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Interview with Chef Christian Knerr, Executive Chef at Ritz-Carlton, Bahrain

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You could call Chef Christian Knerr a man of the world. After all, the newly appointed executive chef of the Ritz-Carlton in Bahrain has worked in regions such as Europe, Asia and the Middle East. His experiences in the various locations have helped him to gain not only culinary knowledge but also allowed him to interact with suppliers themselves. From being a part of the team that opened the Dubai Festival City during his stint with the Intercontinental in Dubai, to building relationships with the fishermen while he was with the Intercontinental in Bali, there is no question that the man knows his craft. His stints under the Intercontinental which saw him move from Dubai to Manila opened the door for his move to the Raffles Fairmont in Manila where he worked with what he called “one of the best teams”.

Armed with his knowledge running a restaurant, he decided to broaden his horizons and accepted an offer to work in Harrods, London which had him in charge of its culinary operation. Proving to be a challenge as the role required him to focus on retail, the opportunity was one that prepared him for his new stint at the Ritz-Carlton in Bahrian. Drawing on the similarities between Harrods and the Ritz-Carlton, he noticed that customer service was of the utmost importance.

“We never say no to anything….It is all about making the guest happy. Read from their lips what they want without them saying it”

On his new gig with one of the most luxurious hotels in the world, the chef says that taking care of guests is more than a just a job requirement. Elaborating on the experience that guests can expect to receive Chef Kneer said that restaurants such as Primavera ensure that the authentic experience is created not only through the food but also with the help of the front and back of house staff who are Italians.

Currently standing as one of the strongest hotel chains in the world, the Ritz-Carlton is one that he feels has been well set up. While many look towards their next opportunity, Chef Knerr hopes that this is the last chain that he will have in his career. We sit down with the chef to find out what makes him tick and what guests can look forward to when they visit the Ritz-Carlton in Bahrain.

There are so many things you have to deal with but I want to talk about the more immediate thing which is building the hotel and the food, the authenticity of the food, developing on all the different facets. Now, on the freshness of the local produce and getting the local produce: How difficult is it to maintain that in Bahrain because in terms of importation of — when you talk about the Mexican restaurant Cantina Khalo within the hotel, you have avocadoes. Bahrain doesn’t produce avocadoes.  

Let me tell you something interesting about what Bahrain is producing. I was very much surprised when I interviewed here I visited the local farmers market (laughs). I saw yellow, green, purple tomatoes like in Italy. I saw broccoli I saw all kinds of herbs, all kinds of salads, kale, dragon kale. You cannot imagine. I tasted a completely new product, which I’ve never had before. I was actually blown away. Everything was clean, and the people were very friendly. When it comes to products its like in Dubai. You know companies here are very lucky in which there are imports. I always say that we are here in the middle, one side we have the Asia/Australia region, and the other side we have the whole European season. So we are very lucky that we can buy products from maybe the whole year round, because some will be seasonal. So not a big challenge.

No logistical challenges?

You know I mean you have to think a little bit in advance. But we are in the position to buy straight from markets once a week so I would not call this a challenge. (laughs) I had a bigger challenge in Bali actually.

In terms of building up the hotel and spearheading all the different restaurants, and structuring. What’s been your toughest thing yet coming in from the last four weeks in Bahrain like understanding the palate of Bahrain?

You know when it comes to the palate of Bahrain I think it really comes down to the locals here. In Dubai I had one local working on the team, but here we have a very high percentage of local people working with us. And from the moment I entered the airport I felt very welcomed here because people are not taking a step back when they see you, they actually come up to you and build up relationships very quickly. I first observe then I spend a lot of time listening to people talk, and having meetings. They called me to the head chefs, I have a chat with them, I visit the chefs, and based on that of course many hours of connecting and communicating with the executive and sous chefs. One of the visions for me is that to continue what we are doing here to drive the authenticity and be a real hotspot on the food market for Bahrain, which right now we are.

They have their local comfort food and the fact that Bahrain is an island, and many people who travel here know exactly what good Italian food or Indian food.

So the palate is refined and you want to provide a more authentic touch? 

Yes. what I had discovered so far is that the team put a lot of work into developing new dishes. You always get the new experience. As far as I know, we’re really up to date when it comes to food. Both the quality of people and the quality of chefs, who are very well know, they have good experience palate wise.

