Not surprising since it’s a Bugatti. Which then begs the question: how do they do it? Just exactly how does Bugatti continue to produce autos that are frankly sexy and forever in demand, 115 years after? According to Frank Heyl, director of design at Bugatti, the luxury auto brand’s success is largely due to a set of rules the design team follows during the conception process.

Now, it does not appear that this is cast in stone (each model would have its unique variation) but below are the questions the team tried to answer as they designed the $4million+ Tourbillon, and they offer a rare insight into how truly extraordinary this hypercar is.

Form follows performance

Per Heyl, the design of the Bugatti Tourbillon is not rooted in aesthetics but rather in what the vehicle should do, which is to be smooth enough to drive at high speeds but still retain that unique quality that makes it such a joy to behold and a dream to experience.

“Bugatti is the interplay between elegance and speed … So you could say that [the Tourbillon] is shaped by speed … and the understanding of [this went] into the base architecture of the car.”

Timelessness >>> Trends

If there is anything luxury businesses know very well, it is this: trends make a brand popular, but timeless designs and products keep it relevant long after the hype has disappeared.

In creating the overall design for the Tourbillon, but especially in crafting its interior, the design team at Bugatti were faced with two paths: integrate current trends in auto design like driverless technology, large screens that double as the vehicles’ control centre, and a digital everything interior. Or, go with a style that may not incorporate all the latest trends but would still be useful in years to come.

Bugatti chose the latter.

“Our number one topic that has a big influence on all our thinking is timelessness. We need to make [our autos] relevant because they are around for such a long time. What dates a car is the technology of the time it was created in. For a car to be timeless, one cannot run after current trends. We go after preciousness. As a brand, we are about luxury. What is luxury? It is preciousness, it is rarity. It doesn’t even have to be about anything material. We think a lot about who we make all these things for and how it will be used and cherished over the decades and possibly passed on from generation to generation. So essentially, the collectible value.”

Experience drives purchase. Make it count

Ever wondered why people spend a lot of money on certain luxury goods that seemingly make no sense?

Per Heyl, how a product or service makes you feel is directly proportional to how much you’re willing to spend on it. How good your overall experience using a product is will determine if you’re willing to part with a substantial amount of cash to relive that experience over and over again.

“The experience that we create – how you feel when you sit in the driver’s seat; the haptics, the feeling when you touch the aluminium switch gear, how weighted the buttons are; when you turn a knob how oily is it? When you knock on the crystal glass, is it cool touch? The smell of the leather, the vibration, the noise of the engine. The experience to drive a Bugatti, to own a Bugatti, to live with a Bugatti is incomparable … It is this emotional aspect of things that spans our thinking throughout the design process. Our job is to create something that somebody looks at, and their heart is telling their mind that it is worth it to spend a couple of millions on that.”

In the end, it is all about the basics

By sticking to the basics for its foundation, the Bugatti Tourbillon has managed to be anything but basic, showing that the best designs, be they complicated or simple, always start with the bare fundamentals.

“What we do in the design department is not styling. What I regard as design is that you go right into the basic underpinnings … of architecture and you plan every step in the exact right way to get the proportions right, to get the stylistic appearance of the car work together with its technical necessities and the aerodynamic functionalities.”

So, if you ever wonder why you cannot get your eyes off the Bugatti Tourbillon or any other Bugatti marque, just remember that this 5-step formula is the reason behind your very temporary paralysis and the DNA of every Bugatti, be it the Bolide, the Chiron and now, the Tourbillon

The post The Key Principles Behind the Bugatti Tourbillon’s Design, According to Its Director of Design first appeared on Aspire Luxury Magazine.

The post The Key Principles Behind the Bugatti Tourbillon’s Design, According to Its Director of Design appeared first on Aspire Luxury Magazine.

You might be a travel veteran, but it doesn’t mean you find trends completely useless, especially if it feels like you’ve done it all. Per Mckinsey, only 17 per cent of respondents out of 5,000 surveyed said they use a travel agent. Others rely on family and friends, search engines and social media to plan their trips, which means you’re more likely to follow trends even when it is done unconsciously.

Now, whether or not you care about what’s hot on the travel scene or not, here are some interesting suggestions from vacationers worldwide that appear to have provided real value for their money and time. Maybe you’ll find them useful, maybe not. But ultimately, they are worth checking out for the kind of excitement they promise to bring to your trip, whether you are going solo or in a group.

Exploring the stars at the Four Seasons Resort Maui at Wailea

Hawaii might not top the list of the best luxury travel destinations, but, like everywhere in the world, it offers some unique, unforgettable experiences. Like the Four Seasons Resort Maui Unforgettable Experiences.

The resort promises a range of activities, from exploring a local town and its sights to going on a coffee-tasting date. The Wayfinder Journey, however, is perhaps its most unique package, because it takes you on an educational exploration of the Southern Cross, a constellation that can only be spotted in Hawaii. You would be taught everything from its cultural significance to the local community, to learning how to use it as a navigation tool when you’re out on the waters. And because celestial navigation is quite the work, you would end your course with a multi-course meal by Four Seasons Maui Chef Samual Taganeca onboard the catamaran.

Activate your five senses with Ker & Downey Africa’s Five Senses Experience

It is very easy to think Africa = Safari, but, just like Ker & Downey is out to prove, there is so much more to this continent that is extremely rich in culture and tradition, than rare and exciting animals.

For its newest travel itinerary in South Africa, the safari company has put together a range of activities that will engage each sense — sight, taste, smell, sound, and touch — through bespoke and highly exclusive experiences that can be tailored to meet the needs of each guest.

For 12-14 days, guests will move through South Africa and Madagascar, stopping at carefully selected destinations like the Ellerman House whose in-house gallery would engage their sense of sight via a unique art experience; La Colombe, a globally-recognised contemporary restaurant whose French and Asian dishes would activate visitors’ taste buds like never before; Babylonstoren, a historic Cape Dutch farm bursting with vegetables and fruits of such rich aromas that would be hard for any nose to miss; the Singita Ebony Lodge where the sounds of the animals and wilderness provide a lovely backdrop to an unbeatable safari experience, and, the Miavana Island Nosy Ankoa, Madagascar where guests can let go on the soft pillow of beautiful white sands with the gentle breeze from the ocean caressing every nook and crevice of their skins under the gentle warmth of the sun.

Going on a wellness-infused tour of Asia via the Eastern & Oriental Express, A Belmond Train

If you’ve never tried a luxury train vacation before, perhaps it is time to, especially with the launch of the Dior Spa on the Eastern & Oriental Express.

Having a luxury spa experience onboard a train is not something you’d normally expect, so this is definitely one to try out. A range of rejuvenating and relaxing spa treatments abound, like the Asian-inspired D-Jungle signature treatment, the Constellation tension-releasing massage, and the luxurious Kobi-Dior facial treatment. Dior would also have its Prestige skincare range available for purchase so that you can keep up a luxury care routine long after the journey has ended.

Learning to cook like the experts at the Royal Mansour Marrakech

Not only is the Royal Mansour one of the top luxury hotels in Morocco, it is now angling to have one of the best culinary workshops in the Kingdom of Light.

