Artist Focus: New David Hockney Exhibition to Open at Serpentine North in London

A new exhibition by the celebrated British artist David Hockney will open at London Serpentine’s Serpentine North Gallery on 12 March 2026, presenting new paintings alongside the artist’s monumental frieze A Year in Normandie. The exhibition, titled A Year in Normandie and Some Other Thoughts about Painting, will run until 23 August 2026 and marks Hockney’s first presentation at the Serpentine. Admission will be free.

David Hockney, London 2023
(Image credit: © David Hockney Photo Credit: Jean-Pierre Gonçalves de Lima)

The show follows the artist’s major retrospective at Fondation Louis Vuitton in 2025, which featured more than 400 works spanning seven decades of his career. In contrast, the Serpentine exhibition offers a more intimate view of Hockney’s recent practice.

“David Hockney’s work invites us to look closely and rediscover the world around us,” said Bettina Korek, chief executiove of the Serpentine, adding that the gallery was pleased to present the works free of charge in the park setting.

At the centre of the exhibition will be A Year in Normandie (2020–2021), a panoramic frieze being shown in London for the first time. 

David Hockney: A Year in Normandie and Some Other Thoughts about Painting, installation view, Serpentine North, 2026 © David Hockney. Photo: George Darrell

Extending around the perimeter gallery, the work charts the changing seasons around Hockney’s former studio in Normandy, France. Created during the spring of 2020, when global lockdowns brought much of the world to a halt, the piece comprises more than 100 digital paintings produced on an iPad. Working quickly and intuitively, Hockney captured shifts in light, weather and landscape across the year.

David Hockney: A Year in Normandie and Some Other Thoughts about Painting, installation view, Serpentine North, 2026 © David Hockney. Photo: George Darrell

The format of the work draws inspiration from Chinese scroll painting as well as the eleventh-century Bayeux Tapestry. The resulting compositions combine broad areas of bold colour with playful, pop-like details as spring gives way to summer, autumn and winter.

David Hockney, Abstraction Resting on a Red and White Checkered Tablecloth, 2025. (Image credit: © David Hockney. Photo: Prudence Cuming)

Alongside the frieze, the exhibition will debut a new body of paintings created for the Serpentine. The series includes five still lifes and five portraits depicting members of Hockney’s close circle, including family members and carers. Each painting is arranged with a frontal composition and incorporates a recurring gingham tablecloth motif.

In these works Hockney merges abstract and figurative approaches. The artist has long argued that figurative painting is inherently abstract, as it exists on a flat surface. A large-scale mural by Hockney will also be installed in the garden at Serpentine North. The printed work depicts a tree house from the spring section of A Year in Normandie and will be displayed at the rear of the gallery, echoing its origin in the artist’s own garden in Normandy.

“I have always believed that art should be a deep pleasure,” Hockney said in a statement. “There is always, everywhere, an enormous amount of suffering, but I believe that my duty as an artist is to overcome and alleviate the sterility of despair. New ways of seeing mean new ways of feeling. I do believe that painting can change the world.”

Hans Ulrich Obrist, the Serpentine’s artistic director and curator of the exhibition alongside Claude Adjil, said Hockney continues to experiment with painting at the age of 88.  He noted that the new portraits explore both the presence of the sitters and the act of seeing itself, while the frieze offers a personal reflection on the passage of time.

A catalogue designed by Hockney will accompany the exhibition, published by Serpentine and Verlag der Buchhandlung Walther und Franz König. The publication will include essays by Marco Livingstone and Olivia Laing, as well as a conversation between Hockney and Obrist.

Separately, the artist will unveil a new commission at Turner Contemporary in Margate on 1 April 2026. Created to mark the gallery’s 15th anniversary, the work will transform the Sunley Gallery’s floor-to-ceiling window overlooking the North Sea, measuring approximately seven by ten metres.

A Year in Normandie and Some Other Thoughts about Painting - Serpentine North Gallery - 12 March - 23 August 2026     Admission Free

Images courtesy of  The Serpentine, London

Interiors Fair: Decorative Fair Winter 20–25 January 2026 - Set to Inspire New Interior Design Directions

Interior design trends continue to evolve year by year, shaped by cultural shifts, lifestyle changes and new ways of living. As 2026 begins, a fresh wave of design thinking is emerging—one that places greater emphasis on personal expression, comfort and thoughtful functionality.

Savino Del Prete 

These emerging influences will be on full display when The Decorative Fair Winter Fair returns to Battersea Park, London, from 20–25 January 2026, offering interior designers, collectors and homeowners a timely source of inspiration for the year ahead. 

Christopher Hall Antiques

Organisers say the fair will reflect the desire for interiors that support mood and wellbeing, whether calm, expressive or deeply personal.

Two Poems Gallery

Widely regarded as London’s premier antiques, design and decorative arts event, the Winter Fair will bring together approximately 130 specialist exhibitors, presenting a wide-ranging selection of pieces spanning the 1700s to 1979, alongside works of art from antiquity to the present day.

Gallery Yacou

The fair runs concurrently with The London Antique Rug & Textile Art Fair (LARTA) on the Mezzanine level, further strengthening its appeal for collectors and interior professionals. LARTA features around 18 specialist dealers, showcasing carpets, rugs, textiles and associated works of art from cultures with long and distinguished traditions of woven design.