You’re a global citizen, you’ve been around a lot, you’ve travelled to many countries, what’s the toughest country you’ve been to and what’s the toughest situation that you’ve been in?  

I think I have to differentiate work and private life. For work I think the toughest was Bali. Because it had very strong people and very hard to make changes. Very resistant to change. When it comes to family I think the toughest place was Manila. Because the city didn’t really provide me with the kind of safety which I required to raise my kids.  I think what makes Bahrain so easy going is that it’s very friendly for families to raise their kids here its perfect!

In London I was driving 1.5 hours everyday to work. I was in London and living in Croyden, and I was going bicycle 15mins and train 40mins walking 25mins from Victoria. Here its just 15mins.

You’ve got 11 restaurants here, in the hotel. And within the model you’ve got so many different offerings. In terms of building up the hotel, its direction, in the next 5 years, where do you see the model? Do you see the restaurant being more franchis-y in terms of big names coming into the hotel, as well as staples or do you see it being more of a unified concept? 

I know where the question comes from because many hotels opening right now, they have two bars, all day dining, maybe make one restaurant by themselves then sort out the rest. I think here at the Ritz Carlton we are at a different position because we are not new kids of the block and everybody knows our restaurants. We are very well established in the market and I think this makes the difference here. I don’t see a big need to source out our restaurants here because all our restaurants are delivering pretty well right now.

Very obviously when you are— I think that’s one of the reasons that hotels this size in Dubai are struggling right now because competition is just too high. But I think we have a very big plus point because we are very well established on the market and have been delivering this kind of quality and experience for decades. So I don’t think there’s a big need now to think about sourcing anything out.

You’ve worked with Harrods, retail model. You’ve got 11 restaurants and a massive property here. Developing the retail model, do you think that’s one of the ways…? 

Well I think you should at least think about it. There are couple of ideas I have in mind for example to Cantina Khalo which stocks us to sell one of the sauces or there are always a couple of things to think about. We have a lot of potential now to go there bigger in retail. 

What’s the most memorable request that you’ve ever had from a guest? Working in either a big or small operation?

Okay I was in Dubai, I started there and I’d only been there for 2 weeks. When I came to Dubai for the first time I was the executive sous chef, and he went on vacation for 2 weeks and left me there alone (laughs). I got a telephone call from sales and marketing that they were planning a function and said they would pick me from outside the hotel in a land rover. I said where are we going? It was for half an hour and we went outside of Dubai…and actually we were standing in the middle of the desert around 45 minutes away from Dubai. Then I got the news that we had to do a set menu there for 2,500 people in 3 weeks time and this was I think the most challenging thing I ever did because we had to think not only about electricity but also water, air-conditioning. It was in the middle of summer and it was in 3 weeks time and I had only been there for two weeks.

So I called my boss in the evening and said ‘I have a small problem’ and explained the whole situation and he only gave me a couple of telephone numbers with people I could call. He asked me a question: If I was happy to be an executive sous chef and I said yes. And he said ‘ Then welcome to Dubai’ and he hung up the phone. He arrived 3 weeks later and didn’t interfere, which I have a lot of respect for. He didn’t call me once, im sure he did his research to see if everything was going smoothly but he didn’t call me once. But I didn’t contact him because I was too proud to go back to him (laughs). He came back on the day of the party and he just went outside when the dinner had started which I also have a lot of respect for. He went one round around the event and gave me a hug and said well done and left. (Laughs). This was the most challenging thing I’ve ever done.

What are your plans for the future? You made a big statement coming out saying this will hopefully be your last switch.

When I was 30 I had big plans on where I wanted to end up. Now I’m 45 and am more calm and am actually making big plans now for the next 5 years. For me its more important where I am now. After 4 weeks I’m very happy here. Great team, great property and very goof F&B outlets. So let’s see what’s coming. I don’t put myself under pressure anymore.

What do you make of the Michelin guide? And do you think the Gulf Cooperation Council (GCC) needs a Michelin Guide?

I think what happened in the last 15 years here is tremendous and I think it’s very sad that we don’t have it here right now. But there are for sure very outstanding restaurants that could have an impact worldwide. I think its necessary that hopefully Michelin is making the decision to come here soon.

