Fun in the Sun

June 24, 2016 / by Kitty Go / Photo: Edmond Tang

In Vilebrequin’s 45 years of business, why did the brand only enter the womenswear market in 2013? 

There is a saying: “Life begins at 40.” It’s about humans, but probably applies to the brand because one matures at this age and that’s part of the answer. For me, it was time to expand the territory; new shareholders invested in 2012 and gave us new resources. I wanted to build on two development programmes: one for Asian business, and one for territorial expansions in the EU and the US. I also wanted to extend the product line and women’s was a natural progression. Now we have accessories including shoes, sunglasses and watches.

What did you bring to Vilebrequin after more than 20 years at Hermès? 

I joined Hermès at age 25 and learned everything in the 23 years I was there. What I bring to Vilebrequin from Hermès is a respect for products and craftsmanship. Hermès is based on quality and I have a great belief in that, together with bringing modernity to tradition. Being traditional is great, but you have to take it into the modern world.

How do you plan on expanding beyond womenswear and product extensions?

We do everything around the pool, from swimming to cocktails – we even have tuxedo swimming trunks. To complement the Rolling Stones tour, we made items printed with their album covers. We started an après-ski collection last winter using three different prints and we will continue that, as it sells very well as a capsule line. Skiing is as colourful as the beach – our world is a family on vacation that goes to Saint Tropez in the summer and Megève in the winter. 

Many people, including customers, ask, “Why is it so expensive?”

My dream is to make Vilebrequin a reference point for excellence in men’s swimwear. For about 200 euros, you get a product that is created by an institution based on values and history. Pierre-Alexis Dumas [the artistic director of Hermès] often quotes his grandfather by saying, “Luxury is a product you can repair.” In the end, quality isn’t that expensive. We have a service to repair the net lining of our swim trunks. Most men are very loyal and they love wearing the same clothes. They look for comfort, then quality – in that order. 

What does a customer get in a pair of 200-euro swimming trunks?

First, the yarn is polyamide from Italy, which gets woven in Spain using a secret mercerised method to break down fibres so it feels like cotton.
Polyamide is strong, holds dyes, washes well and doesn’t have the static of natural fibres. There are 32 steps from printing to finishing, and we only use two printers that can work with this type of fabric. Second, all the patterns and pockets are matched by hand and cut in one direction. This is the most expensive part of production, with a generous use of fabric to maintain the integrity of the prints. Third, what look like design elements are really functions to make you look good in and out of the water – the eyelets in the pockets and the back are for water to escape, to stop the trunks from ballooning. The elastic is strong but not too tight, and there is double-needle stitching all around for a clean finish and reinforcement in high-tension areas. The linings are seamless 100% cotton for comfort and fit. Above all, everything has to stand up to the damage done by sun, salt, chlorine and dampness. 

Do you have further expansion plans aside from the current ones in Asia? 

We have been very strong in Asia with Hong Kong since we opened, but until two years ago it was virgin territory for us. Right now the biggest developments are in Japan and China. Per country by value, Hong Kong is still the best-performing, followed by Singapore, then the US, especially New York and Miami. But in terms of contribution, our European business is twice our American one. We are looking for a distributor in China because I think there is no one better than a local who knows the market. I would like to open in Beijing, Shanghai and Sanya. We want someone with a long-term vision so we can take our time to do things well. 

Being so established in the men’s market, how did you crack the women’s market so quickly? 

Women, mostly in developed Western markets, have been asking for their own collection for years. Our women’s line is doing better with the Chinese than any other nationality. They buy a lot of cover-ups and shorts. We don’t just sell a beach look, but a beach lifestyle for different occasions at different times of the year. I’m impressed by the popularity of our women’s collection, but I’m not surprised because this brand is new for Chinese clients. Unlike in developed markets where we are known as a men’s brand, we captured the Asian market by entering into parts of Asia outside Hong Kong with menswear and womenswear on equal footing. Singapore has the same limited floor space for women as we do in Europe, yet it makes up one-third of sales. 

The Moncler Mogul

May 27, 2016 / by Zhang Mengyi

You took over Moncler in 2003 when it had only one jacket. Now it’s an international fashion statement. How has Moncler evolved since you awakened this sleeping brand?

We’ve done a lot in the last 13 years, but we still have a lot to do. I want to make the jackets even lighter, keeping the perfect balance between performance and style. I really do not like the term fashion, where everything is related to trends and is so seasonal. Fashion, for me, is first of all creativity and consistency in creating long-lasting, quality products. 

You started your own label, New England, before you bought Moncler. From that experience, what helped you most when you came on board?

I have always been very curious and very attracted by what surrounds me. When I founded New England, I not only worked on the creative side, but I also approached all the aspects related to the business, too. I’ve learned a lot since then – and experience gave me the chance to do exactly what I aimed to do.

The brand delved deeper into fashion territory with the launch of Moncler Gamme Rouge in 2006, Moncler Gamme Bleu in 2009 and Moncler Grenoble in 2010. You’ve presented your collections at various fashion weeks. But you keep saying that Moncler is not keen to be in the fashion system. 

It’s true – I always say, “We have to survive fashion.” I want to create value starting with the product; that, to me, is the most important topic. The future of a company, in my opinion, is linked to the knowledge and the perception of the brand. It could happen that you have a rise, in terms of a turnaround, but it’s more important to have the growth of knowledge. People only knew Moncler as a puffy jacket – until they came to the point where they found the brand’s real value, recognisable as a quality choice. That’s the kind of investment that assures a strong base for tangible growth.

Did you have an overall plan to make Moncler a globally recognised brand when you first took over?

The great heritage and history of Moncler is absolutely unique. It’s rare to find a brand with deep roots in tradition. The goal was to bring it into the future, starting from its origins. Our aim was to roll out a “global down-jacket strategy” all over the world. It was very important to communicate that Moncler is a jacket for all occasions. The brand’s evolution has become urban, never renouncing the sporty spirit that is always present in Moncler’s soul. This is what we really wanted from the beginning of this fantastic adventure, starting with a great product and an outstanding history.

