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.

Whatever your whisky love story is, we’re curious: how do you choose your drink? Are you team tested-and-trusted, or, are you open to trying new brands?  If you’re in the latter category, how do you decide what new brand to try out? Do you just glance through the label and follow your gut? Or are you drawn more by what your eyes can see?

While there may be no right or wrong way to make a decision, Sotheby’s has a guide that can give you an idea of what a bottle of whisky would taste like even before it hits your tongue. And even if you belong to the tried-and-trusted gang, it does not hurt to know that, should you decide to be more adventurous in the future, there is a foolproof guide to making the best decision quickly.

Now that that’s out of the way, here’s what to know

Whisky or whiskey? The spelling matters!

Not in a pedantic sort of way. However, there is a difference that is beyond the spelling. If it’s American or Irish, it’ll be ‘whiskey’. If it’s from Scotland, Canada or Japan, that will be ‘whisky.’

But the difference doesn’t end there. American and Scottish whiskeys are distilled twice while their Irish cousins go through distillation three times. That’s why they are also so smooth and buttery-soft.

Location too!

Of course, where a drink comes from determines how it tastes. The originating region influences the style, flavour and colour of every whisky. There are three classic regions in this regard: Scotland, Ireland, and America. All scotch comes from Scotland (of course) and must have been aged for at least three years. Irish whiskey is made from malted or unmalted barley and is typically triple-distilled, resulting in a characteristically smooth taste.

Whiskey from America’s South – which by the way is referred to as Bourbon –  is notable for its slight sweetness and richness and is made from a mash containing at least 51% corn, aged in charred wooden barrels (cypress or oak) and bottled at no less than 80% proof.

Japan is another notable player in the world of whiskies, although it does not have a long provenance like the other regions. The Asian country produces scotch-inspired whiskies that tend to be lighter (both in flavour and colour) with a slightly fruity taste.

Casks are important …

Casks are a crucial part of whisky production, as they are used in its storage and maturation. The type of wood used, and how said wood is treated imparts a distinct flavour on this deliciously golden liquid.

Casks are traditionally made from oak sourced from Europe and America, and in the United States, they are charred to remove traces of previous use and imbue the fluid with a rich flavour. Once the whisky is distilled (in a large device called a potstill), it’s poured into these wooden vessels for maturation. The length of time spent in the cask is noted on bottles as the whisky’s age.

Also, whisky distillers may state whether the casks are ‘first-fill’ or ‘refill’. A ‘first-fill’ cask is one that has never been used and will therefore transfer the most flavour from wood to spirit. A refill is just what it sounds like – a previously used cask. Refills are often used to balance and adjust mellowness in whiskeys initially seasoned in first-fills.

Sherry-seasoned casks are also commonplace, the wood imbuing a mild flavouring of the sweet wine to the whisky.

… As are the ABV and age of the particular bottle you’re looking to purchase

ABV, alcohol by volume, tells you what percentage of alcohol each whisky contains, while age indicates the amount of time the whisky spent maturing in the cask.

The average ABV for whiskies is 40-50 per cent. Scotch, by law, must have a minimum ABV of 40 per cent, while special ‘expressions’ ( whisky-speak for limited variations, or special editions) often boast of higher percentages. Special expressions are typically stronger, more complex in taste and, in some cases, bottled directly from the cask with no added water.

Some whiskies spend their entire lives in a single cask, with distillers regularly tasting to achieve the right flavours. However, the usual method is to move them from cask to cask during the maturation cycle to balance or shift their flavours. Age corresponds to a whiskey’s richness: the longer the maturing process, the longer the flavours have to develop. This doesn’t mean that younger vintages aren’t flavourful, but typically, they will likely be less complex.

And finally, mash, peat and smoke

You’re more likely to hear the word ‘mash’ from distillers than you are to see it on a bottle of whisky. Mash is the mixture of grains used to create the whiskey, with malted barley being the most typical grain used. There’s also corn and rye, and, depending on the region and variation, wheat.

