FEATURE STORY

or a man who is part of one of the most famous fashion F families in history, but who has chosen to live his life in an easier, more relatable way: what is luxury? I’m curious how he, having experienced both spectrums, defines it.

Ferragamo’s answer comes quickly. “For me, in a word, it is ‘authentic.’ Something that is a fad, to me, is not luxury. For me, luxury is something that stands the test of time. The quality of something, if it has an intrinsic value to you, whatever it is — where you are living, the products you are enjoying. Sometimes the concept of luxury is too over the top; it becomes reaching a level that is unnecessary and that is not necessarily generating an increased quality of life.”

Il Borro, he says, is the ultimate luxury. “I think the magic of Il Borro lies in the concept of authenticity,” he announces. “I think that today, in general, talking about the tourism industry, the travel business, or the wine business, it is important to keep that in mind. And I think what we do here at Il Borro is very important because we have a thousand-year-old medieval village that has been transformed into a destination for guests to come and enjoy. It’s fantastic because you have the historical and cultural experience of Tuscany and how Tuscany was back in the day, but with modern conveniences. It is a fine balance: you want to have running water, after all, and also efficient Wi-Fi. But you also want to make things sustainable, to showcase how old farmers used to do things, for the future generations. Everything we do here is with an incredible attention to detail — in the vinification process and in the careful study of our soils to make organically certified, healthy, nonharmful products.”

Sustainability is a major factor in what keeps Il Borro running efficiently. Ferragamo has smartly looked to the future in his quest to preserve the past, using energy sources that result in zero carbondioxide emissions. In fact, the property produces more energy than it uses thanks to eco-friendly touches like solar panels, which provide energy for its cellars as well as for the hotel and restaurants; that amounts to saving 930 tons of CO2 per year. There are also “zero bill” houses on site: energy-efficient structures that operate exclusively on renewable energy. (Some of the houses feature sophisticated structures that recover rainwater, which, in turn, is redirected to special tanks that later irrigate the gardens.) Further, biodynamic practices have been employed on the land, replacing chemical products with natural methods like herbal infusions. Even the restaurants are clean and green: Osteria del Borro uses highpressure water jets in favor of chemical products for cleaning.

“This, too, is a luxury, because that kind of attention to detail is not easy,” Ferragamo (rightfully) declares. “You have to really work for it. Today, we are always wanting things fast, quick, immediate, and that’s not always possible.”

I agree that it most certainly is not, particularly for Italians, who, unlike Americans, enjoy a slower, more laid back, supremely indulgent approach to life. But Ferragamo gets it: after all, he spent some critical years of his youth in the States. He understands both cultures.

“It’s a question of finding that balance,” he says. “You have to be realistic. Today’s pace of life is incredibly fast. But at the same time, if you can provide guests with a slower pace of life, then they might understand how a different pace of life can be incredibly enjoyable and even just as productive.”

Essentially, it’s not a struggle for Ferragamo to see both sides. He enjoys a life of his kind of luxury every single day, but he also works incredibly hard. Right now, for example, he’s planning his February trip to Naples, Florida, which will coincide with the Naples Winter Wine Festival — he describes it as “unbelievable” and a “fantastic market of wine connoisseurs” — in early celebration of the brand’s 30th anniversary. He is also looking to expand the Il Borro restaurant brand, which currently has several global properties — at Il Borro, of course, as well as in Dubai, in London, at Viesca near Florence, and at the Elounda Peninsula resort on the island of Crete (all of which, I should note, utilize produce such as extra-virgin olive oil, honey, eggs, and cheese from the farms and fields of its flagship) — with more in the pipeline. An American opening isn’t immediately imminent, but it is a plan for the future, possibly in New York or Las Vegas.

Speaking of America, the place of his youth, I have to wonder: does he have any regrets? Had he stayed, perhaps his life would have turned out differently.

But his life now is beautiful — a fact of which he and I are both aware. And as such, his regrets are boiled down to one. “I don’t believe I would have made any major path changes, but if I had one, it would be that I would have taken the road to luxury earlier,” he admits ruefully, explaining, “When we first started developing Il Borro back in 1993, it was at a moment in time that the concept of agritourism [which involves any agriculturally based operation or activity that brings visitors to a farm or ranch] was first coming into play. And so this was the first development of Il Borro, but at that moment, it was not the best development. We took a farm holiday approach for our very simple restoration.”