Dorian Caffot de Fawes

Across the fair as a whole, exhibitors will present decorative and fine furniture, silver, glass, ceramics, folk art and vernacular objects, alongside paintings, maps, prints and sculpture. Luxury items including jewellery, watches, vintage couture, luggage and handbags will also be available. Outdoor spaces are equally well represented, with statuary, garden furniture, planters, urns and larger architectural elements included in the mix.  

V Design

Shapero Rare Books

Organisers have confirmed the return of Shapero Rare Books and Dinan & Chighine, both leading print specialists, to an already extensive roster of established exhibitors. They are also welcoming a new generation of younger dealers making their Winter Fair debut, bringing a diverse range of material—from painted Gustavian furniture and sculptural natural history objects to contemporary still life paintings, traditional antiques and sporting works.

Visitors will be greeted on arrival by the Foyer Display, curated by the fair organisers using items sourced from multiple exhibitors. This year’s installation is set in the early 1920s, a pivotal moment when emerging modernism and early Art Deco began to intersect with the lingering influence of Art Nouveau and fin de siècle aesthetics—just before the landmark 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes reshaped global design.

Held three times a year at Battersea Park, across the river from Sloane Square and the King’s Road, The Decorative Fair has championed cultivated, collected interiors for more than 40 years. It remains one of the UK’s most influential and inspiring destinations for distinctive antiques, design and art.

For more information, click HERE.

Images from The Decorative Fair 2025 events.

Exhibition Review: Towner Eastbourne presents Impressions in Watercolour: J.M.W. Turner and his Contemporaries

Joseph Mallord William Turner (1775–1851), better known as J. M. W. Turner, is widely hailed as one of Britain’s greatest and most influential artists. Alongside his celebrated contemporary — and lifelong rival — John Constable, Turner reshaped the course of landscape painting. Born just a year apart, the two came from markedly different backgrounds, yet shared a determination to elevate the landscape genre and redefine how the natural world could be seen.

Joseph Mallord William Turner, Sarner See, c.1844. Private Collection. Photo © Fisheye Images

As Tate Britain prepares to open a major exhibition devoted to these two giants, another institution is marking a significant Turner milestone. To celebrate the 250th anniversary of Turner’s birth, the Towner Art Gallery in Eastbourne, East Sussex, is turning the spotlight not on the oil paintings for which he is best known, but on the medium that shaped his early career and remained central throughout his life: watercolour.

The Towner exhibition, “Impressions in Watercolour: J. M. W. Turner and His Contemporaries”, running until 12 April 2026, brings together an exceptional selection of Turner’s watercolours alongside works by artists from the flourishing British watercolour tradition of the late 18th and early 19th centuries. It offers a rare opportunity to see how Turner, even in his youth, pushed watercolour far beyond topographical accuracy towards the atmospheric, luminous effects that would come to define his mature style.

Joseph Mallord William Turner, Mount Pilatus from across the Lake of Lucerne, c.1844.
Private Collection. Photo © Fisheye Images

Turner’s story is one of ambition and relentless curiosity. From modest beginnings, he travelled widely — across Britain and throughout Europe, from the Swiss Alps to the Italian lakes and the banks of the Rhine — seeking dramatic vistas and shifting weather that could challenge and expand his artistic vision. In doing so, he redefined landscape painting as something poetic, emotional and profoundly modern.

J. M. W. Turner’s watercolours are presented alongside those of his notable contemporaries, highlighting Turner at his most experimental and expressive through a selection of his landscape and seascape works.
Photo courtesy of Towner Eastbourne.

Today, Turner remains a cornerstone of British cultural identity — immortalised on the £20 note and revered as the creator of some of the most iconic depictions of sea, sky and light ever painted. The Eastbourne exhibition is a timely reminder that his genius was not forged in oil alone, but also in the shimmering, transparent delicacy of watercolour — the medium through which he first learned to capture the world anew.

Visitors from the South Sussex coastal towns will be delighted to find works depicting familiar landscapes. Turner created many pieces for the Sussex esquire John Fuller (1757–1834), including Pevensey Bay from Crowhurst Park (1816), an etching on paper showing sweeping views over Bexhill — a stone’s throw from Eastbourne — from the elevated vantage point of the Pelham family estate, with the Eastbourne headland visible in the distance.

Joseph Mallord William Turner, A boat near a buoy in a rough sea, c.1830.
Private Collection. Photo © Fisheye Images

Interpretive notes accompanying the displays highlight Turner’s relationships with other significant artists of the period, whose watercolours — drawn from the Towner Collection — are showcased alongside his own. Their inclusion demonstrates the dynamism of the British watercolour movement during this era.

Among the key figures is John Robert Cozens (1752–1797), a British Romantic watercolourist whose atmospheric style greatly influenced the next generation, including Turner. By 1794, as Cozens’ health declined, his physician and patron Dr Thomas Monro employed young artists such as Thomas Girtin and Turner to copy Cozens’ compositions. Girtin sketched the outlines; Turner washed in the colour and effects. The two young artists, close in age and modest in background, became friends and even shared a studio, though their careers diverged — Turner advancing through the Royal Academy, while Girtin pursued a more commercial path under the tutelage of Edward Dayes (1763–1804). Girtin is often credited, alongside Turner, with transforming watercolour into a medium of grandeur and atmosphere. His Windsor Park and Castle (c. 1796–98), viewed from the Thames, is among the notable works represented.

