within Chaine d'ancre while also highlighting the chain's smooth movement, which became a great theme. Depending on the materials and the presence of diamond settings, we were able to meet Chaine d'ancre in completely different forms."
Opposite page: Chaîne d’ancre Multichaînes necklace and bracelet in silver
This page: Sac bijou Chaîne d’ancre in silver
Big Bang Theory
Two decades on from its launch, Hublot’s Big Bang watch was a real wake-up call, says CEO, Julien Tornare
WORDS: ROBIN SWITHINBANK
Few, if any, watches have had a greater impact on modern watch culture than Hublot’s Big Bang. Entering Earth’s atmosphere like a meteor in the spring of 2005, it sent a cosmic jolt through the watchmaking universe, eventually earning the watchmaking brand a place in the firmament of contemporary luxury.
The first Big Bang had a hulking 44mm case, was made of space-age materials such as Kevlar and carbon-fibre, and featured an angular, almost brutalist design, with a bezel fixed in place by six exposed screws.
Unapologetic was how it was promoted, and over the next 20 years it would be tied to the populist pursuits of football, music and contemporary art, creating a marketing model whose success other brands would come to emulate.
“Whether we like it, whether we don’t like it, it’s a fact that the Big Bang was one of the first iconic launches of the 21st century,” asserts Julien Tornare, Hublot CEO. “The Big Bang was very innovative, very disruptive: it was a wake-up call.
“Every touchpoint at Hublot was way different to other brands – it was doing everything nobody else
dared to do, and that’s what made a success of Hublot,” he adds.
At the time, Tornare was working at Vacheron Constantin, “a pretty classic brand” in his words. But while the original Big Bang might have sent shockwaves, the passing of time has softened its upstart image. Somehow, we’ve simply got used to it. “It grew so fast and so much that in the end it might have become a little bit too normal,” agrees Tornare.
Normal, of course, was never the intention. Its maverick creator JeanClaude Biver had joined Hublot in 2004 after rebuilding Blancpain (he sold the latter in 1992 to what is now Swatch Group for CHF60,000,000 (roughly $75, 500, 750), having paid just CHF22,000 ($27,300) for it. He also played a pivotal role in positioning Omega as James Bond and Cindy Crawford’s go-to watchmaker of choice.
Biver firmly believed that Hublot had to “be first, unique and different”; in other words, a rule-breaker. The theory worked. In the first three years of Big Bang, Hublot’s revenues increased seven-fold, prompting a sale in 2008 to the French luxury conglomerate LVMH
and making founder Carlo Crocco and Biver - who by then had a 20 per cent stake in the business – extremely wealthy. In the years that followed, the Big Bang became a symbol of success as Hublot scored deals with the FIFA World Cup, Usain Bolt and Kylian Mbappé. The watch also served as a template for some of Hublot’s more left-field developments, including Magic Gold, a scratch-resistant 18ct-gold alloy, and King Gold, which mixed in platinum for a warmer hue. Earlier this year, it introduced its multicoloured Magic Ceramic. Hublot also used it as a vehicle to launch its debut inhouse chronograph movement, the Unico. But, over time, the market has moved away from the big, bold, hype styles towards smaller, more demure designs. What place a Big Bang alongside Cartier’s bijou and hugely popular Tank, for example?
Tornare has some ideas. “By definition, the Big Bang is big,” he says, inviting forgiveness for stating the obvious. “I don’t think a small Big Bang would work.” Instead, he says that from now on, Big Bang designs will range from 40mm to 44mm in size, highlighting 42mm as the sweet spot.
‘ It’s a fact that the Big Bang was one of the first iconic launches of the 21st century ’
Plus, there will be more material innovations (“The day we don’t bring in new materials, we’re in trouble,” says Tornare), a closer focus on Hublot’s mechanical movements, and playful marketing. To make the point, recently Hublot introduced a new campaign called ‘Own It’, casting the late Karl Lagerfeld’s pampered Birman cat Choupette as the brand’s latest ambassador.
But Tornare is quick to caution. “When you do a lot of marketing, people think you’re a marketing brand that must be hiding something,” he notes. “But we’re not: we’re a great watchmaker.”
So far this year, Tornare has put his watches where his mouth is. In January, the brand launched the 42mm Big Bang Meca-10, powered by Hublot’s Meccanoinspired mechanical movement, followed by the Big Bang Unico Magic Ceramic in February, with a translucent bezel that appears to have blue bubbles floating in it. Then, at Watches and Wonders Geneva
in April, Hublot released a raft of 20thanniversary Big Bang models, including versions in petrol-blue and mint-green ceramic, a limited-edition set of five ‘Master of Sapphire’ timepieces powered by its Meca-10 movement, and a one-off set of tourbillons in materials such as sapphire, carbon-fibre and Texalium (a fabric made of fibreglass and aluminium) called the Big Bang 20th Anniversary ‘Materials and High Complications’ set.
