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.

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.

Hyper personalisation and exclusivity in luxury travel

First-class cabins used to be considered the pinnacle of luxury travel, but all that changed when airlines started offering points and rewards to frequent flyers, and the exclusivity it once promised all but vanished. Private jets quickly filled that position and became the better option for wealthy passengers seeking relative comfort and privacy.

With sustainability at the top of everyone’s minds today, affluent travellers are returning to commercial airlines. But not necessarily to first-class cabins. These are now almost non-existent and have been replaced by premium accommodations and upgraded business-class spaces that offer better privacy, more ‘à la carte’ options and increased comfort thanks to newer technologies. For example, Etihad’s exclusive Residence and Emirates’ private suites, both of which employ the latest tech and trends to enable passengers personalise their cabins however way they feel best.

Per Deloitte, travelling via a superyacht is the most preferred means of transport for the very rich because of the exclusivity it offers, in addition of course to other benefits which include “high-end interior design to bespoke onboard services and amenities … [that allow the rich unfettered access to] the highest form of privacy and personalisation.”

Hyper-personalisation and exclusivity in the hospitality and tourism industries

The hospitality industry has been rather quick to embrace the concept of hyper-personalisation, offering distinct solutions ranging from targeted messages aimed at different customer segments to incorporating novel tech that allows guests to customise their rooms to their tastes. Some hotels and resorts even suggest local and authentic activities and attractions via a dedicated app; others include special requests from guests, like getting a particular chef to provide meals throughout their stay.

But for the very affluent, even this is not enough.

It is not enough to sleep on the most exquisite bed surrounded by the finest luxury amenities. High-end wellness packages, designed to improve everything health-wise from sleep to mindfulness are the new normal.

It is not enough to enjoy the finest local cuisine: cooking classes from Michelin-starred chefs; wine pairings featuring unique ‘boissons’ from small, domestic chateaux; and bespoke culinary experiences tailored to each guest’s individual needs are now on the menu for the ultra-rich.

Family vacations may still be in, but for affluent travellers, multi-generational travel or large-group vacations with loved ones are on the rise, leading to an increased demand for exclusive, fully-staffed villas and hotels, private residences, bespoke camps, and, standalone suites. Large group travel also means an uptick in the demand for exclusive yacht charters and private jets.

And what do you give to an experienced traveller who has been to almost every country in the world? Perhaps a private safari and a chance to have a one-on-one encounter with the animals; or trekking the iconic Inca Trail to Machu Picchu with a dedicated guide, or even camping and experiential expeditions in Antarctica are in order.

Hyper-personalised and exclusive luxury services

As the ultra-rich engage in a race against time to balance all the aspects of their very busy lives, getting their hands on limited-edition products, highly-coveted-yet-restricted luxury goods or even putting together the itinerary of a different kind of trip is a mission-impossible task.

Enter the specialists experienced in solving this challenge.

In the luxury beauty and fashion world, these specialists have chosen to be known as Fashion Sourcers, per Vogue. Fashion sourcers are upgraded personal shoppers who ‘offer a fresh, hyper-personalised retail model for luxury’s top spenders … providing almost 24-hour, one-stop-shop luxury retail, with virtually no limits, all via Whatsapp or Instagram DM.’

When the affluent need a Birkin 35 in ebene Barenia calfskin leather and palladium hardware, instead of suing Hermès when they cannot get their hands on one, they simply engage the services of a trusted fashion sourcer who is sure to get one from their vast network of connections globally.

A bespoke luxury travel specialist provides an equally sought-after service in the travel and hospitality industry. Like every other person, the very rich have their quirks, and even more so since they have the funds to make them happen. But not even they can put together a ridiculously unusual vacation on their own; for example, go on a holiday modelled after a particular action movie and get the same cinematographer who worked on the film to cover your trip and produce a video just like the movie.

While there is an increased clamour from aspirationals and outsiders to democratise luxury, stakeholders who truly understand that this can never be the case are creating more barriers to entry, making modern-day luxury more exclusive and hyper-personalised than ever before.

