A look from Area’s AW16 collection, incorporating an official collaboration with Swarovski. © Swarovski Corporate Archive

Austrian crystal-maker Swarovski celebrates its 125th anniversary this year with a new creative director in charge. Operating in sectors from infrastructure to telescopes, it is most famous for its crystal figures and collaborations with the entertainment and fashion industries. Ahead of a landmark book being published about the company, Harriet Quick explores a family-owned firm getting ready for the next 125 years

For a brand bringing sparkle to the world’s performance stage and symbolising the dazzle of fashion to be celebrating its 125th anniversary is some achievement in itself, given the changes in the world of entertainment and style since 1895. To be doing so as a family-owned company, run in part by descendants of the original founder, is even more so. But for Swarovski, provider of crystals and sparkle around the world, there is yet another dazzling fact: the company has done so not based on the rue Faubourg Saint-Honoré or Milan’s Golden Triangle, but from a small village in the Austrian Alps.

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The journey has been epic. Today, the company is managed by the fifth generation of its family members. This year, marking its 125th anniversary, has witnessed big changes. On the visual front, Italian-born fashion director and consultant, Giovanna Battaglia Engelbert has joined the company as worldwide creative director. The stores, a feature of cities and airports around the world, are scheduled for a sweeping revamp.

The Crystal Dome at Swarovski Crystal Worlds in Wattens, Austria. © Swarovski Corporate Archive

The brand’s history is as varied as the topography of the Austrian Tyrol where Daniel Swarovski set up his manufacturing plant in the town of Wattens to benefit from the abundant water source that powered the hydroelectric cutting machines. The mountains and valleys of the region are symbolic of the struggles and triumphs of a business that has been driven by the continuous merging of technology, nature and innovative design. There is a generous sprinkling of magic, too. It is embedded in the multifaceted crystals that never fail to arouse awe and around which there has been ample myth-making.

Daniel Swarovski with his family, c. 1890. © Swarovski Corporate Archive

Before the global pandemic, Swarovski’s annual turnover was recorded at 2.7 billion euros and that comprises revenues from its high-end fine jewellery creations, the crystal stones deployed by a whole array of creative minds, including costume designers, chandelier makers and architects, and optics. The lion’s share (75 per cent of the revenue) is generated by fashion jewellery, sunglasses, watches, perfume and the much-adored crystal figurines. The quality of the crystals that are prototyped at Manufaktur, the striking in-house laboratory in Wattens designed by architectural firm Snøhetta, is unparalleled.

Read more: How Andermatt Swiss Alps is drawing a new generation of visitors

The company’s extraordinary creative output has also been bolstered by a roster of collaborators from the fields or architecture, design, fashion, film and stage who have continually brought ideas and seemingly impossible challenges to the company, from the mesmerising Aurora Borealis crystal that was developed by Manfred Swarovski for Christian Dior to the spectacular costumes made for performers including Maria Callas’s gowns, Liberace’s capes and Lady Gaga’s bespangled Ralph Lauren gown featuring 50,000 stones and worn at her Las Vegas residency in 2019. People come to Swarovski for the spectacular and the sublime, like scenic designer Derek McLane, who used 45 million Swarovski crystals for the 2018 Oscars ceremony, and who commented, “I always want to go beyond the clichés”.

Swarovski crystals in jewellery featuring in 16 Arlington’s AW20 collection. © Dan and Corina Lecca.

From the fields of design, Daniel Libeskind, Tord Boontje, Jaime Hayon and John Pawson are amongst the greats who have transformed crystal into products, architectural features and lighting. Hayon recently designed a full-scale carousel for the Swarovski Crystal Worlds culture park in Wattens. The monochrome attraction rotates in striking juxtaposition with the lush greenery of the garden and shimmers with 15 million Swarovski crystals across 12 ceiling panels and 16 wall panels illuminated by a warm light. “For me, a carousel can be seen as a moving museum,” explains Hayon.