And on the Greek island of Mykonos in June, Hublot called on its long-time ambassador Usain Bolt to pull the covers off the Big Bang Unico Summer 2025, a ‘pool party’ version of its cornerstone watch in orange and baby blue ceramic.
“That’s who we are,” says Tornare of the new collection that yet again pushes the envelope. “We cannot change. Hublot has to keep on being very disruptive and different from the other brands.”
Watchmaking would certainly be duller without it.
Trident Tested
The Maserati MCPURA evolves the MC20 into a new icon of Italian speed, elegance and emotion
WORDS: CHRIS ANDERSON
Next year marks a major milestone for Maserati – the centenary of the Trident, the legendary emblem that has come to symbolise Italian performance, prestige, and passion.
First appearing in 1926 on the Tipo 26 race car, the three-pronged logo was designed by Mario Maserati himself, inspired by the statue at Bologna’s Fountain of Neptune. It was a fitting muse. Neptune’s trident has long represented strength and vigour – qualities Maserati still embodies a century later.
To honour this 100-year legacy, Maserati is doing what it does best: releasing a new car. And not just any car. Unveiled at the Goodwood Festival of Speed in the UK in July, the MCPURA – available in both coupé and Cielo convertible forms – is a triumph of design and performance and, like every Maserati bearing the Trident, was born in Modena, at the historic Viale Ciro Menotti plant, the company’s home for nearly 90 years.
The name alone reveals Maserati’s intent. “E = MC PURA” was the tagline
‘It’s a statement of intent, identity and heritage’
for the reveal, a bold nod to Einstein’s theory of relativity – and a metaphor for energy transferred into excellence.
“With MCPURA, Maserati is once again regaining its rightful place: at the top and in its stomping ground,” said COO Santo Ficili at the car’s launch.
“Both versions – coupé and Cielo – are created at our historic Modena facility, where the heart of the Trident has been beating for almost 90 years.”
Billed as a natural evolution of the much-lauded MC20 – released in 2020 as part of the ‘MC’ Maserati Corse racing and performance series, and widely credited with revitalising Maserati’s supercar spirit – the MCPURA refines rather than reinvents. The MC20 became the brand’s most awarded model in history, praised for everything from its design
to the engine. “The MC20 has won an array of international prizes and awards,” noted Maserati CMO Giovanni Perosino. “Even its sound system was awarded!” The MCPURA builds on this success, with a sharper emphasis on aerodynamics and aesthetics. The familiar butterfly doors remain, but the silhouette feels more sculpted – tighter, more poised. A new shark-nosed front bumper, inspired by the GT2 Stradale, introduces vortex generators that channel air flow more efficiently, while a redesigned rear diffuser adds both aggression and aerodynamic performance. Optional 20-inch wheels nod to the classic A6GCS of the 1950s and 1960s, and the total weight remains a trim 1,500kg –impressive for a car with such presence. Then there’s the paint. The showstopping Ai Aqua Rainbow launch colour – a triple-layer finish that shifts between turquoise, violet and gold under sunlight – lends the MCPURA an almost liquid tension. Matte on the coupé, gloss on the Cielo, it’s joined by other hues, including the debut of Devil Orange,
Verde Royal, and Night Interaction, shades designed to capture movement even when the car is at rest. “To properly celebrate the anniversary of the Trident,” said Perosino, “we have created a car which is energy at the highest level.”
Mechanically, the MCPURA retains the Nettuno twin-turbo V6 engine – a masterstroke of Maserati engineering that delivers 630hp and 720Nm of torque. Developed entirely in-house and inspired by Formula 1 technology, it propels the car from 0-100km/h in just 2.9 seconds and to 200km/h in 8.8. It’s as refined as it is explosive – smooth on the daily commute, savage on demand.
Step inside, and the craftsmanship continues. The cockpit is drenched in Alcantara – across the seats, dashboard, and upper door panels – with laseretched patterns revealing contrasting
backings. The design references Italian tailoring with chevrons and pinstripes, while the optional flat-top/ flat-bottom steering wheel or carbonfibre volante with integrated LED shift lights brings track-ready appeal.
Drivers can choose between five drive modes, from the relaxed GT to the razor-edge Corsa setting, where ESC is off and reflexes take over. The Cielo’s retractable roof – borrowed from its MC20 predecessor – remains a highlight, shifting from clear to opaque at the touch of a button and dropping down completely in just 12 seconds.