The post Luxury is Becoming Increasingly Exclusive. And Hyper-personalised first appeared on Aspire Luxury Magazine.

The post Luxury is Becoming Increasingly Exclusive. And Hyper-personalised appeared first on Aspire Luxury Magazine.

Hennessy launched In The Paint back in 2021 to foster community development through a blend of art and sports. So far, seven courts have been unveiled and are in use all over the world from Nigeria to Ghana, Tanzania to South Africa, Barbados, Mexico and Hong Kong. By bringing Joakim Noah on board, Hennessy hopes to move from just building physical structures that local communities can enjoy, but establishing programmes that would also elevate and empower its members.

Noah is no stranger to sports and arts. The former basketball star who is renowned for his grit and tenacity on the court, as well as his contribution towards his teams’ successes has been busy since his retirement in 2021. His personal project, the Noah’s Arc Foundation (which he co-founded with his mother, artist Cécilia Rodhe) combines arts and sports to help people living in underserved areas discover who they really are outside of the physical realities they live and deal with. He is also heavily involved in other initiatives like the One City Basketball League in Chicago, the Basketball Africa League, and, the NBA.

This October, Joakim Noah came to Lagos, Nigeria to launch the latest Hennessy In The Paint basketball court located in VGC Lagos. We sat down with him to talk about his life and pursuits and find out more about this new initiative.

In conversation with Joakim Noah begins now …

ALM: You come from a strong professional athletic family. Did this in any way pressure you into sports?

JN: I don’t think it pressured me into sports. I think sports is what I’ve always wanted; basketball is what I’ve wanted. And I was blessed to see … at a young age, I was able to see my father train. And you know, just being in that kind of environment, it definitely shaped me. So I knew what it takes, the sacrifices it takes to become a professional athlete. And it’s not easy.

So I’m happy that, even though that part of my life is over now, it’s [now] about mentoring and partnering with the right people and building infrastructure.

ALM: What has been the downside of coming from such a strong, athletic background?

JN: Downside? No! I am living out my dream. Ever since I was a kid, my goal was to become a professional basketball player and I was able to do that. Now, it’s about transforming my experience into inspiring the youth, and, being able to partner with initiatives like In The Paint and Hennessy and big platforms like this only make the work easier because they are building the right infrastructure for these kids.

ALM: With the type of work you’ve been doing with different brands (the NBA and BAL (Basketball Africa League) to develop basketball as a sport, what has been the greatest achievement(s) for you so far?

JN: The biggest achievement has definitely been investing in the NBA African League … because a lot of these initiatives, especially when I was younger, as a player [did not exist and] I was alone. And you know, that’s always tough. So just connecting with the right people [has been great] but I think, so far the one that I am most proud of is the [court] that we built in Cameroon on my great-grandfather’s land.

So, we built a beautiful court and the team – we have a local team – just made it to division 1 last week. Being able to partner with these initiatives like In the Paint is only going to make it better. We’re just trying to grow basketball in the continent as much as possible and all around the world.

ALM: What is it about sports (basketball) that keeps you coming back? How important, in your own perspective, is sports in character and career development?

JN: Well, I think that basketball gave me the opportunity to live out my dream, so I think that these are things that kids can really explore on the continent. I think we’re still in the early stages when it comes to basketball. So the more we can highlight basketball and put the light on basketball, the more the kids will be inspired. And the more we grow the game, the more opportunities will come for people on the continent. I think that’s what it’s all about.

ALM: So apart from the opportunities, how do you think basketball can help with career development and personal improvement on the continent for our people? 

JN: I think that basketball is not only about becoming a professional basketball player. It’s the whole ecosystem around it that you can learn from. The values from the game are so important. The team building — you know, when you’re working for a company, you’re not going to be alone, it’s not just going to be your thoughts. So, it’s about teaching people how to work together, so I think that using sports to build communities makes so much sense because it’s the ultimate unifier. When I think of the top unifiers, I think of music and I think of sports. So, not everybody is going to be a musician, not everybody is going to be an artist, not everybody is going to be a top basketball player, but the values you can get from it can help you in the next endeavour.