When you’re done exploring the bustling beauty of Marrakech, come home to the Royal Mansour and learn how to cook under the expert guidance of the hotel’s Michelin-star culinary team. And, when you’re done with the cooking workshop, you can move on to the patisserie and mixology workshops for a complete crash course on making the perfect 3-course meal.

Enjoy a deluxe spa experience at the One&Only Resorts in Rwanda

Guests will still get to engage in the different activities available in the One&Only Rwanda OneEscape programme, but now, they can go home to relaxing spa treatments using traditional healing practices and local products.

At Nyungwe House, new signature spa treatments draw inspiration from the therapeutic properties of tea while spa treatments at Gorilla’s Nest are based on eucalyptus and chocolate which pay tribute to the forest the lodge is immersed in. Yoga and meditation sessions, as well as, fitness facilities complete this wellness package that is enhanced by the surrounding forest and hills.

The post Discover Some Top Unique Luxury Experiences to Explore on Your Next Vacation first appeared on Aspire Luxury Magazine.

The post Discover Some Top Unique Luxury Experiences to Explore on Your Next Vacation appeared first on Aspire Luxury Magazine.

In the last decade, luxury auto firms have pivoted sharply into real estate, opening up everything from skyscrapers to private homes. Now, you may never get to own a slice of real estate from your fave luxury auto brand, but, who says you have to? If auto-tuning businesses are a thing, custom-built homes based on luxury auto concepts can surely exist.

Wondering how to pull it off? Here are some things to consider

Consider the brand’s DNA

It goes without saying that every luxury auto brand has its unique DNA, philosophy and identity that defines it, and, if you’re absolutely in love with a marque, you most likely resonate with its beliefs and core values.

Let’s say you love Ferraris. You most likely love bold colours and designs that reflect power. Or, if Porsches are more your thing, you might be an adherent of quiet luxury with the occasional bold accents.

Should you choose to design your home or space after your favourite luxury auto, the first rule is to consider what the brand stands for and see how you can incorporate that into your home design.

Choose a specific model. Or not

Just considering the brand’s DNA might not be enough to give you the complete look you desire, so your next step is to list the specific model (s) you love from your chosen brand.

So say you adore Rolls Royce, but not all its models truly fascinate you. The design idea for your living room can come from elements in the Black Badge Wraith, and you can narrow things further in your bedroom by incorporating details from one of its unique models, like the Arcadia.

Tying design elements and choice of materials to specific models of your favourite luxury auto brand can help to give you a more interesting, creative and cohesive outcome.

Materials, materials

Here’s one truth about true luxury brands: quality materials are everything. From the richest leathers to the softest fabrics, luxury auto brands always ensure that every material put together to make their vehicles is not just premium but offers the best comfort and evokes the best positive emotions that money can buy.

Which is exactly what you have to do when designing your luxury auto-themed home. From soft leather sofas to chrome door handles, luxurious wood accents and flooring, every material used and piece added has to have the same level of premium quality as your dream auto.

Craftsmanship

Experienced and meticulous craftsmanship is another factor that sets true luxury autos apart, so get ready to invest in the services of the best in the field if you want your home to look anything like your luxury car.

Custom-built furniture is a must, as are handcrafted items like rugs and accents. Experienced artisans who are extremely detailed are also necessary to help bring your dream to life.

Include the fireworks

What’s a luxury car without the wow factor?

To get the perfect finish on your luxury auto-themed home, make sure to include standout features that tie the entire vision together, like dramatic lighting for example, or a feature wall, or even contrasting accessories and accents that would elevate the entire design and start conversations every time someone steps into your space.

Spending time with what you truly love is important, but, so also is spending time with who you love. Your beloved luxury auto should take you home and not away from it. If you find yourself spending more time in your car than in your home, then maybe it is time to bring it in with these outlined steps which is a good starter guide to designing your home interior after your favourite luxury auto.

The post Drive Home Luxury: How to Model Your Home Decor After Your Fave Luxury Car first appeared on Aspire Luxury Magazine.

The post Drive Home Luxury: How to Model Your Home Decor After Your Fave Luxury Car appeared first on Aspire Luxury Magazine.

Now that we’ve put your worries to rest (hopefully!), here’s our list of some of the top luxury lodgings in Morocco worth checking out. Each has been picked for different reasons, and, even if you choose not to stay in any of them when you do visit Morocco, we hope that the things that stood out to us guide you in your final choice(s).

Luxury Riads

The Royal Mansour, Marrakech

If you have heard of the Hassan II Mosque, you’ve most likely heard of the Royal Mansour, Marrakech, and for good reason.

Like every other establishment on this list, the hotel reflects the intricate craftsmanship of traditional Moroccan artisans and includes local materials and designs – but this is about where the similarities end. Instead of suites and villas, the Royal Mansour Marrakech features private riads complete with private terraces (that come with retractable glass roofs in case it rains) and plunge pools. The 2,3 and 4-bedroom riads come with a dedicated butler, while the Prestige and Grand riads (3 and 4-bedroom apartments) have a private hammam and adjoining elevators.

With four restaurants offering French, Moroccan, Spanish, Asian and Mediterranean dishes,  dining at The Royal Mansour, Marrakech is not a problem. And with all the services and amenities available at the hotel, a stay there is just as unique an experience as a day exploring the surrounding medina.

Le Riad Yasmine

If 53 riads in one place sound like a lot to you, and you crave a deeper connection to Moroccan culture, then Le Riad Yasmine, an 8-riad boutique hotel located right in the centre of the medina should be just about right for you.

The riads do not feature traditional Moroccan decor with frescoes and intricate floor, wall, and ceiling designs, but, several traditional Moroccan architectural elements abound. Most of the rooms can take 2-3 guests, but if you’re travelling with a large party, you can check out the family riad or Le Petite Yasmine, next door to Le Riad Yasmine.

An onsite kitchen would take care of meals, but, since you will be in the heart of the medina, then you would have a wide option of meals literally at your fingertips.

Luxury Hotels

Sofitel, Casablanca

Casablanca is considered by many as being the modern heart of Morocco, and, because it is such a huge melting pot of different cultures, it is a great starting point for your Morocco exploration. And, for accommodation, the Sofitel Tour Blanche (white tower) is exactly the right fit for you.

Located strategically in the heart of the city, the Sofitel is a 24-floor chic and contemporary lodging with all the luxuries you’d expect from a hotel of this calibre. It is also close to all the the famous tourist destinations that abound in Casablanca like the Hassan II Mosque and the Medina, but, should you choose to stay in all day, you still have access to amenities that would make your stay as interesting as a full day out. One of these is the Sofitel Spa which occupies 2 floors and has a hot tub, a traditional-style hammam and a sauna, and, offers beauty and massage treatments combining French and Moroccan beauty practices.

For a taste of Lebanese cuisine, you can dine at the hotel’s L’Atelier Oriental. The second restaurant, the Brasserie La Tour,  offers French cuisine. For a more delightful experience however, guests can go up to the rooftop bar on the 24^th floor from where they will experience a panoramic view of the Old Medina and the Hassan II Mosque.

Hilton Tangier

The city of Tangier retains more of the soul of ancient Morocco, and its culture and traditions are very much alive in this city. So, it may feel rather inauthentic to opt for a hotel instead of an opulent riad. However, the Hilton Tangier City Centre, while being a part of a global brand, is as Moroccan in its service and decor as it gets.

