Claudia Shaw reveals how she juggles family, spirituality, writing and a successful career

Claudia Shaw is a buyer and head of style advisory for Chanel and has also co-authored two cookbooks.

As someone who was raised in Hong Kong, do you feel like it’s a good environment to grow up in?
Yes, I did and I do. I think a lot of people think of Hong Kong as a very dense city with not a lot of open spaces – but we have so many amazing and beautiful parks, mountain trails and beaches. I think that is a side of Hong Kong not many people realise we have. Growing up, I spent a lot of time outdoors. My mother is Austrian and we did a lot of hiking and swimming and that was all very much a part of my childhood. I always feel I was very fortunate to have grown up in a bustling metropolis that also has a great deal of nature and outdoor activities. So it was a great mixture of the two.

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We have so many country parks that are protected so you can actually walk and not see any high-rise buildings and find yourself out in nature where there are snakes and wild boar. Just the other day I was out walking and I came across a little python strewn across the path. And quite recently near my home I came across a wild boar rummaging right next to me and I just thought how incredible that is for such a busy city.

You are renowned for your style and your fashion sense. Is that something you have to work at?
I would say it comes quite naturally and it is not something I find incredibly difficult. I think that is because I am quite relaxed about it and I never try too hard to be something. I don’t follow fashion religiously or believe something is the style for the season so you must have it. When you are relaxed about things they come easier. It’s also about knowing your own style. I know what is comfortable and what works for me. I was also fortunate enough to grow up with a mother who had a great sense of style so I guess that was instilled in me.

How would you describe your sense of style?
I think there is a sense of timelessness to it and I feel like that is why my relationship with Chanel has been so long and solid, because it is very much my sort of style. I wouldn’t say it is simple but it is timeless. There is no wildness about it. It is not overtly anything but it has a very classic sophistication without being outdated.

You mentioned your relationship with Chanel, can you tell us what that entails and what it has meant to you?
It affords me a lot of interaction with people and that is what I have very much enjoyed over the years – not just with Chanel but also developing relationships with clients, giving them confidence and advising them to try different things to expand their horizons and step out of their comfort zones a little bit.

The other side of the industry is being involved in the buying. For example, going to Paris several times a year and really tapping into your creative side – not that I am creating, but you still feel the buzz and you feel the creativity, and that gives you a sense of excitement.

You also enjoy cooking and have written two cookbooks. What motivated you to do that?
It was quite simple actually. A friend and I were both sitting at lunch and discussing how we both love cooking, we both cook a lot for our families and we come from families where food is such an important part of daily life.

So we were talking about how much we enjoyed eating at each other’s houses and I think I mentioned that I would love to write a cookbook one day. Then we just said ‘let’s do it’ without thinking about whether it would be complicated or how we would go about it. It was just one of those things where nothing is impossible if you set your mind to it.

You have used the proceeds of your books altruistically. Can you elaborate on that?
The first book benefitted a group of local charities and proceeds from the second book went to Room to Read (an organisation to improve literacy in the developing world). It’s about giving back. I feel that we are so fortunate and life should not always be about oneself. It should not just be about me. You need to ask, ‘What can I do to give back?’ I feel that is one of the great purposes of life.

Are charities something you feel strongly about?
I’m not sure I would say charities in particular but rather service, the act of giving back. How can I be – without sounding too lofty – of service to humanity? It’s this whole idea of giving and the idea that as you give, so shall you receive.

I understand spirituality is something that you are quite involved with?
For quite a few years I have been studying with a teacher who founded a meditation centre called the Samadi Training Centre for the Soul. It’s a place where you can go to connect and meditate, and for me that has been very grounding. It’s as if I have a world on the outside connected to people and society and beautiful clothes and glamour. And then I have a side that is very much focused on being centred and grounded in a much more spiritual way.

Are you religious?
I find religion quite man-made. There are a lot of rules and they can be quite exclusive whereas when I say ‘spirituality,’ it is inclusive of all religions.
I was brought up Catholic so I am very comfortable in a Catholic church. But I find religion and spirituality can be two different things.
I find organised religion too dogmatic. I am not sure God, being all benevolent, meant for us to live by all those rules.

