Vibrant City: Hong Kong’s growing art scene

Dipping into a swirl of gentle colours, Sylvia So loses herself in a canvas of tint, sensation and memory. Inspired by the mystical work of established contemporary artist Christopher Ku, she prepares for her first solo exhibition in two years. After a tumultuous period of disruption, the homegrown artist is eager to showcase her distinct abstract works that leave interpretation to eye of the beholder. In a city rife with powerful art-world players, elite collectors and snooty aficionados, it is routine for emerging artists from Europe and the United States to clinch multimillion-dollar sales at exhibitions, while only a handful of galleries promote true local talent like Sylvia So.

Hong Kong’s reputation as the capital of kitsch has faded, but until a few decades ago there was a dearth of culture. The city was never known for art. Luxury shopping, cheap and delicious food, a raging night life – yes, but art? No. Not unless you count the antiques pedalled in dilapidated shops as art. With intermittent fairs, just the occasional show-stopping cultural event and galleries few and far between, artists didn’t really have a strong presence or say. Having historically existed in the artistic shadows of New York, London and Paris, the Hong Kong art scene has expanded and evolved since Art Basel’s arrival in 2013.

Vibrant City_ Hong Kong's growing art scene gafencu (5) — (Image courtesy of Art Basel 2021)

Art Fairs Roster

The past two years have been rough for the art sector – jolted first by pro-democracy protests, then Covid-19 – with shuttered galleries, wiped-out cultural fairs and calamitous sales tolling the bells of impending gloom. However, the diverse roster of blockbuster fairs gracing the city last summer – Art Basel, Affordable Art, Unscheduled, Fine Art Asia, Art Next Expo – was a resounding endorsement of the market’s commanding return.

Vibrant City_ Hong Kong's growing art scene gafencu — (Image courtesy of Art Basel 2021)

Traditionally, art follows money and with Hong Kong home to the world’s highest concentration of high-net-worth and ultra-high-net-worth individuals, an eastward shift in the global cultural axis is apparent. The findings of London-based art market-research firm ArtTactic are telling: Hong Kong now sits atop London as the second-biggest contemporary art-auction market in the world, tailing right behind New York. Even when the world was hurting from the pandemic during the first eight months of 2020, Hong Kong’s art-market share spiked to 26-percent from 20-percent in 2019, with US$314.6 million in sales, compared to London’s US$303.5 million. Kevin Ching, who served as Sotheby Asia’s CEO for 15 years before stepping down last April, feels there is “so much pent-up yearning and hunger for art in Hong Kong”.

Also Read: Fine Art Asia returns to Hong Kong with NFTs

Vibrant City_ Hong Kong's growing art scene gafencu (9) — (Image courtesy of M+ Museum)

Changing the Conversation

From Tai Kwun in the heart of the city to the fringes of new hub for creativity Wong Chuk Hang, galleries are flourishing. The growing interest is most visibly manifested by the high-ceilinged presence of art behemoths Gagosian Gallery, White Cube and Lehmann Maupin in the city. Their goal of mounting “museum-quality exhibitions” is a fortuitous sign that Hong Kong is clearly worth the investment.

Until a few years ago, the museum scene was woefully lacking, but here too the tide has turned. The opening of M+ is a big stride towards making the city a cultural heavyweight and remedying its reputation in art circles as being overly commercial. At 700,000 square feet, the West Kowloon stronghold is one of the largest contemporary art museums in the world, double the size of London’s Tate Modern and rivalling New York’s Museum of Modern Art – a place where you can go and see great art without someone putting a price tag to it.

Vibrant City_ Hong Kong's growing art scene gafencu (10) — (Image courtesy of M+ Museum)

One of the main restraints on homegrown talent has been the astronomical gallery rentals in a notoriously space-squeezed city. But with the opening of art-dedicated areas like the Tai Kwun Centre for Heritage and Arts, H Queen’s, PMQ, West Kowloon Cultural District and even the newly repurposed Central Market allow the burgeoning local art scene to breathe. Their diverse programme and local-artist-only exhibitions are helping the city shed its status of cultural sterility.

Excitement is high, artists like Sylvia So are optimistic. “There is a lot of potential here,” she affirms. Hong Kong is one of the few global cities in the world that is pumping in money for cultural development. “Undeniably the new art environment and government policies will greatly nurture homegrown talent.”

“There is so much pent-up yearning and hunger for art in Hong Kong”

Local Laurels

While the blight of Covid has been cataclysmic, it has spurred a refreshing change. Travel restrictions and long quarantine meant that a majority of global artists were absent from this year’s fairs. Art Basel and Affordable Art Fair chose to shine a spotlight on local artists instead. The latter’s director, Regina Zhang Minzi, observed, “Contrary to the previous seven years when 80-percent of [participating] galleries were from oversees, in 2021 it was the other way round.”

As a result, budding artists like young graduate Chau Chung-man and 24-year-old Mandy Ma, winner of the Fresh Trends Art Graduates Joint Exhibition award in 2019, enjoyed a pivotal year, showcasing their work in the same venue as celebrated Western talent like David Farrant.

Street Scene

Visual noise or genius born in the streets – no matter which side of the graffiti debate you are on, there is no denying the pedigree of street art. Non-profits like HKwalls, co-founded by former architect Jason Dembski in 2014, are driving forces encouraging the growth of murals through annual street-art festivals and competitions. An increasing number of graffiti artists like Bao Ho, Xeme and Catherine Grossrieder are taking to the walls to pour out their creativity and, in so doing, breathe new life into drab districts. Sometimes inspiring, often enigmatic and undoubtedly challenging, Hong Kong art is coming alive like never before.

Compared to established masters like Paris, Venice, London or New York, we may be just dabbing our brushes, but art world mainstays agree that a city often critiqued for being a superficial, commercial jungle is taking conscious steps to develop cultural depth. And it’s an exciting sight to behold.

Also Read: Artspace K: Celebrating and spotlighting contemporary artists in style

(Text: Nikita Mishra)

Ten good things that went right in 2021

Year Two of an ongoing pandemic meant a strange, disorienting 12 months, with widespread uncertainty and a society in disconnect. Plenty of good positivity was to be found in the medical sector, though, as well as a medal rush in sports and the return of prudence to the White House, giving us something to look back on with gleeful satisfaction.

