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.

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.

The state of today’s luxury market

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

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

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

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

The rise of superfake luxury goods

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

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

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

Short answer? No.

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

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

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

Yes and no.

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

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

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

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

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.

The Arcadia is undoubtedly a beautiful car, both inside and out. And although there is no mention of the powertrain of this exquisite beauty, we can only guess that it is in line with other models in the Droptail series: a 6.75-litre twin-turbo V-12. Which in itself is just as impressive as all the other details that the British auto brand chose to share.

But it makes you wonder why. Why would the brand ignore seemingly important details to focus on the number of hours it took to make the most distinguishable feature of the car, the woodwork, which runs from the rear deck all the way to the fascia?

Sales really is a numbers game

In the world of luxury, what a product can do, and how well it performs is just as important as the hours of labour that went into its production.

Or at least that is what mentioning the number of hours, minutes or seconds that went into a product/feature appears to be about. By highlighting the fact that it took over 4 years from the date of request to the day of commission, and that, more than one of these 4+ years was spent on just selecting and fitting the wood into the car, with an additional 1,000 hours spent testing how the specially-lacquered wood held up to different extreme weather conditions, Rolls Royce wants future clients to know that the Arcadia is not just another luxury vehicle, and at the Maison,  perfection is not an illusion.

It is the same strategy other luxury brands use. For example, simply stating that a Birkin is made from the finest Togo leather is not as powerful as saying that it took x number of hours to select the right leather and work it to fit a standard Birkin.

The value of luxury goods depends strongly on the process used to bring it to life

One of the reasons why mined diamonds are more expensive than lab-grown diamonds is the number of hours it takes to produce a single diamond in both processes. A single lab-grown diamond can take anywhere from 6 to 10 weeks, while one mined diamond can take a whooping 6 months to process from the day it was extracted from the earth.

The thousands of hours it took to make the Arcadia a reality is why coach-built vehicles cost as much as they do. The media has speculated that the Arcadia Droptail costs at least $30 million and when you consider that building just one part took a little over a year, it makes sense.

It isn’t only the woodwork production time in the Arcadia Droptail that gets an honourable mention

Remember La Rose Noire and the Amethyst, the two bespoke Droptails that well, dropped last year? Recall that both of them had detachable timepieces: an Audemars Piguet Royal Oak Concept Split-Seconds Chronograph for La Rose Noire and a one-of-one Les Cabinotiers Armillary Tourbillon for the Amethyst.

Well, this time around, per the client’s request definitely, Rolls Royce manufactured its own dashboard clock and made sure to mention it as well. Here’s how the British auto brand says it: it “is the most complex Rolls-Royce clock face ever created: the assembly alone was a five-month process, which was preceded by more than two years of development.”

So yes, it took 8,000+ hours to choose, design and protect the wood on the Rolls Royce Arcadia Droptail, as well as thousands of hours to develop and assemble the dashboard clock. Not to mention, the entire project lasted for over 4 years. And there is only one reason why we know all this: in the world of luxury, the devil is in the details.

The post The Woodwork on the Newly-Commissioned Rolls Royce Arcadia Took 8000 Hours. Why? first appeared on Aspire Luxury Magazine.

The post The Woodwork on the Newly-Commissioned Rolls Royce Arcadia Took 8000 Hours. Why? appeared first on Aspire Luxury Magazine.

[No, you’re not wrong: it is the same Binghatti working with Jacob&Co, as well as Bugatti on their own branded skyscrapers, all in Dubai.]

The world of architecture is a-buzz. Experts are debating its accessibility, aesthetics, and sustainability. First are the sceptics pointing at the real estate crisis in certain countries and wondering how easily the opulent apartments will sell out. These are followed by the purists questioning how seamlessly this gargantuan tower will blend with the existing urban landscape. Then there are the environmentalists whose questions about the environmental impact of yet another resource-consuming structure appear to be the most valid.