Swarovski Crystal Worlds, with (top) Crystal Cloud by Andy Cao and Xavier Perrot, and (here) the carousel designed by Jaime Hayon © Swarovski Kristallwelten/Mark Cocksedge

Setting a precedent that would inspire future generations, Daniel Swarovski first made his inroads into the worlds of high fashion in Paris. Equipped with suitcases of stones, the founder would take his goods on the road, visiting couturiers including Charles Frederick Worth, Jeanne Lanvin and Jeanne Paquin, as well as the specialist artisan ateliers that supplied Chanel and Schiaparelli with exceptional embroideries, buttons and jewelled adornments. Relationships were forged that outlived the founder and expanded exponentially during the hey-day of couture in the 1950s, attracting Dior, Balmain and Givenchy. “The samples are often the springboard to the creation itself,” remarked Hubert de Givenchy.

Read more: British artist Hugo Wilson on creating art from chaos

The Swarovski Star by Daniel Libeskind in 2018 for the Rockefeller Center Christmas tree, New York. Image by HappyMonday

Swarovski crystal became a desired material in fashion, adding glamour and value to evening gowns, heels, handbags and costume jewels. It has been endlessly interpreted through the changing waves of minimalism, maximalism, sportswear, theatrical and romantic moods and proved itself a classic. At Versace, Donatella has made crystal chain mail a signature, Miuccia Prada has made sparkle an integral part of her chandelier earrings and party dresses, while at Chanel, crystal is woven into the tweeds and classic costume jewellery.

Mary Katrantzou’s SS20 show at the Temple of Poseidon in Greece.

The brand continues to look to the future by investing in new talent and ideas. Sponsorship through the Swarovski Collective programme and graduate award schemes means that emerging creatives are exposed to the potential of the material. Mary Katrantzou, Grace Wales Bonner, Rodarte and Jason Wu are amongst the many who have grown up through the collective. The most famous collaborator is Alexander McQueen, who conjured up brilliant designs fused with narrative richness and theatrical impact. Fittingly, Swarovski was the key sponsor of the record-breaking exhibition ‘Savage Beauty’ (2011) that celebrated his life’s work.

Lady Gaga during her ‘Jazz & Piano’ residency in Las Vegas, 2019. Kevin Mazur/Getty Images for Park MGM Las Vegas.

Derek McLane’s design for the Academy Awards stage in 2018, using millions of Swarovski crystals. Mark Ralston/AFP/Getty Images

The relationships are best when they are symbiotic. In 2019, Katrantzou designed her Temple of Poseidon couture collection that was staged as a charitable fundraising event in her native Athens with £40k worth of crystal. “Nadja Swarovski has changed the perception of how crystal is perceived, and I have challenged my own preconceptions of it. With something so visually present, it has to be part of the process from the beginning. We never want it to look like an afterthought,” says Katrantzou.

In turn, creative directors have been invited to Swarovski and been given carte blanche to design jewellery collections and components. The results have given crystal new dimensions. Consider Jean-Paul Gaultier’s Kaputt shiny/matte faceted stones, and the one million giant pearls and stones that embellished Olivier Rousteing’s first couture collection for Balmain in 2019. Challenging perceptions, groundbreaking Dutch couturier Iris van Herpen designed a ‘growing crystal’ that features raw and faceted surfaces.

‘Growing’ Swarovski into a new era is the mission for the family now. An era that is challenging for any consumer-facing business: but any company that has lived through two World Wars and a Great Depression has long-term survival in its genes. Sparkle is guaranteed, but who can say what poignant shapes it might find in the future?

For more information visit: swarovski.com

This article features in the Autumn 2020 Issue, hitting newsstands in October.