That changed in 2013, when Il Borro became part of Relais & Châteaux, and Ferragamo was made an ambassador of the prestigious, independently owned luxury hotel and restaurant group, but therein lies his one lament. “My only regret was, why didn’t I get into Relais & Châteaux right from the beginning, without a restructure? Otherwise, I would have no regrets,” he declares.

But right now, any regret is a thing of the past. At this moment in time, just before Christmas, he is reveling in the near future with plans of celebrating the holidays with his family, at home in his favorite and most authentic place. It is the calm before the proverbial storm of Il Borro’s 30th anniversary year, and he’s happy to be taking it slow, at least for a little while.

As he prepares to sign off, he smiles and says, “It’s really been a fantastic journey to be able to transform this estate, and exciting to be in this new frontier of luxury.” He pauses, then adds, “When you come to visit, you will see this is a property you will not forget. It will stay with you.”

I’m ready. Because honestly, who doesn’t want to experience history in the making?

OF SPACE AND TIME

JEFF KOONS IS JETTING OFF ON AN OUT-OF-THIS-WORLD ADVENTURE AS HE PREPARES TO SHOW HIS FIRST PERMANENT ART INSTALLATION ON THE MOON.

BY LAURA SCHREFFLER PHOTOGRAPHY SCOTT MCDERMOTT STYLING DAVIAN LAIN GROOMING VAUGHN ACORD SHOT ON LOCATION AT JEFF KOONS’ STUDIO, NYC

ost would agree that, as an artist, Jeff Koons is totally M out of this world. But that phrase has always had the most figurative of meanings … until now.

At this moment, the 67-year-old icon is preparing to present one of the first-ever permanent art installations on the moon. Yes, you read that right. And what’s more, the groundbreaking, atmosphere-defying Jeff Koons: Moon Phases project also marks Koons’ first foray into the metaverse.

The latter, as one might assume, was inevitable. It was just a matterof when, not if, and in typical fashion, Koons’ NFT collection would be delivered in the most unexpected way possible (as if a project involving NASA and SpaceX could be referred to as anything else).

“As you know, there’s been a lot of excitement, a lot of news, around NFTs. And of course, within the art world, it’s easy to see how they came about. A lot of artists — myself included — have been working digitally for decades. Everything that you end up doing starts off in Photoshop or in 3D; you’re manipulating something that goes through a digital process. But what I really strive to do is to bring meaning into the NFT vocabulary.”

He’ll absolutely be doing that in spades working with NFMoon (a specialized digital arts and technology company) and 4Space (a multilevel space company that is strategically involved with NASA and Intuitive Machines). The project will be presented by Pace Verso, Pace Gallery’s hub for Web3 innovation. NFMoon initially came to Koons with the idea of sending his work to space because of his unique ability to bridge art and science. For this ambitious and innovative undertaking, which was originally timed to mark 50 years since America’s last crewed trip to the moon — it’s now projected to make its maiden voyage in 2023 — Koons created 125 artworks based on moon phases. Each unique sculpture will make a lunar landing on an Intuitive Machines Nova-C Lunar Lander. The sculptures will be displayed in a transparent, thermally coted cube sustainably built with materials that can survive the extreme temperature fluctuations in space. Once the lander touches down, the work will be photographed from different perspectives, and those photos will be transmitted back to Earth and embedded within an NFT. There’s also a physical component here for those who want something tangible: Koons has created a 12.5-inch stainless-steel moon “trophy,” a limited number of which will be available for sale through Pace, with portions of the proceeds to be donated to Doctors Without Borders/Médecins Sans Frontières in support of the organization’s medical humanitarian aid programs.

Though the project is completely alien compared to anything the art world has seen before, Koons still manages to highlight the human element within it — a way of connecting it back to what he holds dear. It is meant to be an exploration of the human race’s imagination and innovation through past and future human achievements, drawing inspiration from the moon as a symbol of curiosity and determination.

“Each Moon Phase is associated to a person that’s lived on Earth and is no longer with us. They’re deceased, but they’re people who have made great contributions to society,” he explains, noting, “Their names are engraved within this cube that will go to the moon, that is gold leafed. And then, once the lander lands on the moon, it is permanently installed as a heritage site. It’s really a way of opening up space tourism.”

