We’ve recently seen hotels turning into sleep labs, partnering with TV shows, and pioneering women’s wellness initiatives. The latest trend gaining traction, however, is ‘Tattourism’ – the practice of commemorating travel with a tattoo.

Jumping on the bandwagon is Kimpton Hotels, part of IHG Hotels & Resorts’ Luxury & Lifestyle portfolio, which has partnered with Tiny Zaps to offer complimentary tattoos to guests over 18 years of age. The New York-based studio specialises in small designs completed within 30 minutes. Launching in April, the experience will be available at select Kimpton properties across the U.S. through a series of pop-up events.

Get inked-in at Kimpton Hotels

Guests can get inked at Kimpton Theta New York – Times Square on April 18, May 23, and June 20, at Kimpton Hotel Monaco in Washington, D.C. on April 5, May 17, and June 7, and at Kimpton Everly Hotel in Los Angeles on April 23, May 29, and June 26. The partnership will also reach Kimpton Hotel Fontenot in New Orleans on April 10, May 15, and June 12, as well as Kimpton Aertson Hotel in Nashville on April 12, May 2, and June 28.

Through this collaboration, each Kimpton x Tiny Zaps tattoo collection will reflect the essence of its respective city. In New York, for instance, designs will be inspired by the Theatre District, while in New Orleans, motifs will pay homage to Bourbon Street.

‘People get tattoos for the same reasons they travel – to create and commemorate life experiences,’ shared Sam Kelly, co-founder of Tiny Zaps. ‘We’re thrilled to partner with Kimpton to create these innovative travel experiences catered to travelling tattoo collectors. Having unique design collections centred around each city adds a fun, passport stamp-like feature providing travellers with a lifetime of memories.’

kimptonhotels.com

Last month, Canadian travel and lifestyle brand Monos became the first North American luggage company to earn a B Corporation certification. Founded in 2018 by Victor Tam, Hubert Chan, and Daniel Shin, Monos has carved out a niche in the crowded luggage market with its commitment to sustainability and cruelty-free practices.

Adrien Brody fronts Monos campaign

Embodying its design principle of ‘less but better,’ Monos now unveils its first-ever aluminium travel collection, fronted by two-time Academy Award winner Adrien Brody, who recently won Best Actor for Brady Corbet’s third feature film The Brutalist. Captured through the lens of Mexico City-based filmmaker and photographer Alexis Gomez, the campaign follows Brody through the Moroccan landscape, as he engages with Tangier’s sounds, historic sites, and local culture.

‘Growing up in New York – a city full of diversity and unexpected encounters – ignited a thirst for adventure. I often find myself on location in different places while working on films, which is exciting; I love to explore, to travel, to get lost and find my way,’ Brody shared while on set in Morocco. ‘Travelling reminds me that borders are irrelevant, no matter how different cultures or people may seem, we’re all just people living our unique stories.’

Characterised by its sleek, durable design, the aluminium travel collection – of an infinitely recyclable quality – includes carry-on plus, medium, and large sizes, along with a trunk option. Available in Caviar Black, Champagne Gold, and Aspen Silver, each piece is reinforced with riveted aluminium corner guards and features a brushed finish that evolves over time, developing a unique patina.

The line-up also features TSA-approved combination latch locks, telescopic trolley handles with a soft-release mechanism, and ergonomic bottom grab handles. Silent 360-degree spinning wheels and quilted taffeta interiors, embossed with a subtle dot pattern in solid black, round off the sleek silhouettes.

monos.uk

Following its acquisition of two-thirds of Asiana, Korean Air has unveiled a major brand makeover, the first since 1984 and the second in its 55-year history. The refresh embraces a clean, modern aesthetic, emphasising the airline’s signature blue spectrum as its most distinctive visual element.

All about Korean air’s new identity

Korean Air enlisted global creative consultancy Lippincott to spearhead the redesign, a key part of its strategy to position both the airline and Seoul as global aviation hubs. The redesigned aircraft now feature a matte blue body, complemented by a navy fuselage logotype that reads ‘Korean’. By omitting ‘Air’, the airline aims for a sleeker, more refined look while reinforcing its national identity.

