Sunrise in Persepolis, capital of the ancient Achaemenid kingdom. From this particular Persian empire, Greece would have been the Near West, China the Near East, and current-day Cambodia the Middle East

History and its related language are written by the victors; but as history changes sometimes redundant terminology remains in use. One such term is the phrase Middle East, which is outdated, colonialist, increasingly pejorative, and should be consigned to the same dustbin as “Near East” and “Darkest Africa”, writes Darius Sanai

Are you a Far Easterner? Or maybe a Near Easterner? Do you know anyone who still describes themselves in this way? I don’t. Conversely, I know people from East Asia and people from South Asia.

Bas relief at Persepolis. Nobody referred to its residents as Middle Easterners: each empire believes itself to be at the centre of civilisation, an often hubristic view which becomes more exposed as empires recede

And yet, I am, apparently, a Middle Easterner. The phrase is house style to describe the region in all the world’s leading media, whatever its political viewpoint, from the BBC and the Economist to the New York Times, CNN and Fox News. The term is used to describe the swathe of countries from Iran (where I am from) in the north to Yemen in the south. The Middle East sometimes also refers to places further west, like Lebanon, Israel, Palestine and even Egypt, which is in Africa.

Middle East is a redundant term, as steeped in colonialist “orientalist” perception as the term Far East. “East” refers to a comparative longitude from: London and Paris, one-time colonial hubs; and it’s the Middle because it’s between the Near and the Far East from their perspective.

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Yet nobody would describe China or Japan as the Far East now, or Palestine as the Near East, and rightly so. (Although the French, always slower to bend to what they see as political correctness, still use the term “Proche-Orient”, referring to its “Proche”-ness to the Quai d’Orsay, where geopolitical machinations ferment.)

The “Far” East was far to the east from the centres of global power of a couple of a couple of hundred years ago, although not far at all from the centre of the Hang dynasty. Shanghai, technically part of the Far East, is near west when viewed from Japan or Korea.

Persepolis, in modern-day Iran. Each empire creates a world view and terminology on its own terms. The Persians ruled the ancient world from Persepolis until their defeat by the Greeks. Our own reference to the Middle East is a construct of western European empires which finally disappeared after World War II

Equally the “Near” East (comprising Beirut, Istanbul/Constantinople and so on) is quite far west when observed from Khmer empire in northern Cambodia and north, not east, of the Ethiopian empire, and the term was phased out of polite usage at the end of the 20th century.

“Middle East” has also become a perjorative: we all know what kind of image the words “Middle Eastern man” conjure up.

So why are we still using the term? Just like a Senegalese is from West Africa, a Finn is from North Europe, and a Sri Lankan is from South Asia, an Iranian, Jordanian or Syrian is from West Asia, as much as a Manchurian is from East Asia and a Bangladeshi is from South Asia. This vast continent stretches from the Bosphorous at Istanbul In the west to Japan in the east, from the Siberian Arctic in the north to Sri Lanka and the Maldives in the south and Indonesia in the south east.. We are all Asians, and nearness, middle-ness and distance are purely relative terms.

Asia can be and should be sub-divided into it’s geographical sub-regions without any need for the terms middle east, near east and far east

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Or perhaps as an Iranian living in London, I am actually living in the Middle West, also known as the UK and Western Europe, and occasionally travelling to the Far West (New York) and the Near East (China). Which would be almost as confusing as all of us Middle Eastern men foregoing our sunglasses, open-topped Lamborghinis and shisha pipes and being journalists or academics. It’s time to ditch the cliche, and the terminology that perpetuates it.

Darius Sanai is Editor-in-Chief and Proprietor of LUX: Responsible Culture, owner of the Oxford Review of Books and an Editor-in-Chief at Condé Nast

Florence-born Fawaz Gruosi spent years working with diamond expert Harry Winston in Saudi Arabia, learning the intricacies of the industry from within. In 1993 he launched his own brand, de Grisogono in fine jewellery’s capital, Geneva. Despite his lack of formal training, Gruosi is now widely considered one of the most creatively daring, sales savvy and charming jewellery designers on the modern market. He speaks to Millie Walton about black diamonds, celebrity endorsements and the need for experimentation.