Peat is primarily used in Scotch whiskey from the Northern Isles. It typically refers to a distinct, earthy, smoky flavour that is achieved when peat is used to dry malted barley as part of the whisky’s production. The length and intensity of exposure to the peat smoke will determine just how smoky the final product will be.

And there you have it. So, the next time you want to try a new bottle of whisky, maybe instead of trusting your gut, thoroughly read the label to make the right decision for you.

Source: Sotheby’s

The post What to Look Out For on The Label Before Purchasing a Bottle of Whisky first appeared on Aspire Luxury Magazine.

The post What to Look Out For on The Label Before Purchasing a Bottle of Whisky 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.

As usual, the results were a mix of wildly differing opinions.

Conflicting Reviews

Searching for reasons to visit Morocco online can leave you more confused than enlightened. You’ll find dazzling reviews (“Visit Morocco, and you’ll wonder where it’s been all your life!”). Mixed opinions (“Morocco is great, but you have to haggle over prices in the souks, which can be exhausting”). Foodie reviews (“Why you must eat a beef tagine before you leave the Kingdom of Light!”), and random articles tied to the writer’s profession or hobbies.  “I am a professional photographer: here are all the picture-perfect places to visit in Morocco”.

These reviews are all great, but for me, they didn’t quite tell the story of the Moroccan people are. They don’t describe the general vibe, and what one should expect to see as an African in another African country.

My Experience

So, here’s my opinion of what you’ll most likely notice after a few hours in Morocco. It might not resonate with you, but I hope it gives you a new perspective on this country.

But first, a quick disclaimer…

My short stay in Morocco meant I did not get to explore the country as I would have loved to. However, I saw enough to give me a general idea about the country and its people. I spent only 5 days in Morocco, and I did not get to experience the more laid-back charm of the cities of Essaouira and Fez (or Fes if you like). I also didn’t get to see the stark beauty of the desert town of Merzouga. While I toured the more popular cities of Tangier, Casablanca, and Marrakech, my visit cannot give a conclusive summary of this beautiful country. Nevertheless, here’s everything I noticed in just a short amount of time.

The Rich Culture

From the moment we landed in Casablanca, I got the impression that Morocco is a kingdom of ancient traditions and long-held cultural values. This is evident in the homogeneous architecture and the prevalent craftsmanship seen in the designs on the ceilings and walls. The furniture and accents in homes, hotels, and other commercial establishments, and the handcrafted items available for sale in souks all over the cities. Moroccans are incredibly proud of their culture and traditions, and it shows everywhere and in everything.

A Feast for the Eyes

Everywhere you go, it is common to see hand-designed patterns on the walls and ceilings, such as the stunning designs at La Musee des Confluences in Marrakech.

Beauty and Skincare

Moroccan traditions extend to beauty and skincare. You’d have heard of argan oil and its numerous benefits, but, in Morocco, you would see it in action everywhere you go. Argan oil, known for its numerous benefits, is used extensively. In Tangier, vendors offered customised body oils featuring argan oil and other ingredients like cloves, rosemary, and black seeds.

With an underlying pride and a hint of emotion in their voices, all said the same thing: their formulations are potent and would work because they use age-old recipes. Recipes inherited from their parents who in turn learned it from their parents who unsurprisingly were taught by their own parents …Their pride in these age-old recipes was evident!

Culinary Delights

Moroccan cuisine is definitely a highlight! It doesn’t matter if you’re in a 5-star hotel restaurant, a Michelin-endorsed dining establishment, or a street café. You’ll be served traditional Moroccan dishes, including the famous tagines. One of my most profound memories was being welcomed by hotel staff in traditional attire, serving mint tea and delicious sweets. This experience rivaled my first taste of beef tagine in a quaint restaurant in Chefchaouen.

