New Herman Miller furniture by Charles and Ray Eames at COLOURLIVING

Renowned American furniture designers Charles and Ray Eames have gifted the world with such iconic designs as the Eames Lounge Chair and Ottoman, the Molded Plastic & Fibreglass Armchair Shell and much more besides. Now, their legacy has arrived in Hong Kong courtesy of a special partnership between luxury lifestyle concept store COLOURLIVING and Herman Miller, the furniture label that has long produced Eames furniture pieces.

Eames Demetrios unveils new Herman Miller designs at Colourliving — Eames Demetrios, grandson of renowned furniture designers Charles and Ray Eames

To mark this special collaboration and the introduction of these luxury models to Hong Kong, we caught up with Eames Demetrios, grandson of the famous Charles and Ray Eames, to find out more about the legendary interior decor gurus, the legacy they’ve bequeathed upon the world, and the exciting pieces that are now available.

Tell us a little bit about your grandparents, Charles and Ray Eames, and how they started their furniture business.
That’s quite a rich question. Actually, Charles was primarily trained as an architect, while Ray was a painter. Even though they’re best-known as furniture designers today, in their own minds, they were still those things first and foremost. As for why they decided to enter the furniture industry, Charles always said that architects tend to gravitate towards furniture design as it’s on a scale you can actually handle more easily. That appealed to both my grandparents, but they also wanted a way to make people’s lives better in a tangible way, and that’s how they ended up starting their furniture company.

How did they end up collaborating with Herman Miller?
Actually, during WWII, Charles and Ray contributed to the war effort by mass producing leg splints for soldiers injured in battle. While it may seem a bit random, the design aspect of it was already part of their furniture studies previously, so it was a seamless transition. After the war, they started their own company after several of their designs received wide acclaim. In 1946 Herman Miller first came across their designs and suggested forming a partnership. They distributed for two years and by 1948, they were manufacturing Charles and Ray Eames designs under license. The rest is history.

What sets the current Eames line of furniture for Herman Miller apart from other brands?
Well, our mission statement at the Eames Foundation is to communicate, preserve and extend the works of Charles and Ray Eames. What this means is that – with the exception of a few modern manufacturing techniques and ethical crafting practices – the products you see today are identical when they were first produced. Unlike many companies who refresh and rejuvenate their collections, we only produce the original works, which highlights the timelessness and contemporary flair of the pieces they designed all those decades ago.

Tell us about the newly-unveiled pieces that have been launched at COLOURLIVING.
I think the Eames Lounge Chair is really the single most iconic piece that we’ve introduced here. Another classic design that high-end furniture lovers will also recognise is the Eames Side Chair, which is also a classic design that high-end furniture lovers will recognise. It’s very exciting to be launching in Hong Kong, and with such a great partner like COLOURLIVING.

Thank you.

COLOURLIVING Showroom. 333 Lockhart Road, Wan Chai. (852) 2295 6263. www.colourliving.com

Catching up with Wyndham Hotels & Resorts group’s president in Greater China region Leo Liu

Since you took over as president of Wyndham Hotels & Resorts, Inc. what are your most proud moments with the company?

My first job as being the CEO to this organisation is to make everyone feel proud, because we are coming together to create a team. After six months after my appointment, I wanted to discover new things and make the company more popular. I decided to take a huge risk and organise a spectacular event inside the Imperial Palace within the Forbidden Palace of Beijing, I remember the moment of being with my team, in front of 2,000 guests — including 1,000 general managers and owners and also 30 celebrities, trying to showcase to the market how big we are — and how big we should be in the future.

I’m also quite proud that we have quite literally expanded from 700 hotels to 1,500 hotels since the time I have joined over five years ago. It makes not only myself, but my entire China team feel extremely proud.

Under your leadership Wyndham Hotels & Resorts, Inc. has become the first international hotel group to operate over a thousand hotels in China, what are the key factors that drove this expansion?

We became the largest hotel operator in China with 1,500 hotels but we haven’t stopped yet, it is our goal and our ambition to reach 2,000 hotels within three years. We are always facing a multiple choice, first we must make the right decision, second keep a clear focus and finally, make it happen.