1. Games On

The delayed 2020 Tokyo Olympics saw the SAR send its second-largest delegation in history. The 46-strong contingent had a spectacular run across the 17-day affair, and clinched a whopping six medals – three bronze, two silver and one historic gold from fencer Edgar Cheung’s lightning ripostes. Pool queen Siobhan Haughey, who nabbed the two silvers for the 100m and 200m freestyle events, raced to the fastest-ever time for the latter event in December’s 2021 World Championships, giving us reasons to cheer as the year came to its close.

2. Malaria Miracle #1

In October, the World Health Organisation (WHO) approved the first-ever malaria vaccine for children. The mosquito-borne disease kills nearly 650,000 people a year, and is the leading cause of childhood illnesses and mortality in sub-Saharan Africa. WHO Director-General Tedros Adhanom Ghebreyesus celebrated this breakthrough by saying: “This is a historic moment… Using this vaccine on top of existing tools to prevent malaria could save tens of thousands of young lives each year.”

3. Malaria Miracle #2

Another malaria-related win came from China, which has officially been declared free of the infectious disease following a concerted, decades-long battle. It’s a far cry from its zenith during the ’40s, when an estimated 90 percent of the population were at risk of infection, and some 300,000 Chinese deaths were recorded annually.

4. Green City to Watch

Santa would have had plenty of scenic landing spots in Basel last month. The Swiss city scaled the heights in 2021 as the first in the world to make green roofs mandatory on new buildings. The move – which marks a concerted effort to combat rising CO2 levels and global warming – has already resulted in the construction of more than one million square metres of elevated green spaces.

5. Premier Preemie

Curtis Means, who was delivered a staggering 19 weeks before full term, became the world’s most premature baby to survive. His mother, Michelle Butler, was rushed to hospital in Alabama on American Independence Day, and gave birth to twins – Curtis, who weighed less than half a kilogram, and sister C’Asya, who sadly passed away a day later. The Guinness World Record-holding baby was discharged from hospital after a lengthy 275-day stay, and is now a thriving toddler.

6. Animal Magic #1

After a campaign spearheaded by Humane Society International (HSI) – a global organisation dedicated to combatting animal cruelty – and other animal welfare groups, Mexico announced a full ban on animal testing in the production of cosmetics last September. It is the first North American nation to pass such a bill, though 40 other countries have imposed similar restrictions, which also outlaw the importing and marketing of any products tested on animals.

7. Animal Magic #2

Thanks to concerted efforts by wildlife conservation groups and governments around the globe, multiple animals who were on the verge of extinction have made a triumphant comeback. These include China’s beloved giant pandas, four species of Atlantic tuna and European bison and wolves. Elsewhere, coral reefs – so crucial to the world’s ecosystem – have received a much-needed boost thanks to a new batch of ‘coral babies’ that were birthed this past year.

8. Blind Hope

Helping the blind see again is no longer just a pipedream, thanks to the new Moran | Cortivis visual prosthesis jointly developed by US and Spanish researchers. Via a tiny brain implant and camera, its first patient, Berna Gomez – a former science teacher who has suffered from blindness for 16 years – was able to see letters, discern object shapes and even play a video game. Speaking of the breakthrough, lead researcher Eduardo Fernandez said: “We have taken a significant step forward, showing the potential of these types of devices to restore functional vision.”

9. Trumped and Gagged

Former United States President Donald Trump was notorious for his incendiary tweets and Facebook posts. Following the infamous Capitol Hill attack in January, Twitter – Trump’s main mouthpiece – permanently suspended him from the platform ‘due to the risk of further incitement of violence’. Sensible people everywhere breathed a hefty sigh of relief. His eviction from the White House after five years of divisive leadership was a cause for celebration for many, too.

10. Jab for Joy

Trumping the year’s many other medical marvels was undoubtedly the success of the Covid-19 vaccination programme. Pharmaceutical companies had raced to create an effective vaccine for Covid-19 from the outset of the pandemic, and in 2021, these efforts yielded major results: some 3.63 billion people (roughly 46.6 percent of the world’s population) are now fully vaccinated. Though Omicron – and the possibility of more new variants on a similar scale – remains a real concern, there’s no denying that this is the first major advancement to defeating the virus. Since 2021 has brought us one step closer to the return of normal life, then we are right to crack open the Champagne as we welcome 2022.

Will lab made diamonds become a girl’s new best friend?

If you are planning to gift – or hoping to get – a diamond this season, you have a ’40s copywriter called Frances Gerety to thank. Or blame. It’s hard to imagine a time when diamond engagement rings were not the norm, but before the ’30s, the unveiling of a diamond would not generally seal a marriage proposal unless the love-struck suitor was literally royalty or uber wealthy.

In the Great Depression, diamonds were seen as an extravagant expense that detracted from functional luxuries like buying a car or a house. It was then that De Beers, the company which monopolised the diamond market, hired advertising agency N.W. Ayer to “use propaganda in various forms” to transform the stone into the ultimate gesture of love. Some 10 years later, in 1947, Gerety coined the signature line, ‘A Diamond is Forever’, and De Beers sold a novel idea to the world that a stone which can be chiselled, discoloured and incinerated to ash is a symbol of eternal love and emotional value.

This ‘slogan of the century’ has been used in nearly all of De Beers advertisements. The beauty of Gerety’s one-liner was that it didn’t try to make a direct sale; instead, it sold the concept of permanence and eternity and based it on the foundation of sentiment. For a mass of coal that did incredibly well under pressure, diamonds owe their remarkable success to the genius of a creative writer.

In the post-World War II era, diamond solitaire rings became de rigueur for lovers virtually everywhere in the world. But recently, the pressure and conditions in which a diamond thrives have spurred a debate that threatens to derail Gerety’s legacy. Decades of environmental and humanitarian abuses in diamond mining; a boom of lab-made, guilt-free counterparts; and an ethically-conscious generation coming of diamond-purchasing age – the industry is once again at the crossroads. So, what are lab-made diamonds, and why are young people falling out of love with the naturally mined gemstones?

Made in a Lab
Frankensteined into existence, lab-created diamonds are not new; they were first manufactured for General Electric in 1954. Replicating the properties of the world’s hardest substance, industrial diamonds were made to cut other materials that would be otherwise impossible to crack. Larger, more sophisticated and stunning gem-quality synthetic stones followed, created within weeks in laboratories using high-pressure, high-temperature growth chambers that mimic what, in nature, takes millions of years. Advances in technology in the last four or five years have allowed companies to produce higher quality diamonds more quickly and cheaply.

A report by management consultancy Bain & Company states that the worldwide growth of lab diamond production increased to six to seven million carats in 2020, while the production of mined diamonds fell to 111 million carats, from a peak of 152 million in 2017. The synthetic variety cost “a third of what it is for something that we’ve dug up from the ground,” says Alexander Lacik, CEO of Pandora, the world’s largest jeweller.