ALM: Now that you’ve put it this way, with the basketball team you’re building in Cameroon, what are the things you’ve seen that make you think, ‘this was a good thing to do?’

JN: Well, I just see the growth; I see the talent is growing. I see it’s going to be the year for the NBA Africa league, so I see the top players playing on the continent, on government investment. I see government investment in different countries: Congo is building stadiums; Rwanda just built a beautiful stadium, Senegal – the NBAs just made a big investment with the academies. Our goal is to build an academy in Cameroon.

So I just see basketball really growing on the continent. Not only can we bring the people together through basketball, but I think that we can also add workshops and really localise some of the things to make the communities better. I think a great way to do it is to bring the youths into sports initiatives.

ALM: Sometimes we focus too much on the players, forgetting that there is an entire ecosystem: you have the referees, you have the coaches, you have the physiotherapists and all of that. What are the plans for people like that to come and support the court and actual players?

JN: Well, I’ll give you an example. There is a kid in Cameroon who really had the ambition and dreams to play in the NBA. So he was posting videos of him playing basketball. And he would go viral all the time because of the structures which were very limited. And he was doing whatever it takes. We were able to use him as an influencer in the BAL and utilise his platform to kinda help grow the sport [locally].

So I think what is beautiful is the relationships that you build during these community events, and then you can incentivise the kids as well: OK you guys come in, this is more than just a basketball tournament. We are not here to find an NBA player. This is about building and coming together, having a good time, and seeing what kinds of relationships you can make out of it.

ALM: What was the one principle you applied while playing professionally that you can say contributed greatly to your success?

JN: I think a line I always go with is, “Humble yourself or the game will humble you” because a lot of the time, people come and think they’re the best because they’re the best in their region but you’re always going to find somebody who is better than you. You’re always going to be in a position where somebody might dunk on you and embarrass you on the court. But you have to move back quickly. So it’s important to have a humble soul and just live in the moment.

ALM: So what is one special moment you look back and think, “I’m glad that I did that?”

JN: Well, I was just saying that when I built my court in Cameroon this is something that took a long time, that was not easy, you know, just bringing all the resources from America and bringing it to Cameroon and getting that kind of access was very hard. But, when it got done, to be able to go home – see, the court is near my grandmother’s school that she had built 65 years ago, still going on today – it’s something I’m very proud of. This is my responsibility. I was able to build a court, my father was able to build a tennis court, and my grandmother built a school … this is all part of our roots and our tradition.

ALM: What is it about the In the Paint and all these collaborations that made you think it is a good fit for you?

JN: I think that this initiative with In the Paint and Hennessy makes a lot of sense to me. Art and sports are the main things about my foundation. So I think this initiative makes a lot of sense because I see them using local artists to build the courts, and expression is something that is very important for us. So I just think this partnership came very organically. I’m really excited to go to the court today and feel it out and see the vibes and then we go from there because at the end of the day, I work with the NBA and to have a partnership like this that focuses on sports and arts. It was just a no-brainer.

ALM: Are you an artist in any way? Do you draw, do you paint? Do you sculpt?

JN: My mother is an artist. My initiatives were a lot in the city of Chicago, so my mum does sculptures with the kids; it’s art therapy. And I understand how therapeutic sports and arts can be. I really believe in these core values, and I think that’s why I’m here.

ALM: What is the toughest challenge you faced in your basketball career? How did you overcome it?

JN: Honestly, there were a lot of highs, and there were a lot of lows. It was a career that I wouldn’t trade for anything — you know, I played at the highest level against Lebron James and Giannis and all these great players. I also played with the youngest MVP, Derrick Rose, playing for one of the most prestigious teams in the world, the Chicago Bulls, but it wasn’t easy. There were suspensions and some tough moments: losing is hard sometimes. You know, I was a very emotional player and it’s tough. While I was playing, I didn’t sleep well throughout my whole career. I sleep a lot better now!