I think that having such a great team and a high-potential market is a privilege to us. Once we set our direction and focus with a strong team we can make things happen successfully. We really listen to what’s happening in the market – particularly with the younger generation. We want to position ourselves as a game changer, to be different than our competitive friends.

Why do you think makes your business models with Wyndham has been so successful with Chinese guests?

The first mission we offer to the market is to listen to what the younger generation wants from us, so amongst our brands that are already on offer we want to provide newer ones as well. We want to be a social hub for younger people to meet each other, making the change from spending time in coffee shops and bars to being entertained in the hotel lobby. With these innovative changes and offers we have become more popular to younger people.

Can you tell us a bit about your management philosophy?

Being a boss is just a title, the most important thing is to share your passion with your team to make them motivated, follow your focus and you as a leader, then you can make things happen.

Thank you.

Text: Bailey Atkinson

Cognac conversations with Florian Hériard Dubreuil, Brand Ambassador of Rémy Martin

The name ‘Dubreuil’ brings with it respect and responsibility in equal measure. It is after all the very same family that has held the reins of leading cognac maison, the House of Rémy Martin, since 1965. So it was a special occasion for the maison when Florian Hériard Dubreuil, a fourth-generation member of the distinguished family, and the International Brand Ambassador for the House of Rémy Martin flew to Hong Kong to facilitate a unique pairing experience with premium cognac Rémy Martin XO and gourmet chocolate, courtesy of leading chocolatier La Maison du Chocolat. We caught up with Mr. Dubreuil as he took us on a journey to reveal the legacy and opulence of Rémy Martin.

What is like to grow up in a family which has such a rich legacy?

It was both a blessing and a privilege to have grown up in such an illustrious family, which gave me the opportunity to be exposed to great experiences, great aromas, legendary cellar-masters, gourmet gastronomy… and living your life as an art. It’s also an honour to have been transmitted this special know-how to inspire other people to continue our legacy.

What is the universal appeal of Rémy Martin XO?

Rémy Martin XO is an opulent mix of aromas with a lingering long finish. We use the eaux-de-vie from grapes grown only in the best Cognac regions – Grande Champagne and Petite Champagne, together known as Cognac Fine Champagne. And we then age it for a long time to give it a wide range of aromas – of flowers, fruits and spices, reminiscent of late-summer fruit, juicy plums, ripe figs and candied oranges, hints of cinnamon and hazelnut from ageing in oak barrels, along with a velvety texture, flamboyant mahogany colour, supreme density and exceptional mellowness.

Why do you think a cognac like Rémy Martin XO pairs so well with chocolate?

From growing fruits to perfecting their subtle aromas, both cognac and chocolate are created in unexpectedly similar ways, developing complementary flavour profiles. Chocolate pairing especially enhances the roasted dry fruits and cocoa facet of Rémy Martin XO’s aromatic spectrum.

What are the best ways of appreciating cognac in Hong Kong’s tropical climate?

The ideal temperature to savour Rémy Martin XO is around 23˚C. But if you’re outside and it’s hot, don’t hesitate to add some ice to your drink. It actually mellows the intensity, and the fruity notes open up even more.

With climate change being a sad reality, how do you protect your vineyards from the harsh effects of global warming?

It is our biggest challenge. We have experienced several really warm seasons for quite some time now. Whereas earlier we used to harvest in mid to late October, we harvest in early September now. There has been a lot of research over the last fifteen years to identify long-term solutions such as varietal innovation or resisting grape varieties.

To that effect, Rémy Martin has a large test plot of around one hectare for the planting of new varieties of grapes, which will meet the viticulture conditions of the future.

Thank you.

Koo’s Coup: Larry Koo, founder of KOODESIGN, on what shapes his design ethos

Larry Koo, (Lawrence Chuen Tak Koo), founder of KOODESIGN Studio, Black on White Ltd, has over 20 years of experience as an industrial designer, but his passion for design has only sharpened with time. We sit down to talk with one of Hong Kong’s leading design authorities on what shaped his journey…

You were drawn to design even as a child, we hear…

Yes, from very early on, my interests tended towards the creative side of things. In Hong Kong, though, it can be quite difficult to carve out a niche for yourself in the artistic sector. The schools here try to send you along a certain tried and tested path and don’t really allow children to explore their own creativity – at least, that’s how it was when I was growing up and I am sceptical as to whether it has really changed.