Design details matter, and Maserati hasn’t overlooked the Trident itself. On the MCPURA, the logo appears on the grille, the C-pillar, and the wheels – each finished in an iridescent magenta with blue mica. It’s a subtle nod to the past
and a bold signal of the brand’s future. In a global automotive landscape increasingly driven by electrification and homogenisation, the MCPURA stands apart. It’s not just a car, but a statement – one of intent, identity, and heritage. A s Ficili summed up: “We produce the Nettuno engine, assemble each component, and carry out the most exclusive customisation at the Maserati Officine Fuoriserie. Modena is not just our headquarters; it forms part of our identity. We are the oldest automotive marque in the Motor Valley, an area we have helped to build and that we continue to represent around the world. From there, we proudly tell the story of Italian excellence and luxury.” And with MCPURA, that story enters its next chapter – faster, purer and unmistakably Maserati.
Through her new brand AKYN, Amy Powney has created a business model that benefits communities and minimises harm to the environment. Next up, using her authority to change the entire fashion industry
WORDS: JOHN THATCHER
When Amy Powney appears on screen for our scheduled early morning Zoom call, she does so on the back of a sleepless night. With two young children, a restless mind and an intrinsic, pedal-to-the-metal drive, this is not uncommon. And what’s keeping Powney awake these days is the same thing that has disturbed her sleep for decades – sustainable fashion.
The quest for true sustainability has been her lifelong passion. When at cult clothing brand Mother of Pearl, where she worked her way up from sweeping the floor and making tea to the position of creative director, her sustainable collections caught the zeitgeist, the pinnacle of her considerable achievement in making sustainability part of the conversation coming with the release of 2022’s multi-award-winning documentary, Fashion Reimagined, which chronicled her creation of a collection that was ethical and sustainable at every level.
People took notice, the industry listened, and change was afoot. Or so it seemed. “When the film came out it did seem like the industry was going in the right direction. All the comms were changing, the magazines were changing, and legislation was coming through. You know, the EU and the US had pretty strict policies coming through. And then with covid, war and the geopolitical landscape of the world, it’s almost given them a get out,” laments Powney.
“Two years ago, brands were hiring chief sustainability officers and creating similar positions. Most people were hiring. I’ve got friends that work in those sectors
‘ We need legislation in place so that people who don’t care still have to follow best practice’
and they’re all being laid off or are struggling to find something now.
“I think that’s the biggest challenge that we face. People like me, and there are many of us out there, we’re doing it because we want to do it. We’re doing it because we want to have best practice. And it’s to do with empathy and care. There are obviously people that don’t have that. And we need legislation in place so that people who don’t care still have to follow best practice. At the moment, that’s all been sidelined because of the state of the world. And that’s the biggest challenge we face, because climate change is not going away.”
Powney has rearmed for the fight ahead with the launch of her own brand, AKYN, the perfect rebuttal to those who lazily claim that style and sustainability do not make for willing bedfellows. “Wardrobe classics, minimal, but with a twist,” is how Powney describes her timeless pieces, which have been carefully considered for the dual purpose of being beautifully designed while making minimal impact on the planet.
Just four fibres are used to create the pieces: organic or regenerative cotton, responsible wool, European flax, and Lyocell. All are purchased from suppliers who must have strict certifications in place, such is the length and complexity of the
‘ I want to measure our environmental impact as much as our return on investment ’
supply chain. Making people aware of this chain is, however, crucial.
“People think of circularity as just resale or repair. But, essentially, every single step in the supply chain is a link, from the soil up to the finished product. How are you doing all those little links that make up the final thing? How are you doing that with the best practice? But also, most importantly, how are you doing it without leaving an impact on Mother Nature that she can’t regenerate herself? She’s actually amazing at regeneration, but our touch has to be light enough to have not caused too much impact on her, or very little, or none, ideally, so that she’s not being harmed.”
Powney is acutely aware of the problems consumers face when trying to shop for responsible brands, with greenwashing endemic in the industry. “A huge problem,” says Powney. “But you need to be really knowledgeable and research heavily into the industry to work out how to make the best decisions, and I think most people are time poor.”
So what quick questions does she advise we ask of brands? “Checking if a brand has B Corp certification, even though it’s not perfect, is a real start, as you do have to go through pretty strict rules to get that. You can ask very simple questions about transparency, like, ‘Where’s your factory audit? How do we know that you pay your supply chain properly? Are all of your fibres certified? Then there’s an app called Good On You. Again, it’s not perfect, but it’s a really good place to go and get a benchmark of where a brand currently sits.”
As knowledgeable as she is passionate, Powney’s determination to do good is inspiring. “It’s about rethinking the way we do the fashion business. Ultimately, in ten years’ time I want to be able to stand in a field, pick up a chunk of soil and be able to say that we’ve actually improved it by a measurable amount, because I want to measure our impact as much as our return on investment. I guess I’m keen to just set a precedent.”
She’s in a hurry to get there but is mindful that before she can make meaningful change she must first
scale her brand to the point that it has the customers and is doing the sort of numbers that make the industry take notice. “You can’t do anything until you have traction.”