Kate Moss, Fawaz Gruosi and Helena Christensen

Fawaz Gruosi at Eden Roc cocktail party in Cannes

LUX: What do you think makes de Grisogono so successful?
Fawaz Gruosi: De Grisogono is characterised by unique and playful design codes. I like people to feel glamorous in my creations and while I have the greatest respect for them, I am not bound by the conventions of traditional jewellery design; at de Grisogono we like to take risks. When you wear de Grisogono you are making a statement, I think this is what makes us stand out.

LUX: Which markets are most interesting in the luxury world at the moment?
Fawaz Gruosi: We are currently expanding our offering in the Middle East and we are also looking into Asia. In Europe, London remains an important market; our Flagship opened in February 2016 and deeply reflects our brand aesthetics and my personal roots. The plan of the store references the typical Florentine villa – where I grew up – with three distinctive rooms: the Corte, the Grande Sala and the Stanza Del Tempo. The space uses chiaroscuro – playing with light and dark, texture and colour – to add interest to the room and create playful backdrop to the jewellery and watches.

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Milla Jovovich with Fawaz Gruosi at Cannes in 2002

LUX: How do you compete against historic jewellery brands?
Fawaz Gruosi: We do not compete against historic jewellery brands, what we offer is completely different. We are often described as ‘daring’ and ‘trailblazing’ thanks to the fact that my approach does not conform to the rigours of traditional jewellery design. Our clients come to us because they know they will find something different. I made my name by experimenting at a time when the market was tired of traditional pieces that looked more or less the same. My designs are bold and colourful, we mix semi-precious with precious stones to create unexpected, unusual and beautiful pieces.

LUX: How has the fine jewellery world changed since you first entered it?
Fawaz Gruosi: At the beginning, many people were wary of my approach to high jewellery but now people are actively seeking more daring and challenging designs. Conventional design has given way to greater creative freedom.

LUX: You’re famous for pioneering the use of the “black diamond”, what inspired that innovation?
Fawaz Gruosi: I was entranced by the story of the historic Black Orlov, a monumental black diamond. I began to research black diamonds which had been rejected by the industry, largely because they are extremely challenging to cut. I found them intriguing, captivating, and any other gemstone is immediately enhanced by the dark sparkle of black diamonds, creating one of the most striking chiaroscuro effect. In 1996, de Grisogono launched a collection devoted to the black diamond. It was perfectly pitched at a moment when monochrome minimalism was very fashionable, sparking a massive global jewellery style-trend for black diamonds which continues unabated today.

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LUX: What are the biggest challenges you’ve faced as the founder and creative director of a luxury brand?
Fawaz Gruosi: The marriage between business and creative approach – thankfully we seem to have struck the right balance.

LUX: How important are celebrity endorsements for de Grisogono?
Fawaz Gruosi: The glamour of celebrity has greatly helped to shape our identity. The tone was set when the first de Grisogono boutique was opened in Geneva in 1993 at a party attended by Sophia Loren. Since then, we have been lucky to play host to many of the world’s most beautiful and famous women who have attended our parties and worn our jewels – Kate Moss, Naomi Campbell, Sharon Stone to name a few. Throughout the years, we have built lasting friendships with celebrities. By personally choosing de Grisogono for their red carpet moment, they express their love and passion for exclusive, distinctive, dazzling jewellery. This year during Cannes, we were delighted to see Bella Hadid and Kim Kardashian wearing our jewellery, as well as Jourdan Dunn, Milla Jovovich, Toni Garn and Natasha Poly.

Kim Kardashian and Fawaz Gruosi in Cannes

Fawaz Gruosi with Liz Hurley in Gstaad

LUX: When you look back on your career, what are you most proud of?
Fawaz Gruosi: I am most proud of the de Grisogono family. My closest team members are at my side for 10, 20 years now. We are just like a family and know exactly how each other works and I am proud of each and every one of them.

LUX: What lies ahead for the brand?
Fawaz Gruosi: We continue to expand into new territories and next year will be exciting in terms of some of the high jewellery creations we plan to unveil.