You’ve chosen avant-garde designers, including Giambattista Valli and Thom Browne, to interpret the Moncler brand. What was your vision when you decided to work with them?

In all these collaborations, creativity can shine through different interpretations of the Moncler DNA. Everyone I work with – whether a designer, an artist or a photographer – brings his vision or personal touch. But everybody has to work with one central idea in mind and use one mutual language: the Moncler world. With Moncler Gamme Rouge and Moncler Gamme Bleu, I wanted to combine the Moncler universe and its sport origins with the sensibilities of different designers. I wanted to complete the practicality of the classic Moncler down jacket with the sophisticated eclecticism of more precious elements. I think Giambattista Valli and Thom Browne are incredibly talented designers, able to combine a sensibility to couture and tailoring with a good business response; that is exactly what I was looking to create. I believe one of the key reasons for Moncler’s success is the brand’s openness to diverse interpretations.

Moncler is rapidly expanding, with more than 180 stores worldwide. Where are you headed in 2016?

Moncler opened 27 new points of sale during 2015 in some of the most famous international luxury retail locations, including the flagship Tokyo store in Ginza as well as the first stores in two new markets: Macau and Singapore. Our eyes are now on the consolidation of the retail presence in North America, where in the second part of the year, we will be reinforcing our New York presence by opening a second boutique.

Where do you see Moncler developing in Asia over the next five years?

We have done a lot, but as always we want to do more and do it even better. With my team, we are working on important long-term projects all over the world. We strongly believe the Chinese market will continue to be important for us, also with a specific focus on the e-commerce segment. We want to make sure our online presence will even meet the needs of the most demanding clients. 

When we launched our Chinese e-commerce platform, it represented a further phase of expansion in the market. Moncler has maintained a presence there since 2009, when the first Shanghai boutique was inaugurated. Today, our e-boutique must offer a first-rate shopping experience to all customers. And to do so, we are constantly very attentive to the web environment and working with professional teams that help us make sure our customers perceive it to be appropriately secure. In the next year, we also plan to rethink and restructure the entire product offering,
and propose ad hoc content to our Chinese customers, designed to answer specific local needs.

You got your first Moncler jacket when you were 14. What was that like?

I was born in Como, very close to the border with Switzerland. In the winter, when you woke up at seven o’clock in the morning, it was freezing cold and slightly icy outside, and you had to ride a bike to get to school – well, the only thing you dreamed of was something that could keep you warm! So I got a Moncler jacket, at that time very popular among youngsters, and I still remember that first morning I wore it. I felt so comfortable, since I could fight the cold. Since then, Moncler has been close to my heart.

What’s your favourite Moncler item?

I love all the jackets – among them is a lightweight matte-blue down jacket, part of the Moncler Longue Saison collection. It is a model we launched in 2008 and has since become our iconic piece, wearable even in warm weather.

Treasure Hunter

April 1, 2016 / by Natacha Riva & Emily Zhang

We heard that you’ve brought Tang sancai [lead-glazed earthenware pottery from the Tang dynasty] to the International Antiques Fair in Hong Kong this time around.

Yes, but Tang sancai is bread and butter; it’s mostly decoration for us in Europe. If you bring some 14th-century porcelain from the Yuan dynasty, or 18th-century porcelain, it’s a different story.

Do you face obstacles as a Westerner in the Chinese art market?

The Chinese think because it’s Chinese art they can understand it better than a foreigner like me. But when you look into the Tang dynasty, there were three million foreigners living in Changsha. And when you look at the sancai pieces today, all those figures are foreigners; look at the clothes they are wearing and compare it to the Chinese at that time. Also, the make-up they were using in Changsha came from Kushan, which was not Chinese at that time; it was a mixture of foreigners.

How do you appraise a piece?

When I see a piece, I touch it and feel it. You can feel the weight, the material, the pattern. When I saw some fake pieces in Hong Kong, people asked: how did I know? I said that the piece burned my fingers, because its patina was made with acid – I felt the burning acid on my finger and I had to wash my hands right away. Also, I can tell if the piece is too heavy or too light, or the material is artificial.

I remember an art dealer invited me to his house to show me an important piece. I said, “It’s fake.” He said, “You haven’t touched it; how do you know?” I said I didn’t know, but I felt right away that something was wrong. And it was a piece the guy studied for three months. Then I took it in my hand and explained why the decoration was wrong. 

When you touch a piece, you can feel its energy. The person who creates something puts all their passion into it, their power and their knowledge, so the piece is alive. When you have a fake, that person just makes a copy. They make sure it looks perfect, but you don’t feel anything. We say “the piece is dead”. Very few dealers are aware of this.

So what sets you apart?

It’s only a question of knowledge. It’s a good challenge to buy from a top auction house. According to French law, if I buy from a dealer or from an auction house, I don’t have to say what I buy. But if I go to a private collection and I buy something, I have to inform the collector what the piece is and how much it’s worth. In China, it’s different; they can cheat the guys. There are very few real collectors in Mainland China. They don’t know exactly what they are buying; they like to buy in auctions to show off. They buy at crazy prices. And they will lose a lot of money the day they sell.

You must meet different kinds of dealers in this industry.

Yes! Some of them will claim, “I am the best, I am a big deal” – they are so proud of themselves. And then you buy something and they make a big mistake, but they don’t know any better. As soon as a dealer starts to get a little well-known, they think they are a god, that they know everything…

What aspect of an item matters most? Is it exquisite craftsmanship? Rarity? 