The exhibition also includes works by Louis Thomas Francia (1772–1839), a French émigré who joined Girtin’s Sketching Society and, upon returning to Calais, tutored the prodigiously talented Richard Parkes Bonington (1802–1828). Other contemporaries represented include David Cox (1783–1859), known for fresh, spontaneous studies and loose, textural brushwork; Peter de Wint (1784–1849), celebrated for his warm, luminous English landscapes; and a strong line-up of later practitioners such as Amy Reeve-Fowkes (1896–1968), Alfred Rich (1856–1921), Albert Goodwin (1845–1932), Frank Dobson (1867–1963), Thomas Bush Hardy (1842–1897), Henry Hine (1811–1895), George Clarkson Stanfield (1828–1878) and Anthony Vandyke Copley Fielding (1787–1855).

From Sussex itself, the exhibition features Harold Swanwick (1866–1929), who settled in the village of Wilmington near Eastbourne and found inspiration in the South Downs and its farming communities. His works sit alongside local scenes from Eastbourne, Alfriston, Seaford and Brighton — images that will charm residents of the south coast.

Also represented is Charles Knight (1901–1990), who lived and worked in Brighton and played a key role in the artistic community of Ditchling. His watercolour style was shaped by John Sell Cotman (1782–1842) of the Norwich School, whose own works, including the highly prized Trees near the River Greta (1805), appear in the exhibition. Cotman’s simplified forms and muted harmonies anticipate modernist sensibilities.

Through this exceptional range of works, the exhibition traces Turner’s artistic development from a topographical draughtsman — producing precise architectural and landscape views, as was common in late 18th-century Britain — to a visionary experimenter. By the 1790s, he was already demonstrating remarkable technical skill, often depicting ruins, castles and sweeping landscapes influenced by picturesque and Romantic ideals. Throughout his career he filled dozens of sketchbooks with watercolour studies, many later serving as the basis for oil paintings. His watercolours of the 1820s and 1830s are widely regarded as his mature period, marked by atmospheric luminosity and techniques — thin washes, wet-on-wet blending, minimal outlines — that anticipated Impressionism. In his later years, his watercolours became increasingly abstract, helping fuel a vibrant British watercolour movement stretching across several generations.

“Impressions in Watercolour: J. M. W. Turner and His Contemporaries” is organised by the Holburne Museum in Bath, which this year published a book of the same name with Pallas Athene, featuring an extended essay by Turner scholar Ian Warrell - curator of the exhibition - examining the works and the artists who shaped Turner’s world.

Many of the pieces on display come from a private collection assembled by Sir Hickman Bacon (1855–1945), a baronet who acquired a remarkable number of Turner’s sketches, helping preserve some of the artist’s most intimate works for posterity.

Towner Eastbourne is hosting a number of events including panel discussions, tours and courses to enhance a deeper experience of the exhibition. 

Photos courtesy of Towner Eastbourne.

Art Exhibition: Eden Project Marks 25 Years with Landmark Art Exhibition ‘Spirit of the Harvest’ by John Dyer

The Eden Project - the iconic Eco visitor attraction in Cornwall, UK - is currently showcasing Spirit of the Harvest, a major new exhibition by its long-standing Artist in Residence, acclaimed Cornish painter John Dyer. The exhibition celebrates three of the world’s staple food crops — rice, bananas and potatoes — and the global communities who cultivate them.

'Tropical Banana Wildlife Beach, Costa Rica', 35.5 x 35.5 inches acrylic on canvas.
John Dyer Painting of the Caribbean Rainforest.

Running until 9 February 2026, the exhibition marks 25 years of both the Eden Project and Dyer’s residency. It brings together art, ecology and international storytelling in a vibrant exploration of the connections between people, plants and planet.

The entire Link Building between the Rainforest and Mediterranean Biomes has been transformed with deep terracotta walls, creating a striking backdrop for Dyer’s vivid paintings. Alongside each canvas, interpretive panels delve into the botany, cultural heritage and sustainability of these essential crops, aligning the Eden Project’s scientific mission with the expressive power of art.

'Andean Potato Pickers, Amaru, Peru' by John Dyer

“Rice, potatoes and bananas connect every culture on Earth. Painting them for the UN’s Years of Rice and Potato showed me how these crops hold our shared story — where art, people and plants meet.” John Dyer, Artist in Residence, Eden Project

A Global Story in Paint

At the centre of Spirit of the Harvest are four new large-scale paintings, each measuring 35.5 by 35.5 inches, depicting the world’s three principal staple crops. These recent works are displayed alongside earlier plein-air pieces created during Dyer’s expeditions to Peru (2003), Costa Rica (2003 & 2005) and the Philippines (2004) — projects undertaken in collaboration with the Eden Project, the United Nations, and the International Year of Rice and Potato initiatives.