Finally, there’s the rest of us, the non-technical ‘inquisitors’ whose only question is why? Why are luxury auto behemoths like Mercedes-Benz suddenly raising skyscrapers and funding other real estate projects?

A little travel back in time

2020 will be the year to remember for a long time for different reasons, chief among them being the changes it forced global and local businesses to make. Almost all faced two choices – adapt or perish, and even the most traditional brands saw themselves embracing unplanned transformations.

This meant, among other things, exploring new channels of communication and commerce, adopting innovative work methods, and venturing into untapped niches destined to withstand the test of time.

It is perhaps why brands like Ferrari have been relentless in their pursuit to become full-fledged lifestyle brands or others like Aston Martin are steadily diversifying into the ever-profitable world of real estate.

Newer models offer an important lesson

2022 was a fantastic year for luxury brands, including those in the automobile business.

For example, Rolls Royce announced that it had sold its highest amount of cars ever – 6021 to be exact over 12 months. But its figures were nothing compared to Bentley which sold over 15,000 vehicles in the same period. At Porsche, it was even more impressive: 95,604 customers received their Cayennes, while 86,724 Macans were safely delivered to their owners.

One salient factor underscoring this unprecedented success was the rise of the true luxury SUV: for Rolls Royce, it was the Cullinan that brought in the most sales, while at Lamborghini, the Urus was its sales booster. As stated above, Prosche’s Cayenne probably sold the most units and although Ferrari’s Purosangue debuted later in 2022, the reception it got is a pointer to how it would have fared if it had dropped earlier.

Against this backdrop, it quickly became clear that giving customers precisely what they need, in a way that fulfils their desires and cravings is what brands must do to secure the coveted unforgettable spot in their minds.

Pivoting for success?

So it comes as no surprise that Mercedes Benz and other luxury auto brands have chosen to slap their names and logos on skyscrapers and other real estate projects in select locations. If consumers want properties that reflect the elements they love in their cars, then it only makes sense for the brands to give them what they want, right?

However, it appears it is not as simple as that.

Skyscrapers might reflect a country’s wealth and its architectural prowess, but they are expensive to build and maintain. Add to this an increasing demand to be mindful of their carbon footprint, and it is getting harder for construction companies to justify building one today. For continents like Asia with the highest number of such buildings, the government could provide financing or support, making it cheaper to take on such a project. But even that has now become scarce, and the companies who want to add skyscrapers to their portfolio today may have to self-fund or source for funds privately.

And who else again would have the huge funds required for these high-rises but luxury auto firms with fat accounts from record sales in the last 3 years?

They may be in decline now, but that does not make skyscrapers any less cheap. It also does not mean they are no longer in demand from the very demographic that luxury auto brands are also trying to target. Which is why they are a fantastic investment option: working with established real estate companies allows car maisons to take a cautious dip into the market with as little risk to themselves as possible.

Today, Mercedes Benz has joined Bugatti, Bentley, Lamborghini and Aston Martin in the skyscraper standoff. More may join tomorrow. Or not. Whatever the future brings, however, it looks like luxury auto brands are hedging their bets, and for now, in real estate.

The post Accelerating Success: Why Mercedes Benz and Other Luxury Auto Brands Are Building Skyscrapers first appeared on Aspire Luxury Magazine.

The post Accelerating Success: Why Mercedes Benz and Other Luxury Auto Brands Are Building Skyscrapers appeared first on Aspire Luxury Magazine.

“We created a platform last year called NBA Meets Culture,” Gbemisola Abudu, NBA Africa VP and Country Head, NBA Nigeria, explains of the initiative. “The five pillars of the platform are arts, fashion, film, music and tech. Tech has become a fifth part of our culture because it enables all the other pillars. It just so happened that arts was the element we started out with last year, choosing to celebrate basketball through the lens of Nigeria’s rich heritage and arts culture first.”