Mary Katrantzou (second from left) backstage at the 2018 Victoria’s Secret Fashion Show in New York

With a decade of successful collections behind her and a penchant for outside-the-box collaborations, Mary Katrantzou is a designer not only bursting with creativity but also with the business acumen to go truly global, as Carolyn Asome discovers

Don’t underestimate the agility required to keep up with Mary Katrantzou’s boundless curiosity, the ever-inventive ways she pushes herself out of her comfort zone, the rat-a-tat-tat of her myriad collaborations (more of which later) and fundamentally, her desire to never sit still.

Does Katrantzou, who for the past decade has wowed us with her own strand of quirky maximalism, breathtaking decoration techniques and architectural shapes, ever worry that her body may struggle to keep up with her mind? The Greek-born fashion designer (and veritable power house), who read architecture at the Rhode Island School of Design before studying for a BA in Textile Design at London’s Central Saint Martins, howls with laughter at this. “It’s true, I’ve turned 36… it probably doesn’t.”

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Few designers are able to confront the obstacles of growing their own business. Fewer still are able to articulate them quite as clearly as Katrantzou can – although one senses that she has always relished the challenge. Her voice lights up: “Growing your business is the ultimate in creativity. It forces you to have an understanding of the business of fashion. I don’t think you can have a company without that interest or without the ambition to be involved.”

In an increasingly volatile retail climate, what are the challenges she faces? “There are several, but one of them is having a voice that really stands out against the noise. There are lots of heritage brands with a rotation of designers at the helm. You need to really know what you stand for. I challenge myself to do that each year. You might think you have an idea of who your woman is, but it isn’t always as easy as you think it is. I am not designing for a romantic warrior…” she laughs. “Sure, she is bold and daring and she uses fashion as a tool of expression. What I design has an element of uplift, but it also has links to art and design – that is very much part of it, too.”

A look from Mary Katrantzou’s AW19 collection

The conundrum of dealing with an ever- whizzier hamster wheel of production also looms large. Thankfully, Katrantzou explains this is far less of a taboo subject than it was in the past. “Three years ago, no one wanted to talk about it and you almost closed your eyes and hoped for the best, but now other designers talk and you realise we are all in the same boat. Because obviously it is going to affect your creativity.”

Her solution? “While we have four drops annually, there are only two thematic collections a year so that means we have longer to talk about something, but we still have the newness.” Another challenge she mulls over is how to move outside ready-to-wear and use her design talent in other areas. Given that Katrantzou trained as an architect, she enjoys the challenge of looking at things from different perspectives and the creativity that comes with designing in different realms.

“We’ve tried to shift the brands in both directions: at one end offering shows at a demi- couture level and building on our customer relationships so that they can buy from us as made-to-measure or bespoke, but also, to do collaborations with much bigger global brands which allows us to reach a far wider audience.”

Read more: Photographer Thomas Demand on abstract perspectives

Katrantzou enjoys the fact that collaborations force her to think in a completely different way. “It’s an entirely different end use of a product. You can be democratic in a way that as an independent brand you just can’t be, because you can’t reach those price points or your minimums and production runs are so different. The modern brand of today needs to be reaching out to all different price points and different tiers. You are communicating with your customer but offering her a very comprehensive way of being able to buy your brand. We are doing a tenth of what we can do as we are still largely a ready-to-wear brand, but we’ve created jewellery with Swarovski, and done a small homeware range with a friend, Brigitta Spinocchia Freund. We’re also doing a ballet at Sadler’s Wells with Russell Maliphant and music by Vangelis, which is obviously so different from what you get when creating the costumes for the Victoria’s Secret show.”

The designer’s interesting collaborations – ones which challenge the well-trodden formula of designer/highstreet unions – are what caught the eye of Chinese investor Wendy Yu, the 28-year-old who has earned herself the reputation as China’s unofficial fashion ambassador.

Mary Katrantzou with Wendy Yu 2017

Two years ago, Katrantzou took investment from Yu. “I’d noticed and loved Mary’s capacity and talent to expand into different product categories along with her infectious energy and drive,” says Yu. “She’s built a brand with a strong and unique identity. I can see the potential of Mary Katrantzou homeware and beauty… I think the Chinese consumer would really buy into the brand at this lifestyle level too.”