Spanning more than two decades (2003–2025), the exhibition represents a vivid and historically significant body of work that chronicles Dyer’s enduring commitment to portraying humanity’s bond with food, farming and the natural world. The result is a rich, colour-filled visual narrative — a celebration of connection, culture and care at the heart of the global harvest.

For one, the Tropical Banana Wildlife Beach celebrates the lush biodiversity of the Caribbean-coast of Costa Rica, featuring vibrant banana groves, wild sloths, howler monkeys swinging through canopy, toucans perched above neon blossoms, and turquoise sea beyond white sands. Reflecting on small-scale farming and rainforest ecosystems, Dyer applies a radiant palette of emerald greens, sun-lit yellows, deep aquamarines and bursts of scarlet to evoke life, movement and colour. 

Images: John Dyer Gallery

To view the exhibition, click HERE. 

For Collectors - All paintings from Spirit of the Harvest are available exclusively through the John Dyer Gallery, each signed, archived with full provenance and accompanied by a Certificate of Authenticity. Free worldwide delivery is included. Purchasing directly supports Dyer’s ongoing environmental and educational projects.

Art and Textiles: Scabal Unveils Dalí-Inspired Fabric Collection

Scabal, one of the United Kingdom’s most renowned producers of luxury fabrics, is set to unveil a new collection of twelve exclusive fabrics, each inspired by a different painting by Salvador Dalí. 

The collection is presented in collaboration with LAPADA, the Art and Antiques Fair which returns to Berkeley Square, London from 28 October to 2 November 2025.

LAPADA fair in London's Berkeley Square brings together dealers showcasing expertise across the full spectrum of art and antiques — from fine furniture, paintings, and carpets to tapestries, antiquities, clocks, ceramics, silver, decorative objects, and jewellery.

The launch marks the introduction of Scabal’s Limited Edition by Dalí collection—a line of bespoke suits crafted from the brand’s signature Vision fabric.

Reflecting the vivid hues of both butterfly and figure in Dalí’s The Mimetic Character, this fabric translates the artwork’s surreal anatomy into woven form. A satin weave line evokes the elongated limbs of the insect-like silhouette, while a graceful curved stitch traces the rounded edge that frames its body. The interplay of these elements creates two distinct stripe depths, lending the fabric a quiet dynamism and a sense of movement that echoes Dalí’s original vision.

The collaboration revisits a remarkable moment in fashion history. In 1971, Salvador Dalí envisioned the future of menswear through a series of twelve visionary paintings, created exclusively for Scabal. More than five decades later, the British brand has drawn inspiration from those original works to produce a collection that blends art and tailoring in a uniquely modern way.

Each fabric in the collection captures the spirit of a specific Dalí painting, reinterpreting his surreal colours, forms, and motifs through a contemporary lens. Every suit will be custom-made and finished with one of five exclusive linings, reflecting both the artist’s boundless imagination and Scabal’s exceptional craftsmanship.

Taking its cue from Dalí’s 4 Cravates, this design centres on the striking black-and-white stitching that defines the multiple collars worn by the painting’s refined School Kid. Against a softly mottled grey ground, an irregular white stitch is woven into one of two stripes, introducing a tactile, graphic rhythm. The second stripe features a structured green weave that mirrors the distinctive form of the four cravats themselves, uniting texture, tone, and artistry in a single, elegant composition.

“Dalí’s work was ahead of its time, and this collection allows us to explore how his creativity can continue to inspire modern tailoring,” said a spokesperson for Scabal’s design team. “We’ve revisited the colours, shapes, and intricate details of his paintings to create fabrics that bridge art and fashion.”

Drawing on Dalí’s The Stylish Footman, Scabal’s designers have transformed the ink illustration of a lion’s head—poised on the figure’s shoulder—into a contemporary textile masterpiece. A micro-weave fabric, featuring a repeating motif shaped from the elegant curls of the lion’s mane, lends intricate texture and a refined lustre to a deep, dark blue ground. Subtle red tones, woven through a delicate check pattern, recall the painting’s original palette, creating a sophisticated dialogue between art and cloth.

Founded in 1938, Scabal has long been associated with sartorial excellence, supplying fabrics to leading tailors and fashion houses worldwide. Alongside its textiles, the company produces its own range of made-to-measure and prêt-à-porter suits, jackets, and shirts, available through Scabal boutiques across Europe and Asia.

Still a family-owned business, Scabal continues to operate its heritage mill in England, which has been weaving since 1899. With full European production and direct sourcing of premium raw materials, the brand prides itself on maintaining complete quality control—from “sheep to shop, field to fold, and camel to coat.”

The Limited Edition by Dalí collection reaffirms Scabal’s place at the intersection of fine art and fine tailoring, celebrating a shared legacy of creativity, craftsmanship, and timeless style.

To view the Vision collection, click HERE.  

Exhibition Review: Grayson Perry’s Delusions of Grandeur: Craft, Play and Provocation - Final Weeks at the Wallace Collection

The Wallace Collection in London, long celebrated for its Rococo treasures and Old Masters, opened its doors earlier this year to a bold new chapter with Grayson Perry: Delusions of Grandeur.  Now still running until 26 October 2025, there are a few weeks left to visit this exhibition which has been billed as the museum’s largest contemporary show to date, and it more than lives up to the claim.

