iht luxury conference 2012: post event report

LUXURY 2012 ROMA NOVEMBER 15- 16

POST EVENT REPORT


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The New Year 2012 opened with luxury

companies talking about “emotion’’ – the

need to engage potential customers in a

deeper and more meaningful way than with

outward and visible signs of wealth. By

the end of this year, I personally will have

experienced more emotion than I could have

imagined when I persuaded my colleagues

at the International Herald Tribune that I was

intent on looking at Africa for our luxury

conference.

My reason was a visceral reaction to the

proliferation of “luxury’’ in such a way that

the word itself seemed meaningless. I became

convinced that true luxury was something that

needed to be touched by human hands – whether in the way it was made or the way it was

perceived. Tracing the surface of silk with the fingers or stroking fine leather seemed as

valid as the idea that someone out there had made and loved this object. Even if you would

never meet the producers, they had given a handmade product the human touch of the

unique.

And then I went to Africa. But not just to Morocco with its quasi-sophisticated

objects made for the itinerant wealthy. Nor with its sumptuous new mall for the super-

rich. In South Africa, I was intrigued to see how many fashion designers were serving

clients quietly, building up a parallel and personal luxury apart from big brand buying.

I was inspired by Lagos Fashion and Design Week, lurching in that dynamic, crazy city

from market stalls in the old quarter selling a cornucopia of different fabrics to the

runway at the Eko hotel, where designers used the local talents to print, embroider,

resuscitate ancient techniques and modernize hand craft.

But my epiphany came in Kenya, up the Great Rift Valley, where I talked to women

who were embroidering bags for Vivienne Westwood, recycling materials for Ilaria

Fendi’s bags and creating original and sustainable bags for Stella McCartney. Some of

the women were even – for these luxury bags – sewing in linings made from cotton

shirts discarded by the West.

One Maasai woman, who walked down the Ngong hills each day to join the sewing

collective, told me that she was earning her own money for the first time in her life.

And that she was putting it aside to educate her children. I suddenly realized that I was

witnessing the beginning of a virtuous circle – a long process that might take a decade

or a generation. The handwork could be turned into money to educate a new generation

which would then join the lowest rungs of the middle class: those people for whom

buying more than a necessity is a luxury.

The sports shoes and watches that I saw in modest shopping malls in Nairobi were

the precursors of more sophisticated goods to come. Sons and daughters of hill tribes

might, at least in the more stable and peaceful African states, turn into the business

people I saw in the financial district in Lagos. ▶▶

Suzy Menkes’s opening remarks for the International Herald Tribune Luxury Conference 2012


I don’t really believe in fashion as some fairy tale fountain of

goodness. Even the luxury industry is too concerned about global

sales to worry much about encouraging local growth. But I have

been impressed by how many people are trying to turn skills into

substance, helping people to help themselves.

Some of these enthusiasts have philanthropy in mind. Others are

focused on business. Craft is at the heart of many of these initiatives

– and it is always present in my thoughts about the definition of

modern luxury. I remember when I first saw the jewelry from the

Tuaregs on sale at Hermès. But I also think about the jewellers of

Venice, with their distant inspirations and local creations.

This conference is focused on the promise of Africa and the

power of the Mediterranean – particularly in relation to the current

chill winter, following the abundant Arab spring. But Italy is also

a vital part of the equation. In my long career, I have seen so much

truly beautiful artisanal work from Italy – which I believe is the only

country left in Europe that puts hand work at the heart of its art.

As many people have asked me: “Why Rome?” as have asked:

“Why Africa?”

My initial thought in choosing this city was that the ancient

Roman Empire of my high school Latin lessons was the first to look

intelligently beyond its own borders, along the Mediterranean and

down to North Africa. My next moment, was when I was re-reading

“Il Gattopardo,” – The Leopard – that compelling book that never

leaves my bedside. I thought of the island of Lampedusa today,

drowning in immigrants trying to land their boats from Africa – and

how that seemed like a metaphor of hope and fear and crushed

dreams.

I believe that Italy will always have a leading place in the luxury

world, just because the work is entrusted to human hands – to those

artisans who work in small companies right across the country.

However much factory manufacturing is lost to China, Italy has skills

that create true modern luxury.

Italy has also built up a rich relationship with Africa – the giant on

its southern doorstep. I hope that in this conference we can celebrate

both Italy and Africa and see 21st Century luxury as something that

can be managed beautifully in both countries’ hands.

LUXURY 2012 ROMANOVEMBER 15 - 16

18.30 Welcome drinks reception sponsored by Fidé Fashion Week

08.00 Morning refreshments and registration

09.00 Welcome remarks Stephen Dunbar-Johnson, Publisher

International Herald Tribune Introduction Suzy Menkes, Fashion Editor, International Herald Tribune

Welcome to Roma Silvia Venturini Fendi, Creative Director, Fendi As President of AltaRoma and as Co-Designer, with

Karl Lagerfeld, of the Fendi brand, Silvia Venturini Fendi will welcome delegates to Rome and explain the city’s exceptional artistic skills.

Handmade in Africa Simone Cipriani, Head, Poor Communities and Trade

Programme & Chief Technical Advisor, United Fashion, an Initiative of the United Nations (ITC)

and joined by Ilaria Venturini Fendi, Designer, Carmina Campus Simone Cipriani is at the heart of African fashion col-

lectives which bring together luxury brands with local artisans and handworkers. These collaborations create desirable products as well as contribute towards the UN’s mission of poverty reduction. In this session, Mr. Cipriani will talk about his vision for luxury goods produced in Africa for both “small craft” and mainstream brands, the challenges of creating sustainable business models, and the ITC’s ambitions for the future. During Q&A, he will be joined by Ilaria Venturini Fendi, the designer behind one of the companies engaged in manufacturing in Africa and empowering communities to transform their lives.

Lagos and London Omoyemi Akerele, Creative and Managing Director,

Style House Files Duro Olowu With a growing middle class, an upper class with an insa-

tiable appetite for luxury goods, and an evolving fashion

industry that recognizes home-grown brands, Nigeria plays a significant and commercially vital role in the fashion world. In this session, Ms. Akerele and Mr. Olowu will share their insights into the Nigerian fashion and luxury market, as well as how Nigerian talent is making an impact abroad.

Alternative Africa Jochen Zeitz, Director of PPR and Chairman of the

board’s sustainable development committee and Chairman of PUMA SE

Responsible for sustainability initiatives across the PPR group, Mr. Zeitz was the first business leader to develop an environmental profit-and-loss system that quantifies the impact of an entire supply chain on its environment. As sustainability and socio-environmental issues continue to gain importance in consumer agendas, Mr. Zeitz will share his vision of commercial sustainability and the responsibilities of luxury and fashion companies.

11.10 Morning refreshments

11.50 My Africa Kim Jones, Men’s Style Director, Louis Vuitton Having spent a peripatetic childhood following his father’s

pan-African career, Kim Jones explains to Suzy Menkes how his experiences can be absorbed into luxury at its highest level.