An Active Lifestyle

Moroccans are walkers. The cities are designed with narrow alleyways and strategically placed amenities, encouraging walking. Taxis are mostly for tourists or those who cannot walk due to distance or health reasons. This lifestyle contributes to the fitness of older locals. The life expectancy in Morocco is between 73-74 years, but judging from the energetic crowds, it just might be closer to 80.

The Verdict

If you’re wondering whether to visit Morocco this summer or next, I’ll say, “Go!”

Because the pictures show a fabulous country to vacation in.

You’ve heard so much and want to see if the hype is true.

You crave authenticity and adventure in your travels.

But ultimately, go because you will learn so much, from the importance of preserving culture and traditions to the beauty of taking pride in who you are and being unapologetic about it.

The post Experience Morocco! A Journey of Culture and Tradition first appeared on Aspire Luxury Magazine.

The post Experience Morocco! A Journey of Culture and Tradition appeared first on Aspire Luxury Magazine.

So far, the Group’s footprint in Africa has grown to nearly 100 hotels in operation and development, placing it well on track to reach its goal of 150 hotels within the next five years and further establishing it as the hotel company with the largest market presence in Africa.

In Nigeria, Radisson Hotel Group continues to hold a leading position with a portfolio of 13 hotels in operation and under development, including five new hotels signed in 2023. The new signing of the Radisson RED Hotel Abuja has further bolstered the Group’s presence in the city, bringing the total number of hotels under development in Abuja to four.

Over in Morocco, the Group has pursued the same efforts with a clear transformation plan, growing its presence from one hotel in 2020 to over nine hotels in operation and four hotels in development currently. Casablanca represents a strategic hub among multiple continents, and the new signing of Radisson Blu Hotel & Apartments Casablanca Finance City and Radisson RED Hotel Casablanca Finance City solidifies the Group’s ambitions to reach over 25 hotels by 2030 across the country.

Ramsay Rankoussi, Vice President, Development, Africa and Turkey at Radisson Hotel Group, said, “The seven new hotels align with our expansion strategy, demonstrating significant growth in key African markets such as Morocco, Nigeria, Tunisia and Ethiopia as well as our highly anticipated debut in Tanzania. These hotels also highlight our conversion strategy and our commitment to diversifying our portfolio by introducing new brands and cementing our presence in these important markets.”

Here’s everything we know about all seven hotel signings

Radisson Blu Hotel & Apartments, Dar es Salaam (Tanzania)

Marking the Group’s debut in Tanzania, this 138-room hotel, featuring 94 guestrooms and 44 three-bedroom apartments, is set to open in 2025 as part of a mixed-use development in Dar es Salaam’s CBD. The hotel will occupy the top 14 floors of a 33-floor tower, one of the tallest buildings in the area, and is within walking distance of the ferry terminal to Zanzibar Island.

The hotel will offer a diverse array of dining facilities, including a lobby café, business class lounge, all-day dining restaurant, speciality restaurant, outdoor pool, and pool restaurant. Additional amenities include retail stores, a ladies’ salon, indoor parking, a gym, a steam room and sauna, a kids’ playroom, and eight meeting rooms.

Radisson Hotel Mwanza (Tanzania)

Supporting a strong market entry, this 196-room hotel currently under construction will launch the Radisson brand in Tanzania in 2025. Mwanza, Tanzania’s second-largest city, is renowned for corporate meetings and events and is the ideal starting point for tours to the Serengeti National Park. As the only branded hotel in Mwanza, it will feature a lobby café and bar, an all-day dining restaurant, sports bar, outdoor pool bar, executive lounge, and two speciality restaurants: Balaustine, a ‘casual-fine dining’ experience inspired by the Barbary coast, and, the Levant and Filini, offering a delectable dining experience of fresh, simple, and delicious Italian-style cuisine.

The meetings and events space includes a triple-height ballroom, a business centre, boardrooms, and a conference room. The extensive wellness facilities will comprise a gym, spa, outdoor pool, and kids’ playground.