On the tail, the traditionally red-and-blue Taegeuk symbol – representing the balance of natural forces, as seen on South Korea’s flag – goes monochromic. The update, states the airline, seeks to capture the elegance and dynamism of Sangmo Nori, a Korean dance symbolising prosperity and abundance.

The new branding extends across physical and digital touchpoints, including redesigned economy and business-class cabin interiors by PriestmanGoode (also behind designs for Finnair Business Class and Lufthansa First Class Suites in recent years), updated livery, refreshed check-in areas, printed materials, and an overhauled website. Seats and boarding passes will now showcase a Jogakbo-inspired patchwork design. Additionally, the airline has partnered with chef Seakyeong Kim to revamp its in-flight menu.

‘Our cross-functional global team has worked closely with the Korean Air team to honour the brand’s rich history and heritage while also creating a bold reinterpretation for the future,’ says Lippincott CEO Michael D’Esopo.

Although the airline’s existing A380s will continue flying for at least another year, newly designed planes and liveries have already begun rolling out this month.

koreanair.com

Finnair, the world's sixth oldest operating airline, has been busy commemorating its 100th anniversary – a century dedicated to connecting people and cultures through the skies. Originating in 1923 as Aero, with seaplanes equipped for both winter and summer flights, Finnair has since evolved into a prominent global player in the aviation industry.

Fast forwarding to pre-pandemic 2019, Finnair served approximately 14.6 million passengers. The journey hasn't been without challenges, as the airline recently emerged from a double crisis triggered by the Covid-19 pandemic and the closure of Russian airspace. Yet, undeterred and as part of the centenary festivities, Finnair recently initiated a €200 million investment program, introducing innovations such as its inaugural premium economy seat, a new business class product, and refreshed economy cabins.

Finnair takes fly with worldwide centenary celebrations

The commencement of the celebrations included the release of a special postage stamp, an exhibition showcasing vintage uniforms, and the launch of the Finnair 100 inflight menu. Notably, two A350 aircraft were adorned with a special Moomin livery and three narrow-body Airbuses with the tagline 'Bringing us together since 1923.'

'Our centenary theme is "Bringing us together since 1923" since the important role of aviation in connecting people has been a recurring theme in all the stories we have heard when we have met with our personnel, customers, partners, and other stakeholders in our centenary celebrations around the world,' says Päivyt Tallqvist, senior vice president of communications at Finnair.

The observances also saw the revival of the printed in-flight magazine, Blue Wings, with a special anniversary issue available to passengers during the summer. Although this marked the final paper edition of Blue Wings, its content is now accessible in a digital format.

Integrating its rich heritage into the milestone, Finnair collaborated with Finnish brands, including a Moomin mug in partnership with Arabia, a Finnish tableware brand, Makia, a Finnish clothing brand, and Karhu, a sneaker brand, to create unique collections available to the public. Furthermore, extending its commitment to community engagement, Finnair welcomed 1,700 elementary school children to its hangars, providing them with an exclusive behind-the-scenes look at the airline's operations.

Around its November anniversary, Finnair took over Helsinki Airport, treating passengers to performances by the Finnair Singers, greetings from Moomin characters, and delicacies at its lounges. These celebrations extended globally, reaching cities such as Helsinki, Stockholm, Tallinn, New York, Seoul, Tokyo, Madrid, Rome, and Beijing.

finnair.com

As the travel industry slowly grinds back into action, there’s a universal acknowledgement that better experiences are the way to encourage more people to get moving. Amex has announced the opening of its latest Centurion Lounge, a refined new space in London Heathrow’s Terminal 3.

Amex’s first UK foray into a curated lounge is a festival of British design cues, from art and product design, through to beauty and body products, as well as the food and dishes served up to travellers. Open to American Express Platinum and Centurion Card holders, the Heathrow space joins a select group of spaces including JFK, LAX, Miami, and Hong Kong. 