It’s all of these things: the quality of the piece made; its rareness of colour, casting and design; how it has been conserved; sometimes also its provenance. But people often buy pieces with a provenance that was faked, even in the 1920s – a collector may not know at that time he bought a fake. In Chinese art, you have lots of fakes; they’ve made fakes since the Song dynasty. In the beginning, they were making reproductions for souvenirs to show off the quality of their ancestors. But by the 1920s, they were making fakes to cheat people. 

What about the auction houses – do they sell fakes?

Yes that can happen! Recently they sold a piece that two or three of us knew was fake, because the guy who made these fakes in 1930s Japan was making two pieces every time. He sold one and kept one, changed something about one design – it was his signature. Every time you see these things in the design, you know it’s this one Japanese dealer who made the fakes. You need to know Chinese art from the Neolithic to the 19th century. You need to know bronze, pottery, sculpture, furniture. Auction houses don’t have deep knowledge, that’s the problem.

You mean even the very famous auction houses?

Yes, of course! In London in the old days, I saw a bronze from the 12th century BC, according to the catalogue. Everything looked perfect, but inside, there was an inscription cast in the bronze – meaning it was made at the same time. But the inscription was in the Mongolian language, which first appeared between the 12th and 14th centuries AD. So how can you explain the writing, supposedly from 2,000 years before that? Maybe it was cast in the 14th, 18th or 19th century AD. One poor collector trusted the auction house and bought the piece; he had just bought a fake.

Describe the collectors in the region.

Most of them are investors. Very few are buying for pleasure in China. In Hong Kong, the first question is always: “How much is it worth? How much can it be worth?”

What’s your relationship with your clients and collectors like?

I’d rather sell to someone who will enjoy it. I don’t want to sell to a guy who says, “I bought this; I paid two million, three million.” After a while, he will put it in a corner and sell out. Some pieces are very rare and important; we have to transfer them to the next generation. When a collector comes to see me, I know if I will sell to him or not. If I don’t like him, I won’t sell to him.

What are your thoughts on the current reality of the Chinese antiques market?

You have two kinds of buyers. The ones who are making investments, because that’s what most of the auction houses are telling them to do – and every time you are in Asia they tell you what is a good investment. But I say art is not for investment. You just have to enjoy it. Art is a pleasure; when you buy, you should not be thinking about how much you will sell it for. You should buy because you like it.

The problem is the auction houses go big on marketing, telling everyone it’s a good investment, when in fact they will lose a lot of money. In the press around Europe, people who bought contemporary art, they said 80% or 90% of the pieces will be worth nothing in 20 years – which is normal. 

Chinese collectors resell pieces after one to three years, so they keep them for a short time. And they don’t put them at home, but in storage. When you look at European antique collectors, they generally keep the pieces from 15 to 25 years, so it’s real collecting. And this, after 15 to 20 years, might be a good investment. 

How about realised gain?

Auction houses are very proud to point to the Mark Rothko painting from [David] Rockefeller. He bought it for US$10,000 [in 1960] and sold it for US$70 million [in 2007]. People forget that was 40-some years ago, when US$10,000 was a huge amount of money – you could buy a building in New York! With US$70 million, you can’t buy that same building today. So it was a huge amount of money, and you have to have taste to buy these pieces and keep them for 40 years. 

It’s why I say that with art, you have buy for passion, for pleasure. If you really want to invest, you have to buy the best quality – because you don’t know if your piece will be worth ten times the price tomorrow or only one-tenth.

What advice would you give to people who are curious and want to collect, but don’t have much money. Where should they start?

Every kind of art and piece can be good. You don’t need US$20 million to collect. I know a top collector who buys impressionist paintings; he recently showed me a small Han figure from the 2nd century, for which he paid US$500, but the quality was exceptional.

What I usually do with new collectors who want to start is take them to a museum. We go and look at bronzes, sculptures, porcelain. Then we go to other exhibitions. Then we discuss all the things they saw and find out what they liked. With this approach, you have a starting point.

Sometimes I like something in the museum, but I don’t know if I will like it at home. One day I bought a piece, took it home and put it on the wall. After a while it was not on the wall but in my office – and six months later, the piece was in the safe. So I made a mistake; I don’t like it. I like to see those paintings in the museum, but it’s not something I want to have in my home. Six months later, I sold it back. 

Through all the years, what’s been your best purchase?

It’s the one I will buy tomorrow, perhaps! I bought a very rare piece one day. I spoke to the guy on the phone and he said he had nothing. When I arrived in this guy’s shop, he opened a box and it was exactly what I wanted. You don’t know why that happens; I have a feeling that those pieces know they have to come to you. Sometimes you miss a piece; people can have regrets. But it also means the piece was not meant for you. 

Perfectly Provocative

December 22, 2015 / by Kitty Go / Photo: Edmond Tang

Agent Provocateur has been in Hong Kong for nearly 10 years, yet only just opened its first free-standing store on Central’s On Lan Street. Was this a strategic decision or something more spur of the moment?

For the last five years, we’d been looking for a place on Canton Road – but the rent was unaffordable, so we had to look elsewhere. When we open a shop, we don’t make it a flagship and consider it a marketing cost. We have to find the right place: discreet, fashionable and with lots of cool brands. Now, we have found the right place.

When the brand first opened here, it was located at the back of Lane Crawford in IFC Mall. I was told this was because the market was shy about going into a storefront with a lot of foot traffic. Has this attitude changed in recent years?

It was a great location because it was at the end of the fashion corridor; it was a destination. People are much more open now, but having said that, we still aim to be discreet. Women still don’t like to be seen looking at lingerie. There is more of an acceptance of buying luxury lingerie now, though some countries are different – the Middle East and parts of America, like Texas, for example. We’re looking to open 20 Agent Provocateur shops in the next three years, and 40 of our secondary L’Agent shops over the next five years, in China. We’d wanted to get into China since 2008, but had encountered difficulties with registration.
Finally we got in and, since opening, our business has exceeded expectations. But we’re still cautious about finding the right shops and locations.