This luxury hotel is strategically located in the city of Tangier, opposite La Gare Tangier Ville (the Tangier rail station) and facing the Malabata beachfront.  Stepping into the Hilton is like entering into a luxe Moroccan home. Expect a warm traditional welcome upon arrival with a serving of the ubiquitous Moroccan mint tea alongside indigenous sweets and treats on a platter by men dressed in traditional male attire. Rooms are tastefully furnished, and of course, reflect the general architecture and style of the local region.

For food, a range of delicious meals abound to suit every palette. However, if nothing on the menu is to your taste — which frankly, is highly unlikely — the unique location of the Hilton Tanger City Centre makes it easy to get whatever you need within walking distance.

A rooftop pool, an executive lounge, a fully-fitted gym and access to the beach make this Hilton hotel in Tangier the place to be if you would be visiting the city.

Luxury Kasbahs

Kasbah Tamadot, Atlas Mountains

Situated an hour away from Marrakech in Morocco’s Atlas Mountains, Kasbah Tamadot, a private resort that is part of Sir Ricard Branson’s Virgin Limited Collection is where you’d want to be if you seek a dreamy, surreal and quiet vacation somewhere removed from the hustle and bustle of the city.

Kasbah Tamadot consists of rooms, suites, tents and riads that are uniquely decorated and combine typical Moroccan style with hints of minimalism. however, following the September 2023 earthquake, the rooms and suites have been closed for renovation and only the six 3-bedroom riads and ten Berber-styled tents are available.

There are a host of activities to indulge in during your stay, including learning to make Morocco’s famous tagines, hiking the mountains and a relaxing day at the spa. Chefs are at hand to serve a mix of Moroccan and international dishes with ingredients sourced from the resort’s gardens.

And, if you ever get tired of the resort, remember: Marrakech is just an hour away.

Dar ba Sidi Chefchouen

Chefchouen may even be more traditional than Tangier, and due to building laws, you would not find any high-rise buildings in this ancient fortress. But, whatever it may lack in grand opulence, the Dar ba Sidi resort more than makes up for in decor and other luxury amenities present in its property.

If Chefchouen is a pretty picturesque town, then Dar ba Sidi, with its beautiful flower gardens, its blue, cream and white colour scheme and red-topped roofs, and, its very traditional Moroccan decor and ambience is a truly beautiful sight to behold. Adding to its charm are the comfortable and spacious, traditionally designed rooms whose windows open up to the most glorious sights ever.

An onsite restaurant serving Moroccan cuisine, and a bar offering a wide range of drinks are your options for food here, but, its proximity to the city centre means that your epicurean choices are not limited if you are looking for something more than what’s available on the menu.

The Oberoi, Marrakech

Ok, The Oberoi may not regard itself as a kasbah, but, if any establishment here deserves the title of a luxury fortress, it is this stunning hotel.

From the moment the doors of The Oberoi are flung open upon your arrival, to the moment you step foot onto its majestic, lush, green courtyard, to that exact period when you’re swallowed into the cool refreshing warmth of its lobby, adorned and accented with traditional Moroccan designs and objets, and then, ushered into your opulent suite tastefully furnished with everything the finest accommodations have to offer, the sensory experience you’d be enveloped in can only be described as heavenly.

Once you step into your suite – apparently, there are no rooms in The Oberoi Marrakech – expect a handwritten note from the General Manager welcoming you to the hotel as well as a bottle of wine. The hotel has a total of 84 lodgings, 72 of which are villas with private pools. Each villa is massive, with a closet area that is equipped with a picnic basket, hats and an iron; a bathroom with a soaking tub that has views of the lush greenery outside; a large walk-in shower that connects to the pool outside so that you can take a shower after a day out swimming or lounging, and, a bedroom with a good-sized comfortable bed, an armoire housing the minibar, with a sofa, occasional chair and a separate dining table/workspace for two. There are also bathrobes and toiletries by Anne Semonine of Paris, and its exceptional service means that anything that was somehow missed would be provided immediately upon request.

The Siniman, Tamimt and Azur restaurants are on hand for your gastronomic needs, whether you crave local Moroccan dishes or meals from other parts of the world. The Vue bar opens from late afternoon into the evening for drinks or light snacks. Several in-house experiences, from a morning run with a fitness coach to sunrise yoga, cardio boxing and nature trail walks mean that you’d still stay in shape regardless of what you consume during your vacation.

Complimentary bicycles and a shuttle service are available for exploring the city but, because The Oberoi isn’t too far, you might prefer a brisk walk to the medina. We daresay that choosing to stay at the hotel during your vacation may single-handedly be the decision you can make if you are visiting Marrakech. That is, if you will not be staying at The Royal Mansour.

Luxury Tents

Merzouga Luxury Desert Camp

Don’t fancy a vacation in the city? Morocco is one of the countries of the Sahara, so a desert vacation just might be a great idea to explore.

Now, simply because you are taking your vacation to the desert doesn’t translate to zero luxury hotels or lodgings. If you are looking for a place to stay, look no further than the Merzouga Luxury Desert Camp. Situated in the dunes of the Erg Chebbi, the Khaimas tents, so-called because they are made from camel skin, promise an authentic desert experience without sacrificing all the luxuries you’re accustomed to. You will get to enjoy activities like camel riding, sandboarding, hiking up the highest dune, and, watching the sunset once you’re up.

Meals are traditional Moroccan cuisine, but, if you’d fancy something different, you can confer with the staff to see what they can whip up.

Al Kamar Camp Erg Chigaga Luxury Desert Camp, Nick and Bobo’s

There are quite a number of luxury desert camps to choose from while in Morocco; however, what sets Nick and Bobo’s apart is their focus on sustainability and delivering an authentic desert experience. Per the camp’s website, “Chigaga is not a mainstream destination. It appeals to those seeking adventure, something unique, something off-grid.”

There are three types of tents, each offering different levels of privacy but all the same size. The most exclusive is the private nomadic camp,  but the private camp with five tents can also be exclusively booked for a family or a small group. Expect to enjoy stunning views of the desert, as well as other carefully curated activities that include visiting the desert tribes and guided walks along quiet sandy paths.

Morocco’s luxury lodging scene is as diverse as the landscapes that define this enchanting country. From the heart of bustling medinas to the serene expanse of the Sahara, there is no shortage of exquisite options to suit every taste. Whether you seek the opulence of renowned hotel chains, the authenticity of traditional riads, the seclusion of kasbahs, or the adventure of luxury desert camps, Morocco promises a unique and unforgettable experience.

As you plan your journey to the Kingdom of Light, let these exceptional accommodations be your sanctuary, ensuring that every moment spent in this beautiful country is nothing short of magical. So, pack your bags, embark on your Moroccan adventure, and let the splendour of these luxurious retreats enhance your stay.

The post Visiting Morocco? Take a Look at Some of the Best Hotels to Stay first appeared on Aspire Luxury Magazine.

The post Visiting Morocco? Take a Look at Some of the Best Hotels to Stay appeared first on Aspire Luxury Magazine.

Just last year, Ugonna decided it was time for a new creative challenge: she quit her role as the Director and Chief Curator of the Guild of Professional Fine Artists of Nigeria to open her art gallery. It’s been a year, and the Yenwa Gallery, situated in the very urban and chic Victoria Island of Lagos state is going strong, with several impressive achievements in its portfolio. She agreed to speak with us about the journey so far and some of the intricacies of owning an art business in Nigeria, among other things.