If you had to pick a restaurant from your hotel to be in the Michelin guide which one would it be and why? 

I think it would be Nirvana probably. Because its one of the most, and the best Indian restaurants in the whole Middle East.

Luxury Science: Why Hermes Wants You Unable to Afford their Bags

Even as industry analyst Bain doubles its growth estimates for the 2017 luxury goods market from 1-2 percent to 3-4 percent, citing consumption in both Europe and China offsetting weakness in the USA and South-East Asia; the luxury world with brands like Burberry, Michael Kors, Tiffany, Ralph Lauren, Tod’s and Coach have all posted weak demand, yet, one brand remains seemingly oblivious and defying the downward trends of the wider luxury market. How is such performance possible (or even likely) when Hermes continues to make their desirable Hermes Birkin bags more and more un-affordable?

Posting 7.7% growth, Hermes is defying expectations. How?

Luxury Science: Why Hermes Wants You Unable to Afford their Bags (but able afford the other stuff)

According to Luca Solca, head of luxury goods at BNP Exane Paribas, Hermes has managed to achieve cult desired status through a well crafted business strategy of “frustrating consumer demand” – that is to say, as a business, Hermes flies in opposition of tried and tested economic models. Basic economic theory dictates that as demand increases, supply usually increases to match demand (in order to realise and maximise profits) but when the supply curve begins to outstrip demand that prices start to fall.

Yet with at least a million Birkin bags in circulation, the economic theory would predict a proportional decrease in price for almost all types of goods and services yet Hermes has managed consumer demand to such a degree that not only do prices of Hermes Birkin bags NOT decrease, they increase!

Hermes Birkin on the left and the Kelly, pictured right.
Hermes Birkin on the left and the Kelly, pictured right.

To explain this phenomenon, many economists turn to Thorstein Bunde Veblen, famed Norwegian-American economist, sociologist and a critic of capitalism. In his 1899 book, The Theory of the Leisure Class, Veblen outlines that conspicuous consumption is performed to demonstrate wealth or mark social status; as a result, the higher the price, the higher the demand, since the cost of the item is itself a proclamation of status, why else does one buy a Richard Mille, but I digress. Thus, when it comes to Veblen goods like Hermes bags, the science runs contrary to traditional economic theory.

That said, with Hermes, that ‘Veblen goods’ explanation is too simplistic. While 1843 magazine declares Hermes bags as “non conspicuous” by virtue of the lack of logos, referencing global recognition of Gucci’s double-Gs, the signature design of the Hermes Birkin and Kelly make these products distinctive status symbols. While this theory appears true since Gucci and Louis Vuitton does indeed charge more for “logo-free” non conspicuous handbags and accessories, one needs only to walk into Gucci stores to see that there is plenty of supply for their quieter bags. Surely the explanation lies elsewhere?

Hermes Rose-Gold Collier de Chien In Barenia, Black Epsom & English Green Epsom
Hermes Rose-Gold Collier de Chien In Barenia, Black Epsom & English Green Epsom

First, we have to understand that Hermes business strategy of “frustrating consumers” revolves around making it extremely difficult for people to buy its most desired products, e.g. the Birkin and Kelly handbags; Second, they do this while making tangential brand association still possible – from US$100 Hermes perfumes to US$400 scarves, these are products within reach of traditional wage earners while enjoying the aura of exclusivity which extends from high-demand bags like the Birkin and Kelly.

Understanding the science of desire: Dopamine

When your average white collar worker sees the US$100 Hermes perfumes to US$400 scarves, these are attainable goods associated with unattainable bags. Thus, biological science explains the “halo effect” which extends the aura of desirability from Birkin to the entry level products within the Hermes collection – it might not be the very item (aka Birkin) you desire but another product within reach is attainable. Therefore, for the average income segment of the market, Hermes seeds a market full of “soon-to-own Hermes” fans with small, attainable goods, keeping their desire firmly centered on the ultimate goal. Every time we buy an Hermes product, we receive a small burst of dopamine and this “feel good” physiological reaction is what keeps our interest for the brand because it gives us pleasure and makes us hungry to repeat the process for that dose of dopamine.