LUX: How do you relax?
Fawaz Gruosi: I have been so busy in the recent years that relaxing is a true luxury! But a perfect way to relax would be spending time with my family, in Porto Cervo or St. Moritz/Gstaad during winter, listening to music or cooking pasta for big groups of friends at home!

degrisogono.com

Salvatore Ferragamo has been an Italian luxury legend ever since its footwear was adopted by Hollywood sirens in the 1920s. Recently, Ferruccio Ferragamo, son of the eponymous founder and currently president of the company, and his own son Salvatore, have ventured into the world of fine wine and hospitality (following in the footsteps of Ferruccio’s younger brother Massimo, who owns the Castiglion del Bosco wine estate and luxury hotel). As part of our Luxury Leaders series, Salvatore Ferragamo speaks to LUX about restoring the medieval Tuscan village of Il Borro, ponders luxury’s demand for authenticity, and reveals his favourite Italian dish.

Salvatore with his father Ferruccio Ferragamo

LUX: What kind of experience does Il Borro offer guests and what makes it unique compared to other luxury estates?
Salvatore Ferragamo: Il Borro is truly unique because at the heart of the estate lies a medieval hamlet, dating back 1000 years which has been transformed into luxurious suites and villas through careful and respectful restoration. Authenticity is the cornerstone of all past and present activities at Il Borro. This place is one of a kind because of its tradition, at Il Borro, history, art, Tuscan culture and nature offer exclusive experiences and atmosphere that are impossible to find anywhere else.

I refer, for instance, to our Wine & Art Gallery, an artistic description of the history of wine through my father’s collection of prints and artworks from the 15th century to the present day which include works by Mantegna, Goya, Rembrandt, as well as modern artists like Warhol and Picasso. The gallery introduces guests to our cellars, which have been enlarged to enable a higher production of wine, yet still represent a respectful extension of the area beneath the 19th century villa.

At Il Borro we take care of our soil with an old-standing organic method and all our products are both pesticide and preservative free. We harvest the grapes, go horse-riding on the estate, pick olives and cultivate vegetables in a spectacular one-hectare garden. Il Borro is a lively place, where we work the land to reap the fruits that our customers can taste in the Tuscan recipes prepared by our chef, Andrea Campani.

And of course there is a relaxation area, with eco-friendly pools and a spa free of machines, where guests can enjoy a range of treatments carried out by our professional team.

[Best_Wordpress_Gallery id=”9″ gal_title=”ferragamo”]

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LUX: What inspired the project of Il Borro Ferragamo wine estate?
Salvatore Ferragamo: It was the history of this place – all we had to do was bring the traditions of this land back to life. Our vineyards are spread over about 50 hectares and we make 4 red wines in total; Il Borro, Polissena, Pian Di Nova and Alessandro dal Borro, our white wine Lamelle is 100% Chardonnay. We also make an exquisite Vin Santo and the jewel in the crown of our wine cellar, Bolle di Borro, a sparkling Sangiovese Rosé made in the classic method.

LUX: How do you compete against more established names and estates in the world of winemaking?
Salvatore Ferragamo: We do this through authenticity and excellence. We could produce three times as much wine, but instead we prefer to offer a product of the highest quality. We don’t exploit our land, we take care of it. Our wines are the result of oenological research, aimed at making premium wines through challenging combinations and effectively looking after the grapes of our territory. On top of all this, we have a unique place: the medieval hamlet where our guests can enjoy an unforgettable experience in an authentic atmosphere, with all the comforts.

Salvatore Ferragmo pictured in the Il Borro wine cellars

LUX: How has the rise of digital marketing and social media affected the way you approach business?
Salvatore Ferragamo: Digital marketing and social media are the tools of today and they represent a great opportunity for us. Every day we strive to make improvements, using creativity and lots of energy. They offer us the opportunity to communicate in real time and with emotional impact all of Il Borro’s values: hospitality, winemaking, food, health, nature, history, and traditions.

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LUX: Have you always been passionate about wine?
Salvatore Ferragamo: I can’t think of a time when there wasn’t a bottle of wine on my family’s table. Wine is part of Tuscan culinary traditions and being a food lover I cannot imagine dinner, and sometimes even lunch, without a bottle of good wine. Taking care of Il Borro’s winery just came naturally. The best moment of my day is when I start work with a walk through the vineyards.