The Heathrow lounge is given a warm, welcoming atmosphere, courtesy of dark wood surfaces, metallic accents, panelled detailing, and plenty of soft light sources. The last includes a selection of models from Tom Dixon’s studio, including the ‘Melt’ and ‘Beat’ pendant lights, ‘Spot’ surface lights and ‘Boom’ wall lights. Lee Broom’s ‘Crystal Bulb Pendants’ and ‘Orion Globe Lights’ also feature.

Furniture has been sourced from several British makers, including the Bristol-based Konk Furniture; the ‘Always’ chair and ‘Lasso’ stool have been supplied by Naughtone; and other tables and accessories are courtesy of Deadgood. 

Classic and contemporary artworks are scattered throughout the space; notable pieces include original fashion photography by Norman Parkinson and new works by the painters Stephen Marshall and Carne Griffiths, as well as architectural drawings.

There’s a well-stocked bar, and the food menu has been overseen by chef Assaf Granit of London’s Coal Office restaurant, who is also one of the founding partners of The Palomar and The Barbary. Drawing on London’s long history of multicultural cuisine, Granit is offering an eclectic variety of dishes inspired by cuisines from around the world.

Finally, there’s a pleasant surprise in the Centurion Lounge’s washrooms, with a collection of Soapsmith products by founder Samantha Jameson. Waiting for a flight just became much less of a chore.

INFORMATION

thecenturionlounge.com

Just when you think London has met its quota of private members’ clubs, along comes another. And yet The Conduit is not like any other. Aside from its location on prime real estate and a suitably rigorous admittance process, the club is worlds apart from the rest. Rooted in a year-round cultural curriculum that focuses on core themes such as climate change, economic opportunity, justice and equality, and art and culture, The Conduit is distinct for its commitment to positive social change; an unusual yet refreshing mission in the realm of Mayfair members’ clubs.

So what does this look like in reality? At first glance: an eight-floor neoclassical frame overhauled by Feix&Merlin Architects. Inside, its sewn together by Russell Sage Studio and Cavendish Studios with a smooth thread of functional Scandinavian design. Each space is marked by punchy materials, unique ceramics and hand-dyed carpets courtesy of artisans based in South Africa and Swaziland.

With sustainability at its core, The Conduit also puts environmentally-conscious concepts and materials front and centre. British hemp, for example, was used as an alternative to plaster throughout and the space features a patented hydroponic living wall system, lending this forward-thinking hub more than just hyperbole.

With a restaurant led by Michelin-starred chef Merlin Labron-Johnson; a basement bar showcasing musicians, and a sixth floor stone-clad extension accommodating a new roof terrace, it all adds up to a space as multifaceted as its members. The capital’s entrepreneurs, innovators and activists have a stylish new home. 

INFORMATION

Website

ADDRESS

40 Conduit Street

VIEW GOOGLE MAPS

The sun-drenched shores of South Beach were the glamourous backdrop for the inaugural edition of LE Miami. With Design Miami still months away, we were thrilled to have an excuse to touch down in our favourite coastal hotspot - and to see what the travel industry’s newest fair had to offer.

Founders Serge Dive and Sarah Ball (the same masterminds behind travel media outfit Beyond Luxury) launched the trade show to shake up the high-end travel market. The pair were inspired by the recent emergence of a more design-led, innovative and sophisticated consumer, to create a fair encompassing 'travel and hospitality products that depart from the traditional cookiecutter luxury offering'.

The show's debut took place over four days, spotlighting a Limited Edition collection of the world’s most seductive hospitality brands, from Grupo Habita to Fasano hotels, alongside a programme of events that included seminars and workshops dedicated to media, technology and design. And then of course, there was the host of lavish parties to juggle in the evenings.

We caught up with CEO and founder Serge Dive to find out more about his vision for the modern traveller and where the future of hospitality lies...

What gap were you trying to fill in the travel industry by launching LE Miami?
LE Miami celebrates the new luxury customers who are creative, design-conscious, tech-savvy and who embrace change and innovation. We believe that many market places exist connecting traditional luxury hotels with traditional wealthy individuals - but nothing exists to connect contemporary hotels with creative individuals and industries. LE Miami is bridging that gap and creating a new industry: the contemporary travel market.