“Created within weeks in laboratories using high-pressure, high-temperature growth chambers [synthetic diamonds] mimic what, in nature, takes millions of years”

Synthetic stones, however, retain a certain stigma in the luxury industry, a psychological barrier to break through given our historic conditioning that diamonds are exceptionally rare, prized possessions. But laboratory-manufactured diamonds are not imitations or knock-offs – physically, chemically and optically they are bona-fide gems, corresponding very closely to natural stones. And they are more affordable, ‘conflict-free’ and apparently created at half the carbon footprint of the mined variety.

Cleaner Choice
The diamond mining industry has long been tainted by images of international or civil conflict and humanitarian transgressions, as spurred into the public consciousness by the 2006 film Blood Diamond. Cultured diamonds, on the other hand, are increasingly marketed as the cleaner, sustainable choice to price- and planet-conscious young buyers who are steadily making their mark; this market segment is growing by 15 to 20 percent per year, according to the Antwerp World Diamond Centre.

The lab-grown sector has welcomed countless new players embracing the trend, most notably Pandora, which this spring announced an exclusive switch to lab-made diamonds as a part of its long-term sustainability drive. After long resistance to change, for the first time in its century-old history, De Beers has rolled out a line of lab-created diamond jewellery under the brand Lightbox, with an annual production of some 500,000 synthetic carats.

‘C’ for Cost
Just like a natural diamond, the price of its synthetically-made cousins can vary tremendously. At bridal jeweller James Allen, a one-carat lab-created diamond starts at about US$1,550, and bestows up to 30 percent more size for the price than a natural diamond. A 6.36-carat synthetic diamond, meanwhile, can be snapped up for US$61,888 at Clean Origin. Lightbox sells one-carat loose cultured diamonds for US$800; a mined diamond of the same size and clarity would cost at least 10 times that price. The resale value of a lab-grown stone is questionable, though, and with a capacity surge assured as Chinese producers begin to enter the market, it’s clear that prices will keep falling in contrast to the naturals, especially as the mined supply dries up.

Since the synthetic diamond has an identical chemical structure to the mined stone, and goes through the same grading and certification processes, they ‘appear’ the same in terms of the 4 (or 5) Cs – cut, colour, clarity, carat (and certification). The essential difference hinges on their enduring worth. Real diamonds are true miracles of nature that have withstood the test of time, so their inherent value is incomparable.

Not Flawless
Lab-made diamonds are being talked up amid the climate crisis, but are they so squeaky clean and green? Given the increasing number of players in the synthetic diamond industry, it is difficult to compare accurate data about the carbon footprint of mined and lab diamonds. The synthetic manufacturers like Gemesis and Deluxe Diamonds, have repeatedly pointed out that their lab-made creations produce less than half the carbon emissions, and are without the taint of child labour. But the US Federal Trade Commission has gone on record to warn against unsubstantiated sustainability claims, pointing to the significant amount of electricity required to create gemstones in artificial conditions.

A report by the Diamond Producers Association (DPA) found that the greenhouse gas emissions of diamond mining are three times less than growing a gemstone in the lab. It’s worth noting, however, that members of the DPA – now rebranded as the Natural Diamond Council – are seven of the world’s largest diamond miners, including De Beers, Alrosa and Rio Tinto.

Regardless, some experts speculate that 20 years from now the debate will be moot. The vast reserves of diamond mines will follow the fate of Rio Tinto’s Argyle Mine in Western Australia. Once famed for unearthing 90 percent of the world’s pink diamonds, it closed last year after supplying 865 million carats of rough diamonds since 1983. Other mines will surely shutdown the same way. There will be a world with a continuing desire for the sparkling stones – but the demand will be fulfilled by man-made gems. After all, diamonds are forever – but the mines are not.

Future of Space Travel: When will we be able to travel to space?

If 2020 was the year of being shuttered at home, the past 12 months have been a surprisingly fruitful period for travel in outer space. Historic milestones were achieved when billionaires Richard Branson of Virgin Galactic and Jeff Bezos of Amazon and Blue Origin fame jettisoned into space through their respective space-tourism companies, while fellow tech mogul Elon Musk’s SpaceX successfully launched and completed the first all-civilian mission with the Inspiration4 flight in September.

Interest in boldly going where no man (well, few) has gone before is increasing, with a recent report by Northern Sky Research, the satellite market-research and consultancy company, predicting that space tourism as an industry will rake in some US$14 billion by 2028.

Despite these groundbreaking steps, however, the undeniable fact is that space missions cost exorbitant amounts of money. To put things into perspective, NASA (the United States’ National Aeronautics and Space Administration) puts the cost of sending an astronaut to the International Space Station (ISS) at some US$81 million. Branson’s six minutes of weightlessness aboard Virgin Galactic’s SpaceShipTwo, meanwhile, had an eye-watering price tag of US$841 million. But that pales in comparison to the staggering US$5.5 billion that Bezos paid for his four-minute suborbital flight on a rocket ship built by Blue Origin. Granted, it didn’t put too large a dent in his pocket, given that the world’s richest man is said to have a fortune hovering around the US$200 billion mark.

Yet, as private companies like SpaceX continue to make breakthroughs in technologies such as reusable rockets, space travel could be the Next Big Thing for a wealthy elite jaded with private jets and superyachts. But what would this future look like?

Going to the Brink
Two broad categories are set to emerge in space tourism. The first is orbital flight, which is defined as being in space for at least one full orbit of Planet Earth. The second, more imminent one is suborbital travel, where passengers fly just to the brink of space before descending back to the Earth’s surface. Unsurprisingly, since the latter is much simpler to accomplish, a full-fledged industry catering to commercial suborbital travel is likely to materialise more quickly.

Leading the charge in this sector are Blue Origin and Virgin Galactic. The former is expecting to price tickets for such trips from US$200,000-300,000 per person, while the latter announced in August that its space flights would start at US$450,000 per seat. Another company, Florida-based Space Perspective, is already accepting seat reservations for its offering, a pressurised capsule dubbed ‘Spaceship Neptune’ that is carried by hot-air balloon to an altitude of 30,000m. There’s space for eight passengers and a pilot, with tickets priced at US$125,000.