How does L’Agent by AP distinguish itself from Agent Provocateur?

L’Agent’s price point is about half that of Agent Provocateur, but it carries the same colours and mood, in different fabrics and with a younger but equally racy style. I was thinking of launching a diffusion line while I was considering the brand’s growth potential. I didn’t want to take Agent Provocateur wholesale because the experience and the ambience were part of the brand. I wondered what would happen if we ran out of stores to open. L’Agent by Penélope and Mónica Cruz came about by coincidence. We’d done ads with Mónica, and she and Penélope wanted to work with us. They’re hard-working, have good taste, bring in vintage pieces, were involved in hangers and tags, did the videos and so on. This is more a collaboration than an endorsement; we have a 10-year deal. We make pieces for celebrities, but we don’t normally associate with them. 

How does the Agent Provocateur customer in Hong Kong generally compare with your clientele in the rest of the world? 

Our regular customers in Hong Kong shop two or three times a year, but we have regular monthly shoppers all over the world. The majority buy lingerie sets – a bra and panties – then maybe a slip or a robe. Our first London shop opened in 1994 on Broadwick Street in Soho – London’s red-light district. If that didn’t already exist, we would never consider opening there. 

Many people perceive us as something for a special occasion, but we also have many repeat customers who know us and buy our lingerie for everyday use. However, our classics wouldn’t be considered classics for other brands. In reality, we sell to all ages – to a mix of career and aspirational women.

What has changed is that Agent Provocateur has become accepted as a luxury brand. Our peak times are during lunch and after work. It’s a tiny shop and closes at the weekend. Sales are high value and fast, not like Selfridges, which caters to ladies of leisure. Many women, including our lawyer, tell me that wearing Agent Provocateur underneath a suit makes them feel great.

In terms of fabrics, what are your bestsellers? 

Ninety percent of our fabrics come from France. Lace is our bestseller, then satin and silk. Those who wear our pieces understand the quality. It’s like the difference between acrylic and cashmere. After you wear it, it’s impossible to wear anything else. 

How do you decide when and where to open new shops? 

Our plan is to open 20 shops a year worldwide, but we do a lot of research. We’re aware of retail adjacencies, and talk to other retailers like Jimmy Choo and Alexander McQueen. They let us know what’s available and tell us they want us around because we have the same customers. We work well in an area where there are shoe retailers, especially in Russia and Los Angeles.

If I know a shoe store’s profits, I can estimate that our profits will be about 80% of theirs. We look at luxury malls worldwide. They provide information like composites, sales per square metre and so on. Then we do feasibility studies, factoring in wages and the payback. 

It’s quite scientific, but we’re still very careful. We won’t pay for a location with crazy key money. We are cautious, yet happy to be around the corner – like in Paris, where we’re on Rue Cambon rather than on Rue Saint Honoré.

What plans do you have for further expansion – or, thinking of your five fragrances, for any future brand extensions?

In 2009, we launched Soirée, a demi-couture line that’s our most expensive collection to date. For us, any brand extensions will always have to be lingerie-inspired. 

On My Watch

November 20, 2015 / by Leona Galluci

Could you describe the spirit of the Roger Dubuis brand?

This year, we set out to establish that we are the pioneers of contemporary skeleton movements. For many years, these were rather traditional and we really are the first to demonstrate that they don’t have to be conservative – they can be contemporary. We’re the first in this new territory. 

What image do you want Roger Dubuis to present in the market?

In the watch business, it’s crucial to be where it’s all happening – and Hong Kong is the shopping destination for hundreds of thousands, even millions, of tourists. It’s a window, and you can build the best windows in cities where you see both local people and tourists. It’s Asia’s hub. Paris, London and Milan are the hubs in Europe, and Dubai is the hub for the Middle East. Those are the world cities where you build your distribution network. Roger Dubuis is firmly in the high-end segment. When we have a stage, it cannot be a small counter in the middle of nowhere. 

When you say high-end, how much are the most expensive models?

The Excalibur Quatuor, with four balance wheels, is quite an aggressive contemporary design and is priced at about 500,000 euros. The Minute Repeater is at a similar price point, but is more of a classical design.

Give us an overview of the brand’s China strategy.

We work in China for the local market and for the millions of tourists travelling around the world. For us, China is the number one market – when we’re talking about the Chinese population, we include those who travel to Switzerland, Paris and Hong Kong. Our Chinese headquarters is in Shanghai, including our after-sales service for customers who return from overseas and need assistance with their watches. 

Chinese people often don’t realise that purchasing products from brands without China-based service centres can lead to problems. If they need to return their watches to Switzerland, they won’t really want to entrust their high-value timepieces to the care of a local dealer. 

As China’s anti-corruption campaign continues, how do you see it affecting the high-end sector?

We sell emotions and dreams rather than watches. If you consider contemporary art, it’s expensive, but there hasn’t been a slowdown. There’s been no drop in luxury car sales, either. 

If we were to lose business in Hong Kong, we would gain some in Singapore and Tokyo. Roger Dubuis is a globally distributed brand, not focused in any one country, and the majority of our sales are to people who are travelling.

It’s always good to put things in perspective. Yes, there might be a slight decline in Hong Kong sales, but it’s important to remember where Hong Kong watch sales were 10 years ago – there have been huge increases. 

Anti-corruption drives, slowing business – these are all part of a cycle in our industry. Consider the luxury industry as a whole; it has its difficulties. Instead of looking back over the past 12 to 18 months, assessing the last five years presents a far more accurate picture.    

How have you seen Chinese clients evolve over the years?

The high-end segment of the Chinese population is now very much looking for niche brands. They don’t want to be seen with the mass-market, global brands that everybody else has. Any customer can request a visit, and we tell them the Roger Dubuis story and show them what
we do.  