Powney talks of having felt “really lonely” at Mother of Pearl. At AKYN, she has appointed an official advisory board. Dubbed KYNFOLK, it is a community and, alongside sustainability, a pillar of the brand. The six-strong, all-woman group includes the award-winning justice technologist, Joycelyn Longdon; Caroline Rush CBE, CEO of the British Fashion Council; and Grace Forest, an expert on modern slavery and human trafficking. “I wanted people around me who know more than I do in their areas of expertise, who could offer me different ideas and challenge me, so that I don’t end up pigeonholing myself. I like being challenged.”
All the problems of the world are enough to keep anyone up at night. But it’s comforting to know that there are people as passionate and as determined as Powney pushing hard for change. Hers is a voice that must be heard.
How renowned environmental advocate and entrepreneur Suzy
Cameron aims to tackle fashion’s ongoing environmental issues with her latest venture
WORDS: JOHN THATCHER
Amis
W“e’ve known for a long time that fashion needs to change – and so many people and organisations have tried to move the needle – but the systems underneath it all have been slow to shift.” Suzy Amis Cameron knows this as well as anyone; the former model and actress recast in her role of sustainability pioneer some thirty years ago, when she decided to dedicate herself to not just learning all she could to care for the planet but to put it into practice.
In 2009, Suzy launched Red Carpet Green Dress (RCGD), a global initiative devised in partnership with the Oscars that brought environmentally responsible clothing to the red carpet, the likes of Léa Seydoux and Naomie Harris donning spectacular gowns in the spotlight of the world’s media.
Before long, RCGD also created its own fabrics and materials, a precursor to Suzy’s latest project, Inside Out (IO). A purpose-driven company, its mission is to design ecologically responsible and ethical solutions across six key sectors: science, research and technology; food; education; media; wellness; and fashion, textiles and home.
“Sustainability has become a buzzword, sometimes without the depth or clarity needed to truly transform things. And while there’s been beautiful progress in some areas, we still see so much overproduction, waste, and reliance on harmful materials,” says Suzy.
“At Inside Out, we believe it’s not because people don’t care. It’s because the systems haven’t supported better choices. True change requires looking at the whole picture: how we grow fibres, how we treat workers, how we value clothes and the people who make them. It’s time to move from surface-level efforts to deep, structural transformation. That’s the work we’re committed to every day – with love, creativity, and collaboration at the centre.”
Suzy hails IO Fashion Textiles Home as the natural next step along the pathway set by RCGD. “It takes the values of RCGD and applies them on a larger scale – into education, product development, material science, and consumer awareness. It’s still about beauty, but now it’s whole beauty with deep roots.
“But RCGD was the spark. What began as a way to bring sustainable fashion into the spotlight – literally, on the red carpet – became a decade-long journey of learning, listening, and imagining.
“Through RCGD, we worked with everyone from young designers to established scientists, building a community rooted in both creativity and responsibility. It taught us that culture has the power to shift systems and that visibility can drive action.”
‘Action’ is the operative word. Without it, claims of greenwashing are amplified. “Greenwashing is difficult because it often comes from good intentions,
but when environmental claims aren’t backed by action or accountability, it can lead to confusion, distrust, and even harm,” believes Suzy. “It makes it harder for consumers to make thoughtful choices and for the changemakers doing the real work to stand out. “We launched IO Fashion Textiles Home because we believe fashion can be a force for good – and we want to help build the kind of industry that reflects that. For us, it’s about weaving sustainability into the very soul of a business. It’s not an afterthought or a label – it’s part of every decision, every design, every partnership.
“We believe in working hand-
This page: Suzy Amis Cameron
in-hand with farmers, designers, scientists, and storytellers to create a new kind of fashion system, one that prioritises circularity, fairness, beauty, and integrity. And we lead with a spirit of generosity: sharing what we learn, listening deeply, and welcoming others into this movement of reimagining what’s possible.”
Welcoming others extends to brands, the likes of Sheep Inc., the world’s first carbon-negative fashion brand, and WRAD, a pioneer in sustainable product development and consulting. “We collaborate with companies and creators who are curious, courageous, and deeply committed to doing things differently. It’s one of the most joyful parts of our work.
“With Sheep Inc., we’re exploring what a fully traceable, regenerative wool supply chain looks like. and how their practices can inspire change across the wider IO ecosystem.
“With WRÅD, we’re creating beautiful, meaningful educational content that brings sustainability science to life, especially for young people. Their creativity helps us connect in ways that are fresh and unexpected.
“Storytelling is at the heart of everything we do at Inside Out. People don’t fall in love with data – they fall in love with stories. Stories help us remember why we care, and they help us connect the dots between personal choices and global impact.
“We use storytelling to humanise the fashion supply chain, to celebrate innovation, and to lift up the voices of communities who often go unheard. When people hear those stories, they feel something. And that feeling becomes the spark that leads to action. That’s how movements grow.”