ALM: What do you think would be a natural progression on the continent now with what Hennessy is doing?

JN: I think the progression is happening. Infrastructure is very important; they’re building sustainable models where we can follow up and make sure the kids are getting the right coaching. I think that that’s something that is great. But for me, this is my first day working with Hennessy so I’m not over here trying to say what we should and shouldn’t do. For me, I just want to be here and pay attention and see where I can make myself the most helpful as possible.

ALM: Is this your first visit to Nigeria? What has your experience been like so far?

JN: Yes, this is my first visit to Nigeria and I’m really excited to be here. I’ve spent a lot of time in Cameroon and this is the country down below. But when I think of Nigeria, I think of Lagos; I think of Fela Kuti and I really hope we have enough time while I’m here to go check out the shrine.

ALM: What are your 3 favourite cities in Africa and why?

JN: I mean, I’m going to definitely say Yaoundé first because Yaoundé is … that’s my root and my heritage. You know, I kinda have a few spots over there that I know where to go to and see my friends.

I love going to Dakar, I think Dakar is a beautiful, beautiful city. We were also able to bring some kids from Chicago on our last trip over there. We went to Gorée Island and I think that was a really powerful trip for the youths … for them to feel their roots and their heritage even though they’re not sure exactly where. It is definitely empowering so I was very proud of the Dakar trip.

And Kigali. We just came back from Kigali. Kigali is a beautiful, beautiful place, the heart of Africa. We went to see the gorillas as well. You know, a vibrant city, but a little more chill. I think that Nigeria has a lot more action, a much faster tempo but I’m used to it.

And you know, I love Morocco as well. There’s so much to see.

Complete the following sentences

If it wasn’t basketball … I think I would have enjoyed coaching or being a part of working in a community centre with kids. I love working with kids.

I cannot go into a meeting without … talking points!

I cannot leave home without … my debit card.

My favourite thing in the world to do is … to chill on the beach.

‘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.

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With recent events, however, it seems that this is set to change, and it has got us wondering: is 2023 the year of the Nigerian cuisine global takeover?

Can African dishes be considered haute cuisine?

When we say haute cuisine, the focus is less on the classic French definition as it is on the dishes that incorporate its principles.

Back to the question above, you would probably say yes, but the reality is different. Most top culinary schools do not focus on African foods and ingredients, and, even when they do, there is usually no in-depth exploration of their capabilities. It is probably why African dishes are not considered fine dining, and also why you may be hard-pressed to find restaurants, whether top or mid-range, that include them in their menus.

Yet, as chefs like Chef Moyo and dining establishments like the Itan Test Kitchen are showing, our African dishes are as haute cuisine as they come, and it is only a lack of knowledge about their possibilities that has restricted their reach and adoption by non-African and even African chefs.

Until now.

Hilda Baci and the making of a world record

When Hilda Baci decided 5 years ago to break the Guinness World Record for the longest cooking marathon by an individual, her goals were simple: “Put Nigerian cuisine on the map [and] … inspire young African women to chase their dreams.”

Not even she could have fathomed the reach her cook-athon would have: by day 2, her official cook-athon handle announced that over 1 million people had live-streamed the event. On day 3, not only had it started streaming on DSTV, a popular satellite TV service in Africa but organisers also had to close the gates of the venue to visitors as it had reached full capacity.

yeah, so this is our best performing tweet of all time with nearly 25 million news feeds reached https://t.co/iGBDw0qdLK

— Guinness World Records (@GWR) June 15, 2023

Upon announcing that she had indeed broken the record, Guinness World Records received so much traffic that they confirmed that their Twitter post announcing her win was their “best-performing tweet of all time,” and also that their “website crashed for two days due to the immense volume of traffic … received from her legion of loyal fans.”

It is safe to assume that the popularity of this single event has definitely caught the attention of chefs from other parts of the world, enough to pique their interest and set them on a path of discovering and exploring African dishes and ingredients.