In Conversation with Ugonna Ibe begins now…

ALM: What are some unique challenges you’ve faced running an art gallery in Nigeria? How did you resolve them, and how would they shape your business in future?

UI: For the gallery, if I think about all the new-age galleries, I would say the others have been open for two, or three years. I think that I was maybe one of two galleries that opened last year and I know that I opened the gallery at an exchange rate of 740 [dollars to naira] and so, to be in year one of running a luxury business, and having the currency devaluing to that degree, was extremely challenging. It has been one that we had to adjust to, especially when considering pricing the works: do we price in naira, or do we price in dollars? These were questions that I didn’t consider. I started the gallery knowing that we were going to charge in Naira. And to be fair, to a certain extent, we have maintained that. But … I would say that is one of the biggest ones.

And of course, the transition; leaving curating for other people to then starting a business where I am balancing curatorial integrity and running an art business which are two completely different sorts of things. And that has been something that is an ever-evolving thought and process. How am I finding that middle ground of creating great curatorial shows, adding more programming and educational components while remembering that it is an art business which has to be profitable to pay the bills and the artists?

ALM: I am curious when you talk about the curatorial side of the business, does that mean it’s not profitable?

UI: No.

What I mean is, there are different ways of running an art gallery. You have the art dealers who are just dealing art and some of them don’t even put on shows; they don’t even put on exhibitions. And there are some shows that the impact is in the narrative, the impact is in the archival work being exhibited, and the impact is in the discussion around the work. It is not necessarily conceptual. And those are things that as a curator, I have done in the past and I’m interested in, and so many things you want to explore, whilst also making sure that [as] you’re running a business and you have a physical space, that you’re also doing commercial work at the end of the day. And sometimes, there isn’t room for commercial and curatorial. So that is just like the ongoing strategic thinking that I’m doing with creating my gallery’s programming.

So making sure that we have enough successful commercial shows that somewhat fund and make room for more experimental shows I should say – more experimental shows, more programming, more educational shows. Even though, because of my love for writing and narratives, we still make sure there is a strong curatorial component to our commercial shows. And I think that is also part of what is the selling point. When you come in … and we don’t do this just through text: we do it through experiences. So most of the time when you come into the space, it feels new with every exhibition … you’re transported and that is also one way to still keep it fresh and interesting even if it is just a commercial show. 

ALM: What is the one thing you want the Yenwa Gallery to be known for?

UI: If you look at our exhibitions, we have given a lot of women their first solo shows, and that is something I’m proud of, to be able to work with young women and to be able to give them that opportunity to show. But I also would like for people to … when you think about it, you know you’re going to see something interesting, something fresh and it’s going to be an experience. And that’s what I want. I want you to talk about the exhibition to other people once you leave.

ALM: So far, what has been Nigerians’ attitude towards the arts? Especially in light of our increasingly dwindling disposable income. How has that affected our attitude and perception of the arts, and generally, do you think we’re a country that truly appreciates art?

UI: So that is a very interesting question; I’ll answer the second one first. Because what I would like to know is what is your definition of appreciation? Is it appreciation from a Western lens or from the way that we live? Because I think that through time, we have always appreciated art. We have a very decorative culture, we have interesting doors, and we have interesting stools. A lot of art is in people’s homes whether they are known names or not. But I think that we have always appreciated art.

Now, when it comes to the art business, there are (sic) of course formulas to ensure that some artists, ‘ work keeps increasing in value. So, it is that system that I think we don’t have a handle on. It is still dependent on the West. But, when it comes to collecting, there is a small collector base, and there is a growing appreciation of art for collecting. Yes, the economy is very bad, but, we had our opening [the other day] for the Laju Sholola show and we sold out! I can’t believe it. But, we were also very intentional about the time that we were exhibiting the works, the type of works we were exhibiting, the sizes that we were offering, and the price points that we were offering. To make sure that the artist is happy with the price point, but that it is also sensitive to the economy.

So, in times like this, what you find is, art is bought differently. Collectors are always going to buy art. It’s almost an addiction but we’re grateful for it because we still need more – more investment in the space and more collectors. But you just find that peoples’ priorities shift in their collecting. And so that is something that as a gallerist, I have to be aware of. What type of art should I be offering, at what price point should I be offering the art and to whom should I be offering the art? So it’s just adjusting, adjusting and pivoting and maintaining, trying to sustain yourself through this period. But thinking about it strategically to make sure you’re offering the right thing at the right time. And I think we knocked it out with the Laju Sholola show!

ALM: What are some challenges artists face in Nigeria, and how do you think these can be overcome?

UI: Listen. I’ll tell you there are many challenges, but the number one is funding. And funding can solve a lot of those other problems. If you want quality art materials so that you can make quality, long-lasting art, you need money. And most of it, if not all, are imported and as the currency devalues, the more expensive the materials are becoming.

Now, this affects [the artists] in so many ways. Some people can’t create work, some people are creating work that simply responds to the market; they are not creating authentic work anymore because it’s tough. You want to sell, you see what’s selling [and say] “I can do that” so you do that. But, that is not the recipe for a long-lasting career. It might get you a few pieces bought here and there, but if you’re looking to sustain a noteworthy career, that’s not the way to go. However the funding is across the board so the artists need money for materials, the institutions need funding for programming and to be able to create space for artists to be able to show. So there are so many ways it impacts, and I’ll say ultimately, it’s the funding.

ALM: Is it possible to work with local materials as a way around this problem?

UI: Of course, it is possible … and you’re talking more about people who work with environmental themes or in environmental art. But that is such a niche and a small subset of artists. And when you look at also what the art market is doing, people are buying predominantly paintings. And even people who are using found materials and mixed media – mixed media, there is likely some acrylic in there somewhere; so, we can’t tell — I don’t know what percentage of the market — to switch their materials. And also, the artist is creating – an artist who has a genuine narrative – there is a reason for the materials that they have chosen, So, you can’t say, ‘Stop using acrylic.’ There’s a reason they have chosen that.

The person who is sculpting, there is a reason they are sculpting their stories into that medium.  So, it’s not about switching. How many sculptors can you name that are hot right now? And you know, that is also something that I’m looking at right now; I’m not seeing as many young sculptors – we were seeing a few popping up here and there but I’d be excited to see more people try out that medium. But again, it’s likely people are going for what is selling the most, and that comes from a place of lack.

ALM: How do you determine that an artwork is valuable enough to be showcased at the gallery? How do you pick your artists and how do you select the pieces?

UI: I only show the world what I believe in, the works that I like. My art appreciation is vast. That I might love it does not necessarily mean that I might buy it but I know who would. I know who to market it to, I know it’s brilliant work, I know it’s beautiful work, and it has to be something that I believe in, that I know that I can sell. It has to be made properly so the right materials, quality materials, and there’s a difference. Sometimes we have emerging artists who have a really good eye, have really good skills. But if I talk to them and we can’t land on a narrative, I’m hesitant. Because I worry about the sustainability of the artist and I worry whether this is just good craftsmanship, or if this is an artist that has many stories to tell, and many ways in which the work can develop. Of course, it’s a gamble every time, but, for artists who are already working, so not new and undiscovered, I’m looking at consistency, I want to be able to place works in collections and trust that the artist would keep creating. My collectors are buying what they love, but they’re looking also for works that will appreciate, at least some of them. And so, there is an integrity to selling works, knowing that I love it, I trust it, I trust where the artist is going, I will back the artist, things like that.