What is a typical day for you?
Usually I am up quite early and I start with a morning meditation session for an hour. It is the perfect way to start the day. In the beginning, it was a little difficult with the early morning practice but even the Dalai Lama is up at 3:30 in the morning. When you talk to Buddhists they always say meditation should be done early in the morning because that is when your mind is the calmest and the energies in the world are the calmest.

You have a successful career and a public persona as well as a close family and your private persona. How do you manage to juggle all that?
Sometimes I feel a little frazzled and feel like I’m being pulled in different directions. But my spiritual practice has involved not letting the mind control feelings. If your energy is a certain way, that is the way you will think, so it is really about pacing yourself and prioritising. Sometimes family takes priority and other times work does, but the main thing is to avoid cutting corners.
Whatever you are doing, do it all the way and don’t move on to something else until you are done. Give 100 percent and stay in the present.

So you are not one of those people that wish there were more hours in the day?
Well yes there are times! Sometimes the outward persona is not what is happening on the inside! But you know what they also say: ‘Fake it ‘til you make it.’ There are those times when you have to pull yourself together and put the theory into practice.

What is your advice for women looking to enjoy a successful career and a family?
I think you have to do it because you love it. If you are doing it for any other reason and you are not happy doing it, you won’t be successful. I have to say in the beginning it was difficult juggling motherhood and work but I was really fortunate with Chanel in that they allowed me the time to be with my children so I feel I am successful at work but I wasn’t an all-out career woman. I had the ability to be with my children when I needed to be, thanks to the company. If I hadn’t had that freedom and if I had been made to choose one or the other, my kids would certainly have come first.

Has motherhood had a dramatic impact on you?
I think I became less self-centred. Before you have children life revolves around you, because you have no one else to be responsible for. When you have children life is about them and you come out of yourself and you have to think about someone else for a change. In the same vein at work, if you are not listening to your boss or your colleagues you are not a good employee.
I can’t imagine life without my kids. They drive you crazy sometimes but they are an absolute joy as well.

What was your dream profession as a child?
I wanted to be a ballerina as a kid, I really loved ballet. I also love the art world but when I first came back to Hong Kong (the art scene) was quite small. I kind of fell into fashion but I believe that the universe is precise so I must be where I am meant to be.

What does the future hold for you?
I would like to see how I can give back and be of service. Learn more in order to give more. If anything, that is what I hope my future holds. Maybe using my experiences – whether they be good or bad – and helping someone else who finds themselves in a similar situation.

Thank you.

Text: Hans Schlaikier

Herr and Mighty: Watch our interview with Central’s newest barbershop owner

South Korean barbershop Herr opened its first foreign branch recently in the heart of Central, on the 29th floor of Attire House.

Herr was founded by Sangyoon Lee in Seoul in 2013 to encourage men to look their best, while feeling comfortable enough to build a rapport with their barber, who in turn shares knowledge on haircare and grooming.

Herr offers an intimate experience, with only two barber seats and with its view out of the wraparound window on the 29th floor, guests escape the hustle ‘n’ bustle below.

Herr is a barbershop aimed at the discerning, modern Hong Kong gentleman, which is evident by some of its collaborations in the past — Louis Vuitton, Gucci, Tods, Club Monaco, Patek Philippe and Four Seasons Hotel.

Due to its partnership with Attire House, visitors to Herr can also peruse ready-to-wear clothing, bespoke tailoring or enjoy a drink in the roof-top bar.

We met with Lee to find out what Herr offers and why he chose Hong Kong, and we watched a shaving demonstration.

Herr barbershop

29th Floor

8 Wyndham Street

Asia Pacific Centre

Central

2619-9007

Norwegian Cruise Line executive discusses the company’s 3 luxurious options

The Regent Seven Seas Cruise is considered by many to be the world’s most luxurious all-inclusive cruise line. With an onboard spa and a balcony attached to each suite, the US$450 million (HK$3.4 billion) Regent Seven Seas Explorer ship is without doubt the most opulent option from Norwegian Cruise Line Holdings Ltd. However, it’s not the only way to sail the seven seas.