LUX: Wine and hospitality are relatively new territories for the Ferragamo family. What are some of the challenges you’ve had to face along the way?
Salvatore Ferragamo: Yes, that’s true. But some elements are not new to my family: the Made in Italy mission, craftsmanship, and the Tuscan lifestyle. Il Borro encapsulates all of these elements. The real challenge at Il Borro is respecting the estate, the land and its gifts, through innovations on which we invest considerably, to preserve the authenticity and, at the same time, offer high quality hospitality.

Chef Andrea Campani is renowned for his grilled dishes prepared in a large artisanal oven

LUX: Is your name a passport or a burden?
Salvatore Ferragamo: My name is an honour…except when somebody thinks that I’m “the shoemaker of dreams”, that was my grandfather!

Having said that, I am fortunate to have examples of very successful entrepreneurs within my family, and I can honestly say that it’s a great source of energy and a positive challenge.

Read next: Luxury is making the impossible, possible, says CEO of Heesen Yachts, Arthur Brouwer

LUX: The Relais & Châteaux group, of which Il Borro is a member, is renowned for the best culinary hotels across the globe. What do you think makes food exceptional and what’s your favourite Italian dish?
Salvatore Ferragamo: This is a difficult question, since food, like wine, is a sort of magic. The creativity of a wine-maker or a chef together with high quality ingredients that, in the end, make the difference.

My favourite Italian dish… another difficult question. Probably Tagliatelle with Wild Boar Ragù in winter and Risotto with Tomatoes and Burrata Cheese in summer followed by a barbecue of our Chianina beef.

LUX: How do the other aspects of the Ferragamo family business influence the running of the Estate? Do you see it as a collaborative project?
Salvatore Ferragamo: We prefer to keep the two family businesses separate, however, I would say it is the strong core of business and entrepreneurship which has been inherited from Salvatore Ferragamo (my grandfather) to my father and my father to me, and of course the Ferragamo name, which links the two together.

LUX: Does Tuscany hold any particular relevance for the Ferragamo family?
Salvatore Ferragamo: Tuscany is my land even though my grandfather was from Naples and my mother is English. This is where I grew up, where my family established the brand, and also where a large part of the new Ferragamo generation lives. Tuscany represents Ferragamo’s creative inspiration at all levels, and we are very proud to be recognised as one of the leading Tuscan/Italian brands in the world.

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LUX: How has the world of luxury hospitality evolved in recent years?
Salvatore Ferragamo: I think there is a growing demand for authenticity. Travellers seem to be less interested in serial/signature hotel concepts, and the magnificent but cold buildings without history, without a soul. Travellers want to live and feel the experience alongside luxury and this offers a truly unique opportunity.

Activities at Il Borro include horse riding, cooking classes, trekking, golf, tennis and mountain biking

LUX: What’s next for Il Borro?
Salvatore Ferragamo: We have so many exciting projects in the pipeline, most notably: the launch of a 100% organic wine; the opening of Il Borro Tuscan Bistro in Dubai, the first restaurant in our franchising project, with the aim of eventually taking Il Borro’s Tuscan cuisine and wines around the world; the implementation of the biological production of our honey; and we also plan to provide Il Borro with an olive oil mill to produce our own biological extra virgin oil.

LUX: How do you manage to balance work and pleasure?
Salvatore Ferragamo: I believe I’m lucky, because I love my job. I could never have spent my days behind a desk. Since I love going horse-riding and playing golf, everything is within reach here at Il Borro and I can easily make the most of the little free time I have, doing what I love!

ilborro.it

Joe Macari is one of the most renowned names in the classic car business, his showroom in London a wonderland of racing cars, supercars and hypercars of all eras, plus the occasional dalek. A racing driver and car nut himself who spends much of his time crisscrossing the world to secure multimillion dollar deals on automotive rarities, Macari has high net worth customers all over the globe and cuts a flamboyant figure commuting to work in his $3m 1960s Ferrari Daytona Spider, cigarette firmly planted in mouth. Macari also has an official Ferrari and Maserati servicing workshop, and was recently appointed an Approved Ferrari pre-owned dealer. For our Luxury Leaders series he speaks to Darius Sanai about his maverick reputation, Brexit, and the hottest cars to buy now.