Why did you choose Miami as the city to host such a fair?
Miami epitomises contemporary travel on many levels: the first boutique beach resort was created here and there are more boutique hotels per square kilometre in South Beach Miami than anywhere else in the world. It is a city with a deep architectural heritage, and it is a city that embodies fashion, art and entertainment. Miami is also a hub for Latin America and a natural meeting point for many members of the creative class around the world. Moreover, its state-of-the-art convention and hotel infrastructure is second to none.

Tells us about the awards program.
It is a way to encourage people to be more creative with many different aspects in the hospitality sector from partnership and design to collaborations and marketing.

How do you feel the expectations of travellers have evolved?
Hotels have shifted from simply being a transitional point in a journey to happening destinations. People now look for hotels that allow them to upgrade to an idealised vision of themselves and in a certain way, it is not different other luxury consumer goods.

Have you noticed any new trends emerge recently, in terms of what hotels are offering?
Contemporary travel is about embracing change, while luxury travel was all about protecting tradition - hotels now understand the need to evolve quicker than in the past. To achieve this they need to be innovative and to constantly adapt the energy of their space. In many ways hotels have become like modern art galleries - refreshing their content on a regular basis will keep customers coming back.

What can we expect from LE Miami's next outing?
LE Miami 2014 will certainly be bigger, but more strictly curated, to make sure that we keep our display intriguing. Our emphasis for 2014 is about finding ways to involve creative industries via seminars and our awards ceremony, and to ensure that LE Miami becomes an annual destination for the industry to share their latest innovations, to seek inspiration for their next metamorphosis or simply to connect with the creative class.

Probka, Moscow

St Petersburg-based celebrity chef Aram Mnatsakanov has launched his first Moscow eatery. Designed by prominent local interiors specialist Albina Nazimova, the restaurant concept is a high-end trattoria, which centres around a state-of-the-art kitchen, adorned with a homely display of assorted copper utensils. Overseen by chef Valter Bizoffi, who has been relocated from one of the group's St Petersburg restaurants, Il Grappolo, the menu is a fresh assortment of traditional and modern Italian fare, ranging from dorado carpaccio with courgettes and burrata cheese to pizza with Parma ham, black truffle and spicey Salami.

Tsvetnoi Boulevard 2, Moscow; tel: 7.495 995 9045

Writer: Anna Jackson-Stevens

...

Bar-Studio Kluchi, Moscow

Arranged over two conjoined buildings in the centre of the city, the properties that house this exclusive private members' club were originally built in the 18th century, although most of it burnt down in a fire in 1812. A restoration project at the end of the 19th century saw the reconstruction of the wooden areas. Fast-forward to 2011 and the establishment landed in the capable hands of Moscow-based architects Peter Kostelov, Alexey Rozenberg and Anton Grechko. Together, the trio have overcome a number of planning restrictions to create a multi-themed party space around the building's original assets, embodying its eclectic architectural styles. Set over two storeys, Bar-Studio Kluchi is arranged as a series of three contrasting bars - two sensational main areas and a cosy chill-out room, complete with a library of books, resembling a Harry Potter fantasy world. The place is regularly packed with the Moscow elite, and you will have to buy an invitation to join them.

www.kostelov.ru

Writer: Lauren Ho

Tao, St Petersburg

A former taxi rank has been turned into a culinary strip appealing to St Petersburg gourmands, and the latest opening is Pan-Asian restaurant Tao. There is no sign on the door, and it gives little hint as to what's behind. But inside the décor, by local designer Savieli Arkhipenko, is unusually impressive. There's a bar, two dining rooms and a shisha lounge planned; and no windows, only the original parking bays holding intricate eastern wooden carvings. A slightly grotesque lion dominates, but chef Kent Lee, formerly of London's Hakkasan, steals the show, along with mixologist Alexander Pugachev who creates exotic cocktails to compliment the food.