In addition to Regent, Norwegian Cruise Line Holdings Ltd. operates two other lines – the eponymous Norwegian Cruise Line (NCL) and Oceania Cruises.

Steve Odell, senior vice president and managing director of Norwegian Cruise Line’s Asia Pacific operations, recently stopped over in Hong Kong. Based in Sydney, Odell has more than 30 years of experience working in the luxury cruise industry, including 17 years at Silversea Cruises.

Gafencu met with Odell at the Langham Hotel to discuss what Norwegian Cruise Line can offer to different types of customers.

What’s the difference between the three brands?

NCL has the big ships. They can carry 2,000 to 4,500 passengers, and there are 14 ships now. The Regent brand is the top of the pyramid, so there are four ships, which carry around 700 passengers per ship. It’s all suites and balconies – very high-end. And then in between you have Oceania, which has six ships, and they’re slightly larger at 700 to 1,200 passengers. So you’re catering to different markets.

I always try to make the comparison with hotels. If you’re coming to Hong Kong, Regent might be the Upper House, Oceania might be the Langham and then the NCL product is probably more of a Marriott or something in that 4-star range.

What type of cruise appeals most to Hong Kongers and mainland Chinese?

The story differs by brand, but we sell all three brands very well. But most Hong Kong people who take our cruises go further afield. They go to the US, to Alaska and to Europe. They tend not to cruise in their backyard here in the Asia Pacific region.

The China business is almost entirely backyard business. The mainland Chinese cruise market is very focused on cruises out of Shanghai and Tianjin, and the cruises are mostly three to five days. I think the more sophisticated travel markets in Asia, particularly Hong Kong, Japan and Singapore, are going further afield. It’s a different market.

What’s the selling point of Regent Seven Seas Cruises?

It’s about giving people the ultimate experience at sea. It’s about making people feel very special, and it’s about attention to detail. One of my old bosses used to call it ‘anticipatory service’–thinking about what the customer wants before they’ve thought about it themselves. I think that sums up luxury because our customers come from beautiful homes, they travel business class around the world and they have high expectations. If you can deliver something that is polished and memorable, and something where they feel really special and recognised, that’s what that brand is about.

We just finished building a ship last year called the Seven Seas Explorer and it’s the most luxurious cruise ship ever built. This ship has the widest choice of restaurants we’ve ever had. It’s got six restaurants – all of a very high standard – plus 2,000 pieces of artwork that were personally chosen for the ship. There’s a spa, and even a culinary kitchen where people can learn to cook. The delivery of service and making a guest feel like they’re the most important person there is key.

What sets Regent Seven Seas Cruises apart from competitors?

With Regent we are the most inclusive, and that’s the thing that sets us apart. We include excursions and we don’t charge for speciality restaurants. We include fine wines, champagnes, drinks and gratuities. So once you’ve paid, you really don’t need to spend anymore. We also have the widest dining choices on our Regent ships. And these are really spacious vessels. We carry 700 people, but that kind of ship in other brands would carry about 1,200 passengers, so our big point of difference is the amount of space we give the passenger. It’s the ultimate luxury hotel on water.

What are some of the details that go into the creation of a cruise line that customers may not realise?

We tend to work on a 36-month window for planning itineraries, and one of the challenges today is people are booking earlier and earlier, so we have to commit to itineraries earlier and earlier. Our planning department needs to be talking to ports around the world three years in advance to block availability because, as more and more cruise ships are arriving, it’s becoming more difficult to gain access to ports.

The other thing is giving people new experiences. You can churn out itineraries that repeat, but that’s not good enough because luxury travellers are looking for the next big thing. The best recent example is Cuba. I can remember 25 years ago when I was starting out in the business, Cuba was always a discussion point, and then finally it happened. We had our first cruise into Cuba on 10 March with Oceania, and all three brands, including Regent, now have permits to go to Cuba. That’s the kind of thing that most consumers don’t realise – the amount of work and lobbying, and the political hurdles that we have to get past in order to be able to do something like that.

Text: Emily Petsko

Meet Andre Morkel, the gemmologist who doesn’t mince his words

Andre Morkel is chairman and CEO of Morkel & Sons Fine Jewellery and Consultants. He is also a founding partner and chairman of ADAMAS Fine Jewellers’ Joint Chiefs of Staff.