Bringing together more than 40 newly created works, the exhibition demonstrates Perry’s enduring fascination with craft, narrative and social commentary. Visitors will encounter an eclectic mix of ceramics, textiles, tapestries and works on paper, 

Bringing together over 40 newly created works, the exhibition demonstrates Perry’s enduring fascination with craft, narrative and social commentary. Visitors encounter an eclectic mix of ceramics, textiles, tapestries and works on paper, as well as a wallpaper (in collaboration with Liberty) - many of which are threaded through with the artist’s mischievous alter ego, Shirley Smith. These playful yet incisive pieces are displayed in dialogue with the museum’s permanent collection, offering fresh interpretations of the Rococo opulence that has long defined the Wallace.

“It’s about walking into a palace of grandeur and then asking—what is really grand?” Perry explains with a grin. “I love Rococo because it’s decorative, it’s excessive, and people dismiss it as frivolous. That makes it the perfect playground for me.”

These playful yet incisive pieces are displayed in dialogue with the museum’s permanent collection, offering fresh interpretations of the Rococo opulence that has long defined the Wallace.  One notable example is François Boucher’s celebrated Madame de Pompadour (1759), an oil on canvas from the Wallace Collection, to which Perry has responded with his own work, Hospital Queen, created in embroidery and mixed media.  

Dr. Helen Jacobsen, Senior Curator at the Wallace Collection, the collaboration has brought a fresh perspective to the museum’s permanent holdings. “Grayson has a rare ability to tease out the spirit of our collection without reverence,” she says. “He has allowed Boucher, Fragonard and Watteau to sit in conversation with his own work—and in doing so, he makes the Wallace feel alive in new ways.”

At its heart, Delusions of Grandeur interrogates ideas of making and authenticity. Meticulously crafted objects, often requiring hundreds if not thousands of hours to produce, are positioned alongside works created with the click of a mouse. 

The juxtapositions invite questions about value, time and the role of the artist in an age where technology increasingly blurs the line between tradition and innovation. Perry does not offer neat answers, but rather provokes reflection on our collective drive for perfection and the nature of artistic labour.

The show also ventures into the realm of ‘outsider art’. Works by Aloïse Corbaz and Madge Gill—visionary figures who pursued their creative practices outside conventional art circles—find resonance within Perry’s own personal and artistic journey. The inclusion of Gill is particularly poignant: she exhibited at the Wallace Collection in 1942, a discovery that inspired Perry to weave her story into his own exploration of art, childhood and belonging.

Marking his 65th birthday, Perry uses the exhibition to reflect on the wider culture of collecting and the often-overlooked politics of decoration. With characteristic wit and sharpness, he challenges traditional hierarchies, asking viewers to reconsider where value lies—whether in the gilded excess of Rococo or in the irreverent, handcrafted exuberance of his own practice.

For all its intellectual weight, the exhibition is anything but austere. Perry’s signature humour and theatricality animate the galleries, ensuring the experience is as entertaining as it is thought-provoking. Visitors are likely to leave not only with a deeper appreciation of the complexities of craft and authenticity, but also with the sense that they have glimpsed something of Perry’s own playful, restless imagination.

Delusions of Grandeur stands as a landmark exhibition—one that reframes the dialogue between past and present, tradition and experimentation, seriousness and satire. It is, above all, a testament to Sir Grayson Perry’s place as one of Britain’s most intriquing artistic voices.

Photos by Lucia Carpio

Luxury brand: Louis Vuitton's luxuriously crafted travel trunks and luggage have a timeless appeal

It’s not that the French fashion and luxury luggage brand Louis Vuitton has been keeping a low profile.

Louis Vuitton luggage remains one of today's most sought-after in vintage markets.
These were seen at the interiorboutiques.com stand at the Winter Decorative Fair in Battersea Park, London,
January 22 - 26 2025.
Photo by Lucia Carpio

Just last week, on the opening day of Paris Men’s Fashion Week, Louis Vuitton unveiled its Fall/Winter 2025 menswear collection, helmed by artistic director Pharrell Williams. The show generated significant media buzz, largely due to its collaboration with Japanese designer Nigo. A nostalgic ode to the 2000s, the collection reflected the duo’s 20-year relationship, dating back to their work on Billionaire Boys Club in 2004.

Historically, Louis Vuitton luggage was used by royalty, aristocrats, and celebrities.
Owning a vintage piece is often seen as owning a piece of history.

Then, this week, came another major announcement: Louis Vuitton will be the title sponsor of Formula One’s season-opening Australian Grand Prix in Melbourne on March 16, 2025. With prominent trackside signage, the official race name will be the Formula One Louis Vuitton Australian Grand Prix, featuring LV-designed trophy trunks on the podium. This partnership falls under the 10-year sponsorship deal that Louis Vuitton’s parent company, LVMH, signed with Liberty Media-owned Formula One last October—covering brands such as Louis Vuitton, Moët Hennessy, and TAG Heuer.