The reason our pieces are the prices they are is not because we are a luxury brand – that doesn’t mean anything. We are a Geneva-made brand; in our industry, that means we develop, prototype and produce our own movements. We don’t buy an item from somewhere else and claim to have manufactured it. The value and authenticity of the mark “Made in Geneva” is far greater than that of “Swiss Made”.

What have been the biggest shifts in the world of haute horlogerie? 

It’s what you do on a daily basis, reinventing dreams; it’s how you develop stories with depth. The biggest issue today is that mass-market brands are also highly creative and innovative. 

This means how you develop your organisation is important, because the competition is also making rapid progress. These days, it’s not good enough to think that because we’re using diamonds we can charge ten times more. We have to bring additional value in terms of concept, spirit and authenticity; this is what brings pleasure to people who invest in exclusive complications.

What traits do the world’s leading fine watchmakers share? 

Differentiation. There are 700 watch brands in Switzerland. When we are developing products, marketing and so on, we always look at what others are doing. If anyone else is doing something similar, we won’t do it. Our work must be original.

Where do you see Roger Dubuis growing in the next few years?  

We believe the ladies’ watch sector is highly promising. For many years, haute horlogerie has mainly targeted men. Now women are becoming increasingly interested in watches, and their interest goes deeper than merely diamonds and mechanical watches. At SIHH 2016, our entire presence will be dedicated to ladies’ watches.

Do you have a personal favourite Roger Dubuis model? 

My favorite timepiece is the Excalibur Star of Infinity. I’m privileged to see all the watches at the factory, but I always come back to this one. I feel I’m missing something if I’m without it. There’s no dial, so the watchmakers have to make movements of beauty. It’s like a car engine. Usually it’s covered by the bonnet, but here we create a movement in such a way that it looks balanced and has a defined shape – it’s a star. That’s crucial to the movement, otherwise the components would fall apart.

Mille’s Ahead 

September 25, 2015 / by Natacha Riva

You opened in Macau last year. What perception do you have of the place now?

The response of both the public who didn’t know us and existing Richard Mille clients has been exceptionally enthusiastic. The boutique embodies our commitment to Macau and shows our dedication to customer support. Since my watches are in a world of their own, I am also happy to be able to create a real Richard Mille experience with an environment for everyone to participate in, especially in such a top location.

How would you describe the Richard Mille brand?

One of the best: extremely comfortable to wear, sexy design, 21st-century, cutting-edge and yet steeped in Swiss watchmaking tradition.

What’s the greatest challenge for Richard Mille over the next year? And what is your major goal?

There is no one single challenge for me in a given year, actually; the ever-present challenge at the heart of the matter is to keep producing watches at the level I do. It all looks so easy to the outside world, but if you knew the hours and patience it takes to create innovation regularly, you would be dumbfounded. Walking on the edge of the future all the time never gets easier, only more and more difficult with each passing year.

You attended Watches&Wonders 2014. How important was the event to you? 

Watches & Wonders started only three years ago, but in a short time frame it has become an extremely important venue for us. We do everything we can to make it a fantastic event, not only presenting all our novelties but also new worldwide releases specifically produced to premiere in Hong Kong. It is the perfect opportunity to keep our RM family in Asia in close contact with us every year.  

Do Chinese consumers react differently to your watches from clients in the west? Has anything surprised you about the differences?

It is hard to generalise, but perhaps one can say that Chinese tastes are more broad, more varied than elsewhere. For instance, you see men in China wearing watches with diamonds, or flower-inspired pieces like the RM 19-02 Tourbillon Fleur. Tastes like these are shaped by millennia of history and culture, and cannot be transposed to other locations in the world.

What’s the most obstructive or limiting factor of working in the watch world?

I have a philosophical answer: fear. Sometimes, among customers, or even suppliers and partners, people can be scared by a cutting-edge approach. It takes guts to give your all to expand a horizon, and we all have a human tendency to stick to what we know. My brand is based on Swiss traditions, but is constantly busy defining and exploring the future. For that reason, some people get it right away and become fans of my timepieces, while some wait and meditate on it, and perhaps later become part of the RM experience when they are ready for it. It is all based on human emotions. Personally, in everything I do, including my watches, I never consider being safe; my only interest is to go forward and never look back.

Apple Watch – what impact has it had and would you ever wear one? 

It is too early to place these new products in a segment, as their nature and use remain very undefined. I think for some people, the Apple Watch might be a good and useful thing, and for others not at all. Do you really want to be connected all the time: when drinking a fantastic wine in a restaurant, or when you are in a museum or enjoying the company of good friends? Comparing an Apple Watch to haute horlogerie timepieces is not relevant. However, without a doubt in the lower price segments these kinds of digital watches will certainly break the back of many brands. That being said, the lack of good battery power and the limited differentiation compared to a regular mobile phone severely limit digital smartwatches at this time. I personally had one on my wrist for a certain period of time, but I found in the end that it was not practical at all.

Richard Mille seems a very masculine brand. Do you support any female sporting icons? 

We began by being the major partner in golf's Lacoste Ladies Open tournament and a supporter of golf champion Diana Luna, who was the brand’s first female sports partner. Now we also work with the presenter and journalist Sarah Stirk and the golf star Cristie Kerr. There will be more female sports stars in the future, too. It complements and balances our connections with female stars from the worlds of film and fashion such as Natalie Portman and Michelle Yeoh. 

Would you sponsor the Macau Grand Prix, or step up your involvement in Macau in a similar way?

There are many possibilities for us, and one can never know what the future might bring, but in any case we will have some special events for Macau and very likely some new timepieces to celebrate this event – but let’s talk about that in Macau.

How do you assess the nascent progress of Formula E, which uses electric cars, and which you sponsor? 