Did you grow up in Hong Kong?

Yes, I’m a fourth-generation Hong Konger. So that makes my kids the fifth generation. I have an elder son who is 15 and a younger son who is turning five. From the get-go, my great-grandfather was involved in stockbroking in Hong Kong. He was chairman of the stock exchange, and the majority of my family worked in broking. A lot of them were lawyers in the finance industry and worked in hedge funds. I wanted to do something different and branch out, which I guess makes me the black sheep.

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How did you break into the jewellery industry?

I went to a luncheon about 10 years ago with a very good friend, and it was there that I met the owner and chairman of Ryder Diamonds, Sally Ryder. The minute I met her we just clicked and she said, ‘Why don’t you come in?’ and I thought, ‘Why not? It looks interesting,’ so I dropped everything to take up gemstone training. From my first day, she threw me into the deep end. I had knowledge of gems and diamonds but not like this. She gave me all these stones and said, ‘Sort them.’ I said, ‘Sort what? There are hundreds of stones here. What do you want me to do?’ I eventually caught on, and the training was phenomenal. I began to understand how the guys in the workshop twisted the gold, how they did the moulding and how long it took. I used to – and still do – come back with cuts and bruises and burns.

Ever since we started ADAMAS, my partner and I have received a lot of enquiries for jobs because people think it’s a luxurious industry. But it’s also hugely hard work. Now, it’s getting harder and harder to convince clients to buy because the market is so saturated, and the majority of our clients are uber high-end and high net-worth, so they already have so much stock and don’t need anymore. We hit a roadblock with that last year, but we took a different marketing approach and the interest started sparking again.

“This ring was designed for our younger son – it’s dubbed the Avrae Dragon Ring, which means eternal fire”

Have you been hit by the recent downturn in the jewellery market?

It has been difficult at times. Last year, people were calling it the ‘death market.’ I don’t agree with that, but it was tough, absolutely. Every industry took a hit, not just the jewellery industry. In my mind, though, we just had to find a loophole. There’s always a way to manoeuver back into a market that’s in a slump to recapture some of your clients. There’s always cash somewhere.

I listen to (life success coach) Tony Robbins a lot – he’s one of my biggest mentors – and one thing he says is, ‘If you want to take the island, then burn the boat.’ And that’s what we did. We don’t compete against the ‘big guys’ – the large jewellery brands – but we find ways of supplying clients with products that are more attainable to their budget. A lot of people want that 5-carat gemstone and they’re adamant it must be Cartier branded, but we can supply something of equal calibre at a fraction of the cost. We started small but gradually grew over time to what we are now, and we’re doing considerably well given the current market. We have a small following of private clients, which is growing nicely.

What sets ADAMAS apart from other jewellers?

My passion is the stones themselves, the designs. A lot of retailers have nice stones, but the salesmen don’t understand what they’re selling half the time. I have suppliers globally, and I have a very good supplier based in Hamburg who flies to South Africa and sources stones from mines around the country. He sends me the most unique paraibas and the rarest tanzanites. That’s one of our selling points because I can send those rare stones to high net-worth clients – and not just the ladies, but also the guys. A lot of the guys want ruby and sapphire rings. They want Sri Lankan blues, Burmese blues and Muzo emeralds. The Muzo mines (in Colombia) are drying up now, so people are after Muzo emeralds.

“For my morning meditation, I have what I call my Bruce Willis Die Hard breakfast of cigarettes and two coffees”

The design is also key. I recently designed a piece for a high net-worth client using a rare paraibas that you will never find again. I designed it and we crafted it, which takes up to two months. It’s a one-off ring that’s never going to clash. That is crucial in Hong Kong, where ‘tai tai syndrome’ is a real concern. If you’re sitting at a big banquet and, God forbid, three tai tais are wearing the same ring, there’s going to be a big fight. So we ensure that we never make more than one. Everything is bespoke and customised to the client.