Meanwhile, Louis Vuitton’s long-standing collaboration with Japanese contemporary artist Takashi Murakami is celebrating its 20th anniversary. To mark the occasion, LV is relaunching the collection with a campaign fronted by Hollywood star Zendaya, who was only eight years old when the original collaboration debuted. Murakami’s vibrant and playful designs made a major impact two decades ago, and the new “extensive re-edition” includes over 200 pieces, ranging from bags and footwear to fragrances and sunglasses.

Yet, despite this flurry of high-profile projects, Louis Vuitton was noticeably absent from the latest Lyst Index ranking of the world’s hottest brands.

This week, when global fashion search platform Lyst released its Q4 2024 Lyst Index—a quarterly ranking of fashion’s most sought-after brands—Louis Vuitton failed to make the Top 20.

Lyst, which tracks over 200 million shoppers annually, compiles the Index based on online searches, product views, sales, and social media engagement over a three-month period. According to Lyst, 2024 was a year of transformation in fashion, with consumers reassessing the value of luxury labels. Miu Miu dominated, taking the No.1 spot in three of the last four quarters, with Loewe briefly disrupting its streak in Q2. Prada remained a consistent Top 3 brand, while Saint Laurent climbed steadily within the Top 5.

The rest of the ranking saw significant movement, reflecting shifts in consumer preferences. Notably, Coach skyrocketed 10 places to No.5, experiencing a 332% year-on-year surge in demand thanks to a Gen Z-focused strategy and strong holiday sales.

LV’s menswear AW25 collection, blending streetwear influences with its luxury heritage, showcased boxy bomber jackets, distorted camouflage, checked Damier prints, shaggy cardigans, and flared denim. While tailoring was minimal, the collection embraced bold accessories, catering to younger consumers with chunky furry slippers, miniature bags, phone cases, backpacks, and even travel trunks.

Early Louis Vuitton flat-top trunks, wardrobe trunks, or pieces with exotic finishes can be especially valuable.

An antique Louis Vuitton steamer trunk or wardrobe trunk in excellent condition is valued for
 its age, provenance, and rarity.  Unique features like custom monograms, original interiors, and labels from different boutiques add to their value.

These were spotted at the interiorboutiques.com stand during the Winter Decorative Fair in Battersea Park, London, in January 2025.

It’s a stark contrast from the brand’s origins in luxury travel trunks. Yet, despite the shift in aesthetic, Louis Vuitton luggage remains one of today's most sought-after categories, both in contemporary and vintage markets.

With a legacy dating back to the mid-19th century, Louis Vuitton trunks and suitcases are crafted from premium materials like canvas, leather, and brass hardware, ensuring their durability and timeless appeal. The classic monogram canvas, Damier checkered print, and other signature motifs have never gone out of style, making vintage pieces highly coveted by collectors. Vintage trunks are often used as statement pieces in home decor. Their timeless elegance makes them versatile as coffee tables, storage units, or conversation starters.

Perhaps, in today’s volatile fashion landscape, Louis Vuitton should consider refocusing on its core business—luxuriously crafted travel trunks and luggage—an evergreen symbol of prestige, heritage, and craftsmanship.

The vintage Louis Vuitton luggage featured here were spotted at the Winter Decorative Fair in Battersea Park, London from January 22 - 26 2025.  The fair offered a unique mix of antiques, design and art for interiors and exteriors as well as collectable pieces of outstanding craftsmanship.  All photos by Lucia Carpio.

Market update:  

In the week of January 29, reports emerged that French luxury conglomerate Moët Hennessy Louis Vuitton (LVMH) faced declines in both revenue and profit, reflecting the impact of challenging market conditions in fiscal year 2024.

For the year, group revenue totaled €84.7 billion, marking a 2% decrease compared to the record-breaking figures of 2023. However, on an organic basis—adjusted for currency fluctuations and portfolio changes—revenue showed a modest 1% increase. In the final quarter, the group also achieved 1% organic revenue growth, surpassing market expectations.

Performance by Division

Fashion & Leather Goods (including Louis Vuitton, Christian Dior, Loewe, Givenchy, and Celine) recorded €41.1 billion in revenue, a 3% decline (organically -1%) from the previous year.

Wines & Spirits saw an 11% revenue drop (organically -8%), bringing in €5.9 billion.

Watches & Jewelry declined by 3% (organically -2%) to €10.6 billion.

Perfumes & Cosmetics was a bright spot, growing 2% (organically +4%) to €8.4 billion.

Selective Retailing—which includes DFS, Sephora, and Le Bon Marché—increased 2% (organically +6%) to €18.3 billion.

Profit Decline

LVMH’s profitability also took a hit:

Profit from recurring operations dropped 14%, totaling €19.6 billion.

Net profit attributable to shareholders fell 17% to approximately €12.5 billion.

Despite the declines, LVMH remains the world’s largest luxury group, navigating economic headwinds while maintaining growth in selective areas.

Art and Culture: El Fenn in Marrakech Announces New Series of Curated Art Weekends; A Deep Dive into the city’s Vibrant Art Scene, Coinciding with 1-54 Art Fair

Marrakech in Morocco has long been a center of artistic exchange and inspiration. The city’s rich history, vibrant colors, intricate architecture, and dynamic culture have drawn artists and intellectuals for decades. Its mix of traditional Moroccan craftsmanship—tilework, metalwork, textiles, and mosaics—alongside contemporary artistic movements, has made it an important cultural crossroads.