Yu was one of three who came in on a ‘family and friends’ round of investment. For Katrantzou, the idea was also to look at what investors could offer aside from the financial support. “Wendy has been helpful with expanding in China. She is someone who understands how to help build a brand between east and west, between fashion and the arts.” Katrantzou has also learnt that in order to create awareness in China, it takes much more than just visiting once a year. It’s visiting regularly and initiating activations that really engages.”

Despite following a wholesale model, Katrantzou finds that clients come to her, season after season. “It’s rare these days to have a really loyal client. I don’t know what it is about the brand that elicits that loyalty but whatever it is, I don’t take it lightly.” This modesty is typical of Katrantzou. Such is her talent that she has clients who own so many of her clothes, they might easily stage a retrospective of her collections. It is telling that one of her most devoted fans is also one of the biggest collectors of Phoebe Philo’s collections at Celine – “our aesthetics couldn’t be more opposite” – and yet, there is something about the power of Katrantzou’s craft, the detailing and point of view that elicits such fandom.

Katrantzou and friends at London Fashion Week, 2016

Last September, Katrantzou celebrated her tenth anniversary, filling Camden’s Roundhouse with a collection all about collecting and collectables. Instead of a ‘best of ’ tribute to the preceding decade, she riffed on philately and entomology. One gown resembled a Fabergé egg gleaming with crystals, while a bustier dress revealed an array of coloured stone rings within a jewellery box.

Read more: Why LUX loves the New Perlée creations by Van Cleef & Arpels

Her most recent collection was based on the elements – earth, air, fire and water – and how they exist within us. “I wanted to explore the fire – when you have that energy and passion; or air when you feel that sense of being light and free. And it was interesting to distil all of that into a collection as it was so abstract and unlike my previous collection, which was more literal and very object driven.”

A look from Mary Katrantzou’s AW19 collection

For water and air, Katrantzou explored silhouettes that were weightless, either in organza or tiers of ruffles, which “bounced in a cloudy way, or else we used feathers”, experimenting with materials and techniques that haven’t been explored before.

Today, there are 25 people in Katrantzou’s London studio and her label is sold in 50 countries. “Our strongest markets are in the US, the UK, southern Europe, the Middle East and now China,” she says. “You know you appeal to a certain type of woman, and while I’m not saying an archetypal woman, they do have something in common. And we don’t have to be big in the Nordic countries if we are not selling there.”

Increasingly, Katrantzou is thinking about how she fits into the world around her: what she stands for and how that extends to bigger topics. “Luxury for me is knowing you are not harming your environment, knowing that the pieces you create will last in someone’s wardrobe for ever. I find it interesting that clients increasingly come to me and say they want to spend x amount on this one dress rather than buy 20. There’s a return to craftsmanship, pieces that are made by hand. With demi-couture, you are supporting a more analogue approach to fashion. It isn’t a big percentage in terms of how many commissions we get, but it is a sizeable part of the business… and it’s growing.”

Find out more at: marykatrantzou.com

This article was originally published in the Summer 19 Issue.

Wendy Yu. Portrait by Jonathan Glynn-Smith

Wendy Yu – entrepreneur, investor, cultural ambassador, fashion devotee, and frequent flyer between Shanghai, Hong Kong, London and New York – is taking the word ‘global’ to a whole new level, as Elisa Anniss discovers when they meet

Instagram can be hugely revealing about the people who use it, though rarely will you get the fullest picture of any of them. With her 1,913 posts and the 94.1K followers of her Instagram account, @Wendyyu_official, it still paints only a partial picture of this remarkable young woman, who is the founder and CEO of Yu Capital, a major Chinese investor in fashion and technology, an entrepreneur and a philanthropist.