I think it is going extremely well. Awareness has been raised of this new branch of motorsport. None of us can say goodbye to our wonderful fossil fuel-driven cars just yet, but we must all accept that the future is going to be quite different 50 or 100 years from now. So it is exciting for me to be a part of these early 21st century developments. Maybe in 100 years, people will smile at our efforts, just as we smile when we look at old races from 1910, but for me it is important to be a supporting pioneer in these new developments.

How many watches does your company make each year? 

We increase production slowly, in an organic manner; right now it is about 3,000. This means we are really creating very low production numbers compared to the grand houses that produce 40,000 or 50,000 timepieces each year. I have no plans to increase production to high levels because I want to preserve quality and ensure the exclusivity my customers expect.

What’s the best single piece of business advice anyone ever gave you?

Stop thinking about it and go and do it. Be driven by your passion.

Let’s Dance

August 28, 2015 / by Natacha Riva

Describe the Repetto brand in a sentence.

A brand that wants to make women feel good.

What has surprised you most since you entered the Hong Kong market? How has your perception of the place and its people changed?

The growing impact of digital media has changed the way people approach brands. Our brand and our products can be known worldwide before we even open a store. To women, this brings the same type of magic as a tutu in the front window of a store.

The number of foreigners in Hong Kong means there are fewer differences in our brand perception [from in the West] compared to, for example, China.

Tell us about China. You’ve been biding your time, but now you’re on a push there. What can we expect to see happen over the next couple of years?

China, as with the US, is a huge market. Firstly, if you make a mistake in a large country it is difficult to recover. Secondly, we had to link up with the best possible partner; we’re partnering with Swire. Thirdly, our products are made in France; we aren’t in a position to grow faster than our production capacity. Don’t forget we’ve seen our revenues multiply 12-fold in 10 years. As an independent company we are not in a position to rush. We will grow if we do things well, but it’s not my vision to see growth for growth’s sake. In the next two years, I want to see people in China falling in love with our brand.

You were with a multinational sports-shoe company before Repetto. How did that help or hinder you when you arrived at Repetto?

The sports industry had a limited focus on sports only until the early ’80s. Starting from this narrow platform it became a global industry in which the consumer market now accounts for 95% of revenue. Repetto started as a dance brand in 1947; now we offer flats, heels, trainers, leather bags, ready-to-wear and perfume. My sports-industry experience gave me a wider approach, an understanding of the possibilities of a strong brand, which is what we are. Reebok was the first company to achieve $1 billion of revenue in one year; Nike reached $7 billion this last fiscal quarter. Nothing is impossible; this is the way I think – not in terms of size but of possibilities.

Why did you wait so long before entering the US? 

We source our products in France, so we had to open a school and train new employees as craftsmen, and this is not an overnight job. Quality and French manufacturing, the “Made in France” epithet, are important for us; we had to make some choices and we chose to first penetrate the Asian market. I think our brand philosophy is closer to Asia than to the US, though we are now ready to enter the US and are opening our first store, in New York, in September.

What’s your definition of luxury?

For a long time luxury was unique expertise, quality, and brands that had pedigree in a specialist area: travel, for example, for Louis Vuitton. Since the early 2000s, creation and communication have become important elements for luxury brands.

Repetto was struggling when you took over. How many people does the company employ now compared to when you arrived?

We now have over 350 employees in France and about 800 around the world. In 2000, there were only 53 staff.

Repetto has established a foundation: what does it do and how can people get involved? 

For any company to survive it has to make a profit, but for me it’s not enough to merely make a profit for the sake of it. We have to do something with it: to give something back.

So on our 60th anniversary in 2007 we established the foundation Danse Pour la Vie (Dance for Life), to support dance schools around the world, to give them dance equipment and help young dancers who can’t afford such products to live their passion. Any school can benefit from the foundation as long as they have been established for a few years, are managed by dance professionals and provide scholarships for children. The foundation not only helps young dancers but also helps Repetto feel good about itself.

You’ve started a school for training craftsmen in the art of leather and shoe making in France, from which Hermès, JM Weston and others can source craftsmen. What prompted this initiative?

Primarily, the need to support the growth of our own company, but also many manufacturers of luxury products come from France, so why not take this opportunity? It’s an excellent way for me to take responsibility for educating Repetto’s craftsmen of the future. For anyone looking for a real profession it is a beautiful opportunity to learn and practise an outstanding job as a craftsman. I suggested some other brands might like to join us in this venture, and this is the result.

Who designs Repetto ballerinas? 

Our long-time designer, Olivier Jault, but he now works alongside other designers: Eugène Riconneaus is a name to remember.

You’ve branched out into bags and perfume. What’s the next step for Repetto? 

To make all of this work worldwide. To be seen as a unique brand, with a unique positioning and heritage in dance.

Crystal Clear

July 10, 2015 / by Natacha Riva

How important is it for you to find and collaborate with the next big Chinese designer and what have you done to accomplish that? 

The Asia Pacific market is very important to Swarovski so seeking out, supporting and collaborating with the region’s most exciting creative talents is a priority.

Fashion has been experiencing an eastward tilt, and we are proud to have collaborated with Chinese-born designers like Masha Ma, Yiqing Yin, and Huishan Zhang as part of our fashion initiative the Swarovski Collective. Masha Ma and Huishan Zhang also created catwalk jewellery pieces for our Runway Rocks show in Shanghai in 2013. In jewellery, we collaborated with Wang Peiyi, who created his first collection for Atelier Swarovski last year. 

We find many of our emerging design talents through our support programmes with global design schools like Central Saint Martins in London, Parsons School of Design in New York, and Donghua and Tsinghua Universities in China. In 2012 we opened an office in Singapore specifically to work closely with the Asian design community. Our aim is to support them in building a sustainable business and providing them with an opportunity to fulfil their creative potential.

In retrospect, can you isolate one thing you did, which changed how Swarovski was perceived? What was it, and how and when did it happen? 