2 Konushenny Ploschad; tel: 7.812 244 6818

Writer: Anna Jackson-Stevens

Barry Bar, Moscow

The latest project from Global Point, the St Petersburg-based group that brought us Moscow's Schastie restaurant, is a watering hole whose chief aim is to create the ultimate cocktails. Manager Andrei Dolotkazi - a former student of celebrated mixologist Alexander Kan - even has a 'samagon' (moonshine) apparatus on the bar, with which he distils alcohol to create infusions. The kitchen, which serves breakfast until 6pm on the weekends, is run by chef Maxim Kalmikov and provides a mixture of European and Russian fare, from cheeseburgers to borsch, and includes a range of favourites from the group's St Petersburg-based '22.13' restaurant. Who is Barry? The local nickname for a 'lover' has been given new meaning by the bar staff, who use it to describe the characters that frequent the bar, from the business-like 'Briefcase Barry' to the ruddy 'Red-nose Barry'.

Kuznetsky Most 1; tel: 7.495 276 0736; www.barrybar.com

Writer: Anna Jackson-Stevens

Ostrovok Terrace, Moscow

Sandro Sherents and Oleg Shtofman of local architecture firm, Shar Project, have created a new home for Ostrovok restaurant, which has been in the same place, under the same family ownership, since Soviet times. Sited by a tree-fringed lake in the recently rejuvenated Gorky Park, the angular structure is fashioned from raw wooden beams and is topped with a metallic roof. The building's large windows ensure a light-filled interior and when lit up at night, the space looks particularly inviting. Food is prepared in front of diners on an open fire, while fruit cocktails and smoothies make way for mulled wine and grog on the winter menu.

Golitsinsky Pond, Gorky Park, Krimsky Val 9, Moscow; tel: 7.495 783 0406

Writer: Anna Jackson-Stevens
Photography: Ilya Ivanov

Azimut Moscow Tulskaya, Hotel, Moscow

Housed in a former 19th century textile factory, Moscow's first loft hotel is a new offering from Russia's respected Azimut group. Sited in an emerging area on the bustling 18-lane avenue known as the Garden Ring, the 144-room lodging is a short walk away from Tulskaya Metro station, which conveniently takes you directly to the heart of the Kremlin Gardens. Inside, vaulted ceilings and cast-iron columns are combined with state of the art appliances to deliver a simple and functional service, while the restaurant serves a mixture of European and traditional Russian fare. Property prices in the area are already beginning to soar, making this a neighbourhood to watch.

Varshavskoe Shosse 9; tel:  7.495 987 2222; www.azimuthotels.ru

Writer: Anna Jackson-Stevens

Black Market café, Moscow

The latest project from New York-born Isaac Correa, the man who brought us Moscow's celebrated Correa's Café, is a new restaurant called Black Market. Located just south west of the city centre in an area called Khamovniki, the eatery - which is Correa's biggest project to date - is housed unusually inside a dark, industrial loft. With its no-frills, masculine interior, it looks like it has been transplanted directly from New York's Meat Packing District. Black Market serves hamburgers that are as delicious as those at Correa's cheerful 'Upsidedown Café', as well as a variety of vegetarian options. Meanwhile, the Sunday brunch is one of the best in the city.

Ulitsa Usacheva, 2, str; tel: 7.495 989 0445; www.blackmarketcafe.ru

Writer: Nelli Konstantinova

Mendeleev Bar, Moscow

Incongruously squeezed between an art gallery and a couple of fashionable restaurants, in one of Moscow's chicest shopping districts, is a Chinese fast-food joint named Lucky Noodles. But all is not what it seems. By day, the shabby box-sized space leads to a counter where cooks serve-up a choice of three steamy dumpling noodle dishes, but at twilight, a velvet curtain to the right reveals a staircase that leads to Mendeleev Bar, a den of funky music and decadent absinthe-based cocktails dreamt up by mixologist Roman Milostivy. Chandeliers cling to vaulted ceilings above plush sofas in this baroque basement bar, which taps into the Asian menu at neighbouring Roni's for sustenance. Mendeleev Bar stays open till the last customer leaves, which after a 'Death in the Afternoon' or two, may not be unassisted.