Nevertheless, snaps of Wendy Yu with Giambattista Valli, Thom Browne and Charlotte Olympia do reveal her stellar fashion credentials. There are the images of the Met Ball in New York and of a dinner for her friend Mary Katrantzou, co-hosted with Lord Rothschild at Waddesdon Manor. Instagram also tells us that she appears to be something of a collector of evening gowns. Indeed, the rare snap of her in trousers raises an obvious question. “I love both, to be honest,” she darts back, when challenged. “I’m very spontaneous. Sometimes I love things that are dreamy, crazy and imaginative. At other times I just like very simple things. I love to be a chameleon, it really depends on my mood.”

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This morning she’s flown in from Hong Kong. For the flight, she wore head-to-toe Alaïa with a yellow Mary Katrantzou fur. It’s typical of what she wears on planes – Alaïa or a kaftan from Oscar de la Renta paired with flat shoes. “All super comfy so I can sleep easily.” Last month she flew every two or three days. Shanghai is her main base, but Hong Kong, London and New York, are all places where Yu regularly spends time. “New York more now because next year we’re launching an exciting project there,” she ventures, but that’s all she’ll give on the details. Still, Shanghai is where she has a home and where her parents’ live – Yu is heir to her family’s business, the Mengtian Group, China’s leading wooden door manufacturer.

It takes sitting down and talking to this young entrepreneur and philanthropist to see that dressing up and accumulating possessions isn’t really what drives her. Her enquiring mind and the way she lights up, crackling with enthusiasm and talking nineteen to the dozen when discussing her many passions, leaves a lasting impression. It’s certainly something that Instagram is unable to convey. Fashion, disruptive technology, the arts, China and being a Sino- Western bridge connecting people, are just some of the subjects she tackles with energy.

“Wendy is passionate about London designers and entrepreneurs and has definitely made a positive impact by supporting some of the best talent out there. We need more people like her,” enthuses José Neves, the fashion-tech businessman who founded Farfetch, and husband of Daniela Cecilio Neves, in whose business Yu was an angel investor. Undoubtedly, it was Yu’s inquisitiveness that brought her to England in the first place. This involved spending time at school in Somerset, in the English countryside where she got a taste of the British boarding school system as well as meeting other, mostly non-Chinese pupils. Next, she went on to complete a degree in fashion management at the London College of Fashion with a stint in between interning at Vogue China. She has also completed executive business programmes at the universities of Cambridge and Oxford, interned for a family office in the Middle East and has spent time working for Mengtian. “Truth be told, while education is important, it’s not until you do internships and start working that you really learn about business,” she says.

Wendy Yu and Caroline Rush, Chief Executive of the British Fashion Council, co-hosted breakfast for Vogue China’s Editor-in-Chief Angelica Cheung

Today, Yu is the youngest member of the Fashion Trust, a British Fashion Council charity, and a founding member of the Victoria and Albert Museum’s Young Patrons’ Circle. Even though she herself doesn’t use the word ‘anglophile’, with her love of Harrods – “I still vividly remember the first time I went [there]. It really ignited my passion for fashion” – and her appreciation of British life beyond London – “I love the town of Taunton, and Devon is beautiful, too”– it’s a moniker that fits.

Read more: Geoffrey Kent on finding new places in a well-travelled world

In 2015, Yu founded the investment vehicle Yu Capital and in January 2018, Yu Capital became Yu Holdings. Yu Holdings is a platform created to unite the worlds of strategic investment, technology, philanthropy, arts and culture and to reinforce business and cultural ties between China and the rest of the world.

“The evolution of Yu Capital into Yu Holdings was a strategic decision to consolidate my investment activities with my cultural and fashion projects, all with the end goal of bridging the economic and cultural gap between China and the rest of the world, a mission that drives every decision Yu Holdings makes,” says Yu. The investment vehicle is divided into three main areas of interest: Yu Capital, Yu Fashion and Yu Culture. Yu Capital, the investment arm of Yu Holdings, is focused on strategic investment in global technology, lifestyle and fashion businesses that show high potential for growth in a global market.