I still remember one time when I was a child and I was asked to draw a flower, so I used a black pencil on a white paper. Though the sketch was accurate in terms of likeness and proportions, I still didn’t get a good grade as I had used black pen to draw a flower and it was thought to be a poor drawing because flowers are not black in real life. In fact, it was that experience that led me to name my company Black on White Ltd.

You chose to complete your education in the US…

Fortunately, yes, I went to a boarding school in the US for several years and that really changed my life. I was allowed to express myself as an artist and designer and that gave me the courage to explore, develop and refine my own style and technique. It’s safe to say that my stint in the US made me who I am today.

You’ve worked both as a fine artist and an industrial designer, surely that required two very different skill sets?

Fine art and design are actually two sides of the same coin. While art can exist for its own sake, however, in product design, everything is commercialised, with a huge number of business considerations that have to be factored in. In industrial design, it’s always important to try to strike the right balance between aesthetically pleasing and commercially viable. My initial education as an artist and my later experience as a designer allowed me to strike that balance.

You’ve also shifted from making gaming accessories and sporting goods to designing a wider range of consumer items…

That was quite a significant change. At first, it was a tad difficult to adjust, as the work culture was totally different. Also, as I loved sporting goods myself, designing them had been quite an exhilarating experience for me. Then, when I started designing speakers – an important part of the interior decor of many stylish homes – it was initially difficult to switch gears. I still remember struggling to design my first speaker system, thinking it’s enough to just to dress up a simple box somehow. Over time, I have come to understand the consumer requirements and expectations when it comes to speaker systems, a development that has really helped me hone my skills.

How has your design philosophy changed as your career has progressed?

While I really believe my approach to design has evolved over the years, at its core it has always been about refinement. It is vital to understand the value of a proposition and to be able to execute it properly.

How do balance the aesthetics with the more functional requirements of your design briefs?

“Form follows function”, that’s the first thing I learnt in design school. For many contemporary consumer products, however, the form itself has become a function. When you first look at a beautiful product in a display window, its proportions, sleek design, colours, etc. may very well be the key factors in your ultimate decision to buy that product.

How difficult is it to come up with innovative designs in an industry that’s so competitive and always on the lookout for the Next Big Thing?

Every consumer product has a limited shelf life, with companies now launching new gadgets not just every year, but every season. It is, indeed, a challenge for the entire consumer products market. As a designer, it’s most important to me to define the purpose of each product – why it needs to exist in the first place. It is in identifying and defining that core essence that we can come up with innovations that justify its purpose and refine its offer.

What keeps you going amid such a heavy workload?

That’d be my son, who’s five-years-old now. He’s the first person I think of every day. He’s a bit naughty, but he’s the one who keeps me going. As I mentioned earlier, I am quite disillusioned with the local school system. It may be great for some people, but it’s not for everyone. As a result, I try not to put the kind of pressure on him that I felt while I was growing up.

Thank you.

Interview by: Suchetana Mukhopadhyay
Video: Kingsley Lau
Photos: Jack Law
Art direction: San Wong
Venue: Iron Fairies Hong Kong

Heritage Handwritten: Interview with Count Charles von Faber-Castell

Count Charles von Faber-Castell, Head of Premium at Graf von Faber-Castell, Faber-Castell’s premium brand, visited Hong Kong recently to launch the new Samurai-themed Pen of The Year. We sat down with him to talk about what makes Faber-Castell – the oldest family-run writing tool manufacturer in the world – so fabulous.

What was like growing up in family with a rich legacy of 250 years?

While growing up, of course, you don’t think about it daily. As a teenager, you have other things on your mind. But when I do reflect on it, I think it’s both a privilege and a burden. While it’s a privilege to be part of such a rich heritage, at the same time there’s the responsibility to continue certain traditions and to carry things forward in a way that matches our brand’s venerable legacy. Having said that, my father never forced me to join the family business. In fact, I joined it rather late, just five years ago.

Being a brand with such a rich legacy, how does Faber-Castell marry innovation with tradition?

It all depends on how you define innovation. For a company like ours, innovation may mean very different things, compared to, say, an electronics company. Innovation, for us, has been about paying attention to the little details, the so-called ‘small things’, that when implemented take the writing experience to the next level. For instance, in 2001, we introduced a range of pencils and colour pencils with grips. They are quite well-known now as the Grip Range. Although it’s a fairly simple innovation, it enhanced the writing tool and was quite well-received by consumers.