Chuku’s Nigerian Tapas Restaurant: from Beyoncé’s approval to global dining stage

For Beyoncé, giving a grant to the businesses around the venues of her ongoing Renaissance tour was her way of saying thank you to the communities that welcomed her and showered her with so much love. For Chuku’s, a Nigerian tapas restaurant in north London, the $10,000 grant was the beginning of a new chapter, one that afford them the opportunity to introduce Nigerian cuisine to the world.

Chuku’s is owned and run by siblings Emeka and Ifeyinwa Frederick. It started off as a pop-up in 2016, and following years of success, the siblings decided it was time to move into a building, a decision they actualised in February 2020.

Sadly, their opening coincided with the global coronavirus-induced lockdown, and, in spite of the love they received from their community, they soon began to grapple with soaring costs and shrinking disposable income among their customer base. The struggle to keep their doors open was on, and, by the end of 2022, it was clear that they were running (an increasingly lost race) against time.

And then, the Renaissance Tour came along.

Ahead of her highly-publicised tour, Beyoncé, through her BEYGOOD foundation, had announced that small businesses in cities along her world tour could apply for the Black Parade Route initiative, a fund that highlights and supports small Black-owned businesses. One of the cities was London, and even better, the concert took place at the Tottenham Hotspur Stadium on 782 High Road, a few kilometres from Chuku’s 274 High Road address.

Entering the last 6 months of the year after a media STORM >>

ICYMI, news that @Beyonce’s @BeyGOOD foundation has awarded us $10,000 created a bit of a media frenzy last week – with our sibling co-founders @efrederick90 & @Ifey_Frederick featured in a whirlwind of interviews pic.twitter.com/7bv3CAUGOp

— Chuku’s (@chukusLDN) July 5, 2023

The Fredricks wasted no time in taking advantage of this opportunity: they applied for the grant before its April 27 deadline, and quickly spread the word that they would be open even past their normal hours to cater to the Renaissance crowd, encouraging the latter to pre-book and creating a healthy feeling of FOMO around their service.

Their efforts paid off. They sold out their tables, secured the £8000 grant and dominated the headlines of major media outlets in the UK and the US. With the publicity they received, they now have a bigger customer base beyond their local community and the UK.

2023: the breakout year for Nigerian/African cuisine?

It may be a bit of a stretch to think that 2 Nigerian culinary brands whose efforts have drawn more attention to African cuisine translates to global adoption and acceptance. But, this is an excellent step in that direction, and, because of their achievements and those of countless others who continue to introduce our dishes to people of other cultures, 2023 might just be the year you walk into the Waldorf Astoria in say, Dubai, and staring right back at you on the menu is a dish of amala rolls dipped in spicy gbegiri and tomato soup, and topped with mint leaves.

The post Is 2023 The Breakout Year for Nigerian Cuisine? first appeared on Aspire Luxury Magazine.

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Tierra Viva — a luxury auto-inspired real-estate concept like no other

In the last five years, luxury automakers from Bentley to Aston Martin, Porsche and even Bugatti have debuted several residential properties in America, the Middle East and Asia. All of these projects have either been high-rise buildings, as in the Bentley Residences in Miami, or, single private properties like the Aston Martin № 001 Minami Aoyama in Japan.

Lamborghini however chose to take a different path in its latest foray into this niche: the Tierra Viva is a collection of 53 two-storey villas on a hillside, making it more like a luxury community concept than simply a large building with different luxury apartments. Each of the houses will be “carefully constructed at different levels on the hills to ensure every villa enjoys endless panoramas of the Mediterranean Sea,” explains Dar Global.

Unlike other auto-branded real estate properties featuring shared amenities like plunge pools, each of the 53 villas will come with its own rooftop swimming pool and sprawling garden. It is not immediately clear if there would be shared facilities such as a communal gym and spa, but, it may be safe to say that based on the overall concept, it would not be unlikely.