Yu’s two technology investments are Didi Chuxing (for more information see end of article), the largest taxi-hailing firm in China, valued at US$35 billion and whose other investors include Apple, Alibaba and Tencent, and Tujia.com. This Chinese online marketplace and hospitality service enables people to lease or rent short-term lodging, something like Airbnb (see end of article).

“Because Didi and Tujia are both multi-billion-dollar companies, they have very big and powerful investors. I’m involved financially rather than strategically,” she notes. “I’m generally less involved with technology investments than with my fashion and lifestyle investments, where I look to add value and contribute to their development and growth.”

One of Yu Capital’s recent ventures, Mary Katrantzou, with her SS18 show

Earlier in 2017, Yu Capital made its first luxury fashion investment in the London-based designer brand Mary Katrantzou (see end of article) whose sought-after collections are sold in leading luxury stores around the globe. Yu confesses that before she makes the final decision on an investment she consults with her fortune master, who told her great things about Mary, prompting her to go ahead. “At the back of my mind there is always the question, is this relevant to the Chinese market?”

Read more: President of Monaco Boat Service Lia Riva on the family business

Whether she proceeds with a fashion investment or not also depends on the chemistry she has with a designer as well as the company’s future potential. “With Mary, I really like her as a person as well as a business woman. Her enthusiasm is infectious and she’s hugely talented.” She was also struck by Katrantzou’s background in architecture and opportunities that lay waiting in the whole lifestyle sector.

Yu believes that past collaborations with Adidas, Moncler and Topshop have already helped Mary Katrantzou capture the attention of Chinese consumers and that there is still greater opportunity there for Katrantzou’s core brand. “We are very open to the new emerging designers and the purchasing power in China is now very strong. However, one needs to select carefully which partners in China will be the best in the long term because they all want exclusivity.” Yu can help Katrantzou navigate these complexities. “I don’t have any agenda, I only want what’s best for Mary,” she says.

The investment in Mary Katrantzou followed two made in 2015, one in ASAP54, recently re-branded Fashion Concierge, and another in the sustainable accessories brand Bottletop. Yu was drawn to Fashion Concierge by the disruptive technology it displayed at the time of its launch, whereas with Bottletop it was the idea of social investment that appealed to her. “I liked their concept and approach to sustainability,” she says. As a pioneering fashion accessories brand (founded in 2012 by Oliver Wayman and Cameron Saul, the son of Mulberry founder Roger Saul), the brand revolves around the simple idea of re-cycling the ring pulls from drinks cans – hence the name. A novel, sustainable, chainmail-like material, often with an enamel finish in a range of colours, helps to make Bottletop products, which include totes, clutches, backpacks and belts, instantly identifiable. The company also funds the Bottletop Foundation, which supports young people in Brazil, Ethiopia, Kenya, Malawi and South Africa. “Wendy is a rare visionary and we have loved having her as part of the Bottletop family,” says Saul. “Wendy is also very strategic and has supported us with important introductions as we position the brand to launch in Asia.”

This is echoed by Daniela Cecilio Neves of Fashion Concierge: “I’ve greatly benefited from Wendy’s insights as a tech-savvy, fashion-loving individual, who can also provide me with a perspective on China,” she says.

Wendy Yu at the Women’s Opportunity Center in Rwanda

Ever since Yu took a trip to Rwanda with Brita Fernandez Schmidt, the UK executive director of the charity Women for Women International, social investment, and how similar principles could be applied to the less developed parts of China, have been at the forefront of Yu’s mind. “Brita invited me to see her work in Rwanda because that’s where they have the Women’s Opportunity Center. I’m very curious and I’ve always wanted to see different parts of the world. It was the most inspiring trip I’ve ever been on. I’m looking to potentially develop some culture-related projects with Women for Women, as Brita is keen to see rural parts of China. As a Chinese woman, I would like to explore how we could create support areas in China where there are still huge gender inequalities.”