How did the idea of the premium range of writing instruments, Graf von Faber-Castell, germinate?

Our line of line of fine writing instruments, Graf von Faber-Castell came into existence as a strategic realignment in the early ’90s. My father came up with the idea to take a premium approach in all our writing tool categories. Firstly, we wanted to create the best luxury pencils in the world. While there were luxury fountain pens, you didn’t really have luxury pencils. So we created this premium Graf von Faber-Castell pencil, made out of the highest-quality California cedarwood, with an lid and a clip – so that you can carry it elegantly in your pocket. It also had a built-in sharpener and eraser. That was the birth of Graf von Faber-Castell, which was an immediate success and led to a demand for additional products, like fountain pens, roller balls, and also even mechanical pencils.

Why did you choose the motif of the Samurai as the Pen of the Year?

The Samurai Pen of the Year features captivating elements reminiscent of the appearance of Japanese warriors. The barrel of the pen is made of dark-stained magnolia wood which imitates the samurai’s long sword, embellished with an engraving in 24-carat gold varnish that says in Japanese characters, “Today I win against myself of yesterday” quoted by great samurai warrior Miyamoto Musashi. The end-cap is engraved with the symbol tsuba (hand guard) created by Musashi which represents loyal soldiers who offer protection. Both the cap and hand-forged grip is coated with ruthenium and delicately decorated with artistic inlays inspired by Japanese sword covers.

Do you think that in the digital age, a luxury line like Graf von Faber-Castell can be perceived more as a status symbol than a practical writing tool?

I think the idea of luxury has shifted from owning statement accessories as status symbol to indulging in unique, exclusive experiences. In the digital world, a handwritten note means something special, both to the person writing it and to the person receiving it. That ‘something special’ is a luxury. Then handwriting, too, is such a personal, exclusive experience. More and more people are seeking that individuality and we, as a brand, stand for that very principle.

Perfect Pores: A closer look at Japanese skincare guru Ya-Man’s latest beauty technology

While the rise of house-hold electronic beauty equipment may be a new venture for many beauty companies, for Japanese-based YA-MAN, it’s been part of their larger picture for years. In fact, the brand has been helping the women of Japan experience ‘authentic salon devices’ in the comfort of their own homes over 40 years ago, ever since its founding in 1978, and is now available in Hong Kong.

We spoke to YA-MAN CEO Kimiyo Yamazaki about her vision of the brand, its inception, her favourite products and of course why she is so passionate about delivering salon-quality beauty products for on-the-go working woman to enjoy within the comforts of her home.

Perhaps the most exciting product from the brand, is the Medi Lift, Japan’s first medical silicon mask, which is equipped with high frequency EMS. Ideal for career women with little time to visit the spa, the mask only requires its wearer to place it on her face for 10 minutes for it to work its magic. The magic itself is the automatic workout it gives the wearer’s difficult-to-exercise cheek muscles, while simultaneously helping to relax the often-over-used jaw muscles.

Meanwhile, we also spoke to Heinisguli Simayi, YA-MAN‘s official Make-up Artist about the brand’s RF Beauté Photo PLUS – a product said to be able to treat all types of skin troubles – as well as her personal feelings about why incorporating home beauty technology into our daily lives is imperative to maintaining healthy skin.

To find out more about YA-MAN’s latest offerings in Hong Kong, interested parties can visit the brand’s store within Facesss Queensway Plaza, Lab Concept, Queensway Plaza, 93 Queensway, Admiralty.

Eyres and Graces: Alia Eyres CEO of the Mother’s Choice charity

Alia Eyres may be a mother of five, but it’s her role as the CEO of renowned local charity Mother’s Choice that sees her embrace the larger community as her family…

Having looked on as your parents masterminded Mother’s Choice, were you always destined for a career in charity?

Being around my parents and their friends – the co-founders of Mother’s Choice – definitely had a huge impact on me and my younger siblings. Growing up, I saw my parents and their friends pouring their hearts and souls into this charity, committed to helping children and young women who didn’t have any support system, while doing their level best to give back to a city they had come to call home. It showed me the true worth of generosity, the value of kindness and the importance of family.