Radisson Blu Hotel & Apartments, Casablanca Finance City, and, Radisson RED Casablanca Finance City (Morocco)

Enhancing the Group’s Moroccan portfolio – which currently includes eleven hotels in operation and under development – is the addition of two new branded hotels and a serviced apartment. These new builds, including the first Radisson RED hotel in North Africa, will feature a total of 381 rooms and are set to open in late 2027. They will be located in Casa Anfa, at the heart of Casablanca Finance City, the city’s new financial hub, recognized as Africa’s leading financial centre, on par with London and La Défense in Paris.

Providing guests with an array of dining and wellness facilities for an ideal stay, the Radisson Blu will offer guests an all-day dining restaurant, a speciality rooftop restaurant, and a rooftop bar. Meanwhile, the Radisson RED hotel will include a restaurant and a pool bar. At the Radisson Blu’s wellness facilities, expect a spa, a fitness centre, and an outdoor rooftop swimming pool. The Radisson RED will have nearly the same features with a fitness centre, an outdoor pool and a rooftop swimming pool.

For meetings and events, in addition to the five meeting rooms at the Radisson Blu, there will be a 1,100-square-meter conference centre comprising an auditorium, a large ballroom and three meeting rooms, making the complex the future meeting destination.

Radisson Blu Hotel & Conference Center, Tunis (Tunisia)

This 305-room hotel, a conversion of an existing property, will soon premiere the Radisson Blu brand in Tunis, complementing the Group’s footprint in Tunisia as its seventh hotel in the country and fourth in Tunis. Located just ten minutes from the airport, the hotel will come equipped with dining outlets such as a lobby bar, shisha bar, all-day dining restaurant, and three speciality restaurants.

The expansive convention centre will include multiple meeting rooms, boardrooms, a VIP room, an executive lounge, a business centre, and a 1,400 sqm ballroom, making it the largest conference centre in the city.

Radisson RED Abuja (Nigeria)

The 105-room hotel, set to open in 2028, will be Radisson Hotel Group’s 13th property in Nigeria and the second Radisson RED in the country, introducing the upper upscale brand to Abuja. Located in Wuse, Abuja’s main commercial and social district, the hotel will be surrounded by corporate offices, popular estates, shopping malls, and nightlife venues. The hotel will feature a bar and terrace, an all-day dining restaurant, and a pool bar and grill. It will also offer 238 square meters of meeting space, including three meeting rooms, a pre-function area, and a fitness facility.

Park Inn by Radisson Addis Ababa (Ethiopia)

Scheduled to open in 2025, this 120-room hotel will be the Group’s third hotel in Ethiopia, all located in Addis Ababa and will introduce the Park Inn by Radisson brand to the country. Dining options will include a breakfast hall, restaurant hall, coffee shop, and four soft drink bars. The meeting and events space will consist of a large and medium conference room and four meeting rooms. Guests can also enjoy two gyms, a spa, a business centre, sports facilities, a kids’ entertainment area, a retail space, and a co-working space.

Since 2022, the Group has opened a total of 14 hotels, including the debut of the Radisson brand in Morocco (Radisson Hotel Casablanca Gauthier La Citadelle) and Tunis (Radisson Hotel Tunis City Center). These openings have diversified the Group’s portfolio with the first safari hotel in Africa, Radisson Safari Hotel Hoedspruit; the first resort in Livingstone, Radisson Blu Resort Mosi-oa-Tunya, and, the debut in Reunion Island with Radisson Hotel Saint-Denis. This achievement has set a record for the Group in terms of realizing its pipeline into openings, translating into a commendable 15 per cent annual net operating growth in its African portfolio.

“With a strong first half of the year, we plan to continue the momentum in the second half by focusing on expanding our presence in key markets such as Morocco and South Africa, where we’ve recently announced our ambition to reach 25 hotels by 2030, doubling the portfolio in both countries. We thank each of our partners for their valued trust in us and our brands,” concluded Rankoussi.