The brand is constantly evolving, when we started working with Alexander McQueen we immediately knew that something revolutionary was going to happen. I was first introduced to him in the late ’90s by Isabella Blow, and we started collaborating on his collections and shows straight away. He brought this incredible curiosity and energy to every project he touched, and really challenged us with our own innovations. Upon discovering our crystal mesh product he had a flash of inspiration and saw how it could be draped around the body and worn as a garment. Suddenly everybody else wanted to use it as a material. That sense of adventure and innovation with crystals was something we then channelled into the Swarovski Collective, which has now been supporting emerging fashion talent for over 15 years. We wouldn’t be collaborating with that next generation of designers like Mary Katrantzou, Rodarte and Iris Van Herpen today if it were not for Alexander McQueen.

Do you have any philanthropic causes? 

Philanthropy lies at the heart of our mission at Swarovski. Our founder, my great-great-grandfather Daniel Swarovski, had strong humanitarian instincts and believed passionately in supporting the community, promoting culture and protecting the environment. This philosophy has been part of our DNA ever since and one was of the reasons we founded the Swarovski Foundation in 2012. The Foundation supports culture and creativity, health and wellbeing, as well as protecting the environment.

Do you approach designers or do they approach you? 

Creativity is essential in terms of the evolution of our product and its use in design; therefore we collaborate with artistic talents who have a genuine love for our product and the ability to push the boundaries of creativity, design and innovation. Our relationships are organic. It might happen through a recommendation, being approached directly, or I may read about a designer and think, we have to work together. 

What further ‘lifestyle’ plans do you have for the Swarovski brand? 

Swarovski has always been a design-driven company, which values innovation and creativity as much as its heritage of craftsmanship and expertise. When I joined the family business in the ’90s, my aim was to position Swarovski at the forefront of design and consumer trends by creating new products with crystal which were relevant to the consumer. We have achieved this by forging close relationships with designers in the fashion, jewellery, architecture, design and entertainment industries who drive our product innovation. We are constantly evolving and diversifying our product range.

We all have mentors or those who inspire us. In business, today, whose actions do you follow most closely, and whose work ethos do you most admire? 

My first mentor was my grandfather, Manfred Swarovski. I grew up hearing stories about his work with Christian Dior and Coco Chanel, and he was really my inspiration when I joined the company. He understood the importance of putting our crystals in the hands of great designers and working collaboratively with them, and I wanted to do the same.

Eleanor Lambert, my first boss in the fashion industry, was also a tremendous inspiration to me. She was already in her nineties when I worked for her, and she had an incredible knowledge of the fashion and luxury goods industry as well as foresight in creating, and being on trend, and a rare ability to connect people.

This April Swarovski partnered with Condé Nast on its first International Luxury Conference in Florence. It was a pleasure to share a platform with so many inspiring leaders from across the worlds of luxury and technology, such as Karl Lagerfeld, Marc Newson, Alber Elbaz and Tory Burch.

Moving with the Time

May 29, 2015

Why did you establish Sevva?  When did the idea crystallize in your mind and who were you with when it did?

I was raised in a family who loved entertaining, food and all the finer things of life. My grandfather built his luxurious department store in the late 20s - 30s in the grand old days of Shanghai. My sister, Joyce Ma, then built her fashion empire introducing the top, the most sought after designer names in fashion today. I was my sister’s right-hand woman and we started the finest, the trendiest of homeware stores and florists within the flagship store. That’s how I started to get into hospitality when I was asked to create cafe-restaurants in our stores. Joyce Cafes were, again, an instant success. Then, after my many years in fashion, there came the time and opportunity following a sabbatical from my last fashion career as Regional Chief of Image & Communications for Chanel Asia Pacific. 

Somehow, I had to make another decision about what I wanted to do and the idea for Sevva came to me.

Ms B’s Cakery - where did the idea come from?

The cakes and sweets had been very successful at Sevva with many orders each day.  However, our bakery section was too tiny to handle all requests and with much encouragement and our cakes winning endless compliments, I decided it was time to expand into the “cakery”.       

To what extent is your confectionary at Ms B’s Cakery either Asian or French?  

We have been making custom-made cakes for special events and weddings for some time now and our clients simply love them.  Most of their feedback is that not only do the cakes look beautiful but they are really delicious. I suppose our cakes are for those who enjoy food, who appreciate the difference between quality and run-of-the-mill, who appreciate something original.  And who like the finer things in life.  

There are quite a few signature items for sure,… names are chosen for humour and fun... for example: Better Than Sex, Madame Butterfly, Paradise and so on.  

Ms B’s Cakery items are extremely well thought out from their taste and texture, right down to their artistic presentation. They evoke the warmth and comfort of a lovingly created homemade cake.  They are not the usual – “cookie-cutter-mould” type of cake which is very much in vogue in HK.  Their creation reflects a passion for unique flavour and texture combinations... even a work of art at times. Everything is made from scratch with care and with premium quality natural ingredients sourced from all over the world.  Another special thing is that I design my own sugar flowers and sugar art, which is so delicate and totally sets us apart. 

How did your Beijing collaboration with LV come about?  

Louis Vuitton represents the best in craftsmanship and luxury and their fine reputation for ever evolving fashion and lifestyle creations. Naturally, I am certain those with whom they choose to collaborate must also have stellar reputations.

What a great honour to be teaming up with Louis Vuitton China - the most successful and prominent brand in the world.  It certainly is a wonderful opportunity for my staff and I to take up this challenge in showcasing my products and brand in Beijing!   Definitely a major highlight to start the year!! 

How do you define luxury? 

Luxury is quite a big word these days.  In fashion, I would regard this as having the best and highest quality materials and workmanship in making whatever the item is.  Something luxuriously made - not mass-produced. 

In living, luxury is having fresh clean air to breathe, having good quality produce to eat, clean, high-pH water to drink, having a beautiful living environment and meticulous service staff to care for all the details at home.