You were a corporate lawyer before you joined Mother’s Choice – why the switch?

Well, I had been practicing corporate law for quite some time, but, alongside that, I had been volunteering at Mother’s Choice since I was nine years old. Despite that, I’d never contemplated working there full-time. Around the time that they started looking for a new chief executive, though, I remember sitting in a coffee shop near my then-office and I opened the newspaper and saw the ad for the role. It was as if a light bulb went off in my head. I suddenly realised that this was what I wanted to do with my life.

How has your experience as a lawyer helped you in your role as chief executive?

Having a background in justice and knowing how the law works have been incredibly helpful. Two of my other siblings are also lawyers in Hong Kong and experts in family law. We firmly believe that understanding the law and how the legal system works really help to make sense of how our society works overall. Many of the young women and children we work with have very real legal concerns and need someone to be their voice when it comes to seeking justice. My background means I can be that voice.

What are the key areas where Mother’s Choice can help out?

Mother’s Choice is a local charity and we work very closely with the wider community, partnering with hundreds of volunteers every week to change lives and bring hope. We do that by providing services for babies and children, and for young women who have no familial support. We also work with young people who are experiencing crisis pregnancies or youth in foster care, and operate foster programmes via local schools and community education services.

Since becoming chief executive in 2012, what has made you most proud?
After being in my post for seven years now, I can say I’m proudest of Project Bridge – an innovative programme designed to improve the traditional foster care system. Essentially, it connects nurturing volunteer families to children in need of temporary care. Our volunteer Bridge Families provide these children with a safe and loving family environment, giving them the opportunity to build trust, to develop their sense of identity, despite any crises that may have disrupted their birth homes.

And what have been the most challenging aspects of the role?

It’s fair to say it’s not an easy job. Every day we hear the most heart-wrenching stories – a newborn baby abandoned in a trash can, a 14-year-old girl who has been abused and raped or a family that has been torn apart. These are incredibly difficult stories to get your head around, but the good thing is I now know there’s hope for everyone. Each one of us gets a second chance. There’s no such thing as a hopeless case. There’s hope that everyone can have a good future, there’s hope for every baby, every girl and every family. I say that because we’ve seen true miracles happen. Even though it is a hard job, I have to tell you I have become a far more hopeful person than I was in the past.

How do you ensure that the children have a seamless transition when they’re adopted?

Our preparatory work focusses on the two key parties – the adoptive families and the children who they are taking on board. In the case of the families, we hold their hands every step of the way, making sure they are fully aware of the needs of the child, the legal side of things and so on. We have hundreds of volunteers, social workers and lawyers all working together so that they are well prepared for their forever homes. We also have nurses, doctors and therapists, who come in to check that their medical needs are being met so that they have a better chance of finding a new home.

How open is modern-day Hong Kong to adoption?

In the 32 years since we started, I’ve seen Hong Kong really open up to the idea of adoption and we’re so grateful for that. In the future, we would like to see people being more willing to open their homes and their hearts to children with special needs and older kids. Every child, no matter their age or condition, deserves to be part of a loving family.

Thank you.

Interview by: Suchetana Mukhopadhyay
Photos: Jack Law
Art Direction: San Wong
Make-up and Hair: Irene Hung
Venue: Mother’s Choice

For the full article, please find the latest issue of Gafencu’s print magazine or the PDF version on the Gafencu app. Download the app from the Google Play Store or Apple App Store.

Dish of the Day: Model-turned-chef Esther Sham talks about her career

Esther Sham gave up a promising modelling career to indulge her passion for the culinary arts, and now owns two highly-acclaimed restaurants of her own…

Tell us a little about your early years…

Well, I was born in Hong Kong to a Shanghainese father and a Chiu Chow mother. I spent the first half of my childhood here, before moving to Los Angeles. Looking back, it was the perfect combination – I spent just enough time in Hong Kong to become familiar with traditional Chinese culture and was then able to immerse myself in the more Western approach to off-the-wall thinking and self-belief.

What then led you into modelling?