The post From Tunisia To Tanzania, Radisson is Growing Its Footprint in Africa first appeared on Aspire Luxury Magazine.

The post From Tunisia To Tanzania, Radisson is Growing Its Footprint in Africa 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.

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

Rather than simply listing cities, monuments, and must-see attractions in this traditional North African gem, I invite you to join me as I reminisce about my recent unforgettable 5-day vacation in the Kingdom of Light. I recommend that you grab a cold drink first to be able to keep up, as I packed in A LOT into this 5-day trip!

Day 1: Arriving in Casablanca

Our Moroccan adventure began in Casablanca, where we arrived at noon on June 1st. I had deliberately chosen to keep my eyes and mind open, free of preconceived ideas, so I could truly explore with fresh eyes. My first impression of Casablanca was that it was charming and sophisticated, a city where ancient Moroccan culture coexists perfectly with modernity.

After clearing immigration, we were warmly welcomed by the Moroccan Tourism Board, who escorted us to a luxury bus that would be our primary mode of transportation for the remainder of our trip

Tip: If you’re considering group travel to Morocco, skip the taxis and opt for a luxury bus and chauffeur. It adds a unique flair to the entire trip.

We arrived at our first hotel, a stunning 5-star establishment in the heart of Casablanca. Once settled, we were whisked to the hotel’s spa for our first Moroccan experience: a rejuvenating hammam session at the spa.

Tip: When you visit Morocco,  make sure a visit to a hammam is on your list.

Our first day ended with delicious cocktails on the hotel’s rooftop, where a DJ played Nigerian songs in the background— as everyone bopped and swayed to the beats. It was a nice feeling that made our evening even more special.

Day 2: Exploring Tangier

Day 2 began with a quiet but quick breakfast at 7 AM, as we had an early departure for Tangier. By 8:15 AM, we were at la Gare de Casa, the train station, ready for our 2-hour trip to Tangier. While a 7-hour road trip sounds appealing, it would have disrupted our itinerary, so we opted for the faster train option.

We arrived in Tangier just before noon, and the welcome in Tangier was quite different from Casablanca’s floral greeting. Here, we were served mint tea and traditional Moroccan sweets by staff dressed in traditional attire.

Our guided tour took us to several popular spots, including the Cape Spartel Lighthouse, the Petit Socco, the Kasbah, and the Medina. One thing that stood out was the uniformity in design. Our guide explained that Moroccan craftsmanship is deeply rooted in the culture and preserved through generations. The intricate designs in a newly-built 5-star hotel could be identical to those in a historical museum like Dar Niaba. While it might seem monotonous after a while, appreciating the hand-crafted details that have endured through the ages gives you a deep respect for this cultural heritage.

Our tour included a visit to the spice and herbal section of the market, where we could choose spices and herbs for customised medicine, skincare products, and perfumes. Watching the skilled men, mostly in their late 50s and 60s, quickly formulate products using techniques passed down through generations was a testament to the rich cultural preservation alive in this ancient kingdom.

Our day ended with a drive through the vibrant town to a charming restaurant, where we indulged in Moroccan delicacies and wine, ending our second day on a delightful note.

Day 3: Enchanted by Chefchaouen

With our tour of Tangier complete, we journeyed to Chefchaouen, known as The Blue Pearl. This enchanting city, with its thirteen gates and predominantly blue colour scheme, is a sight to behold!

Seeing the city in pictures is one thing; but standing on its cobbled streets, basking in the brilliance of the sun, and taking in the stunning scenery is a completely different affair. The blue and white hues make you feel like you’ve stepped into an alternate universe. The architecture, the people, and the vibrant atmosphere bring the city to life, making you feel instantly invigorated.

In Chefchaouen, we experienced our first Moroccan wedding, which was one of the most beautiful ceremonies I’ve ever attended. Everything from the clothing and jewellery to the oud songs sung by the women celebrating the bride was remarkable and decadent. It made me wish I were more than just a spectator!