The Joe Macari Showroom. Image by Dylan Morris

LUX: How is the classic car sales business? Are modern classics important, or just incidental?
Joe Macari: I would argue that the classic car business is as strong as it has ever been! classic cars are now, more than ever, seen as a very strong alternative asset class, with a series of incredibly strong auction results proving that people are willing to pay good money for good cars.

LUX: Is the younger generation as passionate about the mechanics of cars as the older, and is that a problem?
Joe Macari: I think that there will always be a huge proportion of young people who take a keen interest in mechanics, it’s a timeless interest that evolves with the leaps and bounds technology takes over the course of time. I don’t think we’re in any danger of experiencing a shortage of petrol-head technicians any time soon.

Read next: LUX test drives the Rolls Royce Wraith

LUX: Are people more or less into racing than they were when you started out?
Joe Macari: I think racing has become more popular and accessible. F1 has obviously changed massively over the last few years, and my perception is that the changes have led to a migration of sorts. People seem to be more and more interested in events like Goodwood Revival and other classic car racing events in order for them to get their fix of unadulterated, noisy, raw racing.

LUX: How has the typical buyer changed over the decades?
Joe Macari: Certain areas of the world have changed tastes over the years. For example, the Middle East is really waking up to how investable the classic car market is. Obviously there have always been a number of collectors from the Middle East who have sought after classic cars, but there seems to be a broadening in the consumer demographic. Ultimately though, the buyers haven’t changed a great deal. Every single person who buys anything from me shares a burning passion, one I quite obviously hold very dearly, and have used their passion to drive themselves to a level of success whereby they are in a position to buy into their dream. Very few industries share that trait.

LUX: What is hot in the market right now?
Joe Macari: Ferrari are the pinnacle of the classic car market, almost every variant of the 250 sits at over £1m. The Testarossa (particularly the Monospecchio) and the 206/246 Dino are two cars that are picking up value very quickly. Anything limited Edition from Ferrari tends be a safe investment; the 288 GTO, F40, F50, Enzo, Challenge Stradale, 430 Scuderia, 599 GTO, LaFerrari and F12 TDF’s have all picked up value hugely from their list price and seem to be continuing to rise in value.

Read next: Motoring with Jude Law

LUX: Is the classic car market overheated?
Joe Macari: Not in my opinion, were that to be the case we’d be seeing average cars sell for huge money and a quick browse of recent Auction Results will show you that people hold provenance and condition of the cars in high regard. If a car has very obvious flaws, it won’t make money. If a car has questionable history, it won’t sell.
If we ever reach a point where very obviously terrible cars are being sold for far more than they’re worth, then there would be cause for concern, but until then I firmly believe the market to be the healthiest it’s ever been.

Left to right: Joe Macari & Tom Kristensen after their win at Goodwood Revival. Image by Andrew Gill

LUX: Some 1950s and 60s Ferraris sell for multimillions. Will the newer ones ever do so (even the limited editions)?
Joe Macari: Undoubtedly so, it all boils down to the relationship between supply and demand. The supply of past-generation Ferraris remains fixed, however as the younger generation reaches financial maturity the demand for these cars increases, resulting in rising price. We saw a LaFerrari  sell for $4.7m at Pebble Beach in August, who knows where they’ll be in 10 years time!

LUX: Do people really buy the cars they hankered after when they were kids – does that mean the 50s and 60s cars will drop in price as their owners get old/pass away?
Joe Macari: Not at all! The value these cars have accrued has given them serious kudos amongst the younger generation, I can’t conceive of a time when a 250 GTO or California Spyder are seen as “just another old Ferrari”, they are primarily works of art, and much like art they will continue to cause a reaction and be desired by many.

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LUX: What gives you the greatest pleasure in your business?
Joe Macari: Witnessing the transformation a car goes through during restoration. We take a car in average condition at best and pour our blood, sweat and tears into making it as beautiful as it was the day it rolled off the production line. I can think of few feelings as totally satisfying as seeing a customer’s face when they see their “new” car for the first time.