So, a lot of times it’s a feeling, and the work is beautiful. It really has to be something that feels special, feels unique, that feels genuine to the artist, and I know that I can find a home for the work.

ALM: How has the art season in Nigeria and Africa evolved especially with regards to Art X and other popular art fests?

UI: So Art X has been phenomenal in many ways. One of the major [ways] is obviously being a platform that can introduce Nigerian, West African artists, that can platform them, propel them. And sometimes not just introduce, but just give a better visibility to artists who have already been working for a long time. So that of course is a key benefit.

But really, it is the art ecosystem that they have created around Art X that has truly been special. Art week is a thing. There are so many interesting shows, there are so many interesting performances. It has created even more opportunities for people, for galleries for artists. And I think that that is great. It’s created a platform for other people to be discovered and to work. Right now, there is a global decline in art sales, but if you compare African art, the decline in African art sales is nowhere near the decline in global art sales. And that speaks to the resilience of the African art market, and we’re grateful for platforms such as Art X that are value-creating institutions on the ground which we need more of. Especially when we don’t want to be solely at the whim of the international market to be able to create value locally and that is what I think Art X has done exceptionally well. And we just need more of those opportunities in different forms, and not necessarily another art fair. I am talking about the museums – again museums need funding (laughs) – the residences that are local residences but are globally-recognised.

ALM: Is there a difference between how the works of Africans in the diaspora are valued and how those on the continent are valued?

UI: Of course, there’s a major difference, and it’s just, that we’re in two different economies, and the entry point for arts internationally is completely different to the entry point for arts in Nigeria and West Africa. Just think about the amount of money people are making in Nigeria … an entry point of $5000 in America… ok, a bit high but it’s doable. But an entry point of ₦5 million, which is still less than $5000 is relatively unheard of.

But also, what is the context here, what is the reason that you can even have a high entry point? You’ve gone to possibly a reputable art school, you’ve done an interesting residency, you’ve worked in an international gallery whose price point started at $5000 … you know, so many things in the ecosystem that allow the work to be those prices, and, that just don’t [allow that] here. What is the justification for the price point? You can justify some things even though you call them expensive abroad. But here, a lot of the art schools have lost their glory unfortunately and that is something that also needs to be looked at. [Also] do we really have any strong residencies? What are the value-creating systems the artists are going through locally to say this is my price point? This is why you see a jump in prices when a local artist is shown internationally and he’s left our shores.

Of course, the work here is undervalued and we have to respond to the local market, as we have to respond to the buying strength of the local market.

ALM: What are the major generational differences you’ve seen among art collectors who come to the gallery?

UI: That’s an interesting question!

So, there are generational differences which have also changed over time as well. I would say right now, your more established collectors are collecting more established artists, for good reason. However, established artists are slightly out of the price point of a younger collector. So you have that collector collecting more emerging artists.

A few years ago, established collectors were voraciously collecting emerging artists’ works as well, but the market was a little better than it is now, unfortunately. And so you’d see a growth in the value of those works exponentially and you had artists who were getting snapped up by international galleries and things of that nature. But … I spoke to collectors who said they have collected so many emerging artists, and only a few of them ever really became successful internationally. So what we have now is just a gap. A lot of established collectors have so many works and right now, to build a robust collection, you want to have some of the top names, you want to have the established names because they’re bankable at the end of the day, they hold the value.

We’re still connecting emerging collectors to established artists but of course, like I said, the price point is a little bit high. So, [as an emerging collector] you keep a name in mind and you work towards getting that. But right now I would say emerging collectors are buying mostly emerging artists. The emerging collector is truly buying what they love and that’s great, that’s exciting to see. And established collectors are prioritising and they are more critical. 

ALM: Are there any current conversations around tokenising artworks? Are people crowd-funding to buy pieces?

UI: There is a company that is pushing that; that’s what they do – fractional ownership of Nigerian arts, of masters and whatnot. I think that for that, there’s a massive education gap [because] how many people even know these things? It’s weird … right now I don’t know that they’ve found a sweet spot with who the target audience is for that. I think it’s necessary, it’s something that is happening globally, but, imagine if you have the option to buy a piece of Picasso, Van Gogh …  when you consider it, the people who get it, the people who know the names, they probably have the money, so why would you want to buy with anybody?

Then there is a smaller subset of people who crowd-fund to buy art, and it’s [still] fractional ownership, but it’s like friend groups. But how many pockets of those are you finding? It is something to encourage for sure, to encourage collecting together. I don’t know, I guess you have to make sure your contracts are tight. 

ALM: What is the one thing you wish you knew before getting into this line of business?

UI: That’s a tough question!

The only thing that comes to mind … cos obviously, I didn’t have physical space but I’ve been operating for a while. I guess the difference is … it’s interesting cos when I was helping out in other spaces in curating works there was a more intimate relationship with the artists. But I found that there is a stigma in being a gallerist and the artist is a little bit tense. There is a little bit of tension between the gallery and the artist which I don’t think should be at all, especially here, locally. I don’t know galleries to be exploitative or anything of that nature.

[After] the first couple of experiences [I now know] to have a firm contractual agreement with the artist. Now, we always had contracts of course, but certain things weren’t detailed within the contracts. So now my contracts are very, very tight: they’re given an advance so that we both understand our responsibilities during the show. Again, I think it is also a problem of artists not understanding the gallery model but, I have had to just be firmer with the art business, which removes me a little bit from the artist sometimes. I didn’t anticipate that change in the relationship, but it is all the better for everyone involved.

ALM: What would you like to see change in the Nigerian art scene?

UI: If I say funding again will you complain? (laughs)

I would say that it does go back to funding, but I want to see more experimental work within the art scene; I want to see more experimental exhibitions, more historical exhibitions. Just things that are beyond the gallery space: more public exhibitions, public art, community engagements, more public programming, more collaborations within the art ecosystem between galleries and museums, which I think is also a way to support where there’s a lack of finance. So say the museum can’t afford to hire me as a curator, but I can offer programming support, and join exhibitions or something. Just more collaborations to think through the way we present art and art education.

Of course, all of these things are us again trying to survive despite the government, but really what we need is governmental assistance. When you see other countries — look at the Biennale in Dakar that is funded by the government — we need that sort of support because otherwise, we’re stuck in the rat race of commercial exhibitions since everybody has to pay the bills. We have so many stories to tell, we have so much history to tell, and we have so many socio-political stories to document through art. There are so many things that can be done in so many interesting ways, so many spaces that can be occupied in very different ways. But it all boils down to being able to, because certain things that are public or educational, they’re not bringing any money. So who’s going to fund that? But that is what I would like to see because it also allows artists to see the different ways in which they can exist, the different ways in which they can create art. If you only see paintings on a gallery wall, you’ll believe that it is the only thing the market finds valuable. And that’s not necessarily so. We have shown photography, we’ve shown new media, we’ve shown experimental art, conceptual art to a certain degree, but not everybody is showing now or can, but they may want to and people have bigger, larger ideas, but they don’t have the funding to put this on. However, the artist may not understand all these things going on behind the scenes.