Though Koons struggled to narrow down his options, he eventually landed on icons including Josephine Baker, Muhammad Ali, Leonardo da Vinci, Sojourner Truth, Machiavelli, Louis Bourgeois, Plato, Sappho, Cleopatra and Elvis Presley. His intention was to incorporate individuals from around the globe: masculine, feminine, different backgrounds, different perspectives. It is a project that explores the imagination and technological innovation of the human race, but it also represents the limitless potential of humanity. And in paying his respects to historical figures, Koons was able to show his respect for the past while still looking toward the future.

“When you think of Elvis, for example, there’s some emotional reaction that happens to you. And we are now the carriers of their meaning, which is what I wanted to highlight. Technology stores the information, but we, as humans, are the carriers,” he explains, pausing thoughtfully before saying, “As humans, we are the carriers of meaning. When we are gone, the only thing that still exists [is] our names. And that’s what I want to highlight here.”

Linking the past to the future — indeed, connection in general — is a constant theme throughout our chat. This is the beating heart of what he wishes to accomplish, and be known for, with his art.

“I believe that the way you are able to transcend in life is by giving it up, finding something greater than the self. And for me, joy is the celebration of those individuals, that community that’s within the cube,” he says. “Paying homage to our forbearers, to our ancestors, is something I enjoy being involved with very profoundly. To be able to pay homage to these people, to show this kind of appreciate for the gestures of our forbearers, is one of the most meaningful things we have.”

Koons continues. “It’s an amazing time we live in. We’re free of the confines of Earth, on the verge of interplanetary traveling. We’re able to discover. I feel we already have a great understanding of the probability of the absolute abundance of life, because we know now that there are just billions and billions of stars and billions of galaxies and planets. It’s just unending. And as we go in that direction, we also know that in the quantum area, we’re going back down on a smaller area, almost on a similar level.”

He himself is going to have to discover this in more esoteric and creative ways, though that doesn’t seem like much of a problem. He has been doing it for his entire life, after all. “Yes, I have a desire to go into space, and I hope at some point, that I have the opportunity to do so. But right now, I’m really active in my studio,” he shares.

It’s been a busy year for Koons. Jeff Koons: Apollo, his recent solo exhibition of new sculptures and ready-made sculptures located at the Slaughterhouse, a DESTE Foundation Project Space, in Hydra, Greece, closed its doors on Halloween. In March, he’ll head to Los Angeles for an exhibition at the Pace Gallery to show paintings and objects that he’s been working on for the last decade, inclusive of his Pink Ballerina sculpture.

Next up — he’s leaving the day after our chat, as it happens — he’s heading back to the Middle East to erect his latest sculpture (his solo exhibition, Jeff Koons: Lost in America, was on view until March). The almost 80-foot-tall and 105-foot-wide inflatable Dugong, made of polychromed custom fabric, electric fans, and steel and was created for Al-Masrah Park and installed before the World Cup, is meant to be a new icon for Doha in celebration of Qatar’s natural heritage.

Sheikha Al-Mayassa bint Hamad bin Khalifa Al Thani, the sister of Qatar’s ruler, His Highness Sheikh Tamim bin Hamad Al Thani, asked him to create the piece to call attention to the plight of the dugong, an endangered marine mammal. “I told her of course I would love to,” he says now, sharing that he made a sculpture that resembles something one might find at the bottom of a fish tank, with waves breaking, some grass, and, of course, the dugong itself.

He smiles. “I’m really thrilled to be able to make a piece that will generate some awe and wonderment. I hope that this piece carries some kind of aspect of joy, that people can look at it and realize the beauty of the animal, and have an appreciation for the world that we live in in general, our own biology, our own excitement. This piece is saying that, not only do we have to take care of the dugong, but that we have to take care of our own environments, and ourselves, too.”

Koons is eternally grateful to have been commissioned for this, just as he’s grateful for all the seemingly diverse opportunities that land on his doorstep. To him, it keeps life interesting, being able to create art for different groups of people, to create different feelings through different mediums, and to connect the world through his art.

“I have to say, I’m really grateful for the opportunities that I have had, to be able to be involved in the dialogue of the art world, and to have had such different projects within that world,” he says, adding with a smile, “I really have to pinch myself.”