Reaching young consumers in this way, their ideas shaped by fast fashion and social media influence, is key. “We believe young people are some of the most powerful changemakers in the world,” states Suzy. “They care deeply, they’re incredibly resourceful, and they’re already asking bold questions. We just need to meet them with tools that resonate.
“Inside Out’s Education and Media teams are creating vibrant, engaging content that lives where young people live – on their screens, in their communities, and in their conversations.
‘ We believe fashion can be a force for good and we want to help build the kind of industry that reflects that ’
We want to inspire curiosity and confidence, showing that choosing sustainable style doesn’t mean giving up creativity or joy. It means stepping into a more connected, empowered way of living. And we always remind ourselves: we’re not just shaping consumers. We’re nurturing future designers, educators, voters and leaders. What an honour.”
For Suzy, what constitutes success is crystal clear. “Success is generational. We want to create products and systems that leave things better than we found them – safer for children, kinder to the earth, and rooted in care.
“Five years from now, we hope to see a thriving web of brands, educators, innovators, and lawmakers working together with aligned values. We hope to see clothing made without toxins, supply chains powered by transparency and trust, and laws that protect both people and the planet.”
Fuelling her optimism for clothing
are exciting innovations in textiles.
“The move toward plant-based, biodegradable, and regenerative materials is truly inspiring. From lowimpact dyes to closed-loop production systems, we’re seeing ideas come to life that once felt like science fiction.
“I would love to help shift the heartbeat of the fashion industry, from one based in extraction and convenience, to one grounded in regeneration, responsibility, and respect.”
That shift begins with listening, with asking questions. “What are the real costs. What are the deeper possibilities? We design systems, garments, and frameworks that aim to leave a legacy we can be proud of. And we always return to this idea: we’re not just making clothes. We’re helping shape the world our great-grandchildren will inherit.”
With Suzy Amis Cameron at the helm, we might finally be heading in the right direction.
These pages, from left to right: Sheep Inc.
Andrea Debbane, JLR’s Chief Sustainability Officer, on making meaningful progress, step by step
WORDS: JOHN THATCHER
For luxury marques, the road to sustainability is both long and bumpy. Hurdling those humps, be they the result of market dynamics, regulatory complexity or high costs, is a huge challenge but one that Andrea Debbane, Chief Sustainability Officer at Jaguar Land Rover (JLR), was keen to embrace.
“I’ve always been passionate about creating meaningful impact, and that has shaped the way I approach my work,” says Debbane, who joined JLR last February after many years spent developing the sustainability strategies for brands including Airbus. Such experience has served her well.
“The aviation industry was where I had my first exposure to an entire industry transitioning towards more sustainable practices. I’ve seen all the complexity the industry ecosystem needed to address as they were responding to sustainability demands. The automotive industry is now going through the same level of transformation.”
To transform successfully, Debbane is clear about what is required. “As a collective, we need to see sustainability as a holistic journey, one that touches every part of business and society. That’s why I place a lot of trust in our
‘As a collective, we need to see sustainability as a holistic journey’
teams, our communities, and our value chain – they’re not just implementing change, they’re redefining how we move forward. And it’s incredibly energising to be part of that momentum.”
At JLR, the process is underpinned by its Reimagine strategy. Launched in 2021 with a goal to deliver a sustainability‑rich vision of modern luxury by design, its ultimate aim is to ensure that by 2039 JLR is a carbon net zero business. “It’s about reshaping how we operate, innovate, and show up as a responsible business on our path to electrification,” adds Debbane. “Ultimately, we have a clear responsibility: to deliver our products and services in ways that minimise impact on people and the planet. That’s the future we’re building towards, and it’s one we’re deeply committed to.”
Along the way, JLR will consider how efficient its energy use is across its manufacturing sites, systems and processes and reassess how its
cars are designed, the resources and materials used, and what happens to the materials once they reach end of life.
“Through Reimagine, we brought together our supply chain, manufacturing and purchasing to create an end to end industrial operation, a quite unique move in the industry.
“We’re taking a partnership approach to increase our resilience and transparency in our value chain. And longer term, this will help us unlock significant progress on decarbonisation, circularity, human rights, and climate resilience.
“Innovation is also central to the progress we’re making, or are going to make, and the speed at which we can develop and implement new solutions. One of our key enablers is the global community of startups we’re collaborating with through InMotion Ventures, our corporate venture capital, and our in house Open Innovation platform. By pairing visionary ideas with our scale and expertise, we make a powerful force for change. For example, earlier this summer we announced a pilot project with Uncaged Innovations, a biomaterial company, to explore our next generation interior materials.”
At the end of last year, JLR worked
Opening pages: Range Rover Electric prototype
Above: Industry-first recycled seat foam
Right: Andrea Debbane
with industry partners Dow and Adient to produce a new polyurethane seat foam for its luxury vehicles. Created via closed loop recycling, it’s a first for the automotive industry. Circularity is a huge focus area.