Luxury is also having the freedom to go anywhere one chooses and live life in contentment.

For me personally, these daysluxury is also being able to spend quality time with the people I love. Life is short and with a blink of the eye, it very soon flies by.

What about cosmetics. Are you tempted to set up in that industry, with a high-end offering?

I have had the pleasure of choosing anything I wanted to have, or do, in my life so far. Although I use many types of cosmetics and like trying new products, I would not want to attempt to go into a business I don’t know too much about, and I just enjoy using them – that’s fine for me.

What are the key factors to your success?  

I like to keep abreast of the world’s trends and interesting travel destinations; from a young age I’ve been brought up in the luxury fashion business, understanding fine hospitality and different cultures.  At this stage of my life, all the knowledge and exposure I have accumulated through the years has helped me excel in my business – for which I still have a lot of passion.  I may not look it, but I am still very driven and interested in moving with the times. 

I work non-stop, but most of the time, I enjoy the work and creations I do, so I don’t really consider it work.  It’s quite effortless and natural for me to create and delegate to my team. Furthermore, I bring a lot of integrity and responsibility into my business and am very much hands-on.  Perhaps, the reason behind our success is that people notice all these little details that I’ve put in which set us apart. When you’re successful at what you love, I suppose, it’s a great feeling!

If you could change one of your characteristics, what would it be?  

To be more diplomatic and not so outspoken!

Who gave you the best business advice you ever received?  

My family.

Dazzling Secret

April 24, 2015

Founded in 1586 in Lorraine, eastern France, Saint-Louis is the oldest cristallerie (glass and crystal maker) in Europe. Purveyors to 18th century French kings, Saint-Louis vases, pots, table and glassware were keenly sought and its trademark paperweights collected by Empress Eugenie, Queen Victoria, and Napoleon III. The cristallerie made its first crystal chandeliers in 1836, and by 1893, the King of Nepal ordered several four-metre-high candelabras, each comprising almost two thousand parts and weighing 800kg. Today, its wine and cocktail glasses adorn tables ranging from the Duke and Duchess of Cambridge in England, to Prince Albert in Monaco. And from Paris, London and Moscow, to Beijing, Macau and New York, Saint-Louis’ newly customizable crystal chandeliers grace restaurants, fashion boutiques, castles and mansions alike.

Saint-Louis is one of the world’s oldest glassmakers, isn’t it?

This year is our 429th anniversary.  We started in 1586, when Henry III still had three more years to live. We got our name from Louis XV.

Saint-Louis is owned by Hermès.

Yes. We’re two different companies, two different brands, but we share the same values, the same commitment to craftsmanship and quality. Several things would surprise you if you visited our factory. First, the average age of our craftsmen is 35. Second, would be the most impressive level of craftsmanship. We still work as we worked in the 19th century. There are no machines.

Do you often collaborate with Hermès?

We are also a subcontractor for Hermès.  All Hermès crystal is made by Saint-Louis. Pierre-Alexis Dumas, artistic director at Hermès has the final sign off on our products. We collaborate with 12 other Hermès departments. We do clocks, for example.

Like the Atmos?

Correct. Two years ago, Hermès launched an amazing product. It was amazing because of Saint-Louis. Let me explain. The globe is a combination of white enamel and clear crystal, which is very difficult to make. It is mouth-blown, hand-cut and uses double overlay, which is layers of glass coated on top of each other, and then cut away. It is incredibly precise. Called Atmos, it was limited edition and sold out immediately. Likewise, we’ve done limited edition watches with Hermès.

Is the chandelier market subject to trends?

People want more customization, more flexibility, a more hand-made product. For instance, a British lord came to us and wanted a chandelier with 72 lights. He wanted something that would be a talking point with his guests. But you need a certain size room for such a chandelier. So, we’ve started making glass-blown horizontal chandeliers. This is why people come to Saint-Louis. We can listen to an idea for a design and try to create it, but only if we’re proud of the product. If it doesn’t fit our brand, we won’t do it.

Can you tell us about your new Royal collection?

Yes, it was launched in January at the Maison & Objet trade fair. It will be available in boutiques by mid-July. It’s a new version of our classic chandelier. When you buy a classic chandelier, you buy it for life, but these days most people change them. We wanted to offer different options. We vary the number of lights, gems, pendants or hurricanes. Customers can also choose their preferred colours; it doesn’t have to be clear. You can customize, as with couture.

What is the largest chandelier Saint-Louis has ever made?

The biggest was nine-metres high and weighed 2.5 tons, we made it for a private client in Moscow, Russia.

Saint-Louis chandeliers grace MGM Macau, don’t they?

Yes, we’ve done several chandeliers for them. For the bar, we made a 56-light black chandelier.  In the ballroom they have an 82-light version, and they have others.

What percentage of your business is for commercial properties?

We don’t work with developers. We work with their interior designers, or we speak to the end-users, who bring their own interior architects and designers to help. With chandeliers customers are always end-users.

Does Saint-Louis still make perfume bottles?

We used to. We have made some for other brands. It’s always for a limited edition. Customers who buy our bottles buy their own custom-made perfume from Parisian perfumers. However, we do make bespoke bottles for private customers.

Do you collaborate with artists and designers?

Collaboration is in our blood. Internally, we use Patrick Neu. He’s very famous. When the Pompidou Museum opened in Metz, they asked Neu for three of his pieces, which are displayed between works by Chagall and Picasso. We have an in-house designer who was also invited by the Chinese government to be resident at the Central Academy of Fine Arts (CAFA) in Beijing.

Jean Sala, one of the most talented glass artists of the Art Deco era, made vases for Saint-Louis and perfume bottles for Lancôme in the 1930s.  Also Jean Luce, a ceramicist and glassmaker. He designed porcelain and glass for the ocean liner SS Normandie in 1935.