LUX: What makes you most frustrated?
Joe Macari: Potential not being utilized to its fullest extent. When someone isn’t doing as good a job as I know they’re capable of doing I get very frustrated. I don’t tolerate carelessness because in my mind the only reason one gets involved in the motor industry is because they have a passion for it, if you aren’t working at your best then you’re clearly not passionate about it.

A Porsche Carrera RS. Image by Dylan Morris

LUX: Do you purchase many cars and hold them back before selling? What car would you like to purchase for your business, that you haven’t done already?
Joe Macari: The only reason that would happen is if we’re planning on restoring a vehicle, we have storage with a number of cars in varying stages of restoration but very rarely, if ever, would we buy a car simply to hold it off market and then sell it at a later date as space is a very valuable commodity.

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LUX: What is the effect of Brexit on your business?
Joe Macari: I think we’ve been relatively fortunate, obviously we specialise in LHD (left hand drive) cars which means that due to the swaying currency our cars became cheaper for Europeans quite literally overnight. A large proportion of our clientele tends to be relatively immune to financial shocks, so the demand for high performance cars is still very much alive.

Four Ferrari Daytona Spyders. Image by Dylan Morris

LUX: Some years back you became an official Ferrari service centre, and now you are an official Ferrari approved used car dealer – is this significant and what does it mean?
Joe Macari: Above all else it bestows a huge sense of confidence onto our clients that we are supplying the absolute best product that we possibly can be. The fact that before we sell a car we’re able to perform Ferrari Approved Servicing and Sales Prep, as well as provide the customer with ongoing maintenance support, puts us in a position that very few other people find themselves in, and ultimately makes our business unique amongst a host of other very competitive businesses.

LUX: People refer to you as a maverick. What does that mean?
Joe Macari: I suppose people see the showroom and the service centre & imagine they’re run by someone in a suit; I think seeing me with greasy fingers and a cigarette in my hand comes across as a bit of a juxtaposition when in actual fact I like to lead from the front. I gain more pleasure from putting a car back together than pretty much anything else on earth, why would I turn my back on my roots?

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LUX: You have good personal relationships with your big customers. Is that important?
Joe Macari: Relationships are without question the most important aspect of any business, anywhere. The friendships I have forged over my years in the industry are far more important than any deal I’ve ever done, the fact that people trust me enough to return to me for business is something I don’t take lightly, it spurs me on to maintain the standards I have become known for.

LUX: How do you secure the cars you want, when everyone wants them?
Joe Macari: By building relationships and gaining trust. Everyone knows that if they need a car, I can find it for them. They know that the car will undergo the highest possible level of scrutiny and ultimately I have cultivated an environment around me and my business whereby people selling through me know that they’re getting the best deal they possibly can. Everything lies in relationships and trust!

joemacari.com

The 70m Galatica Super Nova: Heesen’s biggest yacht to date

The new CEO of Heesen Yachts, Arthur Brouwer has stepped up to the helm at an exciting time for the luxury brand. Following the launch of their biggest yacht to date, 70m Galactica Super Nova at the Monaco Yacht Show, Arthur spoke to LUX, as part of our Luxury Leader series, about meeting the demands of the modern consumer, new technologies and sailing on the Amalfi coast.

Arthur Brouwer. Image by Dick Holthuis

LUX: What makes a yacht truly luxurious?
Arthur Brouwer: At Heesen Yachts we strive to combine engineering and design, with luxury elements such as detailed interiors with high-end materials. All these aspects are perfected with top-notch technology, innovation and modern cutting edge-design, creating a truly luxurious yacht.

LUX: How has the super yacht market evolved in the last ten years?
Arthur Brouwer: Superyacht owners are now looking for bigger, faster, yet comfortable and silent superyachts. The exteriors are becoming increasingly important with more request for more outside space to enable guests onboard to take in the surroundings. 70m Galactica Super Nova, launching at the Monaco Yacht Show on September 28th, is the perfect example of this trend, with a maximum cruise speed of 30 knots which is exceptional for such a calibre.