For the high income segment of the market, Hermes pursues a different strategy, a wait-list but the wait-list is never too long, just long enough to maintain your interest without making you entirely frustrated with the brand. Psychologically speaking, this aspect of the strategy deals with creating anticipation. Anticipation is rooted in the portion of the brain known as the cerebellum, which controls “automatic, “non-thinking” behavior, nevertheless, the net effect also depends on dopamine – with anticipation always in play, the human brain CRAVES dopamine. Dopamine stimulation happens when we experience and expect good things. Anticipating positive events sustains the output of dopamine into the brain’s chemical pathways.

The Hermes silk twilly
The Hermes silk twilly

Simply described, the business strategy for Hermes can be summed as high sales volume tempered by consumer perceptions of exclusivity while producing products which are attainable to the aspirational and just out of reach for those who can afford it. Both sides of the equation are driven by how the brand plays on our dopamine levels through simple psychological strategies.

Hermes and its Veneer of Un-attainability

Hermes simply violates all rules of modern retail, as luxury conglomerates start going into eCommerce, looking to make shopping as effortless as possible, Hermes is simply going against the current. The company is not even online in the modern sense, when it comes to social media, you will find nary a celebrity or personality on their Facebook or Twitter accounts. Nor will you find a brand ambassador or face to the brand. At Hermes, Hermes IS the personality.

Famously, Hermes CEO Axel Dumas, a sixth-generation descendant of founder Thierry Hermes once joked at a luxury conference that the direction is for things to be difficult to find, even on their own website, and it’s true, visiting Hermes.com is an exercise in charming frustration as animated illustrations greet you. It’s not immediately clear where to go to find what you’re looking for and there aren’t clear labels and buttons to press. You don’t even find their famed bags – the Hermes Birkin and the Kelly online, everything is “experiential”.

Hermes mystery boxes filled with pieces created in Hermès’ Petit h lab
Hermes mystery boxes filled with pieces created in Hermès’ Petit h lab

In fact, such is the power and mystique that the French fashion house once famously (perhaps notoriously) offered a monthly mystery box, an entry level version priced US$245 and a privilege version priced US$1,875 filled with pieces created in Hermès’ Petit h lab, literally using leftover materials from the main line to create luxe one-offs.

As of 2016, Hermes has started to offer bags like Evelyne, Garden Party and Picotin around low four figures and it remains to be seen if that even tarnishes the vaunted orange halo effect one bit. Given Reuters data as per May 2017, we believe this would be highly unlikely.

 

 

 

David Hockney retrospective at Pompidou Centre, Paris in July

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From June 21 to October 23, 2017, the Pompidou Centre in Paris will host a retrospective of works by the English artist David Hockney. The David Hockney retrospective at the Pompidou Centre will celebrate the artist’s 80th birthday on July 9 this year, in collaboration with London’s Tate Britain and the Metropolitan Museum of Art, New York.

Over 160 of Hockney’s paintings, drawings, prints, photography and video will be on display, giving visitors a comprehensive understanding of the evolution of the artist’s revolutionary techniques over his six-decade career. The show is currently the Tate Britain‘s fastest-selling exhibition to date.

David Hockney: a unique and globally influential artist

Hockney, whose work ranges from expressionism to realism and his innovative “joiner” collage art, is considered one of the leading figures of 1960s pop art. He found inspiration in a variety of artists, from Warhol to Van Gogh—and now it’s Hockney himself who is the inspiration. In 2011 he was voted the most influential British artist of the 20th century in a poll of around 1000 artists by London’s “The Other Art Fair”.

Birthday celebrations across the world

David Hockney, ‘Portrait of an Artist (Pool with Two Figures)’, 1971

The exhibition at the Pompidou Centre, which takes place nearly 20 years after Hockney’s Paris debut at the same venue in 1999, comes in the middle of the artist’s 80th birthday celebrations.

As part of the French birthday effort, videographer Jack Hazan’s film “A Bigger Splash”, about Hockney and his work, will be screened at the Pompidou on June 22. The retrospective will be displayed at New York’s Met from November 2017 through February 2018; an NYC party to celebrate Hockney’s birthday has also been planned.

Highlights from the show

The retrospective, which claims to be the most comprehensive of its kind to date, will feature many of Hockney’s most well-known pieces, including the “Swimming Pools” and “Grand Canyon” series. According to Tate Britain, the exhibit also features some never-before-seen pieces.