It was also in Chefchaouen that I tasted my first tagine, a delectable beef-filled dish that I won’t forget soon …

Day 4: The Road to Marrakech

We bid farewell to the enchanting city of Chefchaouen in the morning and embarked on a journey to Marrakech via Tangier and Casablanca. This was my first opportunity to experience a Moroccan road trip, and I can assure you, it did not disappoint. The scenic drive showcased the diverse landscapes and vibrant culture of Morocco, making it an unforgettable experience. 

Tip: When you visit Morocco, be sure to include a road trip in your itinerary.

Day 5: Farewell Adventures in Morocco

Our vacation in the Kingdom of Light was coming to an end, and we decided to pack in as much fun as possible before our departure scheduled for later in the evening.

We started the day at 5:45 AM with a hot air balloon ride, hoping to catch the sunrise. If you’ve never tried hot air ballooning, it’s a must-do. Initially, you might cling on for dear life, but as you ascend, fear gives way to sheer exhilaration, and you’ll wonder why you were ever afraid.

After touching back down, we were off for some quad biking. At this point, we were fearless and eager for more adventure. I opted to ride with a guide, but if you’re more daring, you can ride solo. Don’t worry, you’ll be equipped with all the necessary safety gear, and help is always nearby in case of emergencies.

As if quad biking wasn’t thrilling enough, we thereafter hopped on camels for a more traditional experience. This slightly hair-raising adventure is one I recommend if you’ve never tried it; I thoroughly enjoyed every moment.

Having had our fill of adrenaline, we returned to our hotel to freshen up before heading back out for one last exploration: the Museum of Confluences, Dar El Bacha. The museum offered a feast for the senses with its stunning architecture, intricate wall, ceiling, and floor designs, exquisite woodwork, and a coffee shop featuring beans from around the world that brew for a minimum of two hours. (Yes, you read that right. Two hours.)

Alas! All good things must come to an end, and soon it was time to pack our things and head back home. As we were chauffeured to the airport, I felt waves of bittersweet emotions. While I was happy to be returning home, I didn’t want the magical Moroccan experience to end. This just means I’ll be back again soon, because as anyone who has been will tell you, 5 days is grossly inadequate to take in its beauty.

Tip: You simply must visit Morocco – The Kingdom Of Light!

The post Want to Visit Morocco? Here’s How I Did It in 5 Days! first appeared on Aspire Luxury Magazine.

The post Want to Visit Morocco? Here’s How I Did It in 5 Days! appeared first on Aspire Luxury Magazine.

Morocco is truly one African nation to explore if you haven’t done so already. Not only is it choke-full of interesting places to visit — Morocco is famous for preserving ancient traditions in every aspect of their lives from architecture to food, and even style — but there are so many things to do and see that we daresay a 2-week stay is barely enough to get acquainted with whatever city you choose to visit, talk less of the entire country.

Fresh from our Moroccan trip, here are some places that really intrigued us and we believe offer a good starting point to an exploration of the Kingdom of Light.

The Hassan II Mosque, Casablanca

Very cliché in terms of where to visit, but if it’s your first time in the country, it pays to start with a popular and important landmark as it serves as a great foundation of what to expect on your Moroccan adventure.

The storied mosque that took about seven years to build and thousands of hours of labour features mostly local materials and craftsmanship. Its strategic position by the Atlantic Ocean and just a little above it adds further appeal to its magnificent size and impressive craftsmanship.

Thousands of stories and articles on one of the largest mosques in the world with one of the world’s longest minarets abound, and it can almost feel like you’ve been there without having actually ever visited. But, unlike other popular tourist destinations, it is truly one place you must see for yourself to fully understand how beautiful and special it is.

Hammam

Whether you are in Marrakesh (Marrakech if you prefer) or Casablanca, the one activity you cannot afford to miss is the traditional Moroccan Hammam, which is why it gets a special place on this list.