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LUX: What are the most difficult issues you face as CEO of an international business?
Arthur Brouwer: As discussed previously, the superyacht market is forever evolving and changing. As you can imagine, building a superyacht takes a certain amount of time, and when building on specs, we take a risk in offering the market something we predict will be suitable for future expectations. With the help of my great team, we seem to get it right though, but it is a risky process. Next year we will launch Project NOVA, a 50 metre Fast Displacement featuring a new hybrid technology for silent cruising. As we expected, silence is becoming the ultimate luxury.

The spacious foredeck can be used as helipad, sunbathing platform, informal dining space or an outdoor cinema

LUX: How have the demands of your customers changed?
Arthur Brouwer: More and more our customers are asking for detailed and extravagant interiors and design. Since we build full-custom superyachts, we constantly seek to satisfy these demands, however outrageous, and generally make the impossible, possible. We are also very lucky to have a team of exceptional in-house naval architects to make this happen.

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LUX: All of your yachts are bespoke designs, what’s the most challenging customization you’ve faced?
Arthur Brouwer: I think the most challenging customization was creating a glass pool bottom. The engineering around this had to be detailed to perfection to make sure the yacht could still cruise at high-speeds without shattering the glass floor.

LUX: What are the most interesting growth areas of your market?
Arthur Brouwer: I may seem repetitive, but once again, size is the constant growing area for superyachts. This is why we are currently building an 85m dry dock, meaning we will be able to build yachts up to 80m.

The yacht features a 6m swim-jet infinity pool with waterfall, glass-panelled bottom and spa jets for hydro massage

LUX: Are your competitors other yacht companies or houses, other indulgences etc?
Arthur Brouwer: We are competing against all the other shipyards, but competition is good. It means that we continue to raise the bar year on year and deliver at an ever higher standard.

Read next: Cary Arms brings luxury to Babbacombe Bay

LUX: What are your best insider’s tips for visitors coming to the Monaco Yacht Show?
Arthur Brouwer: Obviously no trip to the Monaco Yacht Show would be complete without a visit to a Heesen yacht, particularly this year where Galactica Super Nova is proving to be one of the stars of the show.

LUX: Where’s your favourite place to sail?
Arthur Brouwer: I love to sail to all kinds of exotic places, but a personal favourite is the Amalfi coast.

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LUX: What’s next for Heesen Yachts?
Arthur Brouwer: Other than the development of unusual specialist builds like Project Nova; over the last few years we’ve seen a trend in the demand for bigger and bigger yachts, which doesn’t seem to be slowing down. We’ve just completed the addition of an 85m dry dock to our shipyard which will allow us to develop 80m yachts.

LUX: How do you relax?
Arthur Brouwer: Not at the Monaco Yacht Show! I enjoy long distance classic rallies.

heesenyachts.com

For the launch of UP COLLECTION, luxury accessory designer Stefania Pramma teamed up with artist Sara Berman to create a playful installation of handbags and paintings, displayed for one night only in the colourful interiors of 5 Hertford Street’s exclusive nightclub, Loulou’s. Millie Walton spoke to the designer about her inspiration, Italian heritage and obsession with dogs.

Stefania Pramma

Millie Walton: How did your collaboration with Sara Berman come about?

Stefania Pramma: I met Sara through my sister who is an art collector and we just clicked. I love the colours and the sense of the humour in her paintings – they’re so beautiful – and so I asked her almost immediately if she could create something that’s not too pretty and not too perfect that would work with Pramma’s playful ethos. The paintings Sara produced are about gesture and moments, and are inspired, I think, by images I have of my sister and I with the bags in a cab in New York and also dogs… I love dogs! Pramma is really about the intimacy of the bag, the way you hold it, everything that it means to be a woman. That’s why I paid particularly close attention to the bags’ clasps – they’re more mechanisms than locks – you really have to think about how to open it so it feels secret and personal.

Read next: Chopard’s Caroline Scheufele on the consumer of the future

MW: What are the inspirations behind this new collection?

SP: I always want to create timeless pieces. The bags have a signature shape, and then the freshness comes from different textures. For example with this collection, I wanted to feature embroidery, but not classic, ladylike embroidery, something a bit cooler and unique, which is why I chose chain embroideries although its extremely difficult to do! I am also really inspired by architecture and geometry; the way the bag is constructed is very specific so it stands in a certain way and the handle has a certain shape so you feel elegant when you hold it. The bags need to be special, which is why I incorporate precious gemstones and jewellery, but not untouchable. These are sturdy, day bags, but feminine too, there’s a softness created through curves and smooth lines.