A Birthday in St. Tropez with Audemars Piguet Royal Oak Offshore Hotel Byblos

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There was an important birthday recently celebrated in St. Tropez, one important enough that the likes of Rolls Royce and Dom Perignon were in attendance. The birthday boy? Hotel Byblos, and his most epic headline gift? The new Audemars Piguet Royal Oak Offshore Hotel Byblos, an exclusive line of Royal Oak Offshore Summer Editions.

Two epic gifts were in attendance - the men's and women's limited edition Audemars Piguet Royal Oak Offshore Hotel Byblos.
Two epic gifts were in attendance – the men’s and women’s limited edition Audemars Piguet Royal Oak Offshore Hotel Byblos.

How Hotel Byblos Saint-Tropez got in bed with Audemars Piguet

Created in 1965 by a Lebanese businessman obsessed with Brigitte Bardot, Hotel Byblos was an inspired re-creation of Beirut’s Excelsior Hotel where Bardot was frequently a guest. Following two years of construction, Hotel Byblos was a resort-hotel the likes of which the world had never seen. Sited north of the Place des Lices and designed with its own Provençal village replete with signature alleyways, building aesthetics and of course, entertainment offerings.

Epic parties were held at Hotel Byblos St. Tropez even before the scenario in the Hangover movies were a thing.
Epic parties were held at Hotel Byblos St. Tropez even before the scenario in the Hangover movies were a thing.

Two years later, it was acquired by Group Floirat which made Le Byblos Saint-Tropez synonymous with the ultra-rich or the super-famous. Since then the world’s entertainment and financial elite have graced the Riviera either through long-term stays or almost marriage-ending wedding parties (as in the case of Mick Jagger and Bianca); it was a venue for the jet-set with clientele that was literally A-list.

Decades on, the Provençal village has flourished into a sprawling 17,000 sq m venue for debauched designer living and rooms for 91 guests. More notably, its database of guests and almost uncontrollable attraction to the ultra wealthy, has made Hotel Byblos the premier event venue for many luxury brands. But just because you are a luxury brand, doesn’t mean you get to appropriate the swagger of the Byblos brand.

Antoine Chevanne and Audemars Piguet CEO François-Henry Bennahmias have had a close relationship for the last 2 years as a result of Byblos Exclusive Editions. Eventually, it came to be known as the "BAP" pronounced Be Happy or (Byblos Audemars Piguet) collection.
Antoine Chevanne and Audemars Piguet CEO François-Henry Bennahmias have had a close relationship for the last two years as a result of Byblos Exclusive Editions. Eventually, it came to be known as the “BAP” pronounced Be Happy or (Byblos Audemars Piguet) collection.

Antoine Chevanne is CEO of Le Byblos Saint-Tropez, having served as General Manager at the legendary resort-hotel for five years before assuming the role, and he believes the secret of the hotel’s success lies in creating bespoke experiences for guests. Thus when he organised the 50th birthday celebrations, he made sure Hotel Byblos only worked with brands with the same philosophy and service standards- Goyard, Sisley, Missioni and of course Audemars Piguet. That said, Chevanne and Hotel Byblos’ association with the Le Brassus manufacture already began years ago.

“The cooperation began two years ago when I met with François-Henry at the Audemars Piguet manufacture in Le Brassus. I presented the Byblos Exclusive Series’ concept to him and he immediately loved it before deciding to rename it ‘B.A.P’ (pronounced Be Happy) for ‘Byblos – Audemars Piguet’.” – Antoine Chevanne, CEO, Hotel Byblos

Audemars Piguet Royal Oak Offshore Hotel Byblos features the brand’s iconic tapisserie pattern and snailed subdials.
Audemars Piguet Royal Oak Offshore Hotel Byblos features the brand’s iconic tapisserie pattern and snailed subdials.

Limited Edition: Audemars Piguet Royal Oak Offshore Hotel Byblos

It is a partnership that has blossomed into a relationship Audemars Piguet CEO François-Henry Bennahmias is proud to share, “Antoine and I got on really well from the moment we met. Not only is he a watch lover, but there was this instantaneous dynamic between the two of us with a similar vision of the future. We had to be a part of all this, you can’t miss Hotel Byblos turning 50 years young!”