Liberté, Egalité, Diversity Jean Paul Gaultier As the first designer to offer wide diversity on the catwalk

and as inspiration, Jean Paul Gaultier reflects on a de-signer’s ability to embrace the wide world.

The North African Woman Farida Khelfa, Ambassador, Maison Schiaparelli Farida Khelfa has developed as a cineaste and a fashion

ambassador. She will discuss her early days with Jean Paul Gaultier, her Algerian heritage and her work in the cinema and for television.

Wednesday, November 14, 2012

Day 1: Thursday, November 15, 2012

Principal Partner

Sponsors

ihtluxury.com @ ihtluxury # IHTLux

The Valentino Virtual Museum Giancarlo Giammetti, Founder, Valentino In this session, Mr. Giammetti will speak about how he

and Valentino Garavani have used new technologies to present Valentino archives spanning 50 years, bringing to life the vision and experience of the world of Valentino.

13.15 Lunch

14.30 Whither the Arab Spring Roger Cohen, Columnist, International Herald Tribune In this brief session, Mr. Cohen will share his insights into

the Arab Spring, and consider how luxury and fashion goods companies should be interpreting events in the Middle East.

Chinese investment in Africa: Implications for its

rising middle class Nader Mousavizadeh, CEO, Oxford Analytica Michael Zaoui, Formerly Vice Chairman of Morgan

Stanley Institutional Securities Group; Founder, Zaoui Capital LLP

With trade flows between China and Africa reaching over $160Bn/year, and levels of Chinese investment in Africa increasing, what is the impact on Africa’s middle class? Is Chinese-driven economic growth increasing local purchasing power? In this session, Mr. Mousavizadeh and Mr. Zaoui will share their views on the impact of China in Africa, new levels of prosperity and the implications for the luxury goods industry.

Managing the Med Raffaello Napoleone, CEO, Pitti Immagine Silvio Albini, President, Albini Group; Milano Unica Italy, with its creative and manufacturing force, is key to

the IHT Luxury Conference. This session will examine the important links – forged through cotton – between Italy and Egypt, and Italy’s role as a connector for the entire luxury industry. Mr. Albini and Mr. Napoleone will share their views on Italy’s relationship, in terms of production and manufacture, with the Mediterranean area and North Africa, and their thoughts on how Italian expertise and design flair are being transferred overseas. They will also discuss the changing profile and demographics of fashion consumers across the Mediterranean and North Africa.

15.30 Afternoon refreshments

16.10 Causes and issues: Fighting for what is right Vivienne Westwood, Founder, Vivienne Westwood

and Andreas Kronthaler, Creative Director, Vivienne Westwood

Touched by human hands Paul van Zyl, Founder and CEO, Maiyet

Kristy Caylor, Founder and President, Maiyet As increasingly jaded fashion consumers question more

and more the real meaning of “luxury,” how should the industry react? What space in the market is there for companies to pioneer a different vision of luxury? In this session, Mr. van Zyl and Ms. Caylor will speak about “new luxury,” which harnesses rare artisanal skills to cre-ate items for a generation of socially aware consumers.

FEED: Responsible luxury Lauren Bush Lauren, CEO and

Co-Founder, FEED A pioneer in the area of responsible luxury and fashion,

Ms. Bush Lauren will share details of how FEED projects are helping combat hunger and malnutrition in Africa, as well as creating desirable items with true craftsmanship.

Luxury in Africa Hanneli Rupert, Director, Merchants on Long; Designer,

Okapi Handbags A designer and retail entrepreneur, Ms. Rupert will speak

about the South African fashion market, African brands and craft products, and her plans for bringing her own African leather goods brand to the rest of the world.

My Mediterranean: From Calabria to the World Donatella Versace, Creative Director and Vice President,

Gianni Versace S.p.A. From her childhood in Reggio Calabria, to the classical

influences of Rome, Donatella Versace will discuss the power of the Mediterranean on her life and her brand.

18.00 Close of Day One

19.45 Transfers from the Rome Cavalieri by Mercedes-Benz

20.00 Gala Party sponsored by Rome Capitale and AltaRoma at the Musei Capitolini, piazza del Campidoglio, Roma


Organized by




09.00 Day Two introduction Suzy Menkes, Fashion Editor, International Herald Tribune

Giving back to my country – the Coliseum project Diego Della Valle, Chairman and CEO, Tod’s S.p.A. A pioneer in the global luxury industry, Mr. Della Valle is

responsible for transforming Tod’s from a family enterprise to an international empire. But what role should philan-thropy play in a successful company’s agenda? In this session, Mr. Della Valle will share his views on how luxury goods companies should “give back.”

From Africa to Africa Francesco Trapani, President, LVMH Watches & Jewelry Mr. Trapani will tell the story of how a silver ring in Africa

inspired Bulgari to create the Save the Children ring, and explain how this item of jewelry is benef itting local com-munities in Africa.

African Fashion Precious Moloi-Motsepe, Executive Chairperson, AFI In this key session, one of the leading f igures in Africa’s

fashion industry will discuss local consumer interest in fashion in the context of a growing middle class, and share her thoughts on the mid-long term outlook for African spending on fashion.

A different Africa Renzo Rosso, Founder, Diesel; President, OTB and Only

The Brave Foundation; Millennium Development Goals Global Ambassador

Mr. Rosso’s personal discovery of Africa began in 1983, when sourcing manufacturers in the Northern part of the continent. Since then, he has not only built up Diesel’s African production, he has also worked to make Africa the central focus of the Only the Brave Foundation. In this ses-sion, Mr. Rosso will talk about how the OTB Foundation supports social enterprises, the balance between “Made in Italy” and “Made in Africa,” and share his passion for a continent rich in resources, culture and ambition.

Positive change through fashion Ali Hewson, Co-Founder, EDUN Bono, Co-Founder, EDUN Founded by Ali Hewson & Bono in 2005, EDUN is a

global fashion brand bringing about positive change through its trading relationship with Africa, and its positioning as a creative force in contemporary fashion. In this session, the couple will show how EDUN proves that sustainable manufacturing f its closely with the needs and demands of the fashion industry.


11.50 Luxury with a tribal beat Guillaume de Seynes, Managing Director,

Hermès International Responsible for production and manufacturing, Mr. de

Seynes will speak about sustaining beautiful craftsman-ship in a corporate world, and Hermès’s attitude towards craft. He will also go into detail about the challenges for luxury brands working in Africa.

The universal allure of luxury: Beauty beyond imagination

Joanne Crewes, President, P&G Global Prestige In this session, Ms. Crewes will speak about the key

factors that make luxury beauty brands powerful, iconic and desirable, and the overarching qualities that resonate with consumers globally. She will go into detail about how consumers are now being exposed to a universe of brands beyond their own territory and culture, before discussing how P&G views the African market and the opportunities therein.