“We’re embedding our circular principles across the business, ‘use less, use longer, use again wherever possible’, and working across our value chain to move in the same direction,” outlines Debbane. “And there is no such thing as a small action. While the creative function thinks ‘simplification, modularity, durability and how to reach end of life’, in our operations we’re reducing waste and costs through reuse initiatives across our manufacturing sites. Tens of thousands of pieces of equipment have been redeployed across our sites in the UK and Nitra, Slovakia.
“We cannot underestimate the importance of collaboration to circularity. Great innovations are born from teams working together. At our Circularity Lab, in Gaydon, UK, cross functional teams come together with expert partners and suppliers in a circular ecosystem. Together, we’ve activated over 50 workstreams looking at every material and component in our vehicles.
“Some of our most exciting innovations
have come out of close work with our partners. With Novelis, we’ve developed a new aluminium skin alloy that is up to 85% recycled and up to 95% more energy efficient to produce, while with Pirelli we can now offer P Zero tyres, which include over 70% renewable and recycled materials.
“Step by step, we’re making meaningful progress.”
Consumers will, of course, determine the success of any company. Does Debbane feel that consumers still struggle to bridge the gap in their thinking between luxury and sustainability?
“We’re seeing a real shift – customers are no longer just asking whether a brand is sustainable; they’re factoring it into their purchasing decisions in a very deliberate way. And when it comes to luxury, the expectations are even higher. People want to know that the craftsmanship, quality and innovation they admire also come with a deep commitment to doing the right thing for the planet.
“Ultimately, it’s on us brands to lead that change. We must give clients meaningful choices – products and services that reflect the most sustainable options available, without compromising the experience they expect.”
Aligning with Reimagine is the JLR
Foundation, a charitable foundation dedicated to empowering children and young people, for which Debbane sits on the Board of Trustees. “We want to help unlock aspiration and potential in all children and young people, many of whom miss out because they don’t know opportunities exist, or they don’t have the self belief or means to try,” says Debbane. “By removing barriers and providing access to the right skills, knowledge and opportunities, they can all play their part in building an exceptional and sustainable future.”
Indeed, it is the younger generation that fuels Debbane’s positivity, despite the many challenges that lie ahead.
“There’s a powerful generational shift happening. They’re passionate, driven, and creatively engaged with sustainability in ways that reframe the conversation. They’re asking questions, challenging assumptions, and bringing fresh energy to problems we’ve been wrestling with for years.
“While we’re still the stewards of the planet, our role is to navigate the nuance, adapt to the challenges, and keep being resilient.”
With people like Debbane driving this change, we can also remain hopeful.
Left: Econyl, an alternative to nylon made from waste products
Right: JLR Foundation
Below: JLR will adopt new tyres containing more than 70% renewable and recycled materials
How Bas van Kranen’s ‘conscious fine dining’ ethos has elevated Amsterdam’s Flore to Michelin-star status
WORDS: JOHN THATCHER
It is notoriously difficult to gain a Michelin star, fiendishly hard to get two, particularly so if your restaurant rigidly adheres to sustainable practice (doing so also earned it a coveted Michelin Green Star, awarded for excellence in sustainable gastronomy). So Bas van Kranen’s decision to then close Flore, less than four years after it opened, was, to say the least, a bold one. Yet despite the accolades, van Kranen wanted something else for Amsterdam’s Flore. Something aligned in every way to his environmental ethos. Something more. “I see Flore standing not merely as a restaurant, but as a manifesto for the future of fine dining,” states van Kranen. “We’re proving that culinary excellence and environmental responsibility can not only coexist but magnificently enhance one another. In our kitchen every ingredient is presented at its best, capturing its purest essence while respecting its true nature.”
Having reopened in April after a short hiatus, the new Flore fully embraces van Kranen’s philosophy, right down to walls crafted from lime hemp, a pioneering bio-based material with carbon-negative properties. “Just as the menu is driven by intention and clarity, the space had to feel grounded and honest. We wanted to avoid anything overly polished or distant. Natural materials, soft transitions, and a sense of calm – all of that allows the focus to remain on the food and its story.”
Van Kranen’s approach promotes hyperlocal produce, some foraged, others sustainably fished from the North Sea and Wadden Sea, the ingredients that form the recipe for his concept of conscious fine dining. “The idea of conscious fine dining grew naturally from the way we work. It began with a deeper connection to our farmers and the realisation that true creativity comes from working with what the land genuinely offers. As we built closer relationships with organic growers, we understood that our kitchen needed to reflect that same care and awareness. Conscious fine dining became a way for us to cook with integrity, where the story behind each ingredient matters as much as the final dish.”