The 44 mm pink gold Royal Oak Offshore Hotel Byblos men's edition comes in pink gold case with automatic chronograph 3126 calibre viewable through the exhibition case back. The case back is adorned with the hotel’s anniversary dates and its coat of arms depicting Europa and Zeus.
The 44 mm pink gold Royal Oak Offshore Hotel Byblos men’s edition is equipped with automatic chronograph 3126 calibre, viewable through the exhibition caseback. The caseback is adorned with the hotel’s anniversary dates and its coat of arms depicting Europa and Zeus.

The new Summer Edition Audemars Piguet Royal Oak Offshore models launched for Hotel Byblos’ celebration were created in two versions: a women’s diamond-set piece in stainless steel and a men’s piece in 18kt pink gold. Both feature a caseback engraved with the hotel’s anniversary dates and its coat of arms depicting the myth of the Byblos: the abduction of Europa by Zeus.

The Audemars Piguet Royal Oak Offshore Hotel Byblos collection is a limited edition run with 50 men’s and 20 women’s watches.

The ladies edition of the Audemars Piguet Royal Oak Hotel Byblos features a bezel set with diamonds.
The ladies edition of the Audemars Piguet Royal Oak Hotel Byblos features a bezel set with diamonds.
The case back of the Audemars Piguet Royal Oak Hotel Byblos is decorated with the Byblos emblem like the one found on the men's version.
The caseback of the Audemars Piguet Royal Oak Hotel Byblos is decorated with the Byblos emblem like the one found on the men’s version.

 

Bespoke luxury cars: Rolls Royce Sweptail unveiled at Villa D’Este concours d’elegance

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With the unveiling of the Sweptail, Rolls-Royce has redefined the automotive notion of bespoke and has thrown down the gauntlet to every carmaker that claims to offer super luxury vehicles. “We don’t think it’s right to profess to do it [bespoke services] unless you’re prepared to go through the journey to really make that happen,” explains James Warren. “Many others pay lip service to it. But to us, bespoke is so much more than stitching. It’s why we get quite sensitive about others’ notion of bespoke.”

As Rolls-Royce’s head of communications for Western Europe, Warren has had an extremely busy week. Since the totally bespoke car was unveiled during the closing stages of the Villa D’Este concours d’elegance last weekend, he has been hounded by the press wanting to know more and more—from the identity of the commissioning client, to the car’s price tag and whether or not the Sweptail marks the first of many utterly unique commissions destined to roll out of the Goodwood facility in the coming months.

The official answer to the final question is, according to company CEO, Torsten Müller-Ötvös: “We are listening carefully to our most special customers and assessing their interest in investing in similar, completely exclusive coachbuilt masterpieces.” But the unofficial answer is get ready for brand new cars to start upstaging coachbuilt classics at the world’s most important concours events on a regular basis.

As for price, the Sweptail is comfortably the most expensive modern car on the road with an estimated cost of $10 million, but that could seem like a bargain for a car that is truly unique and representative purely of its commissioning owner in every single way—from the curved panoramic glass hatchback and hand-formed aluminum boattail, to the carbon fiber and leather attaché cases that deploy from hidden drawers inside the doors. Even the numberplates, front and rear are integral to the exterior, formed and hand polished from solid aluminum.

“Sweptail is the automotive equivalent of Haute Couture,” said Giles Taylor, Rolls-Royce’s Director of Design. “It is a Rolls-Royce designed and hand-tailored to fit a specific customer.”

From initial discussion to finished automotive monument took four whole years and, according to Warren, an “incalculable number” of man hours. “It takes 60 people 400 hours to build a Rolls-Royce Ghost. But each of our 1700 skilled artisans have in some way influenced this car along the way.”

But crucially, at the end of the commissioning journey, the car is still unquestionably a Rolls-Royce. “The car is singular and of that customer, but it is within [our] design tenants,” said Warren. “It shows what happens when you get the balance absolutely right.”

This is something a host of other companies dedicated to aftermarket bespoke customization are unable to achieve. For example, for all of its carbon fiber expertise, a Mansory customized Rolls-Royce is a Mansory first, and a Rolls-Royce second. And often these creations are so far removed from the original car that they’re no longer able to sport the original company’s badge.