Aduna: Challenging perceptions of products from Africa

Andrew Hunt, Managing Director, Aduna The way Africa is portrayed by Western brands is often

clichéd and fails to capture its unique and powerful vibrancy. In this brief session, Andrew will explain how Aduna has created an authentic and premium health and beauty brand which will challenge existing perceptions of Africa, while at the same time creating demand for her huge pipeline of under-invested and untapped natural products. The focus will be on the remarkable fruit of Africa’s iconic baobab tree - The Feel Good Fruit - which Aduna believes could be worth up to a billion dollars to communities in rural Africa.

Day 2: Friday, November 16, 2012


Principal Partner

Sponsors

Panel: Consumers in emerging markets Alexandre Ricard, Deputy Chief Executive and

Chief Operating Off icer, Pernod Ricard Ashok Som, Professor and Associate Dean, ESSEC Chair: Stephen Dunbar-Johnson, Publisher,

International Herald Tribune In this session, Mr. Ricard and Mr. Som will look at how

African consumers differ to those in other emerging mar-kets and how the African market is unique. They will dis-cuss the evolving balance of international and local drinks brands in Africa, as well as the efforts by local drinks producers to be perceived as luxury goods, and extrapolate for the audience learnings that might be applicable to the wider luxury goods community.

Africa unmasked and unabashed Uché Okonkwo, Executive Director & Founder,

Luxe Corp. In this session, Ms. Okonkwo will speak about luxury

goods consumption in Africa, drawing on her personal experiences and insights to paint a detailed picture of an emerging middle class and how they perceive luxury in relation to cultural codes and Western inf luences, as well as talking about their buying habits and considering how luxury goods companies can grow their business in Africa.

In global luxury, do as Romans did Umberto Angeloni, President and CEO, Caruso;

Founder, Uman In this session, Mr. Angeloni will explore how the presence

of global, democratic and civilized luxury in imperial Rome has been translated and passed down to modern day Italy, and is the seed from which Italian style and passion for beauty and quality have grown. Mr. Angeloni will share his views on the pre-eminence of “Made in Italy” in con-sumer mindsets, and will discuss how the Italian fashion and luxury industry is evolving to incorporate traditional artisanship, modern technologies and unrestricted design.

14.00 Lunch

15.00 Rome and the essence of Valentino Pierpaolo Piccioli and Maria Grazia Chiuri, Creative

Directors, Valentino In a specially-commissioned video, and in their discus-

sion with Suzy Menkes, the design duo will focus on the exceptional studios and handwork of the Roman brand.

Africa Fashion Capital Franca Sozzani, Editor-in-Chief, Italian Vogue Livia Firth, Creative Director, Eco Age In this session, Livia Firth and Franca Sozzani will discuss

ways the luxury and fashion industry can bring work to Africa in a sustainable and long-term way, creating a virtuous circle which helps the continent develop its consumer market while also allowing fashion brands and designers to properly produce there.

Inspired by Africa, Made in Italy Manolo Blahnik From his childhood in the Canary Islands, perfumed with

the scent of Africa, Manolo Blahnik’s inspiration has been influenced by North Africa throughout his career.

Mia Roma! Frida Giannini, Creative Director, Gucci Giambattista Valli The power of the Eternal City has inf luenced two very

different Roman-raised designers. In this session, Ms. Giannini and Mr. Valli will share what Rome means to them, emotionally, visually and in their work as designers, and their thoughts on the global reach of fashion.

16.35 Closing remarks Suzy Menkes, Fashion Editor, International Herald Tribune

17.45 Transfers from the Rome Cavalieri by Mercedes-Benz

18.00 Closing Drinks sponsored by and at the Gagosian Gallery, Via Francesco Crispi 16, 00187 Roma



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#IHTLUX

@TheBradfordGPFor those of us who are passionate aboutAfrica’s potential, we applaud Suzy for the powerhouse of creative and visionary speakers #IHTLux

@AdunaWorldSuzy Menkes asks all the right questions: why are the BIG international brands so slow in responding to Africa? #ihtlux #africarising

TOP: Stephen Dunbar-JohnsonBOTTOM: Suzy Menkes

A GIAnT on THe DoorsTepDAY ONE: Opening Comments

Opening comments at the International Herald Tribune Luxury 2012 conference came from IHT publisher Stephen Dunbar-Johnson and fashion editor Suzy Menkes, with both focussed on the massive potential of the African continent in terms of creativity, economic growth and a valuable associate of the luxury industry.

“Generations have learnt to pity Africa,” said Dunbar-

Johnson, “Instead we look at Africa as an economic dynamo.

Six of the world’s ten fastest growing economies from 2001-

2010 were in Africa.” He went on to cite a recent Goldman

Sachs report, entitled ‘Africa’s Turn,’ which compared Africa’s

growing economy to that of China in the early 90s.

This economic growth and the employment associated

with it is the most sustainable way to raise living standards,

beyond simple aid handouts. “Trade benefits more than aid,”

said Dunbar-Johnson, “There are still too many countries with

very real problems, and these should not be ignored but Africa

needs voices to speak out about its potential as well as its

challenges”.

Fashion editor Suzy Menkes echoed calls for the virtuous

circle of trade built upon African craftsmanship, and talked of

her visit to a fashion collective in Kenya run by the International

Trade Centre, where local workers, many of them women, are

able to earn money using their skills as embroiderers for Stella

McCartney, Vivienne Westwood and Fendi handbags.

“Luxury needs to be something touched by human hands,

like tracing the surface of silk or fine leather,” said Menkes

in her opening comments. “Someone out there had made and

loved this object. The human touch of the unique.”

The importance of this human touch is part of a bigger trend

in the luxury industry: emotion. “In 2012, luxury companies are

talking about emotion,” said Menkes, who went on to outline

how luxury brands were attempting to engage with customers

in a more deep and meaningful way than just as the outward

trappings of wealth.

Menkes described why Rome was chosen as the perfect

location for such a conference as it was the ancient Roman

Empire that was the first to look intelligently beyond its borders

down to Africa. As well as being a hotbed of creativity and

craftsmanship, the burgeoning middle classes developing in

the more prosperous African nations are the new consumer

audiences for luxury goods: “Africa is the giant on the

doorstep,” concluded Menkes.

“In 2012, luxury companies are talking about emotion”


Vivienne Westwood

UnscrIpTeD, UnrIvALLeD DAY ONE: Vivienne Westwood

The production notes for Vivienne Westwood’s section of the agenda consisted of a single word:

“VIVIENNE WESTWOOD: Unscripted”

Armed with a passionate desire to make a point and no

shortage of strong opinions, Westwood delivered a 20 minute

speech that was dizzying in its scope, but that never failed to

grip the audience. A short film about Westwood’s involvement

with the International Trade Centre’s ethical fashion programme

served as an introduction.