The problem with a lot of clients is they can’t visualise what a loose stone would look like as a piece of jewellery. If I give a client a loose ruby, she cannot visualise how it would look, and I can immediately see in my head what the jewellery should look like by the way she’s dressed, the way she looks, her smile or non-smile, whatever it may be. They say you can judge someone within 10 seconds of meeting them – I can look at a stone and straight away say that it needs to be set in rose gold, for example.

You’ve said that you don’t want a customer, you want a client. Can you elaborate on that?

A customer is someone who comes once. Whether they spend $2,000 or $5 million, I don’t care. I want them to be happy, and I want that phone call from them later on. A lot of businesses will ask, “How are the kids?” and they’ll call to wish you a happy birthday, and then – bam! – they suddenly ask if you want another ring. It’s typical, and you know it’s phony. With a client, there has to be sincerity and honesty, and that’s what we do. A lot of our clients know that my family has been through hell, so there are no false happy birthdays because they know I don’t have time for that. If I say it, I mean it.

What’s one of your favourite pieces of jewellery that you’ve designed?

This ring was designed for our younger son – It’s dubbed the Avrae Dragon Ring, which means eternal fire. It’s a tribute to his battle with cancer because he was born in the year of the dragon. I own lots of dragon-related items – my shoes, my belt, my keyring, my watch. The stone featured is a rubellite, which is said to bring good health and prosperity.

You’ve recently gotten more involved in raising awareness about cancer. How has your son’s diagnosis changed your life?

He’s doing chemotherapy, which certainly takes a toll. He started on 4 November last year, and his treatment was extended until November 2018. It’s pretty draining, especially because he is so energetic. He doesn’t take many breaks, which means no one in our house gets a break. We also have to be extra cautious when we go out because his immune system is shot, and he can easily pick up a virus.

At one point, I shaved my head to support him. We want to create more awareness about cancer because that conversation is lacking in Hong Kong. My wife joined a support network, but it’s based in the US. Why don’t we have one here? It’s a tough and stressful experience, and that’s why we want to set up a support network to help parents who are going through this so that they have something to fall back on.

When you have free time, what do you do to unwind?

I like to build RC (remote control) racing cars, which have now overloaded my son’s room. Fish are another fascination of mine. I have a big carp collection, and I find them very relaxing to watch. I have 12 now, so I’ll have to build a proper pond to accommodate them in the summer. We also have piranhas, which is a little bit crazy.

Music is another big release for me. For my morning meditation, I go upstairs and have what I call my Bruce Willis Die Hard breakfast of cigarettes and two coffees, and I listen to music and try to relax for 10 minutes before I start the day.

I also collect a lot of memorabilia, which drives my wife insane. I have a samurai sword, a sabre tooth skull and Sylvester Stallone’s boxing boot from Rocky, which faces my desk. I look at that, and it’s a constant reminder to never give up.

So when I buy these things, they’re not just random pieces – they’re reminders not to drop the ball. I try not to absorb negative energy. Most people nowadays are on so many drugs and antidepressants because they’re listening to everyone else, but if you listen to people like Tony Robbins you’re already on a high. I listen to him every morning, just a snippet of whatever he’s got. It doesn’t matter if you don’t make a sale for the day – don’t worry about it. Don’t think about it. Just live for today.

Thank you.

Text: Emily Petsko

Davidoff CEO on enticing new customers, links to the art world

Davidoff’s gregarious CEO, Hans-Kristian Hoejsgaard, was at Art Basel last week to present the brand’s Humidor Damajagua.

The humidor, crafted by renowned French marquetry artist Rose Saneuil, is seen by the company as an ode to the Caribbean.

Saneuil was inspired by Davidoff’s Caribbean heritage and the forest of Damajagua in the Dominican Republic.

The drawing shows a vibrant vermilion bird, a symbol of natural benevolence, swooping over a mystical Caribbean forest, encouraging the tobacco leaves beneath to thrive.

Davidoff has been cultivating filler tobacco in Damajagua since 2002.

The luxury cigar brand also operates the Davidoff Art Initiative, launched in 2012 in the Dominican Republic.

The Art Initiative supports contemporary art and artists in the Caribbean.

We sat down with Hans-Kristian at Art Basel to discuss how Davidoff attracts new clients and its links to the art world.