It is almost symbolic that the evening event celebrating the 2023 instalment of the NBA Meets Art initiative took place in the Tiffany Amber Gardens. This lifestyle hub, housing the flagship store of one of Nigeria’s premier luxury fashion brands from the tail-end of the 20^th century, is a testament to how following a dream, no matter how crazy it may seem, can have unexpectedly wonderful and positive consequences.

This is not the NBA Nigeria’s theme this year in its collaboration with artist, Dennis Osadebe; however, it is the overarching message in its commitment to supporting the culture of the communities it exists in and extending its influence beyond the courts.

“First, people don’t realise that when you think about sports and arts, those are two languages that the youths resonate with. They’re the language of the youths. Arts is a way in which the youths express themselves, and, there is that natural synergy between arts and sports, it’s always been that way historically,” explains Ms. Abudu.

“Then, on top of that, one thing has become quite exciting in Nigeria. Through the invention of Art X and Art Week, art has been democratised. It has taken it away from the elite to the average Nigerian. That is why it was very important for us to do an installation there because we wanted to speak to the youth in a language that resonated with them. So, if you look at the installation that we created with Dennis where we talked about team building, working together, and building communities together, this is part of our messaging for the youth. So when you say why arts, that’s why arts. If you really peel back the layers, you can see where the natural fit comes in between sports and arts and specifically, basketball and arts.”

Dennis Osadebe concurs wholeheartedly.

“I would say that arts is in the fabric of everything … I got into basketball from playing video games. So from NBA2k to NBA streets, NBA figurines, NBA toys like a toy of Kobe Bryant, a toy of Iverson – that was my entry into the sports. And I would say, that’s arts. That is expression. That is almost giving the user the tool to express themselves. And you know, I found that very important in this collaboration because art also is very representative of culture, and a big part of culture is visual art.”

Based on the theme ‘Passing/Building/Victory’, the installation features five masked figures — Osadebe’s signature style — all holding a ball.

“This collaboration speaks to passing, it speaks to teamwork. And that is the ethos behind basketball – teamwork. You can’t win by yourself and I wanted to draw that into the work. That is why in the installation there are five different sculptures. So those five sculptures represent a basketball team about to make a point. And they’re arranged like that because that is an offensive position in order for you to attack and make a point. And the reason why it’s rotating and they’re spinning around is because they’re looking for who to pass the ball to.”

How did this collaboration come to be? For Dennis, it all started when “Gbemisola reached out to me saying look Dennis, this is our objective with NBA Nigeria and we would love to work with you on this next version of NBA Meets Art. And once that conversation started, I was excited because what is very important to me is to elaborate on being an artist and showing that there is not just one way to be an artist. You can be an artist that also celebrates community in a sexy way. So we started the conversation and what stood out to me is that basketball is a sport of 5 people that play as a team. So I said I wanted to build on that idea of teamwork because teamwork is important to sports and it is important to the community. As a community we can’t be great by ourselves; we can’t even go through the day by ourselves. We need people in every part of it. So it was just organic once we started the conversation to build on the collaboration.”

For Gbemisola, it was a bit more complex than that.

“When this conversation started about creating an installation at Art X, it really was about what type of artist’s body of work and signature speaks to who we are as a brand, and, who has a natural affinity for the brand. And I am not saying … a natural affinity for the NBA or for basketball is a requirement for us to work with an artist. But for the thought process for the first work we do, we wanted an artist that had a natural affinity for the game, understood the game, and understood the ethos of the NBA.”

“A name that was consistent in all the conversations I had, whether it was from research I did (I’m a lover of arts as well, so I’m familiar with several of the artists in the space), having conversations with Art X, having conversations with different patrons of art; a name that kept coming up consistently was Dennis Osadebe.”