The clip ended with a quote from Westwood about “saving

the world through fashion,” although when the designer took

the podium she promptly announced that she had no intention

of doing any such thing: “We will not save the world with fash-

ion and I have not prepared any constructive speech. I’m going

to talk about the things that worry me, and see if that makes

sense.” This was going to be a list of “Everything Wrong With

The World According To Vivienne”, and her enthusiasm for her

subject was palpable.

Climate change loomed large in Westwood’s call to action:

“I am traumatized by climate change. We are not looking at the

future, and that’s the problem. The one we should be looking at

is so fragile.” There were a few nods to fashion, but not many

(“I’ll try and say what this means as a fashion designer but

more importantly, how we can stop climate change.”)

She directly attacked the notions of encouraging a wealthy

middle class, “All I’ve heard about today is the middle class

consumer customer who’s going to grow and grow, and that’s

our future?” she exclaimed, “That’s nonsense!” It flew in the

face of the sentiment expressed by every other speaker, but the

audience didn’t seem to care and responded enthusiastically.

There were references

to the Renaissance, and an

indictment about the modern

notion of free trade, which for

Westwood had come to mean

that “everyone is free to make money any way they can”. There

was talk of being ruled by corporations, and the importance of

rainforest conservation.

At one point Westwood started to outline her plan for the

ideal civilization. It was was a complicated idea, but that didn’t

matter. Ideas and thoughts were expressed at breakneck speed,

turning, taking the audience on a white-knuckle ride through

the Westwood psyche.

As the rollercoaster drew to a close, Westwood discussed

the nature of quality and the importance of products and

labour being properly valued and costed: “My problem as a

fashion designer is [that] I would like quality, not quantity.”

She bemoaned the idea of people wanting too much “stuff”

and the nature of hierarchical societies that placed differing values

on supposedly superior jobs. She even admitted that there were

some products in her business empire that she “did not like,” but

they were necessary to fund the high fashion element of her busi-

ness, although she made it quite clear that she fully supported

her line of ethical bags: “I like

those bags from Africa.”

Westwood’s speech was so

full of energy and passion, it

challenged the audience to keep

up, and Vivienne was waiting for no-one.

When the mortals in Greek mythology encounter the Gods,

they come away dazed and confused, and in the Rome Cavalieri

on this November afternoon, us mortals were gloriously happy

in our befuddlement.

“Ideas and thoughts were expressed at breakneck speed, turning, taking the audience on a white-

knuckle ride through the Westwood psyche.”

#IHTLUX

@MatthewZorpasVivienne Westwood being VIVIENNE WESTWOOD at #IHTLux


#IHTLUX

@ESSECSage words from Jochen Zeitz, PPR-Luxury industry can shape the definitions & redefinitions of quality, traditions and heritage #IHTlux

@RColletteVivienne Westwood ‘We will not save the world by fashion. We are not looking of the future. Our future is so fragile.’ #IHTLux @IHTLuxury

@minkudesignJochen Zeitz of Puma SE and PPR touching on lots of hard truths about investing in Africa, good and bad, super pragmatically #IHTlux #Puma

@queenantigona“While it inspired ‘Heart of Darkness’, Africa is actually the heart of light.” Jochen Zeitz #IHTLux

Jochen Zeitz

AfrIcA’s ImAGe probLemDAY ONE: Jochen Zeitz

Jochen Zeitz, director of PPR and Executive Chairman of Puma SE used his time on the platform to share his vision of commer-cial sustainability and outline the responsibilities of luxury and fashion companies operating in Africa.

Zeitz is well qualified to talk on the subject – he was the

first business leader to develop an environmental profit and loss

system that quantifies the impact of a whole supply chain on the

environment and in 2008

founded the Zeitz Foun-

dation of Intercultural

Ecosphere Safety.

“Africa has an image problem,” announced Zeitz, speaking

in a session called ‘Sustainable Africa.’ “It is the source of

some of the greatest athletes in the world,” he explained.

“Some of the worlds most renowned musicians, authors and

economists are African.”

Yet despite the fact this was the continent that gave the

world Kofi Annan, Nelson Mandela and Desmond Tutu, Africa

was still referred to as ‘the hopeless continent’ in a headline

in The Economist. This was all the more surprising given that

while the rest of the world reeled from the shocks of the 2008

crash, Africa was relatively unaffected. And while the rest

of the world stuttered through a stumbling recovery, Africa

continues to get stronger.

“The continent is on the verge of a demographic dividend

similar to the southeast Asian economies of the past decade,”

explained Zeitz, “Africa is a continent going in the right

direction, and we should be engaging whole heartedly.”

Zeitz drew attention to the African art scene, and the

record sales figures achieved by auction houses dealing in

African art. In fact as an investment, African art delivers equal

returns as stocks or gold, making it an attractive corporate

investment. Zeitz also described areas in which the rest of

the world can learn from Africa. “Africa has led the way in

innovation for community based approaches to conservation,

it has also been at the

forefront of global thinking

about conservation for its

wildlife,” he explained.

“The world has much to learn and benefit from Africa about

the sustainable use of animals.”

Zeitz used his speech to call for realistic optimism towards

Africa, and pointed out that the continent was “not another

China in the making, with bright starts and darkening skies.”

While recognising that the impetus for potential has to

come from within Africa itself, Zeitz made it clear that the

rest of the world has a role to play in making this happen,

as does the luxury sector. “Luxury could play a leading role

in helping to change the image,” argued Zeitz, “what other

industry can shine a light of glamor and desire? This could have

a transformative impact in Africa, and the desire for African

goods in the world. Our industry is a hugely influential voice on

the planet. Why aren’t we using it for more positive change?”

“What other industry can shine a light of glamour and desire? This could have a transformative impact in Africa...”


HAnDmADe In AfrIcADAY ONE: Simone Cipriani

“Luxury today is about business, profit and responsibility - including everyone in the production chain” said Simone Cipriani during his presentation as part of the Handmade in Africa session. “We make fantastic accessories, we work with fantastic designers… and the beautiful handiwork your customers crave, produced in a 100% ethical fashion - Do you think it’s impossible?”

Cipriani, head of the Ethical Fashion Initiative at the In-

ternational Trade Centre (ITC), delivered a passionate account

of how the ITC has created opportunities for thousands of

people, by creating work through infrastructure. “True luxury,”

explained Cipriani, “is sustainable, environmentally sound and

desirable. This isn’t charity, it’s just work.”

“This is a vibrant continent that is the future of your busi-

ness, and ‘dynamo’ is such a beautiful word,” he continued,

in reference to Stephen Dunbar-Johnson’s opening comments

about Africa being an economic dynamo. “Who will your next

customers be?” Cipriani asked the audience. “The new African

middle classes have a combined spending

power of $1.3 trillion. We don’t do this by

leaving the poor ones behind. Work lets the

poor change their own lives.”

Cipriani urged delegates to tap into the

creative of African nations: “We invest in the poor as they are

the most important factor of growth in humankind. When

this enormous potential is connected to the global market,

it changes lives.” Cipriani admitted that for luxury brands to

operate in Africa provided huge logistical challenges. Poverty is

a complicated thing but there were abundant benefits to those

willing to make the commitment, naming Vivienne Westwood

and Stella McCartney as two examples.