The Hammam is basically a spa experience that starts in a dry hot room, then moves on to a hot, steamy room, which then gives way to a bathing room, and ends in the resting room, or, in some cases, goes on to yet another room, the massage parlour, where you receive a full body massage that melts away whatever stubborn stress might remain after this truly blissful experience.  You’d thoroughly enjoy the amenities and treatment from seasoned practitioners with decades of expertise using centuries-old local Moroccan practices, soaps and oils.

Tangier

For most visitors, Casablanca may not have much to offer beyond the Hassan II Mosque and other smaller tourist attractions, but not Tangier.  This ancient medina, which is the meeting point of the Mediterranean and the Atlantic, is the perfect place for limitless exploration, and when you want, blissful relaxation.

Tangier is a  7-hour road trip from Casablanca, but, to get there faster, a 2-hour train ride from La Gare Casa would suffice.

Once there, you can choose to explore the Kasbah, a historic fortress and palace, housing the Dar Niaba museum, which showcases the city’s history and cultural artefacts. Or, if you would rather just sit back and take in the city, the Petit Socco, also known as Souk Dakhli, is the place to go. The Grand Socco, on the other hand, is a vibrant, bustling public square, surrounded by historic buildings, cafes, and shops, so should you get bored, you can easily hit the stores to buy everything from clothes and shoes and even prepare your unique body oil with whatever herbs, seeds and nuts of your choice.

The Cape Spartel Lighthouse is one landmark you do not want to miss while you’re in Tangier. Situated at the northwestern tip of Africa, where the Mediterranean Sea and the Atlantic Ocean converge, this historic lighthouse, built in 1864, stands majestically on a rocky promontory, its shining bright beam guiding ships and travellers alike.

The Lighthouse is not only a marvel of engineering but also a sacred site, mentioned in the Qur’an and the epic poem, Ulysses by Homer. In the former, it is called the ‘Ras al-Tubul,’ marking the western extremity of the known world while Ulysses describes it as the ‘Pillar of Hercules,’ symbolizing the gateway between Europe and Africa.

Chefchaouen

You’ve probably heard about the picturesque blue town of Morocco, but Chefchaouen is more than its blue-and-white aesthetic. Its rich history, intentional architecture that preserves decades-old tradition and culture, and, very traditional cuisine that includes the tagine, a slow-cooked stew, all come together to make for a truly authentic, luxury experience like no other.

Chefchaouen was founded in 1471 as a fortress to resist Portuguese invasions. The blue you see everywhere is intentional, as, in Moroccan culture, the colour is believed to ward off evil spirits and bring peace. This beautiful fortified medina, with its twelve gates and narrow streets, offers the best of Moroccan warmth and hospitality, and even if you do not get to visit other popular cities like Marrakech and Tangier, the one place you absolutely do not want to miss on your first visit is the very beautiful, very traditional, and very charming city of Chefchaouen.

Marrakech

Last on our list is Marrakech, and honestly, if the theme of your vacation is ‘busy days and countless media,’ Marrakech should probably be the starting point of your Morrocan adventure.

There’s so much to do and see that a week in Marrakech would probably be grossly inadequate. From the museums — like the Dar El Bacha, La Musée des Confluences — to the souks, to the public buildings open to tourists, to the different tourist activities like quad biking and camel riding, you’d never run out of things to do and places to see. Also, the architecture and craftwork, especially in the Medina, is simply stunning and breathtakingly beautiful.

Even if your goal is to have a very peaceful Moroccan vacation, it would not hurt to add Marrakech to your list of places to visit, even if it is just for a day or two. The experience would definitely be worth it.

The post First Time In Morocco? Here are Some Must-See Destinations and Activities to Consider first appeared on Aspire Luxury Magazine.

The post First Time In Morocco? Here are Some Must-See Destinations and Activities to Consider appeared first on Aspire Luxury Magazine.