“As we grow the footprint of the brand in Nigeria, there is a level of intentionality on how we showcase Nigeria to the world, how we showcase our excellence and the amazing things happening in our creative industry. So, when you look at all those different layers and you have all these criteria that we sort of spelt out, one person that checked a lot of those boxes was Dennis. And that’s why we decided to go with him for our first collaboration with an artist. And expressing to him what we were interested in creating, and him being able to come back and say, based on what you’ve said, based on my work, here’s what I would present. And the theme of ‘Passing/Building/Victory’ came together.”

Judging by the response NBA Nigeria has received from this first installation, Ms Abudu is more than confident that the initiative is not only here to stay, but would also unlock incredible and unimaginable opportunities for the Nigerian art community and just about everyone who is affiliated with the NBA here in the country.

“So this is the first time we have collaborated with an artist in Africa for our NBA Meets Art initiative; we’ve never done this before. And what we’ve seen so far … is an insane level of interest from galleries around the world. Everybody has been like this is amazing work. I’ve received calls from galleries from all around the world who’ve said, ‘Can you bring this work there?’ There is a hunger for it, seeing the reaction even at the fair, all the pictures of kids painting on it and really just having a great time, seeing a bunch of kids saying they want to take the figurines home with them. And a lot of people saying they want a piece of this at their home, can they buy the figurines? It just really drives home the point that wow, this really was successful, people love it, people care about it.”

As for what is next for Nigerian art and the larger community within the NBA, Gbemisola is very optimistic. “We’re going to find very interesting ways to implement programs and initiatives to deepen our involvement with the arts community in Nigeria in a sustainable manner. There are plans to figure out what that would look like after the success of this installation with Dennis.”

The post NBA Meets Art at Art X 2023 to Influence Beyond the Court first appeared on Aspire Luxury Magazine.

The post NBA Meets Art at Art X 2023 to Influence Beyond the Court 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.

The post In conversation with Joakim Noah, Former NBA All-Star and Global Ambassador, Hennessy In The Paint first appeared on Aspire Luxury Magazine.

The post In conversation with Joakim Noah, Former NBA All-Star and Global Ambassador, Hennessy In The Paint appeared first on Aspire Luxury Magazine.

Cleo Anderson is busy as always. The founder of The Anderson Media Group was recently declared the ‘Broadcast Media Host and Producer of the Year’ in the Influential Businesswoman Awards 2023, just as she wrapped up filming in St Barth – the latest location for her show on LUXE.TV, Wanderluxe with Cleo Anderson.

And she is not done. Her multiple roles as travel expert, PR guru, TV host and producer mean that she has to constantly be on the move in search of some of the most glamorous yet hidden locations in the world for her clients. Some of which are/have been Monte Carlo SBM; the Academy of Motion Picture Arts and Sciences (Ms Anderson is the ‘Luxury Travel Curator of the Everyone Wins Goodie Bag’ dished out to the top 25 Oscar nominees each year), and now, LUXE.TV.

We caught up with Cleo in between her travels to talk about her work and views on luxury travel, amongst other things.

In Conversation with Cleo Anderson begins now …

ALM: Why have you declared St Barth the ‘world’s most luxurious island?’

CA: St Barth is such an iconic location and has a long history of attracting those who love laid-back chic as well as the jet set – it really is a jewel of the French Caribbean. The island is lush with nature and beautiful beaches, but you also have fantastic shopping in Gustavia and some really wonderful iconic landmarks in terms of eating out and places to stay.

In the show (Wanderluxe with Cleo Anderson) we featured three stunning villas courtesy of Saint-Barth Paradise. I enjoyed dinner and drinks at Eden Rock, and I spent some amazing hours on some of the landmark beaches. Filming there really was a fantastic experience and I will no doubt visit again soon.

ALM: What, in your opinion, do you think luxury hospitality brands get wrong about what the 1% need in a vacation spot?

CA: I think the thing most people get wrong is what great customer service and attention to detail really is, because, for me, there are most definitely levels to it.

Often in hospitality, people think they are giving personal service by being polite – perhaps remembering your name – but they are not really seeing you or listening in any meaningful way. For me, what makes the difference is not just noticing a client or being polite, but actually acting on what you have noticed in a significant way.