Petrovka 20/1; tel: 7.495 625 3385

Writer: Anna Jackson-Stevens

The 'art of flight' is being re-examined in a new book dedicated to vintage aviation posters, publicity material and graphic design. With artworks from the likes of Edward Bawden, John Piper and Rex Whistler, British Aviation Posters charts air industry history, from the fledgling days of passenger flights to the launch of the Boeing 747 jumbo in the 1970s (accompanied by the strapline 'more sitting room in the sky').

The book draws on the extensive British Airways Heritage collection of advertising material. Penned by Scott Anthony and Oliver Green, it not only shows the changing trends of air travel but takes readers on a journey through British history, past the coronation and the 1948 London Olympic Games. Published by Lund Humphries, the book also shows how art and design were applied to promote aviation in the UK and beyond.

'London 2026 A.D. - This is all in the air', by Montague B. Black. 1926
A London Undergrond poster envisages London air transport in the year 2026, with airports atop buildings and a London-to-Sydney service, yet still the good 'solid comfort of the Underground'

Left: 'Go there by Air Taxi', by an unkown designer, c. 1930
Imperial Airways - as British Airways was once known - offered air-taxi services using small light aircraft within Britain and Europe

Right: 'Comfort in the air', by Tom Purvis, c. 1931
Dining upon the Silver Wing service was akin to eating in a railway restaurant car - according to Imperial Airways. The brand always eschewed speed in favour of luxury

Left: 'Le Touquet One Flying Hour', by Theyre Lee-Elliott, c. 1935
Le Touquet in northern France became a fashionable weekend seaside break

Right: 'BEA Olympic Games, London', by Abram Games, 1948
The British national airlines used their posters to try and connect the internationalist spirit of the Olympic Games with the development of mass transport systems and tourism

Left: 'Fly BEA to the Sun', by M.H. Armengol, c. 1950
By the late 1950s, poster design became brighter and bolder. In BEA's case, the opening up of the south Mediterranean encouraged BEA poster designers to adopt palettes that radiated red, orange and yellow

Right: 'Coronation Year - Come to Britain in 1953', by an unknown designer, c. 1953
A triumphant poster to mark a triumphant year for Britain

Left: 'Fly by BOAC', by Dick Negus and Philip Sharland, 1954
The quality of the poster design, from the later 1940s to the early 1960s, eschewed the austerity of the era

Right: 'Australia - Fly There by BOAC and QANTAS', by Hayes, c. 1956
Australia was pitched as the of sun and sea, thanks to the working relationship between Imperial Airways and QANTAS

Left: 'Fly BEA to the Snow', by André Amstutz, 1958
Graduate Mary de Saulles conceived the red square that would become BEA's trademark

Right: 'Africa - Fly there by BOAC', by Eric Pulford, c. 1959
BOAC embraces the new reality of the Commonwealth being a multicultural association of independent states

Left: 'South America, fly there by BOAC', by an unknown designer, 1959
A colourful, carnivalesque promotion of BOAC's South American service, restored in 1958 after a four year gap caused by a shortage of aircraft following the Comet disasters

Right: 'Scotland, Fly BOAC', by an unknown designer, c. 1959
Scotland gets a rare look-in in the BOAC posters aimed at the North American market that usually flaunted London attractions

An Xiaotong may have been born in the ancient city of Xian, famously the site of the tomb of the first emperor of China and the Terracotta Army, but her artistic sensibilities place her firmly at the vanguard of modern Chinese art.

Segueing seamlessly from one medium to another, she taps into the psyche and restless spirit of the urbanite with images of skyscrapers caught in an eerie sunset, silhouettes of trees in an alien landscape and surreal underwater scenes that seem to float out of the walls.

Xiaotong now lives and works in France; her intuitive grasp of the transient is an apt metaphor for the global diaspora. In her surrealistically beautiful work – whether a mosaic labyrinth or a stylised image of a supernova – she is careful to erase any trace of place. Tellingly, one of her major pieces for the Le Méridien Medina Saudi Arabia is titled Everywhere.