Gourmands’ delight: Taste satisfies needs of hungry Hong Kongers

Following its successful inaugural event last year, Taste of Hong Kong returned to Central Harbourfront recently.

Visitors were not put off by the gloomy weather as they sampled dishes from some of Hong Kong’s best restaurants — Amber, Zuma and Mercato to name a few — over the event’s four days.

To make sure no one left hungry, bored or sober, Taste also featured a number of events to keep foodies entertained.

Taste Theatre held 24 sessions showcasing secret cooking techniques and tips from chefs and tastemakers. Lashings of champagne were served at The Laurent Perrier Champagne Bar and gourmands created their dream menu from more than 50 signature tasting plates and one-off festival creations.

We met with Simon Wilson, head of IMG Culinary, Asia, to discuss this year’s event, what he thinks of Hong Kong’s food scene and the future of Taste. We also managed to grab a quick word with chef Paul Eschbach from Mercato and chefs Ryusuke Higuchi and Eddy Lee from Zuma.

Text: Andrew Scott

Meet the designer behind Philippe V, Hong Kong’s most rebellious brand

Philippe Vergez is co-founder of Philippe V, a Hong Kong-based jewellery, eyewear and accessories brand.

With its edgy style and rebellious motifs, the brand embraces ‘anarchist values.’

Items are available for both men and women, and the collection includes skull-shaped rings, rebellious t-shirts and studded sunglasses, to name but a few.

Vergez, originally from France, teamed up with long-time friend Thierry Halbroth to create the brand in Hong Kong.

In their own words: “Philippe V values individuality and encourages it through stylish rock’n’roll and rebellious icons, designed for the 21st century. Similar to a members-only club, the brand aims to unite like-minded individuals by giving them a sense of belonging and letting them express their nonconforming entity through historical iconography – like the skull or the fleur de lys.”

Gafencu met with Vergez at his Hung Hom studio to discuss his work and latest eyewear collection.

The brand you previously designed for, Jee Vice, was quite popular among celebrities. Is Philippe V experiencing similar success among A-listers?

This brand is pretty new so we are working on product placement in movies, and some celebrities like Amber Heard are already wearing our products. Brad Pitt has just received his order.

In the past, the brand I was designing for, Jee Vice, was very popular in Hollywood. It was the most popular brand at that time so we were featured in a lot of movies, and a lot of stars were wearing our glasses, like Sarah Jessica Parker, Jennifer Lopez, Rihanna, Anne Hathaway, Katherine Heigl, Amber Heard and many more.

We were the only brand of sunglasses that Anna Wintour wore, apart from Chanel. But that was another life, another brand. I’m starting a new story, but we are looking to do something similar to what we did in the past.

Your jewellery and eyewear designs often feature two symbols – the fleur de lys and skulls. What’s the significance of these symbols?

Our logo is the fleur de lys (lily flower), which has been in my family since the 13th century – not because of nobility or royalty or whatever. The story is even nicer than that.

My family came from a small village in the Pyrenees, the mountains between France and Spain, called Aspin en Lavedan. From that plateau you could see if someone was coming, maybe three hours before they physically arrived. So they warned the next valley, and from valley to valley everybody knew that someone was coming.

My last name is Vergez, and there were about 53 families named Vergez in that area, so to differentiate them they attached the name of the closest mountain, valley or river. Since my family was looking towards France, we were called Vergez-France, and since we were surveying the Kingdom of France and the lily was the kingdom’s symbol, that’s why I chose it as the company’s logo.

It’s also an important symbol worldwide because it’s the symbol of the holy trinity. The lily flower is to the Occident what the lotus is to the Orient.

As for the skull, I’ve always liked skulls but I wanted to make it different. The lily is a little different from a normal lis because the three petals are free; normally there’s a ring holding the three petals, but I wanted it to symbolise freedom. With the skull, I wanted it to have a modern twist, so the skull is multi-faceted. Skulls remind us of the past and the people who have left us and the lessons we learnt from them.

What type of client do you market your products towards?

We don’t market based on demographics. It’s more about a sense of belonging – people who like what we do and the values that we promote. We don’t really sell the product. We sell those values. I like to make a design that has a story behind it. I don’t make things just for people to buy. I design to touch people’s hearts.