I have a performance artist that was speaking to me and that was his complaint, that he does not see any space that is showing performance art or making room for performance artists. And I love performance art. I don’t know that my physical structure can accommodate it as well as it should, but I’m thinking of ways we can create the work to fit the space. I think that it’s crucial especially for the artist to see all the ways that they can create and know that it will be accepted and know that they would find a place.

So, I’m looking for that cos as a creative, you want to feel free, you want to feel authentic but you also want to know that somebody is going to listen and watch and buy and invest and all of those things.

ALM: What major achievement are you most proud of concerning the gallery?

UI: Surviving girl, surviving!

I’ll tell you an achievement I’m proud of. I’m proud of many things, to be honest. I’m proud of starting, of taking the leap and getting up each day and being able to give opportunities to artists: I think that it is such a worthy way to live life and I’m grateful for the opportunity to work with art and artists.

In particular, I showed a mid-career artist, Joshua Nmesirionye, who is a part of the Guild of Professional Fine Artists of Nigeria. He has shown with all the names that are popular and he’s well known to seasoned collectors, but not all: he’s a quiet painter. But until we offered him his first show – of course, we established a relationship when I was working with the GFA – he’s only shown in group exhibitions. We showed his first solo which included an exhibition of his sculptures for the first time and it was so well-received.

At the time, the Kinseys were visiting Nigeria – they came shortly after the show. Bernard and Shirley Kinsey are the largest collectors of African-American art in history and I had shown Joshua a month before they came. I then had the opportunity to install artwork for an evening programme they were scheduled to speak at in the US Consulate. And so I brought one of my favourite pieces from Joshua’s exhibition, which, the only reason it didn’t sell is because I was being low-balled so badly I refused because I loved it so much that I thought it was being undervalued.  Truly the exhibition had done well, and I didn’t want a situation of selling by any means necessary.  So I held on to it. I placed it in the consulate for this talk and that is when they saw the work and they fell in love and they wanted to see more. We talked through different things and they ended up getting two pieces from him: one painting and that sculpture.  Their collection has been touring America for the past 18 years. They have almost a thousand pieces in history. And when they purchased Joseph’s work, that was the first time in 18 years that they had added a piece of non-African-American work of art. They then put it up for exhibition and I thought that that was so remarkable: an artist who’s been working for many years, who has been showing, and he finally gets his first solo and a piece of that work is now sitting in a museum in Houston. Of course, beyond the museum, it’s now a permanent part of the Kinsey’s collection history. And for me, I thought that was very special, I’m glad I was able to be a part of that journey.

But, there have been many other milestones, to be honest: we had our first art fair, and we recently celebrated our first anniversary as a gallery. Like I said, at the end of the day, I am grateful that I’m still able to open my doors and put on shows.

ALM: So, did that elevate the price of his works in general?

UI: So I’m going to answer this question in 2 parts. Because that is also another problem that we’re finding especially with emerging artists, where you sell a piece of work, especially direct sales; somebody hits you up on Instagram, and you sell at $5000 and all of a sudden, you think all your prices are now $5000.

So, this was a singular event, and with every exhibition, the prices do have to adjust a little bit. [Sales like this] add value [to an artist’s body of work] but it’s aggregate over time, so now it’s easier for me to get into the next thing. You have to add all these things together to then say this is what it is. Now, the prices that truly affect people’s price point is auction sales, but it is also all of these things, all of these plug points that give a good narrative for why they should join an auction.

ALM: What’s next for the Yenwa Gallery? Any big projects?

UI: Yes.

We will be launching our art residency soon: I don’t know when, but the space is ready, so if anything we might probably launch towards the end of the year. We are hoping to do more fairs next year. We’re talking to a few international galleries to collaborate on exhibitions. But yes, I think the art residency will probably be the biggest programme and then, of course, we intend to represent artists. So we will probably be making that announcement at the start of next year. Maybe at the end of our residency, we would use that opportunity to then announce the artist that we’re representing. And that is the direction that we want to go in.

ALM: Do you have any particular view towards AI and the arts? Would you like to share that with us?

UI: Yes. If you’re talking about AI specifically, yes.

I think that I’m not up to date on the legal happening right now, but my issues are the ethics behind the source material for AI and whose work is that, how is that regulated? I don’t imagine the source material even considers the African artist and the African perspective. So to me, I support visual artists; AI in particular is obviously where I draw the line. I have an ethical objection to it. I haven’t seen a compelling use case yet, so…

ALM: What are 3 things that people don’t know about you?

UI: I’m an introvert. I don’t know, maybe people know that but I think that most people think I’m extroverted. But I went to performing arts school for a long time so I just know how to be an extrovert. I’m very much introverted. I like my personal space and I need to recharge. So it’s very tough being in this business because it’s a lot of networking, it’s a lot of “people-ing”, so I always need to recharge.

Another thing would be that I’m a singer; a lot of people don’t know that. But also I think that’s intentional, I don’t talk about it because many people would then ask me to sing.

[Lastly] I’m a painter, I paint.

ALM: If you weren’t doing this, what would you be doing?

UI: I would be acting full-time. I did drama, art voice, all of that. I still want to act at some point. But let’s leave the creatives. If I wasn’t doing this, I would be a therapist.

I did not speak about [my environmentalist background] because I feel I’ve got a roundabout way to get to it at this point where I am finding ways to integrate, to consider the ways that art and artists can respond to the climate challenge. So documentaries and films are (sic) part of art, platforms that are telling the stories about what’s going on in the environment. And talking about the environment from the African perspective, I think that art is equal to the task. It makes it less personal but also less confrontational which I think is necessary. People tune out when you mention the environment, and people don’t have a true understanding of environmental impact in my opinion. I’ve had too many people say that thinking about the environment is like the final bus stop of bougie things.

I was at a talk, and someone in the audience said that people are hungry and people are this and why would I think about that? And I was like those are the people that are suffering the environmental impact the most, they just don’t know it. I can choose my environment and insulate myself to a certain degree, but a lot of people cannot do that. Between the air quality, the water, the flooding…  and I think that art allows you to make those things more real and more personal. So I don’t feel like I’m not doing the sustainability; I’m not doing it in the way that I thought I would do it, and that’s ok. I think that this way is truer to self.

ALM: I cannot go into a meeting without …

UI: Preparing and picking an outfit.

ALM: I cannot step out of the house without …

UI: My power bank. But that’s just a Nigerian problem. If I were not in Nigeria, I would never leave home without my lipgloss, because I leave with at least two.

ALM: My day is not complete until I have done …

UI: I talk with all four of my sisters every day.

‘In Conversation with’ by ASPIRE Luxury Magazine celebrates stars, influencers, celebrities and public figures, shining a spotlight on their lives and the incredible stories they have to share.

The post In Conversation with Ugonna Ibe, Multi-Hyphenate Creative and Founder of Yenwa Art Gallery first appeared on Aspire Luxury Magazine.

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And while there are [understandably] questions about performance and remarks on how BMW can improve on future designs, the consensus is that the German auto brand has finally caught up with the rest of the luxury auto world in creating vehicles that look like true luxury pieces.