Well, after high school, I studied for a Bachelor’s Degree in Contemporary Art at the University of California. Once I graduated, though, I found I wasn’t actually that keen to become an artist, so I was at something of a loose end. That’s when I decided to come back to Hong Kong and try and find a ‘normal’ job for myself. That, however, turned out to be more of a struggle than I’d expected. It was around then that a number of people suggested I should consider modelling, especially as I had the height for it.

Esther Sham — *Jacket and pants in jacquard, white tee and pumps, all by Prada*

What was your favourite part about modelling, and what proved to be the biggest challenge?

The best thing was that no two days were alike. I was never repeating myself so there was a constant novelty to it all. It helped that I wasn’t just doing fashion, but also commercials and even cameos in TV shows. At the same time, I really came to struggle with the instability and unpredictability of the job. While one particular month could be filled with bookings, the next might be completely empty. Although I was in a relatively stable position, I ended up becoming very insecure about it all, so I feel fortunate that I discovered my love of food just a short while later. It grounded me in a way I had never been before.

So, how did your love of cooking develop and when was it you decided to reinvent yourself as chef?

As a kid, I have to say, I had no real interest in cooking. At the same time, though, my family was very food-oriented. Both my parents come from strong culinary traditions, so eating well cooked meals was always a given. Looking back, though, I think my passion for food is down to my parents – and to my mother, in particular. She came from a family of truly amazing female cooks and she was the one who taught me the importance of bringing happiness to your own family through good food.

While I was working as a model I wasn’t allowed to eat a great deal, so I became extremely picky in my choice of cuisine. It was then when I realised that creating good food is really an art. Then, while on assignment in Singapore, I was then exposed to a whole new culinary scene, one quite distinct from Hong Kong or Los Angeles. It ignited a flame in my heart and I started experimenting with different cuisines. Soon, I realised that my passion for cooking had out stripped my love of modelling. That’s when I finally decided to take the plunge.

Given your upbringing in Hong Kong and the US, why did you opt to specialise in French cuisine?

When I discovered Gallic gastronomy, it was like discovering a new form of art, albeit one with any number of practical applications. Aside from the fantastic techniques and the inherent creativity, I think it was the amazing presentational skills that nouvelle cuisine demands that really appealed to my artistic nature. I fell in love with it wholeheartedly.

How did that lead you to opening your restaurants, Maison Es and Ta Pantry?

In 2008, I opened a private kitchen dedicated to serving a table of just six guests – Ta Pantry. It was a real one-woman show – from taking the bookings and creating the menus to buying the ingredients, cooking and ironing the table cloths, I did it all.

Eventually, I got married and, later, had two sons, so I was looking to develop my career in a more flexible and less time-consuming fashion. Ultimately, that’s what led me to open Maison Es in 2015. Having regular opening hours and a committed, well-trained staff to support me meant I could spend more time with my family, while still indulging my love of cooking.

Do you hope your sons will follow in your foodie footsteps?

Honestly, I think it’s a bit too early to tell, but there’s definitely a part of me that hopes they will. They’ve both already shown a tremendous passion for the culinary arts, and I believe that may be because I would constantly cook when I was pregnant. Even after my sons were born, I’d keep them close to me in the kitchen – and they were so unbelievably calm even in the middle of all that chaos. In a way, it’s already in their blood…

Thank you.

Interview by: Tenzing Thondup
Photos: Jack Law
Art Direction: San Wong
Touch-up: Zoe Fan
Jewellery: Van Cleef & Arpels
Venue: Ta Pantry

For the full interview, find our latest issue of Gafencu’s print magazine or the PDF version on the Gafencu app. Download the app from the Google Play Store or Apple App Store.

Martijn Oremus on the BMW Art Car, Art Journey and what to expect from the carmaker in 2019

The recent Art Basel Hong Kong fair marked the seventh anniversary of the fruitful partnership between the mega art event and renowned German automaker BMW. We spoke to the marque’s new managing director Martijn Oremus about this successful relationship, its Art Basel highlights and what Hong Kong’s auto enthusiasts can expect from the luxury carmaker in 2019.

Tell us about the partnership between BMW and Art Basel, and what makes it such a successful one?

The partnership between BMW and Art Basel spans seven fruitful years, but actually, the engagement of BMW in cultural partnerships goes back even further, encompassing five decades. In essence, it’s creativity that ties everything together. Creativity is key, not only to art, but to innovation, design and technology. To that end, it a fundamental part of our business.