Where are you from, and what brought you to Hong Kong?

I’m from a small city in the Basque country called Biarritz on the shore of the Atlantic Ocean and at the foot of the Pyrenees mountains. Nowadays, we’re not Spanish, we’re not French – we are Basque. That’s very much a strong identity for us, and it’s part of my heritage. It’s a very nice city with beautiful waves. It’s like a European California, and it’s a surf city.

After the Jee Vice adventure, I lived in the US for some time, then came back to France before moving to Hong Kong to develop the design centre of a French company. I worked shortly after that for a Danish fashion brand and soon decided to launch my own venture together with long-time friend Thierry Halbroth. I worked three years on the development and design, and Thierry supported the efforts and wrote the story and marketing strategy.

We could have based the brand in France but the economy there is pretty dramatic at the moment. The French tax and social system makes it difficult to run a business and launch a brand, It is easier to make things happen in Hong Kong. And the second reason is that I like it here – except in the summer! Too hot and humid.

What are some of the highlights of your newest collection of eyewear and sunglasses?

Apart from the design, the highlights would be the fit and the quality – both the quality of the manufacturing and the quality of the lenses that are developed together with Essilor, which is the number one company in the world in terms of optical quality.

And once again, I don’t design to make a product. I design for people. I want people to feel good, look good and take pride in wearing the product. When they try these sunglasses, they say, ‘Wow, it fits well. It’s light and it’s comfortable.’ That really makes a difference.

For more information on Philippe V, visit www.philippev.com

Text Emily Petsko

VIDEO: Third edition of Art Central launches in Hong Kong

The third edition of Art Central is under way at Central Harbourfront and art fans are in for a treat with over 100 international galleries showcasing contemporary art.

This year’s Art Central features performance art pieces, site-specific installations, moving images, talks and more.

“As we return for the third edition of Art Central, we are proud to present our strongest programme to date,” said Charles Ross, the managing director at Art Central.

“As a content-driven fair that pushes boundaries in experimentation, we are dedicated to fostering new practices and discovering new talents in contemporary art.”

Gafencu spoke to Japanese sound artist Yuri Suzuki about his interactive sound installation, Sharevari, which was unveiled by Swarovski.

Art Central is on until 25 March at Central Harbourfront.

Check out our video of this year’s event and interview with Suzuki.

For more information click here.

Noah’s Ark and Jewellery: Gafencu speaks to Van Cleef & Arpels President Nicolas Bos

Fans of Van Cleef & Arpels now have the opportunity to get an up-close look at one of the jeweller’s most fantastical collections yet. Inspired by the Biblical story of Noah’s Ark, the collection – now on display in Admiralty – features more than 40 pairs of animals in brooch form, including monkeys, swans, butterflies, kangaroos and exotic birds. There’s even a unicorn and a phoenix, bringing a touch of the whimsical to such a timeless tale.

As visitors enter the darkened room, they are met with a fully immersive experience. Claps of thunder and the sound of rain fill the room, and the occasional flash of lightning adds an exciting touch. The exhibit was designed by Robert Wilson, an American theatre and visual artist who is renowned for his creative use of light. The installation was first presented in Paris last September.

Gafencu spoke to Van Cleef & Arpels CEO and President Nicolas Bos, who was in Hong Kong for the exhibit.

You started out as a marketing director for Van Cleef & Arpels in 2000. How did you get to that position?

It was a bit by accident to be honest. I started working for the Richemont Group at the Cartier Foundation for Contemporary Art right after school.

I always had a passion for art and creativity so I was happy to work in an environment that combined art with commercial and business aspects. When Richemont acquired Van Cleef & Arpels, the president, my former boss Isabelle Guichot, was appointed and she asked me to join.

Interestingly, I wasn’t asked to join because of my knowledge of jewellery, but because I’d always been in an environment with creative people trying to organise projects and make things possible. That was pretty much my role at the Cartier foundation.

My role as marketing director was more of a title than anything because there was no marketing department before I joined. We don’t do things according to market research or trends. It is primarily what we want to do in house. The purpose of the department, and the role I filled at that time, was to make sure Van Cleef & Arpels’ creations were turned into projects and collections for the stores. My role was more to organise the whole creative process and move it forward.