One example of great customer service was during a recent visit to the Four Seasons Sultanahmet in Istanbul. I really couldn’t decide between sorbet or chocolate for dessert during a meal. I chose the sorbet and after I finished my meal, I realised that I was still craving chocolate. I playfully lamented my decision to my wonderfully attentive server and, to my surprise, he returned with a couple of pieces of gourmet chocolate – on the house. It is these personalised touches that truly make an experience special and memorable, and making a client feel seen where many servers would have simply sympathised politely and brought me my bill. That feeling of really feeling ‘seen’ and catered to is what I think the 1% is looking for.

ALM: What are some emerging trends in luxury travel that should be talked about more?

CA: Obviously artificial intelligence (AI) is a big conversation right now: in terms of luxury travel, that equates to more detailed hotel booking where you can customise room size and check-in times, for example. Face recognition and voice recognition at airports for added security will become more prevalent, I believe. I also feel that luxury trains will become more popular – this is something that I’m really interested in, and I’m currently planning a couple of epic train trips in both Europe and North America. I’m looking forward to these unique experiences.

ALM: What, so far, are your favourite vacation spots and why?

CA: Athens is a favourite — I really enjoy places that have a sense of history to immerse myself in, and Athens has historical landmarks that you can see from almost every vantage point in the city. Juxtaposed with that you have the Athens Riviera. It’s very close to the city centre but is also a stunning beach destination that many don’t really know about.

I loved Miami, it has a South American vibe in terms of the music, food, colours, and beautiful weather. It is a really fun spot to go to with a group of friends.

Borneo was a wonderful destination to explore, as I am big on nature and wildlife. Tracking in the rainforest and searching for Orangutans was really beautiful.

The Maldives is another favourite spot. I love being surrounded by water, and the colour of the Indian Ocean is magnificent. I loved being in an overwater bungalow: at night you can feel the bungalow swaying in the water. Being there feels decadent [because] you have space and time to deeply relax.

ALM: What are some vacation spots that are best visited alone in your opinion? Which ones are best visited in company with others?

CA: For me, when it comes to city breaks I actually enjoy doing them alone. You can do your own thing and discover museums and hidden gems on foot and at your own pace. Athens, Barcelona, Lisbon and Rome are all great for getaways like that. Then the party places, like Miami and Tokyo, are wonderful to do with company as your senses are heightened and there are just so many things to do.

ALM: What unusual luxury spots have you been to?

CA: Cappadocia in Turkey. The terrain is so unique and special and the hotel was a cave-like haven with views of hot air balloons floating up into the sky in the mornings.

ALM: What do you look out for when searching for a place to stay?

If I can get an iconic view that reflects the place I am in, that’s always a plus. If that is not a possibility, I love an elegant room. I usually like a mixture of contemporary and traditional furnishings and gorgeous interior design. Customer service is also really important to me, and I will always look at the reviews to see how other travellers have been treated by staff.

ALM: What are some challenges you’ve faced in your travels? What did you do about them?

CA: I have to be honest – my travel experiences are typically great. I did, however, face a challenge with retrieving luggage when I arrived in St Barth’s earlier this year and it was the first time I have ever lost my luggage! Thankfully, the staff at the hotel where I was staying went above and beyond to track my luggage down and ensured that I received it a day later. There had been an issue at Charles de Gaulle airport in Paris.

ALM: According to the news, you’ve put together unique travel destinations for top Oscar nominees. What do you look out for when making these selections?

CA: I’m definitely looking for something glamorous and unique. We have worked with lighthouses that have been transformed into hotels, for example, and we definitely have the glamour factor this coming year with a selection of high-end luxury villas in St Barth. I also tend to look at locations; what are the locations that perhaps Oscar nominees might want to visit? This year, aside from St Barth, we have also been looking at Sri Lanka and Berlin.