With Art Basel being one of the leading platforms for creativity, it brings together all the relevant people from an expansive array of industries in the name of art. We are very happy to be partnered with Art Basel, not just in Hong Kong but worldwide.

Martijn Oremus with BMW Art Car No1 at Art Basel Hong Kong — *Martijn Oremus, Managing Director of BMW Hong Kong, with the BMW Art Car No.1 at Art Basel Hong Kong*

What can we expect from BMW at Art Basel Hong Kong 2019?

We have a range of activities going on, and one I’m particularly proud of is the BMW Art Journey. Each year, we bring young emerging artistic talents and give them an opportunity to travel the world as part of this unique art competition. It’s not just a prize but an opportunity for them to develop as artists. At Art Basel Hong Kong, we’ve announced the shortlist of potential awardees for the next Art Journey. The winner will be chosen in the coming months. This year, we have three female finalists, which is quite special.

Tell us a little bit about BMW’s all-new Art Car. What were the inspirations behind its design?

Over the years, we have brought a total of nine BMW Art Cars to Hong Kong, but this year it’s even more exciting because we have the original Art Car No.1 from 1975. It’s a particularly special occasion because this was the car that laid the foundation stone for the entire Art Car collection. It was French racer Hervé Poulain who commissioned his friend, the renowned American artist Alexander Calder, to transform on his actual BMW racecar. It is that precise car that is on display at Art Basel Hong Kong, and is the pioneer for a line that now boasts 19 unique models. The Art Car really highlights to blending of creativity and artistic flair with our cars, which evokes emotional responses in people’s hearts and emotions, much like the world of art.

What’s can we expect from BMW in 2019? Which new models will be making their debuts?

First and foremost, we will have a range of new models launching in the market. First of all, the new generation of the 3-series. The 3 series for us represents the core of sheer driving pleasure. It’s the most dynamic and sporty car that we have, and will be coming to Hong Kong very soon. On top of that, this year we’ll be focussing on the luxury segment. For example, we will bring a revamped version of the 7-series, but also two all-new concept cars – the BMW 8-series and the X7, which will be the first full-size SAV in this luxury segment to be introduced to the market.

Thank you.

Interview and photography by: Tenzing Thondup
Video: Kingsley Lau

Richard Nagy brings trove of Egon Schiele artworks to Art Basel Hong Kong

It’s no secret that the late Austrian artist, Egon Schiele (1890-1918), is widely regarded as the “Bad Boy” of the Austrian Expressionist art world. His penchant for sensational and controversial erotic paintings of nude figures have long held a special fascination for collectors the world over. In fact, in the wake of the centenary anniversary of his premature demise last year – which saw some of the most-lauded art museums worldwide pay tribute to his oeuvre – the Austrian painter’s masterpieces have become even more highly sought-after across the globe.

Despite the burgeoning rise of passionate and dedicated Asian art collectors, to date, Egon Schiele has never been represented or displayed by any gallery within the region. It was a particularly thrilling treat, then, when the internationally acclaimed gallerist Richard Nagy showed an expansive collection of 45 museum-quality Schiele artworks at the recent Art Basel Hong Kong fair – the first-ever retrospective show of the Austrian artist’s works in Asia.

Richard Nagy debuts Egon Schiele artworks at Art Basel Hong Kong — *Richard Nagy, founder of Richard Nagy Ltd, has been dealing in Egon Schiele artworks for almost 40 years*

A self-confessed fan of Egon Schiele, Richard Nagy (owner of the eponymous Richard Nagy Ltd art gallery) says: “Schiele’s an artist that I’ve worked with for almost 40 years now, and still find exciting. He’s intellectually stimulating and very confrontational.”

“Not only did he break with convention by becoming the first Austrian Expressionist painter, he also reinterpreted the depiction of naked women as individuals wholly in control of their bodies, rather than as objects for the voyeuristic pleasure of men. His works are vibrant and unapologetically raw. It’s something to which people still react and it’s still the reason that some people are upset by him. It gets under their skin.”

Check out our interview with Richard Nagy in the video below to find out exactly why Egon Schiele is such a fascinating figure, and why his artworks were at the centre of the his gallery’s Art Basel Hong Kong exhibition.