WELCOME TO NEUE LUXURY
Welcome to the fourth issue of Neue Luxury. Our obsession issue.
Obsession is a strange beast. Heterogeneous in nature and more often than not stigmatised as being a negative affliction, condition or disorder to which we have no agency and to which we are in some way bound or subjugated. For some, obsession can be liberating, a modus operandi of sorts that provides an effectual mechanism to sharpen resolve, channel effort or help clarify intent. For others, obsession can be a burden of unease, compulsion, obligation, apprehension and fear. I must admit that in first thinking about the theme and narrative of this issue, I had never thought of obsession in negative terms, as something that if left unabated would result in a landscape of disadvantage, disruption or harm.
That’s not to say that I’m not obsessive or indeed obsessed. I admit to being (or having as the case may be) both of these things. Over the years I have ruminated about its origin, motive and indeed the legacy that obsession will have in determining who I am, what I will do and who I will become. My earliest recollection of obsession is at the age of four. I remember being resolute, controlled, determined and deliberate without doubt of ability or fear of consequence. I was focused on achieving that which I had set my mind to. And while my avocation at the time was to empty the contents of our kindergarten’s communal sand pit over the fence into the vacant adjoining property, I now come to realise that obsession takes many forms and has many dimensions. One cannot speak of obsession without understanding and interrogating motive.
Our September issue is obsessed with the iconoclasts, leaders, makers and brands that pursue their ideas relentlessly, unceasingly and with a singular vision that makes it possible for them to change our view of the world. We explore the art of edification and how the luxury bestowed upon the Roman Catacomb Saints (p2) played a role in abating the iconoclasm of the 17th century. We contrast the obsessions of Italian architect Achille Salvagni (p17) with that of curator, director and polygot, Adeline Ooi (p20). Without apprehension, fear or anxiety we obsess over the complex, evocative and monumental portraiture of artist Johan Van Mullem (p4) and contrast his oeuvre with that of botanical artist, Azuma Makoto (p7). In expanding our global footprint we also travel a few miles outside the Basque city of San Sebastián to speak with Chef Andoni Luis Aduriz—a man whose vision and culinary obsessions know no bounds (p9).
I trust that you will enjoy the issue. I know that our team has obsessed over every aspect of it in order to realise our vision and live up to our promise.