Cipriani went on to urge delegates to consider transferring

even just a small percentage of their production to the Ethical

Fashion Initiative. “What’s in it for you?” he asked, “beautiful

ethical luxury, with a touch of the unique. Handmade craft - not

in a shack, but in a suitable working environment. We do busi-

ness in a dynamic environment, and we do make a profit. This

isn’t a charity, it’s about working with the private sector with

mutual long term gain.”

Touching upon the recycling ethic that is a dominant feature

of African craft, Cipriani shared images of the ‘Mama Suzy’

bag, named in honour of Suzy Menkes after her visit to Kenya.

Consumers have their own role to play in Cipriani’s vision.

For him it is important that luxury brands work with consumers

to spread the message that change is possible. “You hold the

key in what you buy,” he told the audience,

“The luxury world is traditionally associ-

ated with heritage and quality, working with

artisans in well established communities,

producing pieces of art that last a lifetime -

Let us be the leaders.”

“When this enormous potential is connected to the global market, it changes lives.”

#IHTLUX

@LuxecorpSimone Cipriani just showed us the “Mama Suzy” bag made by local artisans in Kenya. Lovely! Where can we buy?!? #IHTLux #ihtluxury

@LuxurySociety#IHTLux A recurring idea this morning that aid & charity has proved counter effective for Africa. The future focus is doing real business

@MatthewzorpasSimone Cipriani “We work with the poorest of the poor but this is not pity or charity but work.” @IHTluxury #IHTLux

Simone Cipriani


socIAL enTrepreneUrsHIpDAY ONE: FEED, Maiyet, Okapi

A common sentiment expressed in a number of sessions was the importance of trade over aid. The mechanics of helping people to help themselves was brought to life by presentations from the CEOs of FEED and Maiyet.

Lauren Bush Lauren, CEO,

creative director and co-founder of

FEED, was inspired by her work with

the UN World Food Programme.

Faced with the choice of become a

full time aid worker, or pursuing her

dream of being a fashion designer,

Lauren realised that there was a way

to combine the two. FEED bags are

made using the same burlap fabric

that food-aid bags are made from,

and have become a fashion hit.

“It’s a way to

fight world hunger

in a meaningful,

tangible way,”

said Lauren,

as she explained the FEED model.

“You’re a consumer, you’re going to

buy a bag anyway, so all we ask is

that you buy FEED because we give

back.”

FEED bags are produced by

Kenyan craftspeople, some of whom

come from a local deaf school.

Proceeds from the sale of the bags is

reinvested into free school meals for

children - which in turn encourages

families to send their young children

to school, providing education and

nutrition in one initiative. FEED

manufactures directly for retail, and

also collaborates with larger brands

with co-designed products.

“Social entrepreneurship used to

be a new term, but its more prevalent

now and that’s really exciting,”

said Lauren in her enthusiastic

presentation. She went on to outline

the creative process behind the bags:

“It takes a day and a half per bag to

do all the work, and the sale of every

bag supports two children in school

in Kenya for a year.”

“It’s about allowing people to

overcome their impediments,” said

Paul van Zyl, CEO and co-founder

of Maiyet. “We source from our

artisan partners and when it does

well, they do well.” Onstage with

co-founder and president of Maiyet,

Kristy Caylor, van Zyl talked about

his experience working on the truth

and reconciliation commission in

South Africa, which taught him the

importance of listening. “You don’t

tell these people what’s good for

them, it’s important that you afford

them the dignity of listening. We

don’t regard our artisan partners as

just suppliers,” explained

van Zyl.

As Caylor outlined

Maiyet’s success (the

label will be in 35 stores

by March 2013, with a New York store

opening later in the year) it became

clear that the company’s responsible

production ethics have resonated

with consumers. “Our success is

down to the fact that [our product]

is touched by human hand - artisans

working finely and closely to produce

something beautiful and covetable,”

said van Zyl.

“It’s a way to fight world hunger in a meaningful,

tangible way.”

#IHTLUX

@StylehousefilesLauren Bush Lauren - 870million people around the world go hungry everyday #IHTLux @IHTLuxury

@LuxeChronicles“I stock the top African designers from throughout the continent & I design a line of handbags.” (Hanneli Rupert) #IHTLux #luxury

TOP: Lauren Bush LaurenBOTTOM: Kristy Caylor & Paul van Zyl


AfrIcA & DesIGn DAY ONE: Designers on stage

Silvia Venturini Fendi

“The Romans are a unique people, they’ve seen a lot,” says

Silvia Venturini Fendi, designer and scion of Rome’s first family

of fashion. “Over the centuries, they have always considered

things they didn’t know an opportunity.” Fendi considers her-

self a real Roman, possessed of good courage and open mind.

‘Nothing is impossible’ is the famous Fendi motto, and “no” is

not a word used often in the Fendi atelier.

As President of AltaRoma, the organisation set up to

promote and protect the values of craftsmanship that built

Rome’s reputation as a global centre of excellence, Fendi

thanked the conference organizers for choosing Rome as the

location for this year’s conference, noting that the ancient

Roman explorers were the first Europeans to head south.

The promise of Africa and the power of the Mediterranean

is ably demonstrated by Fendi’s work with the International

Trade Centre’s work promoting ethical and sustainable fashion.

Back in 2008, Alta Roma and the ITC signed a declaration

supporting ethical fashion activity, and since then Rome has

hosted six fashion weeks dedicated to sustainable fashion.

“Africa is very promising,” said Fendi, who went on to praise

the creativity, artisan skills and use of iconography. “There

are many thing in common with Italy and Africa, we share the

human touch. We have started in the right direction.”

Duro OlowuIn 2005, Olowu was named New Designer of the Year at the

British Fashion Awards and his designs are often worn in public

by Michelle Obama, most recently when the Obamas returned

to the White House after a successful election campaign.

Africa plays a strong part in shaping Olowu’s career. “Going

back to Lagos, I’m a child of the 70s,” explained Olowu during

the session ‘Lagos and London’, I knew I wanted to be a

designer from an early age. It was a busting childhood where

we were exposed to lots of fashion brands. I was inspired

by Valentino but, in Nigeria, fashion wasn’t a profession so I

studied Law, but then I realised that it wasn’t what I really

wanted, so I taught myself how to design.” ▶▶

TOP: Silvia Venturini FendiBOTTOM: Duro Olowu

“‘No’ is not a word used often in the Fendi atelier ”

#IHTLUX

@ShemParonelliIndeed we have been beyond inspired at the discussions so far. Especially by insights from @stylehousefiles & Duro Olowu #IHTLux


AfrIcA & DesIGn (conT’D)DAY ONE: Designers on stage

Kim JonesKim Jones, menswear studio director at

Louis Vuitton, spent his childhood in Africa

and the continent is still a huge influence on

his work. Taking to the stage, Jones played a

short film that encapsulated the connection

between Africa and his work.