This leads into the overarching ambition of Yu Culture, the purpose of which is to enrich China’s cultural landscape through development and exchange initiatives in film, art and media, and by working in special partnership with international cultural institutions on projects to be unveiled in 2018.

Yu is already closely involved in the Victoria and Albert Museum. “The V&A has been one of my favourite museums since my student days,” she enthuses. “They invited me to join and I said yes without hesitation.” Her role includes introducing friends from Asia as well as a young group of people from the international fashion and art world. “It’s a bridge, again,” she continues. “Introducing people comes very naturally to me. It’s win-win for everybody because they love the V&A and getting to know the industry community, and the museum loves to meet new art collectors.”

Her involvement is certainly appreciated by the museum. “As a Founding Member of the Young Patrons’ Circle, Wendy Yu has been an enthusiastic supporter of the Victoria and Albert Museum, not only contributing to the successful launch of this important initiative and its exciting programme, but also through her involvement with the Museum’s annual Summer Party and her passion and knowledge of the V&A’s fashion collection,” says a senior museum spokeswoman.

“I love to be the bridge between China and the rest of the world because I love both cultures and want to enhance the connection between the two,” continues Yu. The South China Morning Post recently described her as being both “a sounding board for British designers negotiating the labyrinthine ways of doing business in China” and China’s “unofficial ambassador for British fashion”.

Net-A-Porter, a company Yu admires because of its “great customer experience”, invited Yu to become one of its global ambassadors. In this new capacity, she is scheduled to take the former Prime Minister’s wife, Samantha Cameron, and her clothing brand Cefinn, which sells on Net-A-Porter, to China in 2018. It’s a collection she considers to be super wearable with a good price point. “I’ve been wearing her blouse with different outfits and wearing her skirts,” enthuses Yu. “I respect Samantha’s vision and I think Cefinn would be very relevant to Chinese professional ladies.”

According to Yu there are still major differences between the West and China, particularly in terms of technology. In China, she can go out carrying just a mobile phone. She explains that instead of a wallet, Chinese people use Alipay, a third-party mobile and online payment platform established in China in 2004 by the Alibaba group, or WeChat Pay, launched by Tencent.

Her insight into a world that the West is hungry to know more about, is just one of the reasons why she is so in demand in the fashion world. “Wendy’s business acumen and knowledge of the financial sector are invaluable assets to our British designers hence why her support and dedication to the BFC Fashion Trust are so invaluable,” says Caroline Rush CBE, chief executive of the British Fashion Council. Yu describes Rush as “a friend and a mentor” and is someone with whom she co-hosted a breakfast to welcome Angelica Cheung, the Vogue China editor-in-chief, to London. Yu’s involvement in the BFC Fashion Trust has also led to her meeting many designers and learning about the challenges that they face. “You find that a lot of designers are super-creative but they don’t really have that business sense. Nowadays, for a fashion brand to evolve, you have to have both creative vision and to understand the commercial world, exactly who the customers are and what they are looking for.”

Read more: Why we love Club Dauphin on Cap Ferrat right now

Huishan Zhang is a London-based designer in Yu’s friendship circle who is known for his classically feminine evening gowns and dresses that sell in his Mount Street flagship. Like Yu, Zhang was born in China, but left when he was still a teenager. “I’m great friends with Huishan Zhang,” Yu says. “He’s a lot of fun, we share a lot of friends and look to support each other as well, on both a personal and a business level.” According to Yu, he makes her made-to-measure dresses for her and she collects signed sketches of his designs. “Wendy has been a good friend to me,” says Zhang, who doesn’t manufacture in Italy but produces his clothes in his family’s factory in China. “She is an active entrepreneur and supporter of the fashion industry, honing in on new talent, along with great passion and a unique style.”