One luxury village, different living options

According to both brands, the Tierra Viva villas are divided into three distinct types: Diamante, Zafiro, and Esmeralda. The smallest is the Esmeralda which offers four bedrooms in addition to other features and amenities. Zafiro would have five bedrooms while Diamante is the largest with six bedrooms in total.

Whatever your choice, expect the best of the best of the best luxury accents and touches – Lamborghini would be in charge of the design – from marble floors to fine leather detailing and floor-to-ceiling glazing. Each of the villas will be perched atop a basement and garage so that you can have ample space to park all your autos away from the beautiful, natural views.

A new location with endless possibilities

Although this is not Lamborghini’s first residential project – it unveiled a 40-unit housing project in Dubai in 2021 – this is its first real estate project in Europe. So far, Europe has not been the most popular location for luxury brands to try out their residential projects and it remains to be seen how well Lamborghini’s first attempt will be received.

The Tierra Viva is located in the tranquil town of Behanavís near Marbella, on the south coast of Spain, and overlooks the Mediterranean. Residents of the villas will have easy access to an array of nearby attractions, including the pristine beaches, the vibrant Puerto Banús, the illustrious Marbella Club Golden Mile, and the captivating Marbella Marina.

There is no fixed date for its completion, but, if Lamborghini’s Dubai real estate project is anything to go by, we will know soon enough, by which time all the units may have been snapped up.

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The Black Badge Wraith Black Arrow is an incredibly beautiful mixture of art and automotive engineering, and there would have to be something terribly wrong if you do not stop and stare every time you see one. But there is literally more to this vehicle than meets the eye, and, when you peel away all the layers of rich history wrapped around its existence, you will come to appreciate the depth of ingenuity Rolls Royce put into the creation of its final V12 coupé.

So, if your business is looking to retire a product but is loathe to do it quietly – like it never existed or impacted lives – here’s a quick breakdown detailing how Rolls Royce brilliantly sent forth the V12 in a way that is reminiscent of the saying, ‘gone, but never forgotten.’

Choose the right version of the final product

To send forth a truly powerful engine that once stood as a symbol of power and engineering excellence in the automotive world, Rolls Royce decided that the Wraith in the Black Badge series would be the best model for the job.

The Black Badge is Rolls Royce’s more powerful marque, designed to be bolder, sexier and more powerful than its other models. It is also arguably the marque where some of its more creative innovation comes to life.

Craft the right story

As we stated earlier, Rolls Royce is not the only luxury automaker to retire its V12 engines. Only last year, BMW announced that it would be making its final V12, months before Lamborghini would announce the retirement of its own version. Bentley has also said it would be ending production of its V12 by April 2024, and, in the following months, we may see more luxury auto manufacturers make this kind of announcement too.

But, so far, only the British auto brand has managed to weave a truly compelling and intriguing story around its last V12s that turns the Black Badge Wraith Black Arrow from a newsworthy product to a desirable and collectible item certain to become the pride of any collector and a hotly sought-after, must-have treasure for future auto collectors.

You see, the Black Arrow is more than just a car – it is a symbolic custodian of the history of the life and times of the Thunderbolt, the 1930s land speed record-breaking car designed and driven by Captain George Eyston. During its lifetime, the Thunderbolt would set three land speed records and its last victorious attempt is the major inspiration for the design of the Black Arrow.

The details of that historic race make an appearance everywhere. For example, the vehicle’s unique colourway, celebration silver and Black diamond with yellow accents, represent the black paint and yellow circle motif that had to be painted on the Thunderbolt’s aluminium body back in 1938, when the time-measuring equipment used could not distinguish between the superfast car and the bright sunlit salt flats where the race took place. Then there is the crusty-looking design on the interior door panels which depict the crusted Bonneville Salt Flats in Utah, home of the final race of the Thunderbolt’s short career.

Other allegorical details abound and can be found on the dashboard — which houses among other things, a clock that references the analogue instruments of the 1930s, and below it, the inscription, 357.497mph, the final record-breaking speed set by the Thunderbolt on September 16, 1938 — the headliner and the front passenger seats.