Read next: Leading auctioneer Simon de Pury on the enduring legacy of art

MW: How has your approach to design changed over the years and is that a reflection of the contemporary consumer?

SP: I don’t design for any specific type of woman. I design into an idea or something that inspires me. It’s not that I think okay there is a hip-hop or Boho trend and design around that – I could do my own version of it, but the inspiration for this collection and all my collections is fundamentally about the timeless of an object. Women want something that they can keep and that’s out of the ordinary. Its not about a particular demographic; I want the bags to be versatile so they can be worn in different ways and by different people.

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MW: Is it important to you that your bags are constructed in Italy?

SP: Yes and by craftsmen in particular, but its actually very difficult to find artisans nowadays because so many have closed down. It has changed so much in the past twenty years. When I started working in fine jewellery in Italy, there were lots of craftsmen but they were already old – sixty or seventy years old – and the young people didn’t want to work in a little artisan shop so many of them didn’t have the support to keep going. There has been such an abuse of the “made in Italy” label with people just putting in the last stitch in Italy, but constructing the bulk of the product elsewhere. I really wanted all of my products to be truly, completely and honestly manufactured in Italy even if it is more of a struggle to find the hands.

<a href="http://pramma site link.com” target=”_blank”>pramma.com

Michael Wainwright is Managing Director and co-owner of Boodles, the British society jeweller, which has nine stores in London and its heartland of northwest England. Soon after the opening of the brand’s spectacular new flagship on London’s Old Bond Street, he spoke to LUX  as part of our on-going Luxury Leaders series, about Britishness, the retail experience, and possibly going to America.

Michael Wainwright

LUX: What is the state of play for the luxury industry?
Michael Wainwright: Our business is less tied to the economy than you might think. We are more dependent on wealthier people who don’t lose their wealth overnight. My thinking these days, after years of economic crises, is fairly optimistic. The prognosis is pretty good for the luxury goods and jewellery sector. The world is a richer place than it has ever been and people will continue buying.

LUX: Boodles is the only significant British jeweller and one of the only family-owned ones anywhere. How important is that?
Michael Wainwright: Britishness is important to our business. British people like to deal with a British brand and our overseas clients love to deal with “Britishness”. British clients account for 75% of our business. Telling the British story is important for us, and also the family story: we are a family business, and maybe we don’t tell that story enough.

Read next: LVMH and Hublot’s leading man, Jean-Claude Biver on personalising luxury 

The Boodles boutique on Bond Street

Inside the newly refurbished Boodles boutique

LUX: Are there disadvantages to being British?
Michael Wainwright: There are disadvantages to not being overseas. Lots of brands have presence in Hong Kong, Dubai and Paris. Clients see their brand everywhere; it’s a huge head start. But now there are quite a few Middle Easterners looking for more localized niche brands, which is an advantage for us. They don’t want a brand that is in every mall in the Middle East. Asians still are more about following the herd, but that will change.

Raindance Ring

LUX: What are your views on e-commerce?
Michael Wainwright: Only one percent of our sales are e-commerce at the moment, which is not high, but it is growing fast. I think it has potential to reach four to five percent. Most people will want to experience the story, to touch and see things. Online is a very cheap sale, which is very profitable. But in a shop, you have the chance of making an add-on sale, you build a relationship. If a customer buys online, you may never see them again. It doesn’t build the brand experience. Relationships are absolutely fundamental to business.

Read next: British businessman, Javad Marandi talks investment philosophy and strategy

LUX: What’s the greatest challenge you face?
Michael Wainwright: The Walpole Group (the British luxury association) recently noted there are two hurdles to growing a business: one at £20m (annual turnover) and one at £80-100m. We are now at the second hurdle, we are a £80m turnover business. We don’t feel we can build to the next stage just by being in the UK. We are very involved in our business as a family and we have not yet really learned the art of delegation, which is what is required if you are overseas. We would need to pick the right partners for, for example, opening in New York or the Middle East. We would need to acquire those skills of delegation. It’s an interesting stage. These are big hurdles.

boodles.com