But maybe there is more to this concept auto than a desire to prove that the BMW brand is still luxury.

Since 2017, Rolls Royce has offered the tail series as a highly-exclusive, coach-built model to its most select, loyal and discerning customers. These ultra-limited, custom-built models may have not been the source of the highest revenue for the brand year-on-year, but they have succeeded in placing the British brand as an undisputable producer of the most desirable-yet-uneasily-attainable luxury autos in the world.

Mercedes Benz has now caught on. In Monaco, this month, the German-born auto firm unveiled the first model in its newly launched exclusive Mythos series. The marque, the Concept Mercedes-AMG PureSpeed is an F1-inspired (which means, among other things,  no windshield) SL-based open-top, two-seater that the brand has said is a “strictly limited series of 250 units will only be available to the most dedicated Mercedes-Benz enthusiasts and collectors.”

And now, BMW appears to be trailing this same path with the unveiling of its Concept Skytop, a unique auto that is almost like nothing it has ever done. Although it does not seem like it is interested in creating a limited-edition series for the lucky few — in its official press release, the brand stated that “perhaps unique vehicles will not always have to remain unique – at Lake Como and the Concorso d’Eleganzaa Villa d’Este, automotive dreaming has always been allowed” — per Car and Driver, only 50, or possibly 100, of the Skytop would be produced as the vehicle is intended to be a ‘handbuilt collector’s item.’

To be fair, custom-built cars have always being a thing. However, creating special models geared towards a few is a trend that is beginning to catch on in the world of luxury autos. It just may have something to do with the increasing hyper-personalisation and hyper-exclusivity of luxury, which may be due, in part, to an increasing demand of luxury goods from a new generation of rich millennials and Gen Zs unwilling to maintain the tradition of scarcity, exclusivity and long waitlists and times that have characterised luxury from the beginning of time.

By restricting certain creations to only loyal clients and friends of the brand, luxury auto companies can safely maintain scarcity and exclusivity without irking new customers who do not want to be told that their interest in a product does not automatically translate to a free pass to everything and anything they desire from the brand. Becasue, whether we choose to admit it or not, the moment luxury goods become accessible to the general public, it may no longer be considered luxury.

The age of hyper-exclusivity has dawned, and luxury auto brands are showing us exactly what it looks like.

The post Luxury Auto Brands are Showing What Hyper-Exclusivity Looks Like first appeared on Aspire Luxury Magazine.

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Both the Seamaster Diver and Speedmaster Chronoscope Paris 2024 special edition models share certain similar characteristics. For one, they all feature the colours of the 2024 Olympics which are black, gold and white. Also, the case back on all the models is closed and frosted to showcase the 2024 Paris logo and Olympic rings.

But that is about as similar as both the Seamaster and the Speedmaster will get.

The Seamaster Diver is a 42mm stainless steel affair that contrasts rather nicely with its Moonshine Gold bezel (Moonshine Gold being the proprietory yellow gold alloy of Omega that it says is more resistant to fading and lustre) and blends beautifully with its white ceramic dial that includes polished waves in positive relief and the official Paris 2024 Paris typography in black.

The Speedmaster Chronoscope on the other hand is offered in either Moonshine Gold or in classic stainless steel casebacks. The first, a full Moonshine Gold model affixed to an equally full gold bracelet, features a white opaline dial with black subdials and a contrasting black ceramic bezel. A second version comes affixed to black calfskin leather.

Also in this mini-collection is a stunning stainless steel variant that is very much like its gold cousin, the only difference being its stainless steel case back and bracelet. There is also a calfskin leather version that’s perforated with a white rubber insert.

Both the Seamaster Diver and Speedmaster Chronoscope Paris 2024 edition timepieces come in a rather beautiful white presentation box, complete with Paris 2024 detailing that matches the Omega Countdown Clock at Port de la Bourdonnais. Prices range from $9,800 to $51,400 for the Speedmaster Chronoscope, while the Seamaster Diver costs $8,900. All can be purchased at Omega’s Paris boutiques, so, if you would be at the Games, treating yourself to one is like getting a bonafide souvenir that would last you long after the Olympics has come to an end.

The post Omega is Counting Down to The Olympics with Some of The Most Exquisite Timepieces first appeared on Aspire Luxury Magazine.

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How it started

Caroline’s Couture first debuted at the Cannes Film Festival in 2023 with an impressive collection of 50 pieces and was modelled by the likes of Naomi Campbell, Eva Herzigova and Natalia Vodianova.

If you’re wondering, why fashion? Ms Scheufele has a good answer for you.

Normally, she explains, clothes from high fashion brands like Elie Saab, Dolce & Gabbana, Zuhair Murad and others were used to showcase Chopard’s Red Carpet high jewellery line during the Cannes Festival of which the jewellery brand is a sponsor. “But these dresses are often already full of precious ornaments, where the jewels are drowned out. So I started to imagine models that were less rich in the upper part and with just the right necklines to better show off my adornments,” she says.

Teaming up with Maximiliano Modesti who has been developing embroidery workshops in India including the Kalhath Institute in Lucknow, North India, which is where all of Caroline’s Couture embroidery is crafted, and, working with Fridtjov Linde as Design Director, Caroline brought her dream to life.

And to instant acclaim. “The day after the first show, a queue began to form around the models that had remained on display in the showroom, where we were presenting our Red Carpet jewellery collection. We were totally overwhelmed! It didn’t take long for the first orders to come in.” A few months after, Saks opened a dedicated pop-up for the collection in Palm Beach, bringing “us a new clientele who didn’t even know about Chopard.”

Where Caroline’s Couture is now

It’s been a year since the premier Caroline’s Couture show and Ms Scheufele is back with a slightly larger collection of 77 pieces, including a few men’s silhouettes that are slated to make their runway appearance on May 21. She has also expanded her team of creatives to include milliner Philip Treacy who will create six hats and Parisian fashion house Cifonelli who is handling the menswear with five dinner jacket silhouettes embroidered with rhinestones.

And the pieces are not just about showcasing the Maison’s jewellery and accessories in the best light. They are also a reflection of the Swiss brand’s savoir-faire in the world of haute joaillerie. For example, a long strapless sheath in aqua green is entirely embroidered with flowers and tiny stones. And there is a black suit completely covered in black sequins in a hearts motif emblematic of Chopard jewellery.

Most of the fabrics are developed exclusively for Chopard by the Comes Gentili Mosconi silk manufacturer, while the tweed is supplied by the Reggiani wool manufacturer in Piedmont. The shoes, on the other hand, are courtesy of Casadei.

Caroline is confident that the success of her fashion collection last year isn’t just beginner’s luck, as this second edition will prove. And what’s behind her confidence? Well, the fact that it appears that she has done her homework and knows who her target audience is. In her own words, pivoting to haute couture, for Chopard, “ is good business … If we stay small, it can be profitable. There’s a market for it, especially in the Middle East and India.”

So, will Caroline’s Couture by Chopard succeed where most brands have failed? From all indications, it appears that it is on the right path, and maybe other luxury brands looking to pivot can borrow points from its playbook.

The post Caroline’s Couture V2.0: Chopard is Now a full-blown Fashion Brand first appeared on Aspire Luxury Magazine.