The city is a meeting point of Arab, Berber, and European influences, creating a dynamic blend of artistic styles and traditions. Its vibrant souks (markets) are filled with handmade goods, from intricate carpets to leatherwork, which have inspired many contemporary artists and designers.

Now tucked away behind the rose-coloured walls of the Marrakech medina, El Fenn is an oasis of a hotel "for modern travelers seeking abundance in all its forms. Developed thoughtfully and gradually over the course of the past 20 years, El Fenn prides itself as a fusion of the finest modern amenities and a deep connection to place, providing the ideal setting for guests to completely immerse in the rich, vibrant culture of Marrakech while being inspired at every turn."

El Fenn has announced it is inviting art lovers to experience an immersive, curated art weekend from January 30 to February 2, 2025, giving insider access to the best of Marrakech’s vibrant art scene during the increasingly popular 1-54 Contemporary African Art Fair. 

The exclusive three-night experience offers guests the opportunity to explore the dynamic local art scene like a local, meet El Fenn co-owner, gallerist, and collector Vanessa Branson, and attend the VIP preview of the Marrakech edition of the 1-54 Contemporary African Art Fair.

Limited to just 24 participants, this intimate weekend will kick off a series of on-going curated stays and includes a new El Fenn exhibition, alongside guided tours of the hotel’s renowned art collection, which features contemporary works by Moroccan, African, and international artists such as William Kentridge, Hassan Hajjaj, and Yto Barrada. Attendees will also have the chance to explore some of Marrakech’s most exciting galleries, including a special trip to the Montresso Foundation.

The weekend offers experiences that are both guided and self-directed, allowing participants to curate their own experience of Marrakech’s art and culture.

"I can’t wait to introduce people to the exciting art scene here in Marrakech," says El Fenn co-founder,  gallerist and art collector, Vanessa Branson. "The creative energy in Africa is unique and this weekend will offer a chance for people to really experience it all.”

Bookings can be made by emailing retreats@el-fenn.com or visit El Fenn website.

About Vanessa Branson:

Vanessa opened her first gallery in London in 1986, where she showcased emerging artists, including William Kentridge’s debut exhibition in the UK. She also co-founded and curated the Wonderful Fund Collection alongside Prue O'Day, assembling nearly 100 contemporary artworks by renowned artists such as Sarah Lucas, Grayson Perry, Jake & Dinos Chapman, Tracey Emin, and Gavin Turk.

In 2004, Vanessa co-founded El Fenn with her business partner Howell James. She also served as the Founding President of the Marrakech Biennale, North Africa’s only trilingual arts festival, which featured visual art, literature, and film programmes with contributions from acclaimed international and Moroccan artists.

In October 2014, Vanessa was honored with the Royal distinction of Officer of the Order of Ouissam Alaouite, recognizing her significant contributions to Morocco’s cultural scene, particularly her role in establishing Marrakech as a vibrant and diverse platform for the arts.

Art and Culture: John Booth and Rosewood London celebrate Frieze Week with playful installation and High Tea Collaboration

As Frieze Week, one of the most significant events in the contemporary art world, takes over London, art enthusiasts are flocking to Regent’s Park for the main exhibition. However, the city is filled with additional exhibitions and sites for culture lovers to explore.

Entitled "Flowers for Rosewood", the wooden structure has been described by Booths as a continuation of his creative intervention.  He wrote on instagram that as usual, the work started as drawings on paper, and was scaled up and made feasible for the outdoor.  It is made from hand painted timber, printed plywood and some hardware. 
Photo by Lucia Carpio.

In Holborn, a district known for its legal ties, the diamond center at Hatton Garden, and Great Ormond Street Hospital, the luxurious Rosewood London hotel is showcasing a commissioned artwork by London-based multidisciplinary artist and designer John Booth in its courtyard, entitled "Flowers for Rosewood", it is a wooden structure.  

Booth is celebrated for his vibrant use of colour, bold patterns, and playful, collage-inspired designs. With a background in illustration and fashion, he has collaborated with top brands such as Selfridges, Paul Smith, and Fendi. His artistic practice spans across various mediums, including ceramics, painting, sculpture, textiles, and fashion.

Booth studied Fashion Print at Central Saint Martins, a prestigious art and design school in London. His education in fashion deeply influenced his approach to art, particularly in his exploration of patterns and textures.

Early in his career, Booth initially worked in fashion, collaborating with brands like Zandra Rhodes and John Galliano, which honed his sense of colour and pattern mixing. His ability to create playful, highly visual designs allowed him to transition into various art and design fields.

Much of John Booth's work features expressive characters or faces that are rendered in a highly abstract, cartoon-like manner, often composed of layered shapes, bold lines, and contrasting colours. His collage technique, both in physical and digital forms, is a hallmark of his aesthetic.

Booth's work is known for his playful and experimental use of materials and techniques. He frequently mixes media, incorporating collage, embroidery, and printmaking into his pieces.  His work is highly expressive, and he often uses vibrant primary colours and adds a sense of fun and whimsy to his pieces.