Portrait by Jonathan Glynn-Smith

It’s mid-afternoon and we’re coming to the end of our interview now and still there’s no sign of any jet lag or of her flagging post-photo shoot. Yu’s energy levels are high. But then they have to be, as she’s off to Lisbon next, speaking at Web Summit, which bills itself as “the largest tech conference in the world” and welcomes an extensive and diverse line up of speakers ranging from Al Gore to Suzy Menkes. Yu says she’s booked to talk on two panels, one with Caroline Rush and another with the CEO of Matchesfashion.com and Vestiairecollective.com. “It’s all come about very spontaneously and it’s a nice group of industry insiders.”

It won’t be Yu’s first foray into the speaker circuit. In June she appeared on the British Fashion Council’s Fashion Forum panel alongside a group including Yana Peel (CEO of the Serpentine Galleries) and the shoe designer Rupert Sanderson, discussing cultural and commercial partnerships in China. She has also given similar talks covering her investments and connecting with China, in Cambridge and at London Business School, as well as back in China. When asked if she ever gets nervous about speaking publicly she replies: “No, not really. Though I always prefer talking on a panel, it feels more natural. I wouldn’t say no to a glass of champagne if my nerves get the better of me!” And why not, I say.

LUX would like to thank 45 Park Lane in Mayfair, London, for the use of its exquisite Curzon Suite for the shoot of Wendy Yu by Jonathan Glynn-Smith. 45 Park Lane is the artistic sibling to The Dorchester, next door, and has a fabulous program of art events, its own curator, and its own artist in residence. dorchestercollection.com

For more information on Wendy Yu’s investment platform visit: yu-holdings.com

Mary Katrantzou

Mary Katrantzou, who won the £200,000 BFC/Vogue Designer Fashion Fund prize in 2015, is Yu Capital’s most recent investment. One of the heavy hitters at London Fashion Week, the Greece-born designer delights the audience each season with highly original ideas brought to life using elaborate embroidery and embellishment, a mix of textiles, prints and silhouettes and an inimitable signature that shouts Mary. The London-based ready-to-wear marque was established in 2008, after the designer graduated with an MA in Fashion from Central Saint Martins. She was soon dubbed The Queen of Print by the press, a tag that recognised the enormous influence of her work in the medium. In recent years, collaborations, including capsule ranges with Longchamp, Moncler, and Adidas Originals, have helped to broaden her appeal at home and abroad, and of course in China. Mary Katrantzou doesn’t have a bricks-and-mortar store, yet, but she does sell to leading luxury stores in many countries including Harrods, Harvey Nichols, Bergdorf Goodman, Saks Fifth Avenue and Le Bon Marché. “Wendy is an extraordinary person with a pragmatic and forward-looking vision, who is a close friend as well as an ambassador for the brand,” says Mary Katrantzou. “The most important thing for me is to be surrounded by people who understand my vision and support me in building a truly international lifestyle brand. It’s very exciting to enter our 10th anniversary with a board of incredible women advisors who are shaping the industry in their own right and will be helping us shape our future and reach our full potential.”

Tujia

The rental company has taken couch surfing to a whole new level with $300 million of investments announced in October 2017. Giving Airbnb a serious run for its money, and valued at $1.5 billion, Tujia was founded in 2011 under Tujia Online Information and Technology Company of Limited Liability. With 345 locations across China to choose from and at least 1,000 partnerships internationally, it boasts 650,000 listings and is tapping into a large affluent travelling class, revolutionizing the hospitality industry in China.

Didi Chuxing

The taxi-hailing app is China’s answer to Uber (in fact, it acquired Uber China in 2016) and is the largest such company in the world, with 200 million rides under its belt last year. The app was launched in 2012 and today has over 450m users across the Chinese continent, spanning 400 cities and a variety of services. From social ride-sharing to options including Didi Chauffeur, Didi Bus and Didi Car Rental and Hitch, its social ride-sharing branch, it has taken China by storm and has recently developed an English-language version of the app. It is also looking towards the future with groundbreaking investment into AI technology, with over $5.5 billion raised in 2017.

This article originally appeared in the LUX LOVE Issue, Spring 2018