As such, the idea for each dish at
‘The most pivotal moments in my career have always involved stepping closer to the origin of our food ’
Flore stems from its source. “We look for ingredients that are grown with care for the soil, the ecosystem, and the people involved. Organic and biodynamic farming is essential, but we also focus on seasonality and biodiversity. We prioritise producers who work on a small scale, who are open and transparent, and who share a vision for respectful food culture. If an ingredient doesn’t have that sense of place or intention behind it, it doesn’t enter our kitchen.”
These suppliers must adhere to strict standards. “They are an extension of our team. We work almost exclusively with growers who farm organically and sustainably. That includes regenerative practices, working in harmony with nature, and avoiding shortcuts. We expect honesty, long-term commitment, and a shared curiosity. It’s less about ticking boxes and more about building trust around shared values.”
Does he find that he’s actually able to learn more about the potential of particular ingredients by limiting the
pool of suppliers and geographical reach? “Yes, absolutely. Working with a smaller network of farmers deepens the dialogue. It gives us the chance to see how a single vegetable changes from one week to the next. That proximity allows us to experiment more and understand ingredients in a much more personal, intuitive way. The limitation actually becomes a source of creativity.”
As you’d expect, these ingredients are given star billing when it comes to devising dishes. “We allow the vegetables to take the lead, celebrating their full life cycle: roots, stems, flowers, seeds. Every part is considered and respected. Rather than forcing complexity, we strip things back to highlight the ingredient’s natural character. Conscious fine dining for us is about finding balance, flavour, and depth through simplicity.”
Bas van Kranen’s appreciation for produce dug from the earth stretches all the way back to his childhood. “The strongest memories are tied to the garden, harvesting vegetables with my family, the smell of earth, the anticipation of something fresh on the table. That connection between effort, growth, and reward is something I still carry with me every day in the kitchen.
“The most pivotal moments in my career have always involved stepping closer to the origin of our food. Spending time with farmers, foragers, and craftspeople has shaped how I see my role as a chef. It’s no longer just about technique or aesthetics, but about listening, about honouring the work and wisdom that comes before us. That shift in mindset has become central to everything we do at Flore.”
Do we need to see a shift in mindset across the board before the idea of conscious dining takes root? “The main barrier is perception,” suggests van Kranen. “There’s still a belief that sustainability comes with compromise, or that it limits what’s possible in fine dining. In truth, it opens new doors. Conscious dining isn’t about doing less; it’s about doing things with more purpose. As more chefs and diners connect with that mindset, I believe the culture will shift.”
And with it, so too will our perception of what constitutes fine dining.
The First Resort
How a ten-villa retreat in Sri Lanka’s central highlands became an homage to the land – and soon the country’s first fully biodynamic luxury property
WORDS: JOHN THATCHER
Hidden beneath the thick blanket of greenery that envelops the undulating slopes in Sri Lanka’s central highlands, the first rays of morning light slowly reveal the ten villas dotted about Aarunya Nature Resort’s ten-acre resort.
Solar-powered, plastic-free and water self-sufficient, the secluded resort, which overlooks the UNESCO-listed Knuckles Mountain Range, was created with the intention to not only exist in harmony with its surroundings, but to enrich them.
“For us, sustainability is not an afterthought; it is embedded in our purpose and philosophy,” says Nath Rankothge, the founder of Aarunya. “It has been a cornerstone of Aarunya since its inception. From the earliest design phase, our vision was to create a luxurious yet grounded sanctuary – one that places environmental responsibility and wellness at its heart. Our architecture intentionally uses natural materials, passive design strategies, and ecofriendly building techniques that engaged local village tradespeople and blended seamlessly into the landscape.
“Over time, our sustainable approach has deepened. What began as an eco-conscious design philosophy has evolved into a multi-dimensional commitment that spans biodynamic farming, renewable energy, community partnerships, and educational initiatives. Our use of solar-powered hot water systems, refillable amenities, and plastic-free practices was just the beginning. As we’ve grown, so has our commitment, evolving into a comprehensive sustainability strategy that spans biodiversity, waste and water management, and guest engagement. Our resort is a living, learning ecosystem – continuously improving and evolving in harmony with nature.”
Later this year, Aarunya will unveil its bamboo- and timber-built Nature Pavilion, designed as a centre for environmental research, conservation, and biodynamic agriculture. “Once operational, the Pavilion will serve as the heartbeat of our efforts to become Sri Lanka’s first fully biodynamic luxury retreat,” says Nath. “It will house soil testing labs, organic fertiliser production, and serve as the base for our growing range of biodynamic spice and herbal products, all cultivated on-site using holistic, regenerative methods.
“We’re also collaborating with the
‘ For us, sustainability is not an afterthought; it is embedded in our purpose and philosophy ’
University of Peradeniya and other academic institutions to support PhD students, naturalists, and sustainability experts conducting fieldwork and research. Guests will have the opportunity to engage in immersive, educational activities, such as habitat mapping, guided conservation walks, and garden-to-table sessions.