This past year we had a client with an ultra-modern compound in the middle of nowhere (in Dunrobin, Canada), which was a fantastic addition to the gift bag.

ALM: What is the one thing/principle you’ve applied over and over again that has helped to keep you successful in your line of work?

CA: Remaining positive and expecting good things. The power of positive expectation is key. I believe in asking for what you want and expecting that you will attract the right people to help you with that mission. Resilience is a must in business too: you will always find blocks in the road, but it’s about pushing past them and finding another way.

ALM: What would you like to see more in Africa to make it a top travel destination?

CA: I think that more unique luxury hotels in unique places that showcase the beauty that Africa has would be fantastic.

ALM: What do you think non-Africans need to experience here on the continent to make Africa a top travel destination?

I think that non-Africans have to be made more aware of the beautiful things to see throughout Africa, and the experiences that maybe they are not yet aware of. African countries that have got this really right in terms of branding are Kenya, with their safari experiences; Namibia, with its stunning desert; and, Egypt with its obviously iconic pyramids. Ensuring that other African spots showcase what they have may come from a more focused PR and marketing push, for example, with the visuals being at the centre of everything. With social media tools like Instagram, everything is more visual these days and people can’t be aware of something they know nothing about. More awareness of what to see and do would be great.

‘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 Cleo Anderson, Luxury Travel Expert and Founder, The Anderson Media Group first appeared on Aspire Luxury Magazine.

The post In Conversation with Cleo Anderson, Luxury Travel Expert and Founder, The Anderson Media Group appeared first on Aspire Luxury Magazine.

Digital product passports: a brief explanation

While a dozen definitions may exist for it, a digital product passport is simply a detailed history ‘book’ on a product and may include, among other things, its provenance, the source of origin of the raw materials used in its production, and the authenticity of the product itself.

Early use case suggests that digital passports were geared primarily towards addressing the issues around sustainability, circularity and ethics. Authenticating the product itself was definitely part of the features, and while it did not appear to be a primary concern at first, it is now one that underscores the service.

The rise of digital passports for luxury brands

Panerai is not the first luxury brand to adopt digital passports for its products. Breitling was the first in the horology industry to issue passports on its timepieces, and in 2022, teamed up with Arianee once again, as well as Sourcemap, to make its first fully traceable timepiece, the Super Chronomat Automatic 38 Origins.

Digital product passports however seem to be more commonplace in luxury fashion. The Aura consortium issues a certificate of guarantee for the products in its programme, and Chanel has its own digital passport it gives for its bags. Pangaia and Yoox Net-a-Porter use the Eon Connected Product Platform to issue digital twins for their products, complete with their provenance and other details.

But that seems to be about the scope of usage. Other horology brands like Audemars Piguet, Dubuis and Vacheron Constantin are part of the Arianee consortium but do not have their digital passports out yet. In fact, it appears that a significant reason why fashion brands might perhaps be more inclined to issue them can be linked to government intervention in this regard. The European Union, for example, is looking to set up an EU digital product passport in the Ecodesign for Sustainable Regulation that would legally force EU-based companies to integrate them into their production process. It also has a Circular Economy Action Plan that mandates businesses in the textile, industrial and electric vehicle battery and construction industries to include digital passports in their products by 2024.

Are digital product passports about to become more commonplace?

The short answer? Yes.

Even if government mandates did not happen, the persistent rise and evolution of counterfeit goods would have driven luxury brands to introduce modern technology to fight an ancient, never-ending problem.

As it stands, the push for more transparency in the industry, coupled with superfakes threatening the exclusivity that is one of its pillars, and increasing legal mandates would push luxury brands to integrate digital passports into their processes and products. How well it would solve the challenges that bedevil the industry is another matter entirely.

The post Digital Passports: The Future of Luxury Goods? first appeared on Aspire Luxury Magazine.

The post Digital Passports: The Future of Luxury Goods? appeared first on Aspire Luxury Magazine.