Now since 2017, Rosewood London’s Executive Pastry Chef, Mark Perkins, has crafted bespoke cakes for the hotel’s Art Afternoon Tea, drawing inspiration from renowned artists such as Banksy, Alexander Calder, Damien Hirst, Yayoi Kusama, and Mark Rothko. Previous menus have also paid tribute to icons like David Hockney and Van Gogh.

Photo courtesy of Rosewood London

This year, the hotel has introduced a new range of cakes in collaboration with John Booth, available in their stunning Mirror Room restaurant. These edible creations, featuring bold prints and vibrant colors, are designed to evoke joy and are served alongside finger sandwiches, scones, clotted cream, and jam.

To find inspiration for the Art Afternoon Tea - The John Booth Collection menu, Executive Pastry Chef Mark Perkins spent time in Booth’s studio. For this co-created collection, both artists exchanged creative roles—Perkins sketched designs while Booth explored flavors and ingredients.

Perkins said as a Pastry Chef, he is always curious and tries to draw inspiration from things that surround him. 

Displays in Rosewood London lobby.
Photo by Lucia Carpio

"London is a vibrant city with an incredibly energetic art scene.  Rosewood London's quirky interiors reflect the British capital's history, culture and sensibilities, featuring the works of some of the world's most renowned artists, with contemporary pieces complemented by more traditional art throughout the hotel."

Booth’s diverse experience in fashion, installations, ceramics, and homeware is reflected in the menu, filled with artistic expression and personal storytelling, exploring the rich and deeply intertwined relationship between art and food, as both can be seen as forms of creative expression that engage the senses, evoke emotions, and reflect culture, as food and art intersect in several key ways, in terms of visual aesthetics and presentation, materiality and medium, emotional connection and storytelling, playfulness and creativity:

"The Twins" cake
Photo courtesy of Rosewood London

One of the cakes, "The Twins," draws from Booth’s experience as a twin. It’s a two-sided cake, reminiscent of sticky toffee pudding, featuring chocolate date sponge, sable biscuit, praline crunch, and vanilla custard, adorned with a pink and yellow flower in honor of his Cumbrian roots.

The Painter's Palette" cakes
Photo courtesy of Rosewood London

Another creation, "The Painter’s Palette," combines vanilla cheesecake, pink sponge, and raspberry jelly, symbolizing the vibrant brushstrokes of an artist’s palette, set atop a crisp biscuit base.

The "Tropical Tulip" cake
Photo courtesy of Rosewood London

The third offering, "Tropical Tulip," is inspired by the tulip motif that frequently appears in Booth’s work. This purple and pink cake blends mango mousse, orange passionfruit jelly, and pistachio sponge, layered over a chocolate sablé biscuit.

Commenting on the collaboration, Booth remarked, "Working with Rosewood London and Chef Mark Perkins has been incredibly exciting. We’ve mixed bold colours, flavours, and textures to create cakes that inspire joy and playfulness. It’s been a true collaboration, where we’ve infused our personal energy and creativity into these beautiful, delicious creations."

Much of John Booth's work features expressive characters or faces that are rendered in a highly abstract, cartoon-like manner, often composed of layered shapes, bold lines, and contrasting colours. His collage technique, both in physical and digital forms, is a hallmark of his aesthetic.

Art and Culture: Donald Baugh presents his first solo exhibition this October in London Vessel Gallery

Donald Baugh will present his first solo exhibition this October, coinciding with Black History Month in Vessel Gallery, London.*

Designer and wood craftsman Donald Baugh to present his first solo exhibition
AKANSA in the Vessel Gallery in London.

A designer and wood craftsman, Baugh’s showcase will feature a collection of vessel-shaped, non-functional sculptures crafted from various wood species. Some of the works are engraved with runic designs, reflecting Baugh's insight that "indigenous people from around the world used the same tools, leading to a repetition of patterns."

Zurri 0.1

Born in the UK in Chiswick in 1961 to parents from Jamaica’s Windrush generation, Baugh transitioned from a successful career in furniture design and making to focus increasingly on experimental, freestanding sculptures over the past decade.

Sivori 0.1

Influenced by Charles Eames and the Bauhaus movement, Baugh’s asymmetrical wooden sculptures emphasize the natural qualities of the material, evoking its connection to both living trees and found objects like shells. 

Uhuru 0.4

He incorporates spray paint to accentuate curves and lines in vibrant colors, drawing on the energy of the Caribbean and the vitality of nature. For Baugh, wood is "almost like a nervous system," deeply tied to the history of human craftsmanship.

Masai 0.1

The exhibition will also feature sculptures from Baugh’s Masai series—tall wooden statues shaped like abstract human figures. These pieces draw inspiration from the myth that the Masai’s ancestors were visited by giants with large heads, while also evoking the colossal heads of Mexico's ancient Olmec civilization.

Baugh believes that wood is gaining recognition as a legitimate medium for art. “I think more people will turn to it,” he notes. “It’s the most natural material. Everyone relates to it.” His own works reflect his pursuit of authenticity. “You have to find your own aesthetics. It’s your fingerprint.”

*Vessel Gallery is at 114 Kensington Park Rd, London W11 2PW UK