But the car is also a line in the sand to those that see themselves as Rolls-Royce’s direct competitors, many of whom until now have been focusing on unique paint finishes or interior materials.

Bentley, for instance, has a phenomenal bespoke customization department in Mulliner with its latest unique undertaking a Falconry kit for the Bentley Bentayga.

Nevertheless, the demand for personalization within the highest echelons of the car market, has never been greater. For the first time in its history, every single Rolls-Royce built over the course of 2016 featured at least one bespoke element, as did every Ferrari sold. However, car companies should be able to facilitate these growing demands with ease as the typical Rolls-Royce client is used to commissioning, be it a piece of art, a yacht, a home or a plane. In other words, they expect something that “Goes beyond a transactional experience,” explains Warren. And with the Sweptail, the company has shown that it is the only major carmaker able to offer such a service. For now, at least.

Dada today: Art-making ‘invades’ non-art spaces through the support of corporations like Facebook, Amtrak and Autodesk

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Daryl Goh's 'Installation Lucid' at Zhuang: Home of Singapore Designers
Daryl Goh’s ‘Installation Lucid’ at Zhuang: Home of Singapore Designers

Appropriation is the act of reusing existing elements within a new work. The appropriation in art goes back to the early 1900s when Marcel Duchamp’s ‘Fountain’ provided new ways of seeing through readymades. Relating this concept of art-making to macroeconomics, we are starting to see the appropriation of art-making in non-art spaces. Art has transcended the art circle of galleries, museums, institutions and artist-run spaces. Increasingly, it has been produced for retail strategies, business expansion, corporate social responsibility, branding and marketing.

As the designer and co-producer of Asia’s pioneering projection-mapping infused retail experience, ‘Installation Lucid @ Zhuang Home of Singapore Designers’, I am privileged to have seen the creative possibilities of this new phenomenon. The appropriation of creative media facilitates the shift in the retail industry through utilising art as an apparatus to infuse fashion and technology while inspiring new competitors in the industry transformation.

Groundbreaking projects worth mentioning in recent years include Viktor & Rolf in Milan which features the entire interior of the store upside down. The floor is on the ceiling and vice versa while chandeliers are erected from the floor. Raf Simons’ Tokyo clothing boutique is another unique meeting of art and fashion where artist Sterling Ruby used the floors and ceilings of the space as his canvas. Pedder on Scotts in Singapore is also an innovative endeavour to curate an experience that feels “like a nice day in a modern gallery” as Peter Harris, President of Pedder Group, says.

Daryl Goh's 'Installation Lucid' at Zhuang: Home of Singapore Designers
Daryl Goh’s ‘Installation Lucid’ at Zhuang: Home of Singapore Designers

Taking this framework of appropriation to the corporate level, art goes beyond the face value of commissioning and selling paintings. There is a new innovative spectacle that is sweeping across large organisations: the corporate-sponsored artist-in-residence (AIR) programmes. Autodesk is an architectural and engineering software producer with a residency programme that proved commerce and art can thrive together. Not only are artists funded for the projects they carry out, they can also help to shape technology that is useful to Autodesk. Amtrak, the railroad service in the United States, created an AIR programme which rewarded them with exponential influence on social media. In addition to Facebook which is also well known to commission artists to produce installations in their campus, there are over 200 of these AIR programmes in the United States.

To ride on this wave, I founded the NPE Art Residency in Singapore. Housed within a leading print house, NPE Print Communications, arguably Singapore’s first and only free AIR programme provides artists with a studio for three months, consultancy with the leaders of the print industry, cost-priced production within the resources of the communication and press facility. This art initiative has since provided the corporate agency with new business ideas and propositions, such as launching a giclee print arm of the company with artist, Nicola Anthony, as an ambassador for this service.

Eunice Lim's ongoing NPE Art Residency in Singapore residency
Eunice Lim’s ongoing NPE Art Residency in Singapore residency

The interdisciplinary capabilities of art are undeniable. Traditional streams of art production will continue to anchor the history of art and culture within the art industry. However, the innovative appropriation of art as a corporate entity will manifest into something exciting within new spheres that will continue to surprise us time and again.

This article was written by Daryl Goh and originally published in Art Republik.

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