While commercial suborbital trips may not satiate the needs of star trekkers seeking to explore outer space, the impact such technology will make on the travel industry are far reaching. Indeed, experts are already predicting that this mode of transport could one day replace long-distance air travel as a much faster option. As one UBS report to potential investors states, “Space tourism could be the stepping stone for the development of long-haul travel on earth serviced by space.”

SpaceX has already announced plans to fly people across the globe in just minutes aboard its Starship rocket, citing as an example that the usual 15-hour flight between New York to Shanghai could be completed in less than 40 minutes aboard such a vessel. It’s a tempting option to consider if you have the means to take advantage of it.

Full Orbit
Although much further on the horizon and exponentially more expensive, orbital tourism is the space-travel dream that has captivated our minds. Colonising the Moon and Mars also falls under this category, with governmental agencies and privately owned space companies rushing to create the technologies and infrastructure to bring that vision to fruition.

SpaceX, Boeing and Axiom Space – whose team of predominantly ex-NASA employees hopes to begin construction of the first commercial space station by 2024 – have already announced plans to launch civilian space tourists to the ISS from next year. Although prices are yet to be revealed, previously announced SpaceX contracts indicate the venture would likely cost US$50 million per person aboard a Crew Dragon rocket. NASA, meanwhile, would pocket US$35,000 a night per tourist.

With such trips more within reach than ever, many are betting on orbital vacations becoming a growing trend in the coming years, and experts predict that space-holiday infrastructure – including orbital and moon-based hotels – would be a revenue-raking business.

Space-cation
Sacramento-based startup Orbital Assembly Corporation has unveiled plans to build the world’s first full space hotel by 2027. Named Voyager Station, it is slated to be a luxury resort that can accommodate up to 280 guests and 112 crew members. Designed in the shape of a rotating wheel – which would generate artificial gravity equivalent to roughly one-sixth of that of Planet Earth – it is set to include a restaurant, bar, concert hall, gym and even a cinema for good measure.

Another such project, Orbital Reef, comes via a collaboration between Sierra Space, a Colorado-based spacecraft and satellite manufacturer, and Bezos’s Blue Origin. Featuring a modular design, its promotional materials bill it as ‘the premier mixed-use space station in low Earth orbit for commerce, research and tourism by the end of this decade’.

Although the proposition of such outer-space escapades may seem to belong more in a sci-fi film than in real life, the progress currently being made towards that universe goal cannot be discounted. Perhaps one day in the not-too-distant future, the question wealthy vacationers ponder won’t be “where on Earth should we go?” but rather “where in Space…?”

(Text: Tenzing Thondup Photos: Blue Origin, SpaceX, Virgin Galactic)

Vicuna Wool: The world’s most expensive fabric

With the onset of cooler winter weather, what is the most luxurious, warmest fabric that you can buy? No, it’s not some exotic fur, or cashmere, or even pashmina. It’s another, rarer wool – vicuna, or vicuña in Spanish – courtesy of a South American camelid. A sleeker, more graceful relative of the llama and the alpaca, the vicuna inhabits the high alpine areas of the Andes mountains in Peru. It grows a very fine wool coat that is not just soft and light, but also exceptionally warm in order to ward off the often-freezing Andean climate.

Harvesting vicuna wool has been a prized trade in Peru for centuries, and its bearer holds a special place in local culture. The vicuna is the national animal, gracing the Peruvian flag, coat of arms and coins. Proving hard to harvest for a multitude of reasons, the raw wool sells for upwards of US$300 per kilogram. Once spun into yarn and crafted into sumptuous coats and suits, prices soar to tens of thousands of dollars.

But just what makes it so costly, and why have the well-heeled clamoured to acquire this coveted fleece through the ages? We delve into some lesser-known facts about the world’s most expensive fabric.

“Wearing garments woven from [vicuna] wool was the equivalent of being swathed in gold, and the privilege was reserved solely for royalty”

Prized by the Incas
During the rule of the Incas – a civilisation that thrived from the early 13th century and rose to form an empire (1438-1533 AD) across western South America – vicunas were considered holy creatures, so much so that it was forbidden to kill them. Wearing garments woven from their wool was the equivalent of being swathed in gold, and the privilege was reserved solely for royalty. At the height of the Inca Empire, it’s thought that some two million vicunas roamed across the Altiplano, which stretches from Peru into Bolivia and all the way down to northern Argentina. Sadly, however, this was not to last…

Hunted by Conquistadors
When the Spanish conquistadors invaded Peru in 1532, they too discovered the camelid’s precious fleece. Dubbing it the “silk of the new world”, they set out to procure the material by force, hunting and killing vicunas for their wool, rather than simply shearing and releasing them as the Incans did. This slaughter continued for centuries, and by the mid 1900s, the population had dwindled to less than 10,000.

Endangered Species
Desperate to counter this drastic situation, in 1967 the Peruvian government created the country’s first vicuna sanctuary – a sprawling 16,000-acre expanse named the Pampa Galeras National Reserve. This was swiftly followed by a complete ban on the vicuna wool trade. Then, in 1975, the Convention on International Trade in Endangered Species (CITES), a multilateral treaty protecting endangered wildlife and flora, placed the animal on its ‘most endangered’ list, simultaneously implementing its own moratorium on the international trade of vicuna.

Community Action
Despite these stringent measures, persistent poachers and a thriving black market saw the vicuna population continue to fall. Finally, the government decided to make rural villagers the custodians of any vicunas grazing in their area and granting them exclusive rights to shear and sell their wool. This would allow sustainable income to be generated by poor rural communities, which in turn would create incentives for them to protect the herd and ward off poachers. These measures turned the tide, and today the number of wild vicunas is some 200,000 strong.

Staying Warm
With the lifting of the CITES ban in 1994, a new generation of shoppers discovered one of the softest, warmest materials in the world. The secret of the vicuna’s ability to retain heat are the tiny, interlocking scales that line its fibres, trapping air within and providing insulation. Vicuna is also one of the finest natural fibres in the world, pipped only barely by shahtoosh, a Tibetan antelope hailed as the ‘king of fine wools’.

In the textile industry, the finer the fibre, the higher it is priced. A vicuna hair measures just 12 microns in diameter. By comparison, the best quality cashmere has a diameter of 14-15 microns. The thinness of the fibres contributes to its roughly 10-percent lighter weight. Due to its sensitivity to chemical dyeing treatments, in most instances, it comes in its natural hues of light beige or pale white.