The post Caroline’s Couture V2.0: Chopard is Now a full-blown Fashion Brand appeared first on Aspire Luxury Magazine.

That is a multimillion-dollar question, and one the jury is still out, but Porsche Design thinks it may have provided the answer in its latest collaboration with Honor on the Magic V2 RSR.

Without further ado, let’s break down what its ‘answer’ looks like.

Hardware:

For smartphone companies, the intersection between creating durable yet sleek and not too heavy or bulky ‘outerwear’ for their devices is a slippery slope to navigate. Not to mention, the phones still have to have a modern aesthetic, and for pricey models like the  Porsche Design Magic V2 RSR, they have to also look like they are worth the price.

Using a mix of materials, Porsche Design appears to have navigated this slope excellently. For the screen of its version of the Magic V2 RSR, the team chose to go with a rhinopower nanocrystal glass that it says improves its resistance — up to 10 times more wear-resistant and 10 times more drop-resistant— keeping the screen like brand new even without the aid of a screen protector.

The caseback is made from a mix of plastic, aluminium alloy and stainless steel, amongst other materials, while the back-facing camera is protected by 3D glass framed by titanium. Yet, in all this, the foldable phone manages to weigh a mere 234g. For context, the Samsung Galaxy S204 Ultra weighs 233g while its Galaxy Z fold 5 weighs 253g. It may not be as light as the iPhone 15 Pro which weighs 187gms, but for a fold, the weight of the Porsche Design Magic V2 RSR is impressive.

And of course, it has an IPX4 water resistance rating.

Software:

The last time anyone had the patience to deal with a slow-processing phone was at the height of the Blackberry era, and even then, we were so over it.

The Porsche Design Magic V2 RSR is fitted with the Snapdragon 8 Gen 2 processor that increases its maximum main frequency to 3.36GHz. Which, in layman’s terms means that the smartphone responds to actions relatively fast and without using too much battery power and overheating like a 20-year-old ‘metal mobile’ with a cranky radiator.

Camera:

No one is buying a phone with a bad camera these days. Not Gen Z, X, or any other generation alive today.

It is no surprise then that this Porsche-designed smartphone has three lenses: the ultra-wide, the wide angle and the telephoto lens with 50MP, 50MP and 20MP respectively. And its 16 MP wide-angle dual front camera means that whether you’re taking selfies or are on a video call, the camera’s quality is good enough to avoid making you resemble a pixelated cartoon character from 80s in your photos.

Memory, storage operating system and battery:

Most modern smartphones have ditched expandable external memory which means that anything less than 512gb is unacceptable unless you have a robust cloud storage space. And not even then is anything less than 512gb acceptable.

Thankfully, the Porsche Design Magic V2 RSR got the memo and comes with 16gb memory and 1TB storage space. Battery is a 5,000 mAh silicon-carbon that Porsche says can keep you running for the whole day, while its OS is Honor’s MagicOS 7.2, based off on Android 13.

Aesthetics:

Of course, it would not be Porsche-designed if it did not include elements from the Porsche auto.

Borrowed elements include the Porsche-style flyine that runs the length of the phone’s back and immediately brings to mind the 911. It also helps to improve grip and handling so it isn’t just some fancy addition to remind you of a supercar.

Then there is the user interface that is once again reminiscent of the 911. The charging screen looks just like the dashboard of a Porsche auto, while the dark theme is very Porsche. Other Porsche elements appear all around, including in parts that are not immediately visible.

And even if all these were somehow missing, the fact that its accessories include a Porsche Design case, 2 chargers, 2 USB cables, a pen and case is enough proof that this Magic V2 RSR is every bit as Porsche as a Porsche. Because what mobile phone company is including all these very extra accessories?

All of which brings us to the original question: is the Porsche Design Magic V2 RSR a good phone? Or is it a great phone that is a model of what a modern mobile phone should be?

The post The Porsche Design Magic V2 RSR: A Good Phone? Or a Really Great Phone? first appeared on Aspire Luxury Magazine.

The post The Porsche Design Magic V2 RSR: A Good Phone? Or a Really Great Phone? appeared first on Aspire Luxury Magazine.

The state of today’s luxury market

Mr. Dufour’s rather sharp retort makes sense, even though it sounds counterintuitive. After all, a major reason why certain luxury goods are more popular than others is simply because they are not only able to retain their value both financially and as status symbols, but they are also highly sought after years after their original release. Having such a product as part of their portfolio is also partly what keeps legacy brands in business.

But as Jean-Frédéric has pointed out, there are ‘dangerous’ consequences when consumers treat luxury items as an important part of their successful investment portfolios.

Between 2020 to 2022, the luxury market was riding on a ridiculous high. Nearly every business, from auto to fashion, lifestyle and timepiece brands, was reporting unprecedented profits, while eager buyers, unable to get their hands on newer releases, turned squarely to the secondary market. This in turn caused the prices of pre-owned goods to skyrocket, and ‘smart investors’, realising there was quick profit to be made, turned the whole situation into a Ponzi affair, buying and selling on the secondary market rapidly and driving prices even further upwards.

By 2023 however, the story began to change. Economic downturns, geopolitical turmoil from warring nations in Europe and more recently, the Middle East, and political instability among other issues caused aspirational customers and the affluent to slow down on luxury spending. Luxury retail stores that had increased their stock to accommodate the increased demand are now stuck with excess merchandise, and as for consumers who had accumulated luxury goods in the hopes of making a quick profit? Well, like the businesses, they now have to deal with products they may or may not be able to sell for a profit.

The rise of superfake luxury goods

Imitation luxury goods have existed as long as there has been a demand among consumers to flaunt a lifestyle they cannot afford. And while there is no official correlation yet, it appears that superfake luxury items – imitation luxury goods that are so close to the original that it is hard to detect at first glance – began to increase in popularity at the same time as demand for luxury goods exploded.

It does not come as a surprise. Wherever there is a high demand, there are always opportunists waiting to take advantage of those who do not know better.

Have Rolex and other luxury watches now lost their investment value?

Short answer? No.

In a recently concluded sale in Hong Kong, Sotheby’s reported that it had set two new sales records in its Important Watches I category. The first was the Patek Philippe Reference 2526 – the brand’s first self-winding wristwatch made especially for renowned collector J.B. Champion – that sold at US$729,977, while the second, a Cartier ‘Paris Cloche’, No. 1/1 quadrupled estimates to sell at US$210,882.

And this is not a standalone event. Luxury timepieces continue to sell on the secondary market at a higher value than their brand-new counterparts, just not at the same frenzied pace as during the pandemic, and definitely not at the outrageously high markup prices as two years ago.

Should you take Jean-Frédéric Dufour’s advice and not treat the Rolex – and other luxury timepieces – as a luxury investment?

Yes and no.

Yes, because, unlike stocks, they are products that have been created for everyday use, not just to have and to hold until there is a high demand for them on the secondary market.

And no, because at the end of the day, true, high-quality luxury items — if they are treated right — make great alternative investment portfolios, regardless of how the brands feel about this.

The post CEO Says The Rolex is Not A Luxury Investement. The Market says Otherwise first appeared on Aspire Luxury Magazine.

The post CEO Says The Rolex is Not A Luxury Investement. The Market says Otherwise appeared first on Aspire Luxury Magazine.