On a broader scale, Xiaotong’s oeuvre embraces past and present to imagine the future. She uses watercolour to transform images she appropriates from the net – websites, blogs and chat rooms are all rich hunting grounds. Le Méridien’s cultural curator Jérôme Sans cannily describes her painted images of young Chinese women, each profiled in sparely drawn lines, as ‘stolen instants in the lives of anonymous people… whose status goes from being an anonymous lost into the pool of images available on the net to a celebrity that everyone in our star-obsessed society aspires to become’.

More recently, Xiaotong has been working with, of all things, Lego blocks. ‘The simple brick offers great scope for creating different artworks,’ she says. Her most ambitious subject matter to date, called Constellation, is nothing less than the universe, the installation now anchoring the lobby of Le Méridien Etoile in Paris – its scale belied by, literally, its tiny building blocks, and its message a quiet semaphore about the universe we live in.  Here we caught up with An to find out more about her artwork and inspiration...

Wallpaper*: How has living and working in France changed or influenced your approach/philosophy to art?

An Xiaotong: It has given me more freedom at work and greater access to information.

W*: How would you describe your work?

AX: It is the way in which I can express myself to my full potential.
 
W*: Previously, you have used pictures from the internet, pictures taken from social networks - what was your aim and reason for this?

AX: I like using images to emphasise the characteristics of this era. Also, I want to visualise virtual or imaginary phenomena and lifestyles through my work.

W*: Now your work is often influenced by the sea, the stars and outer space. What has inspired this movement?

AX: Living in such a busy and crowded society, we have hardly any private space.  The inspiration has come from my deep longing for freedom and space.
 
W*: What is the reason behind you switching from traditional painting to working with Lego? Why Lego in particular?

AX: It is not a switch, rather a new working experience.  I’ll still use anything feasible to facilitate my work according to the commission. I chose Lego for its unique characteristics in terms of elements and construction, and because it offers a brand new experience in the creative process.

W*: What are you influenced by?

AX: Everything in life.
 
W*: What do you want to achieve with your work?

AX: I get a sense not only of achievement but also of release through my work.

W*: What are you working on now?

AX: The Lego series, painting, design, and some public space installations.
 
W*: A lot of your work is quite un-conventional; can you give us a hint at what you plan to work on in the future?

AX: In the future, I hope that my work will engage with a wider audience, gain more attention, and create a dialogue through the form of art.
 
W*: What is it about Le Méridien that has led you to have, and continue to have, such a fruitful relationship with them?

AX: Le Méridien’s art vision sets it apart from other hotels. Its most successful strategy is promoting intimate communication and interaction with guests through artwork, and delivering a creative and inspiring experience.

Turkey is cementing its position as European Capital of Culture 2010 with a festival of fashion, film, art, literature and more - boldly named 'Istancool'.

Guests, including architect Zaha Hadid, artists Terence Koh and Haluk Akakç, fashion designer Gareth Pugh and author VS Naipaul, will descend on the city for the three day event - from 2nd to 4th July - which will feature exhibitions, film screenings and literary talks and readings.

Events will be held in the Pera Museum and Sakip Sabanci Museum, among others, and there'll also be a tour of Turkish label Vakko's impressive new Fashion Centre. Designed by New York firm, REX, the complex comprises two interconnected glass volumes created from the skeleton of an unfinished hotel.

In April, Wallpaper* went to check out the launch of the Fuenso International Shoe Design Awards at Hospes Maricel in Mallorca.

Comprised of multiple brands, Fuenso focuses on finding the best life quality for guests with its hotels (Hospes), events, cuisine, spa treatments and bedding. This is the second time the Maricel has seduced us - it won Best Suite for its new Pool Terrace Suite in 2009 - and we like Hospes' concept so much that we are collaborating on a special project for our Handmade issue in August.

The Fuenso International Shoe Design Awards went smoothly, surrounded by the sea, delicious food and well-heeled, beautiful people. MBT picked up the 'Energy' award, Ursula Mascaro won the award for 'Care' and Pura Lopez Propuesta 2, the award for 'Seduction'.