“The Andean camelid’s pretty, gossamer coat can take three years to grow back after being sheared, and a single vicuna only produces about half a kilogram of wool per year”

Slow Harvest
The slow rate of harvesting vicuna wool also accounts for the exorbitant price of that super-soft scarf or covetable jacket. In some cases, the Andean camelid’s pretty, gossamer coat can take three years to grow back after being sheared, and a single vicuna only produces about 0.5kg of wool per year. Today, the wool is gathered in much the same manner as it was during the Inca Empire. Called the Chacu method, this semi-religious ceremony sees shearers form a communal human chain to round up and shear the animals and then letting them roam free once more.

Supply & Demand
While these remote communities do trade in vicuna wool, by far the world’s largest supplier is Italian luxury fashion house Loro Piana, which began investing in vicuna reserves and preservation initiatives in Peru in the ’80s. By 1994, the government had officially selected the brand as its exclusive partner in the harvesting, processing and treating of vicuna wool, both as a raw material and finished product. Loro Piana’s own vicuna reserve is said to yield between 13,000 and 17,500 pounds of the golden fleece annually. While this amount pales in comparison to the colossal 22 million pounds of cashmere it produces a year – likewise the world’s number one – it translates into a handsome sum considering vicua’s peak market price.

That’s not to say Loro Piana has a monopoly, however; other brands are known for fashioning deluxe garments from this rare yarn. Ermenegildo Zegna, Brioni and Holland & Sherry, for instance, source their vicuna independently. The pieces are blissfully soft, and the prices eye-watering. German legwear specialist Falke offers a US$620 pair of vicuna socks, while made-to-measure suits by elite Italian tailor Kiton start at US$40,000. For the warmest of winters, there is no finer choice than vicuna – if you can afford it.

Retail Revolution: What the future of ultra luxury looks like…

First came the seamstress with her evolved needlework and skilled tailoring, then the local shops offering bespoke styles, and international catalogues allowing you to order whatever you fancied. The ’80s were marked by home-shopping channels, high-end designer stores for your haute couture and a fast-fashion fixation. Shiny malls and all-under-one-roof mega stores soon seamlessly blended into our urban fabric. Then e-commerce was born and it blew the doors off our beloved boutiques.

Twenty years ago, Net-a-Porter’s business model to sell designer fashions on the internet was considered dubious. Surely high-fashion shopping couldn’t, in actuality, be acquired sight unseen and look untried? It was one thing to add a bevvy of Christmas gifts to the Amazon cart, another to buy a spanking new Hèrmes bag from a website.

Contact-less, frictionless, ceaseless shopping has been every big business’ dream, and whilst we aren’t there yet, 2020 served to upend our established shopping habits and shove us one step closer to online consumerism. While it might take more than a global upheaval to push brick-and-mortar retailers entirely to the digital marketplace model, the epic tussle between in-person stores and e-commerce platforms continues.

Also Read: Trendiest men’s coats for the season

E-Commerce Embargo
According to management consultancy Bain & Company, the e-commerce luxury shopping industry is at the threshold of a paradigm shift. It clocked in a whopping US$58 billion in 2020; compare that to US$39 billion sales in 2019 and you can judge for yourself the gravitation towards digital. Another top consulting firm, McKinsey, found that people who rarely shopped online before 2020 now make 80 percent of their fashion buys off the internet. That figure might see a dip once the pandemic is over and people want to feel luxury in the flesh once more, but for now, consumers have migrated to e-commerce at an astonishing rate.

Bain & Company predicts that by 2025, some 25 percent of all high-end purchases will happen digitally, and global revenues are expected to surpass an estimated US$136 billion. Yet, fashion houses like Dior and Céline, were slow to lift their e-commerce embargos in the fear of appearing too massy or less classy.
At a basic level, luxury is defined by exclusivity and rarity – take away the element of scarcity and even diamonds lose their demand. The lengthy waiting list for the Hermès Birkin made it the most sought-after designer bag in the world. In January this year, Bottega Venetta caused a massive marketing disruption after vanishing from the social-media universe. During the pandemic, when brands were increasing their digital footprint for wider reach, falling off the Instagram, Facebook, Twitter and Weibo grid was an unprecedented move, yet it reaped gains – both in the number of fan accounts and sales – for the luxury house.

“Some of the top names of the couture world were slow to lift their e-commerce embargos in the fear of appearing too massy or less classy”

Online VS Offline
Chanel follows a similar exclusivity strategy. Even a global health crisis could not push the brand digital. You may add Chanel’s fragrances, skincare and cosmetics to cart, but haute couture, fine jewellery and watches can only be bought in boutiques. Their business model is unlikely to change. Chief Financial Officer Philippe Blondiaux has stated categorically, “We don’t intend, crisis or no crisis, to sell fashion, watches and fine jewellery online.” The concept that a multibillion-dollar brand can exist in 2021 without online retail is both bold and titillatingly perverse.
Most customers today start their journey online, and since 40 percent of fashion is being bought off the web, Hong Kong’s premier resource to buy pre-owned luxury timepieces Watchfinder & Co. says, “companies had to reassess their business models and strategies to survive, or even thrive. At the peak of the pandemic, e-commerce was not a luxury, it became a priority.”

Oscar de la Renta, the first brand to embrace Amazon’s Luxury Stores, explains that the foremost challenge for a high-end brand to sell online is returns. Even though AR technology and 360-degree views allow customers to try on garments virtually from their phones, without interpersonal interaction and the physical donning of an outfit, it’s hard to imagine the fall, drape or fit on one’s body and complexion.

Also Read: New releases of luxury motor yachts in 2021

CEO Alex Bolen is working to find a solution to their 30-percent online return rate. When “a bad day” in Oscar de la Renta’s brick-and-mortar stores realises only a low single-digit return rate, the implication on costs is huge. To redress high returns, a company would need to introduce more inclusive fitting sizes – a slippery slope to mass-market? – and stock a bigger inventory, another red light for the luxury brands.

By refusing to sell online, Chanel has made its position aptly clear: it is not a part of the pack competing for eyeballs on the World Wide Web. Instead, its products are valued for their individuality, rarity and an element of mystery, a concept the consumer can invest in – with some degree of effort on their part.

But fashion must follow the customer or die. Before the hard knock of the pandemic, the world’s biggest luxury conglomerate, LVMH Moët Hennessy Louis Vuitton, made an exclusive arrangement for Dior and Céline to build an online presence through its multi-brand platform 24 Sèvres, which launched in 2017. However, the digital venture – rebranded as 24S – was still losing money last year. Controlling the destiny of 75 brands – including Givenchy, Marc Jacobs, Stella McCartney, Loro Piana, Kenzo and Bulgari – LVMH is the authority on how to start, acquire and run successful businesses, but standing out in the oversaturated, fragmented digital world is tricky when the competition is from stalwarts like Net-a-Porter and Farfetch, who have perfected their online models over the past two decades.