Asked afterwards about how this influence

becomes part of the creative process, Jones

put it down to the craftsmanship: “The detail

and immaculate way that things are made so

quickly… as a child I would just sit and watch

for hours and hours. I took my whole team to

Africa to see what it’s like.

It’s gives you such a special feeling, it’s

magical… I don’t think of Africa, I think of

different countries in Africa. They’re all very

different and there are lots of techniques that

are appealing to fashion designers.

Jones credits his father for instilling in him

an inquisitive spirit, “My father was insistent

that we saw as much as possible. We would go

for lots of long drives, and the one thing with

Africa is that every ten kilometres you can be in

a completely different landscape. In this digital

age, when you’re there on the ground you re-

alise just how big the world is.”

Not all the inspiration Africa provides is in

the abstract. An antelope’s markings have pro-

vided the perfect autumn palette, and crocodile

skin has been used in a number of garments.

“It’s about looking at things and extracting the

ideas,” explained Jones. “Africa has a crafts-

manship that translates well to luxury goods.

Africa has a mystery, a romance, a sophistica-

tion. It’s one of the most diverse continents.”

Jean Paul GaultierGaultier was the first designer to use

diversity as inspiration, and bring it to the

catwalk. His shows from the early 80s

reflected the multicultural Barbes area of

Paris. “I was always attracted to people who

were different,” said Gaultier. “I think

it’s important to show beauty from

around the world. Africa is important,”

he stressed, “in France we have a lot

of immigrants from the continent and I

wanted to show their culture.”

For Gaultier, sometimes it’s about

mixing two types of cultural elegance,

other times it might be about mixing

different craft techniques. “It’s what I’m

supposed to do,” he explained, “I’m

Parisian!”

Once described as an enfant terrible, Gaultier explained during his interview

that although he grew up, he was still

un vieux terrible. “I still have my love,

I love fashion, it is my life to be in

fashion. I just react to things I find

boring at the time.” When designing for men,

he has always tried to show that men could

be elegant, sensitive and sexy: “Some African

men wear skirts, and you cannot say they

are not masculine!”

When discussing Gaultier’s use of

ethnic models for his runway shows

in the 80s, interviewer Suzy Menkes

decried the lack of diversity on the Italian

runways of 2012, suggesting that local

designers should push to encourage it,

echoing Gaultier’s assertion that there are

many different types of beauty.

Farida Khelfa“In the media we see angry young

people and violence,” said Farida Khelfa,

referring to French news media depictions

of the uprisings collectively known as

the Arab Spring. “We didn’t see the real

people, the educated articulate people

who were behind the revolution, and I wanted

to show that on French television.”

Khelfa was talking about a recent

documentary project that attempted to shed

light on a previously ignored group of Algerian

revolutionaries. “I concentrated on the artists -

the actors, directors, designers and dancers,”

she explained. “You never see African ▶▶

“Africa has a craftsmanship that trans-lates well to luxury goods.”

#IHTLUX

@LureOfLuxeFashion’s enfant terrible @JPGaultier says he never meant to be shocking; his designs are his reactions to the times #IHTLux

TOP: Kim Jones BOTTOM: Jean Paul Gaultier


AfrIcA & DesIGn (conT’D)DAY ONE: Designers on stage

people like that. Africa is only shown as violent, or angry or hungry.

That’s why this conference is so important, it shows another world -

an important world.”

Khelfa talked about the fashion landscape of north Africa, where

designers were often working in conservative Muslim countries.

“There are young designers in Tunisia producing good, modern, but

modest clothes. They see fashion in a very different way. The Arab

Spring generation is very smart, very clever and brilliant.” Despite

this creativity, Khelfa was keen to point out the importance of

encouraging the growth of an affluent middle class: “If there’s no

middle class, there’s no country. A lot of Africa is like that… There’s

still a sense that there is a super rich class, but there’s not much in-

between [that and the working class].”

As a young woman of immigrant parents, Khelfa found her way

into the fashion world after meeting Jean Paul Gaultier through a

mutual friend, and she began modelling his creations. “I trusted

him, I always need that relationship when working with designers,”

said Khelfa. Today she is an ambassador for Schiaparelli, who Khelfa

credits with being the first to mix fashion and art: “She’s such a

strong spirit and such a strong brand, I’m really happy there.”

Hanneli RupertAs she took to the stage, Rupert noted that the title of her

session, “Luxury in Africa” should really have been “Luxury

from Africa.” A retail entrepreneur and designer, Rupert sources

handworked jewelry, hats, bags and colorful knits from countries

as far away as Cameroon and Senegal. In pride of place in her store

are her own Okapi bags, made almost entirely in Africa, and named

after the distinctive animal.

Rupert shared some of the sources of her inspiration

and discussed her collaborations with local groups of

craftworkers including Tintsaba in Swaziland and Zenzulu in

Kwa-Zulu Natal.

“Through Okapi, I got to know a lot of local crafts

and artisanal groups, but also exciting, emerging African

brands. I noticed there was a sharp divide – some of the

brands were selling well internationally but were unheard of

locally, while others were selling well locally but sold under

in-store labels overseas, and that’s where the idea for an

African emporium for top African brands came from.”

According to Rupert, “there’s definitely a buzz amongst

African designers. They all share the ethos of giving back to

the continent while showcasing how amazing it is.”

DAY ONE: The North African WomanTOP: Farida Khelfa, Schiaparelli amabassador

BOTTOM: Giancarlo Giammetti, Valentino Garavani, Farida Khelfa, Franca Sozzani

#IHTLUX

@AtelierlondonFarida clearly loves her work to recreate the Schiaparelli fashion house which will have a couture show this coming July #IHTLux

@FashionweekNYCI love fashion & It’s my life, but I don’t like that with new seasons you have to hate the last season - @JPGaultier #IHTlux


DAY ONE: Whither The Arab SpringTOP: Michael, Zaoui, Roger Cohen, Nader Mousavizadeh, Alison Smale

“When discussing Africa, it’s easy to overlook the most northern countries that more often are discussed in the same breath as the Middle East. But the subject of the Arab Spring found its way onto the agenda by

association. Whatever you hear about the Middle East, the change is real, important and enduring. There are new possibilities in the region for any investor with a long term perspective... There is a different Middle East

emerging. We have to overcome our stereotypes and look at the region like any other. The long period of Arab paralysis is over.”

THe promIse of AfrIcA Day One: Michael Zaoui

For Zaoui, Former Vice Chairman of Morgan Stanley Institutional Securities Group and founder of Zaoui Capital LLP, Africa always had the dynamic population and the vast national resources, but crucially, the continent lacked growth.

After a fairly stagnant period in the 80s and 90s, several factors have helped to reboot the African economy. Two of these were outlined by Zaoui as:

Rising commodity prices: “These have resulted in gains for oil and mineral rich countries. Commodities account for a quarter or a third of Africa’s growth.”