“It will elevate the guest experience through immersive activities tied to habitat and ecosystem research, estatebased production, and community-led conservation initiatives – including environmental education programmes for local schoolchildren – underscoring our deep commitment to sustainability, education, and authentic connection with nature. It’s more than a building; it’s a symbol of our deep-rooted commitment to nature, knowledge, and a regenerative future.”
Alongside a commitment to sustainability comes an obligation
to support the local community.
“Community uplift is at the very core of our mission,” says Nath. “Nearly 90% of Aarunya’s team come from nearby villages, bringing their warmth, talent, and deep connection to the land into every guest experience. We prioritise local hiring, fair wages, skills development, team welfare initiatives and wellness, ensuring that our success is shared,” outlines Nath.
“Our community outreach programmes include dry food donations, rural road clean-ups, and meal drives for underprivileged communities and cancer hospital patients. We also guide guests toward local community engagement, helping ensure the community thrives alongside us. And through our kitchen we empower village farmers by sourcing fresh produce directly from them, minimising food miles and generating meaningful income.”
Despite Nath’s success, implementing sustainable practices in a luxury retreat comes with distinct challenges.
“Balancing luxury expectations with sustainability can be a delicate act. In a tropical setting, managing organic gardens, pest control, and weatherrelated challenges without relying on harmful chemicals and fertilisers has
required extensive research, trial and error, and expert collaboration.
“Educating guests and even team members about sustainability – without it feeling forced – takes time and care. Some travellers may not be familiar with conservation and sustainability measures and practices that we have employed at the property.
“Sourcing high-quality, sustainable products from local suppliers, particularly in rural Sri Lanka, can be logistically challenging. Building resilient supply chains, investing in renewable energy, and training our team to uphold green standards takes patience and resources. However, we believe that these investments are essential to our purpose, and the long-term impact far outweighs the initial effort.
To support Nath’s efforts, the Aarunya Nature Foundation was set up to support initiatives in reforestation, biodiversity enrichment, education, and sustainable farming. “We view ourselves as custodians of this land.”
They are also custodians of its culture.
“We see cultural sustainability as integral to ecological sustainability,” states Nath. “We are not just preserving the landscape – we are preserving the stories, traditions, and soul of the region.”
It’s a soul enriched by purpose.
Hermes Gehnen
FOUNDER AND CEO OF N25 CAVIAR AND UMAI CAVIAR
When I was playing competitive golf, my mother always told me to focus on what I’m good at and to visualise my goals with confidence. That advice stayed with me when I founded N25 Caviar. Believing in myself not only gave me the courage to pursue my vision, but it also inspired confidence in our partners and clients. I’ve learned that when you truly believe in yourself, others will follow.
My greatest achievement has been building N25 from the ground up at 19 while still at university. What started as a passion project, experimenting with my science background and developing caviar aging processes, quickly grew into a real business. Today, it’s incredibly rewarding to see N25 working with some of the world’s most esteemed restaurants.
At the start, I was eager to grow quickly and partnered with distributors without fully understanding their values. I soon realised that not every partnership is the
right one, and sometimes it’s better not to sell at all than to work with partners who don’t share our principles. True, sustainable growth comes from prioritising quality relationships over rapid expansion.
If I could have another talent I’d love to be a professional Formula 1 driver. It has always been my dream, were it not for golf and caviar. The thrill and precision of racing really fascinate me.
I used to be very persistent and set in my ways. Learning to be more open to feedback and new perspectives has helped me make better business decisions, grow N25 more strategically, and build stronger partnerships along the way.
For me, happiness isn’t about making money. It’s about building something I care about and seeing it grow. I love developing a brand, celebrating the small wins, and working toward a long-term vision that feels meaningful. With N25,
that means creating not just a brand, but a product that people around the world can enjoy and appreciate.
If I could give my younger self advice I’d say that when things don’t go according to plan, it doesn’t mean you’ve hit a dead end. Life and your career are fluid. You go where they take you, and there’s no need to stress too much. If you have a good idea and want to start a business, just go for it while you’re young. You’ve got nothing to lose, and the lessons you learn along the way are invaluable.
The living person I most admire is Tiger Woods. I admire how he brought a fresh, innovative approach to a traditional sport and turned it into something modern and exciting. It resonates with me because with N25 we are doing something similar, bringing innovation and new values to the world of caviar. He also has a clear vision and pursues it relentlessly, which is something I try to do in my work.
RM 43-01 FERRARI
Manual winding tourbillon movement
70-hour power reserve (±10%)
Baseplate and bridges in grade 5 titanium and Carbon TPT®
Split-seconds chronograph
Power-reserve, torque and function indicators
Case in Carbon TPT®
Limited edition of 75 pieces