“Products are valued for their individuality, rarity and an element of mystery, a concept the consumer can invest in – with some degree of effort on their part”

Relevance is the New Legacy

Does the recent accelerated growth in luxury e-commerce sales, which has almost tipped into double digits, imply the future of shopping is exclusively online? Jean Jacques Guiony, Chief Financial Officer of LVMH, begs to differ. He believes “the five senses” experience of sampling merchandise has always been at the heart of brick-and-mortar stores and it cannot be matched online.

Platinum Guild International, a global organisation created in 1975 to promote the platinum jewellery market, echoes similar sentiments: “Rarity, exclusivity and engagement are the core values luxury goods hold. Many brands are expanding their customer base online but still keep some exclusivity by providing a premium, privileged shopping experience that consumers can only receive in stores.” In fact, its third-quarter analysis of the Indian, Japanese, US and Chinese markets reveal that when it comes to precious jewellery, “consumers want to feel, hold and try on the products before buying. Perhaps, at a certain price point, ‘online-only’ is not enough.”

They are surely right. It has been postulated that once the retail apocalypse is behind us, online and offline channels will merge. Customers will expect high-quality, personal experiences both in stores as well as digitally, a trend already being witnessed at Watchfinder & Co., which says: “Having started purely e-commerce, we simultaneously grew to have physical store presence all over the world. Both are essential to the luxury industry.”

The rarefied atmosphere of a high-end boutique will not only remain relevant in the modern age, but flourish anew as nostalgic big spenders rediscover that real touch of luxury.

Also Read: Top things to see and do in Hong Kong this November

(Text: Nikita Mishra)

Heavenly scent: Unique, exquisite and rare facts about perfumes

The ‘lipstick index’ is particularly important when crises loom. Coined by Estée Lauder’s former chairman, Leonard Lauder, in the early 2000s, the term is an indicator of economic fluctuation, a barometer to gauge consumer confidence at a time of tumult. When spending is constricted, people delay splurging on big-ticket items like housing and electronics, but they will still treat themselves to smaller, affordable luxuries like lipsticks and perfume.

The lipstick index has held water at every downturn, but it could not foresee a global health crisis marked by extended lockdowns and mandatory face coverings when makeup would lose its lustre. If no one can see your face, let alone read your lips, it is pretty pointless to indulge in a pop of colour. Market research group NPD found that beauty sales tanked by more than 25 percent in the first six months of the pandemic, while third-quarter sales dipped further to 31 percent – an unprecedented global crash. But whether you pin it down to human nature or our innate sense of grooming, the beauty industry always finds a way to survive.

Amid a dynamic shift in priorities and spending patterns, makeup regressed and skincare profited. With its mood-boosting ability to evoke whiffs of calm, safety and sophistication, perfume in particular enjoyed a sharp upswing in demand. According to NPD figures, fragrance sales realised a 45-percent boom in the first quarter of 2021, compared to the previous year. And this most popular of gifting items may only solidify its strong market position over the upcoming holiday season.

Could this interesting indulgence in perfume during the bleakest of years provide a lesson in resilience and recovery for the other beauty players? We delve into a potted history of perfume and emit some surprising fragrance facts.

Story of Scent
From the sharp, woody offerings of cigars to the irresistible smell of honeysuckle, scents can transport us to faraway places in time. Though the Romans did not invent perfume, they gave it a fancy name. The word ‘perfume’ is actually rooted in the Latin term ‘per’, meaning ‘through’, ‘fumus’ and ‘smoke’.

A careful blend of romance with a dash of the surreal, the first form of perfume dates back about 4,000 years. The lingering scent you get on your sweater after a night beside a campfire is how the people of Mesopotamia (modern-day Iraq) discovered fragrance. Burning resins and wood at religious ceremonies imparted a rich, balmy smell which the ancient civilisation used to embalm the dead.

“The lingering scent on your sweater after a campfire is how the Ancient Mesopotamians discovered fragrance”

Historical evidence dates the use of fragrant incense sticks in Egypt to 3,000 BC, where women were spoiled for scent. They indulged in fragrant baths and soaked themselves in oils for sensual pleasure. By the first century AD, well-heeled Romans were swimming in scent. Frankincense, myrrh and nard were burning lavishly at holy places, festive gatherings and affluent homes in the city. It is said that more than a million kilos of frankincense were imported from Arabia each year for burning, rubbing or sprinkling on the floor or bedspreads. In 54 AD, Roman emperor Nero – who was crazy about roses – spent the equivalent of US$100,000 to drown his guests in its scent at just one party.

Eau de Cigarette
Perfume was a marker of status in the 19th century. In the 1920s, a woman could simply spray on the smell of cigarettes instead of smoking them. One of the most influential, historical perfumes ever sold, Molinard’s Habanita, was introduced in perfumed sachets in 1921 and was an instant success.
As the first women’s fragrance with a strong vetiver vibe, Habanita was received as a decadent token of emancipation for the modern miss who loved mixing the biting smell of tobacco with here angelic façade. Considered a tad brazen at the time, the punchy, leathery offering is still available today (and so wearable).

Sniff Number One
Fine fragrance can cost a fortune. At more than US$2,000 per ounce, Clive Christian’s No.1 Imperial Majesty was named as the Most Expensive Perfume by the 2006 Guinness Book of World Records. It came by chauffeur-driven Bentley encased in a Baccarat crystal bottle ringed by 18K gold and a five-carat diamond.
The rarer the perfume ingredients, the higher its cost. The price of your favourite luxury fragrance is reflective of the purity of its elements, the expert craftsmanship of the master perfumer, its limited quantity, and the ornaments that adorn the flacon.

“In the ’20s, a woman could simply spray on the smell of cigarettes without actually smoking them”

Million-Dollar Nose
Acclaimed French master perfumer Jean Carles, co-creator of the iconic Miss Dior in 1947, got his prolific nose insured for US$1 million. According to this industry legend, no one is born with an artistic nose; continuous practice and love for the craft makes for a terrific olfactory memory.

Also Read: Ruling the Roast: Charting the rise of coffee culture around the world

Hard to Swallow
That riveting oceanic, musky scent trail you get in high-end perfumes like Miss Dior, Rochas’ Femme and Guerlain’s Shalimar, as well as fragrances by Chanel, Givenchy and Gucci, is all down to fragrant whale vomit. Yes, you read that right. Also known as ambergris, this solid, waxy substance actually originates from the intestine of a sperm whale. And, with a price tag of US$1,000-plus per ounce, it’s a perfume ingredient more precious than gold.