Mobile phones: “There are 316 million mobile subscribers, the highest mobile penetration rate in the world. You do a lot of things with a mobile in the West, but that’s nothing compared to Africa.”

$400 billion dollars of trade: When China grows, Africa grows. “It’s a myth that China is plundering Africa’s national resources to feed its own economic boom. China buys what it needs and develops local economy and infrastructure.

China has invested billions in copper but critically it has also diversified into other sectors such as power generation and construction. China’s investment is aiding the meteoric rise of the African middle class. Many private Chinese firms have followed into Africa to set up smaller manufacturing businesses.”


DAY ONE: Chinese investment in Africa: implications for its rising middle class “The Arab spring was about getting the accountability of a government. The trust and power have to be

legitimate and has to be earned. It’s a case for government, businesses and brands. This is a powerful global trend, and Africa has the most to benefit from it.

L-R: Jean Paul Gaultier, Farida Khelfa and Franca Sozzani


#IHTLUX

@WGSNDonatella Versace hints at big digital project to come. Digital is her current obsession. #IHTLux

@MatthewZorpasDonatella Versace ‘Africa is as important. They have similar skills of craftsmanship like in Italy’ @IHTLuxury #IHTLux

@LureofLuxeNow surrounded by the elder members of the Missoni family, swathed in their signature fabrics. I love this conference. #IHTLux

@Versace“Our relationship with the body and the sea is different in the South. The sea is our playground the year round...:-)” DV #IHTlux

DAY ONE: My Mediterranean: From Calabria to the World Donatella Versace took the stage for the closing session of the day for an interview with Suzy Menkes in which she shared how her background and upbrining influenced the Versace label.

L-R: Suzy Menkes, Donatella Versace, Lauren Bush Lauren, Hanneli Rupert

DAY ONE: From London to LagosL-R: Suzy Menkes, Omoyemi Akerele, Creative and Managing Director, Style House Files

and Duro Olowu discuss the fashion and luxury industry in Nigeria. Shoppers from Nigeria are in the top 5 highest spending nationalities at Selfridges.


posITIve cHAnGe THroUGH fAsHIonDAY TWO: Bono and Ali Hewson

“I’ve spent a lot of time on the continent of Africa, partly because it’s so vast and different, but also because Nelson Mandela and Desmond Tutu asked me,” said Bono. “They asked if I could use some of the accessories of fame to highlight challenges and solutions to some pretty macro problems the continent was facing, like debt and HIV/AIDS. They’re hard to turn down. In fact Tutu says if you don’t do what he asks you, he’ll ensure you don’t go to heaven. I’m pretty sure he’s got pull there!”

Bono went on to outline his work with (RED), the project in which

brands like Armani, Gap, Starbucks, Apple, Nike and many others have

donated profit shares from co-branded products to fight HIV/AIDS.

His wife, Ali, added “we fell in love with Africa in our mid-20s. The

continent puts you under a spell. There’s such a beauty to the landscape,

and couldn’t think of a more romantic place to focus a fashion company

on. We realized the back story was so important – in fact all the Africans

we spoke to said if you want to understand us, do business with us, so

we founded EDUN based on respect for the consumer, respect for the

person who made the clothes, respect for the community the clothes

were made in and respect for the materials used. It’s been tough, and a

huge learning curve, but an amazing journey.”

Talking of the balance between virtue and desire, the couple both

expressed their belief that the EDUN clothing range is not about ▶▶

DAY TWO: Positive change through fashion: Bono and Ali Hewson.

#IHTLUX

@laurenbushtweet“Its not about pity purchasing” Suzy Menkes speaking to Ali Hewson and Bono starting Edun. #IHTlux

@iht_rdv“We have to reboot the way we think about the continent,” says Bono about Africa at #IHTLux

@wgsnBono: The 21st century belongs to Africa, go ask the Chinese who are all moving there. #IHTLux

“People say that the 21st century belongs to China – but go and ask China and look where they’re

moving to! Africa is the future”


posITIve cHAnGe THroUGH fAsHIon (conT’D)DAY TWO: Bono and Ali Hewson

pity purchasing. “We’re in the want business, not the need business.

Desirability is sustainability,” said Ali, while Bono added “it’s important

to know that EDUN is not a charity, it’s a company. It has to get to scale.

We’re serious, committed and not going away”

Questioned by Suzy Menkes about the investment of LVMH in the

EDUN label, Ali noted that working with the luxury conglomerate gave

EDUN the best shot at growing the label into a global fashion brand.

The couple spoke of EDUN’s work with a program called Conservation

Cotton Initiative Uganda, a scheme involving 8535 independent,

smallholder cotton farmers, supplying materials for the EDUN range.

With Renzo Rosso, the founder of Diesel, still on-stage from the

previous session, Bono revealed that EDUN and Diesel would be

collaborating on a capsule collection, to be in stores from February 2013,

100% “grown and sewn” in Africa, and sold in Diesel stores and other

retailers, including 10 Corso Como and Colette.

“For us to be able to work with Diesel, who can take this to a different

volume, this is an amazing step for EDUN,” said Ali.

“Not charity, just work”


mIA romA!DAY TWO: Frida Giannini, Gucci & Giambattista Valli

The power of the Eternal City has influenced two very different Roman-raised designers. Frida Giannini and Giambattista Valli discussed what Rome meant to them, emotionally, visually and in their work as designers.

“Rome is my home town. I feel part of the landscape. There’s always something

fascinating - the lights and the color,” mused Frida Giannini.

For Giannini, Rome offers a creative respite: “To me it’s a place where I can take a

deep breath.”

Giannini dismissed the idea of Gucci launching a couture collection: “Not really.

It’s not something that you can invent. Of course as a designer it would be a dream, but

it’s not something you can do in 5 minutes. We’re doing the Premiere Line which isn’t a

commercial line. Gucci was born as a prêt-à-porter line, I think it’s important everyone

has their own space.”

Giambattista Valli described his impressions of Rome with a short film. A

wonderful evocation of the city, which Valli describes as an “open air movie set”, the

film was comprised of location footage, film clips, family photos and catwalk shows.

Valli’s early education in the Vatican School played an important role in the young

designer’s creative development: “It was a great visual experience, not a spiritual one.

It’s a beautiful place. Every morning you would walk through the Vatican gardens. It

was a very eclectic experience and I was only 6 at the time.”

For Valli, haute couture is an art that has suffered a little in Italy: “For me this art is

treated in Italy like a bit of a joke. It’s not really treated as the art it should be. When I

did my first show its because I wanted to share that experience. It’s not for the money,

you spend more money doing it. But it’s important. It supports the DNA of fashion.”