In 2009 you were promoted to vice president, while keeping your position as creative director. How did you balance two very different roles?

It was quite organic. The company is quite small so I was just working with a different process. I moved to New York to take care of the American subsidiary while keeping my creative role. I moved back four years ago to take over as president.

Now you are president and CEO. What’s changed at Van Cleef & Arpels under your leadership?

I don’t think much has changed. It is about continuity. I’m not the type of manager who starts a revolution and makes big changes.

I’ve been at the company a long time and continuity is important to brands like ours. Van Cleef & Arpels has been building an identity, signature style and level of expertise for many years. I’m not the sort of guy to change the strategy and retail policy. Creation and creativity are still at the centre of everything.

The only change is I don’t have anyone to blame now. The comfort of blaming another person if something isn’t working has gone, which is actually quite nice.

How would you describe your management style?

It’s very collaborative. I rely a lot on my teams. I try to strengthen the culture among the teams at all levels. I’m not the sort of person who asks designers or collaborators every week what they’re doing or how they’re doing.

There are some projects I run with them directly and then I expect them to understand and replicate it by themselves.

I don’t like when people say, ‘It is going to be like this because this is what I like or don’t like.’ I always try to explain why I’ve made a decision and it isn’t always a matter of personal taste. It is sometimes to do with tradition or a commercial aspect. The process is a learning curve for everyone.

How does Van Cleef & Arpels remain true to its heritage while at the same time keeping up with ever-changing demands?

The evolution of the market, the economy and clientele don’t influence the identity, design or craftsmanship of Van Cleef & Arpels. To make specific collections for a market or react to a downturn or an upturn in the market is very dangerous for brand identity.

Speed of change today is so fast that there is no way you can follow what’s happening.

The whole process in making a collection takes about three years and opening a store also takes years so it’s impossible to react to trends that happen over a couple of months. It’s better to stay who you are and then explain and express your identity by using the evolution of the market. For example, there are new ways to tell stories and bring information to clients now that didn’t exist 10 years ago. So we stay true to today’s world but the information we pass through these new mediums hasn’t changed.

Is the market in Hong Kong different to the West? If so, how?

Originally, the market wasn’t that different. We are a brand that appeals to a type of customer who knows what jewellery they like, which means we have a consistent type of clientele. Hong Kong is very similar to markets in New York and London with the types of jewellery people like.

However, the level of tourism to Hong Kong over the last 10 years has changed the retail landscape.

A few years ago in Hong Kong was the first and only time we had to organise a line outside one of our stores. For a few years it was an unusual situation when tourists came to Hong Kong with such an appetite for luxury goods. This was something we had never seen anywhere before.

It is quieter now here which is closer to our identity.

The exhibit, called L’Arche de Noé racontée par Van Cleef & Arpels (Noah’s Ark told by Van Cleef & Arpels), will be on display from now until 26 March at Asia Society Hong Kong Center, 9 Justice Drive, Admiralty. It is free and open to the public.

For more information or to book a visit between the hours of 12pm and 8pm, visit www.vcaarchedenoe.hk.

Text: Andrew Scott

Additional information: Emily Petsko

Gieves & Hawkes brings touch of English class to Hong Kong

Pre-eminent tailor Gieves & Hawkes has brought a touch of English class to Hong Kong with the opening of a private tailoring store in the Mandarin Oriental.

Visitors to the recently opened store will receive a private tailoring service that prides itself on discretion, exclusivity, and a level of care, attention to detail and craftsmanship usually afforded to bespoke suit commissions.

Headquartered at No.1 Savile Row, London, Gieves & Hawkes is one of the world’s most famous tailors and has been dressing men of distinction for over 245 years.

The store in Hong Kong features the signature smoked oak paneling and custom metalwork created for the global flagship in London, and has the feel of an exclusive gentlemen’s club.

Gafencu spoke to Tim Ardron, head of private tailoring for Gieves & Hawkes, about what the company will bring to Hong Kong, the process from when a customer comes into the store to when they leave with their suit and more.

Click here for more information on Gieves & Hawkes.