Ambergris floats in the ocean once being spewed out by Moby and his friends, and becomes oxidised along the shores. Much like fine wine, the longer the hardening process, the more intoxicating the smell. It contains ambrein, a potent chemical that acts as a fixative, making fragrances last longer. Synthetic chemical alternatives of ambergris are available, but luxury perfumes prefer the real deal. While legal in the United Kingdom and France, its use in perfumery in the United States is banned since sperm whales are an endangered species.

Text: Nikita Mishra

Travel Bug: Immunise yourself with our cure-all tourism tonic…

A black-market in surgical masks, toilet paper rarer than panda pups and with sharing an elevator with a neighbour ranked slightly more risky than French-kissing a leper, it’s safe to say that all is not well in Asia’s World City. With Covid-19, or Son of SARS as it is more chummily known – seeing quarantine pants as this season’s in-look, suddenly schools are shuttered and working-from-home is the new popping-out-to-the office.

In very midst of this doomsdayish scenario, there may, however, be something of a silver lining. With your entire family pretty much enjoying an enforced, prolonged absence from the worlds of academia and commerce, why not put the Coronavirus firmly in your rearview mirror and – respect for incubation periods permitting – head off somewhere every bit as convivial as it is uncontaminated. Indeed, for those preferring panoramic views to pestilence, our cure-all tourism tonic may serve up some alternatives…

QUEENSTOWN, NEW ZEALAND

A reassuring 9,293km away from Hong Kong, the picturesque Kiwi city of Queenstown is quite literally on the other side of the planet. The self-proclaimed Adventure Capital of the World, this tiny, 27,000-strong resort has made itself a must-visit via its unrivalled range of perilous pastimes, most notably white-water rafting, bungee jumping, canyon swinging and skydiving.

For the less adrenaline-addicted, however, there’s also a range of more sedate, less coronary-event-inducing activities on offer. You could, for instance, opt for a relaxing soak in one of the many hot pools dotting Queenstown’s mountains, all the while taking in the beauty of Lake Hayes. Alternatively, you could venture farther afield by flying over the picturesque fjords of Milford Sound or round up your brood and head for Arrowtown, once a primary gold rush destination, and try your hand at panhandling for a precious metal or two.

MARRAKECH, MOROCCO

First settled back in 1070 AD, Marrakech is pretty much the dream destination of any true history enthusiast. One of four imperial cities of Morocco’s ancient Berber empire, its rich heritage is evident in every nook – the 11th-century red walls that ring the city, the glittering 16th-century Badi Palace or the Koutoubia Mosque, completed in 1199 and still the city’s most capacious place of worship. Meandering through the 11,414km-distant Ochre City’s winding streets, you’d be hard pressed to remember just why your luggage is crammed with latex gloves and Dettol.

Anyone who assumes that Marrakech is synonymous solely with ancient sights, however, would be sorely mistaken. Not only is it home to genuinely jaw-droppingly gorgeous views – it does, after all, sit embraced by the Atlas Mountains – the city itself is a kaleidoscope of colours and activity. Treat yourself to some spices at one of Medina’s many open-air souks (traditional markets), sign up for a relaxing soak at a hammam spa, or stroll through the gorgeous greenery of Majorelle Gardens, all the while taking every opportunity to sample many of the delicious local delicacies.

MEGÈVE, FRANCE

Ever since the patronage of the Rothschild family catapulted it to fame at the dawn of the 20th century, Megève – an exclusive French ski-resort region some 9,503km from Hong Kong – has been a winter getaway of choice for the wealthier snow-sport aficionados. Once a quaint village tucked away among the French Alps’ lesser-known Savoie peaks, its perfectly powdered snow-laden slopes, gourmet dining options and wondrous wellness retreats have ensured it of truly international acclaim.

Most of all, though, its renowned for its extensive ski terrain, a staggering ski area that extends across more than 445km and includes 220 pistes and in excess of 100 lifts, all of which help knit together the network of small villages that dot the mountainside. It also caters to all levels – novices can attempt one of the many nursery slopes, while the more experienced skiers have an array of red, blue and green trails to choose from. For the truly adventurous, though, there’s no better way to get the adrenaline pumping than a spot of heli-skiing, a pricey pastime that sees a helicopter employed to drop a skier, right at the top of their chosen peak, which they can then zip down through virgin, previously untracked snow.

MACHU PICCHU, PERU

Roughly six centuries ago, a small plateau nestling between two verdant Andean peaks, was selected to as the site of the Inca Empire’s greatest city – Machu Picchu. Abandoned a century later, it wouldn’t be until the early 20th century, when explorer Hiram Bingham accidentally stumbled upon its ruins, that this stunning settlement would be revealed in all its truly stunning glory. One of the seven New Wonders of the World – and, arguably, the most instantly recognisable – it is now a featured on the bucket list of discerning travellers everywhere.

While completing the climb to lofty Machu Picchu may not be for the faint of heart, it’s worth the effort. Once you reach the very top, stretched out before you is a pristinely preserved maze of crumbling temples, palaces and houses, all of which ebb and flow in out of view as the mists rise and fall, with the most memorable of soundtracks coming courtesy of the Urumbamba River as it rushes by some 500m below. It’s a truly magical setting, one that couldn’t be further removed from the current rigours of Hong Kong life.

GOA, INDIA

Closer to home at just 4,271km away, the Indian state of Goa has long been a classic getaway destinat ion for stressed out citizens of the world. And with good reason. Its picture-per fect beaches, colour ful architecture, relaxed ambience, delicious food and friendly inhabitants have catapulted Goa to become one of the most popular destinations within the region.

Stacked high with ultra-luxury resorts, there’s no shortage of choice when it comes to premium accommodations either. Indeed, with many high-end brands – notably Grand Hyatt, Taj Hotels, Leela and ITC – all keen to woo well-heeled guests, there’s more than enough luxury villas, infinity pools, exclusive-use white sandy beaches and fine-dining establishments to go around. With Kids’ Clubs now also fairly ubiquitous, it’s also famously family friendly.