Create it for a select few but let it have mass appeal

Only 12 examples of the Rolls Royce Black Badge Wraith Black Arrow have been and will ever be produced. To further bestow upon it special status, the marque was fitted with a 6.7L twin-turbocharged V12 platform, modelling the engine design of the earliest Rolls-Royce examples. An exclusive bespoke polished metal plaque, inscribed with the V12 monogram in bright yellow, and the words ‘Final Coupé Collection’ in black, graces the engine cover to signify this as the last V12 ever to be fitted to a Rolls-Royce coupé.

And no, not just anyone would be able to purchase this ultra-luxurious and limited auto: at the time of its announcement, the Black Arrow had been allocated to select clients worldwide.

The post Turn the Lights off on Old Products like Rolls Royce did with the Final Rolls Royce V12 Coupe first appeared on Aspire Luxury Magazine.

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Until it’s time to leave the hospital and you realise those kind nurses are not going to follow you home. Even if your hospital stay was not the best of experiences, suddenly having to deal with a newborn can be an overwhelming experience for mothers. Granted, in some cultures like what obtains here in Africa, it is expected that a member of the family, usually the grandmother, comes over to stay for at least a month to help the new mum adapt. But, times are changing, and even with the support of family members, adjusting to life post-birth can quickly become stressful for new parents.

Luxury retreats for new mums want to help solve this challenge, and they are on the rise.

The idea for luxury retreats for new mums has its origins in postpartum confinement practices in Asia, which can be traced as far back as 960 AD. It is based on the fact that childbirth, though beautiful, can be difficult, and coming home to guests who would have to be entertained, as well as chores and sometimes older children, while adjusting to the demands of a newborn can be too much for mummy. So, a ‘middle home’, which eases parents gently into their new role – whether or not they’ve had children before – is the best solution for everyone.

In South Korea, this post-natal retreat concept is called Sanhujori and is typically offered at choriwons (postpartum care clinics).

Singapore, nearly 5000km away, offers the same kind of services, but in a completely different way. Instead of postpartum clinics, they have luxury postpartum retreats. These five-star-like hotels for new mums come with all the bells and whistles, including spacious, fully-fitted rooms with perks such as 600-thread-count sheets for deep, comfortable sleep; aesthetic clinics for rejuvenating facials; in-house physiotherapy centres to help soothe aching muscles and help new mums get their bodies back to shape; spas that offer weekly postnatal massages and yoga classes. There are also salons that help fix mum’s hair, chauffeur services to take her and baby to the hospital for checkups, herbal baths to promote healing and dining services that offer foods tailored to deeply nourish mom and baby, and help to heal the latter.

In-house nannies and general nurseries are on hand to help take care of the baby when she wants to rest solo. Dads are welcome, and so are family members/other visitors, although the latter are usually not allowed to stay overnight.

The concept is beginning to catch on outside Asia.

The Boram Postnatal Retreat at the Langham Hotel in Manhattan, New York offers the same services as the Singaporean luxury retreats for new mums. There is a nursery run by employees with backgrounds in infant care, a mother’s lounge where moms can attend seminars organised by paediatricians, physical therapists and mental health specialists on everything from pelvic floor therapy to curing insomnia. Messages and sitz baths are offered to mums to help with swelling and soreness, while a robust menu, “prepared by an award-winning chef” ensures the new mothers have all the nutrients they need at this stage.

At $900 per night (the Singaporean Luxury retreats on average cost less at roughly $770 per night) the facility does not come cheap. But those who have used them swear that they are the best thing that happened to them after childbirth. And while it has not become commonplace outside Asia, the fact that non-Asian postnatal facilities like the Boram require bookings well in advance is a good indication that it is simply a matter of time.

The post Luxury Retreats for New Mums is a Thing. And it is probably coming to a Location Close to You first appeared on Aspire Luxury Magazine.

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