Text: Tenzing Thondup
Photos: Imagine China

Hottest SS20 Looks: Dive into Part 2 of our seasonal catwalk round-up

If the haute couture SS20 offerings of our first fashion round-up wasn’t enough to quench your sartorial thirst, we dive into the Spring / Summer creations of even more luxury fashion labels including Prada, Valentino and more to offer up more inspiration for your seasonal wardrobe…

Gucci

Provocative yet undeniably feminine, Gucci’s new seasonal line has been inspired by the brand’s own dynamic back catalogue, with loud ’70s-era block prints adorning lean, figure-hugging designs. In stark contrast, softer princess- cut gowns of yesteryear and delicate sequined skirts also have their moment to shine, with a preponderance of black accents adding a deft dash of dynamism throughout.

Hermès

Quite literally drawing creative sparks from Hermès’ roots, creative director Nadege Vanhee-Cybulski’s SS20 collection relies heavily on the art of saddlery and the aprons worn by the craftspeople in its headquarters of Pantin, France. This sees layers of deftly worked leather overlap and flow, embracing and enhancing the feminine figure in myriad ways.

Max Mara

Crafted as a would-be wardrobe for an adventurous, globetrotting lady 007, Max Mara creative director Ian Griffiths has devised a seasonal collection that serves up something for every encounter, from a “car chase to the ball scene”. It’s an intriguing collection, with beige coats, stylised suit dresses and even the shimmering ball gowns all hinting that there’s more to the wearer than meets the eye.

Prada

Juxtaposition is the name of the game with Prada’s new Spring / Summer line. Awash in a treasure trove of patterns, textures and hues, the more everyday fare – trench over a top and pleated skirt, for instance – has been interwoven with outré statement pieces like a printed neon orange overcoat or a glossy green maxi dress, all proving that “personal style is more important than the clothes”.

Salvatore Ferragamo

Embracing the spring season’s synonymity with a fun, flirtatious feel, Salvatore Ferragamo has served up some light, airy ensembles to celebrate the onset of warmer weather. Embodying beach chic are an array of flowing dresses and skin-baring shorts and skirts, while a series of high-waisted, baggy pants impart an air of effortless elegance to proceedings. Topping it all off are bags of every shape and shade that prove the right accessory can truly enhance your entire ensemble.

Tom Ford

Peek-a-boo bralettes, off-shoulder cropped tops, slinky ruffled jumpsuits, Tom Ford’s Spring / Summer collection stands as an homage to the bold fashionista. Rigidly structured shoulders are a staple of the line, in turns playfully softened with flowing tops or enhanced with bold black leather accents. Dynamic and provocative, each piece embraces the sexuality of modern womankind.

Valentino

“I want to work on something universal, to get back to the essence of shape and volume”, said Valentino creative director Pierpaolo Piccioli. And indeed, his new SS20 collection is a master class in layers, ruffles, tassels and fabrics. Amid his more outré, boldly hued and printed garments are a series of all-white creations that prove – when structured the right way – a monochromatic look is a statement-maker in its own right.

Versace

When Jennifer Lopez donned the now-infamous jungle-print Versace dress for the 2000 Grammy Awards, the subsequent furor it caused led to the creation of Google Images. Now, Donatella Versace has placed that selfsame jungle motif at the centre of her new line, all judiciously punctuated with bold prints, neon hues and, of course, a jungle-printed dress.

Hottest SS20 Looks: Turn up the heat with these flirtatiously femme fads (Part 1)

Dazzling patterns, flirtatious silhouettes and a kaleidoscope of colours – the world’s leading haute couture houses have embraced the onset of spring with a smorgasbord of sartorial statement pieces that applaud the multifaceted persona of the modern woman. From tropical prints and shimmering fabrics to ’60s-era tweed power suits and glamorous gowns, these SS20 collections are sure to find favour with any discerning fashionista. Without further ado, let’s dive into the best of Spring / Summer 2020…

Bottega Veneta

Mix-and-match stands as the central conceit of Bottega Veneta’s Spring / Summer 2020 collection. Be it the pairing of a sequined orange dress with a more masculine trench, or accentuating the beach-chic appeal of a tank top and pleated skirt with an oversized intrecciato hobo bag, every versatile look embodies an adventurous spirit that imparts a playful yet sophisticated air.

Chanel

In a masterful display of textures, fabrics and colours, Chanel’s first post-Karl Lagerfeld line deftly transports you on a journey through time. From its iconic ’60s tweed ensembles and ‘80s all-denim outfits to futuristic silvery accents and accessories, its SS20 collection stands as a tribute to the sartorial trends of yesteryear while giving a respectful nod to the fashion inspirations yet to come.

Chloé

Embracing a palette of more restrained rustic, earthy hues, Creative Director Natacha Ramsay-Levi’s SS20 collection is nevertheless entrancing. A master class in the art of utilising fabrics, textures and layers to accentuate the female form, the impact of each ensemble is heighted by the judicious addition of chunky jewellery and handbags of every shape and size.

Dolce & Gabbana

Welcome to the jungle – the Sicilian jungle to be precise. This season, Dolce & Gabbana has embraced a more feral, visceral design style, swathed in tropical motifs, animal prints and floral conceits. Countering conventional wisdom, its multi-layered, multi-textured, multi-printed creations are aggressive, and unapologetically loud, bringing an inescapable aura of the outré onto the runway.

Dior

Exemplying a playful springtime appeal is Dior, with its new Spring / Summer 2020 collection a joyous celebration of nature’s rebirth. Monochrome designs and sheer silhouette-hugging dresses contrast with funky tie-dye prints and even a show-stopping, eye-popping rainbow floor-length gown, but are all interwoven with an abiding love of Mother Nature.

Fendi

In the post-Lagerfeld era, Creative Director Venturini Fendi has turned to languid Italian summer evenings for inspiration in her SS20 line. Boasting attention-grabbing outfits for every occasion, the casual beach chic of risque bralettes and sheer skirts stand in sharp contrast to the more formal, structured coats and suits. Interspersed throughout is an eclectic array of adorable handbags.

Giorgio Armani

Taking “Earth” as his central motif this season, Giorgio Armani’s unquestionable love of structured lines has been wholly tempered with a softer, flowier feel. This sees layered suits and big-shoulder designs give way to a treasure trove of flirtatiously feminine gowns ranging from a leaf-print sequined strapless number to a glorious aquatic-inspired blue dress with oversized ruffles.

Givenchy

To say Creative Director Clare Waight Keller’s SS20 collection is a study in colours and cuts would be putting it mildly. Fringes, ruffles, and pleats run rampant throughout, while scarlet reds and verdant greens play off of more sombre beiges, blues and whites. It’s a testament to her skill that despite such a riot of themes, the entire collection still remains languidly feminine and relaxed.