DAY TWO: Mia Roma!TOP: Frida Giannini, GucciGiambattista Valli

#IHTLUX

@luxechroniclesWe’re watching a video montage of Giambattista Valli’s influences: Italian cinema including Anouk Aime in La Dolce Vita #IHTlux

@gucci“Rome is full of suprises,” said Gucci’s Frida Giannini, here with Suzy Menkes during the #IHTLux Conference in Rome

“To me, it’s a place where I can take a deep breath”


LUXUry wITH A TrIbAL beATDAY TWO: Guillaume de Seynes, Hermès International

Hermès can trace its relations with Africa back to 1929 with Emile Hermès. In 1929 he went to the French exhibition in Cairo, to show the latest creations of Hermès. But since that early period Hermès has more recent stories from Africa, and one of the most longstanding associations comes from the ‘Fairy Queen’ of Hermès, Leila Menchari.

Menchari first started working with Hermès designing its

shop windows in Paris in 1978. “I won’t tell you her age,” said a

mischievous Guillaume de Seynes, Managing Director, Hermès

International, as he displayed a selection of Menchari’s work.

“I’m sure a lot of you are familiar with these fantastic windows.

She’s like a magician.”

Menchari has a house in Hammamet Tunisia with a garden

planted in the 1930s. A few years ago one of the themes

explored by Hermès was ‘A year of the Mediterranean’. The

fragrance team wanted to start a new a perfume line and so

Jean-Claude Ellena created a fragrance inspired by Menchari’s

Tunisian garden. A second fragrance in the series was inspired

by an Egyptian garden in Asswan.

More recently, the Toureg silversmiths in Niger have been

crafting silver accessories for Hermès since the 1980s. These

are works of true craftsmanship. Every piece is different, but

working with these craftsmen is not without challenges,

explained de Seynes: “You can’t tell them about planning or

logistics. We had to teach them the systems and finance the

silver, but the result is fantastic.”

1997 saw Jean-Louis Dumas name Africa as the theme of

the year. This inspired one of the most striking advertising

campaigns undertaken by Hermès, full of evocative African

imagery. As part of this Africa theme, Hermès used the designs

of a talented 14-year old Sudanese artist Sefedin Kwumi on

a series of scarves, and some of these creations went on to

become best sellers.

It is difficult to open stores in Africa, explained de Seynes.

“When we enter a new market we like to go with a local

partner. A lot of Hermès is about encounters and so far we

have not found the right person to go with to Africa.” When

challenged by a question from the audience about not being in

Africa, despite the level of demand from the brand, de Seynes

was philosophical but optimistic in his response: “It’s true we

have customers from Nigeria and Angola,” he admitted, “but

Hermès is 175 years old and we take our time. I’m sure we’ll

find opportunities.”

DAY TWO: Guillaume de Seynes

“So far we have not found the right person to go with to Africa. ”

#IHTLUX

@Luxecorp One of the oldest employees at Hermes is from Tunisia & has been working at Hermes for 50 years @ihtluxury #IHTLux


rome AnD THe essence of vALenTInoDAY TWO : Pierpaolo Piccioli and Maria Grazia Chiuri

Pierpaolo Piccioli and Maria Grazia Chiuri are creative directors at Valentino. By way of preface to their session on stage, the audience was treated to a screening of ‘l’Unica’, shot especially for the conference.

‘l’Unica’ conveyed the magic of creation that takes place in

the background of fashion, and celebrates the role and skill of

the seamstress. “Sometimes it’s difficult to describe the work

of the seamstress,” explained Chiuri, “They are the soul of the

brand. Each dress is like a short story and we wanted to express

that in the film.”

“The beauty lies in the tension between the apparent

simplicity and the hours of work that go into it,” continued

Piccioli. “We wanted to show the behind the scenes aspect you

never see on the runway. It’s the daily poetry of making couture.”

Piccioli and Chiuri enjoy a close, almost symbiotic

professional relationship (“We don’t have specific rules, we

have a good partnership.”) On stage they finish one another’s

sentences, and their enthusiasm for all things Rome and

Valentino is obvious. “We were very proud to work in such a

legendary house,” explained Piccioli. “We were very young.

Very different from the others and we looked a bit out of place.

But they sensed our passion for fashion. They understood that

we really loved the couture world.”

“They were surprised we knew so much, said Chiuri. It’s

because we are Roman. We love the Valentino values: elegance,

beauty, glamor.”

For Piccioli, these values need to be communicated to a new

generation: “A new generation needs values. In terms of fashion

our challenge is to give a new generation the culture of couture.

We find a good balance between the Valentino brand and our

own personal style. We’re obsessed with those iconic pieces.

Today as never before, innovation comes from the past.”

“Valentino is an Italian brand,” continued Chiuri, “and

Italian is synonymous with quality, style and craftsmanship.”

Even in the online age however, it is still Rome that drives

inspiration for Piccioli: “Now you can go everywhere with just

a click, so you get inspiration from everywhere. But it’s when

you get back home and we filter that through our Roman

sensibility – that’s when the work begins.

When you look at Rome, you see the eternal city, you see

the lines on clothes on sculptures. Rome is beautiful and

perfect. It’s not a museum, it’s alive. The Roma I like is the one

I still have to discover.”

Pierpaolo Piccioli and Maria Grazia Chiuri

#IHTLUX

@liviafirth#MGChiuri&PPPiccioli #Valentino beautiful film on the importance of the women behind our clothes #IHTLux

@IHTLux Maria Grazia Chiuri: We love the Valentino values but have to reinterpret that with our own values and vision #IHTLux

“It’s the daily poetry of making couture.”


AfrIcA: fAsHIon cApITALDay Two: Franca Sozzani, Italian Vogue

Livia Firth, Eco Age

Franca Sozzani encapsulated the modern Africa, and its misconceptions with an anecdote from her recent travels.

On a trip to Ghana, Sozzani was in full tourist mode, taking

pictures of everything she could, including the people. When

she stopped to take a picture of an old lady, the woman

protested: “No no no no no, I don’t want to be on Facebook!”

It’s a fun story, but funny because we don’t expect an old

Ghanaian lady to understand the idea of Facebook, and this for

Sozzani, is central to Africa’s problem. “Africa of course has

problems but it’s not all about that. Africa is rebranding and

changing. We are the people who have to stop seeing Africa as

a continent full of bad things. Also, Africa is a continent, not

a country, and me must start to treat it like a lot of different

countries.”

Joined on stage by Livia

Firth, friend and creative

director of Eco Age, Sozzani was

clear about what the next

practical steps were for African fashion: “I think that at this

point we have to make a choice. We don’t have 100 good

designers in Europe, so there can’t be 100 good designers in

Africa. If we make a selection, we can make a good offer to the

market, and if you make a good offer to the market you can get

distribution. If you try too fast, it’s overwhelming and people

get confused.”

“It’s time to get on with the job now,” agreed Firth. “It’s not

enough to accuse African countries of being corrupt, just look

at Italy!”

One of the key problems is that local demand for luxury

fashion isn’t being met by a retail culture. “I wanted to talk to

the government of Nigeria,” said Sozzani. “It’s a great country,

a rich country. When you arrive at the airport you’ve never

seen so many private planes in your life. But [their owners] all

live in London, they’re doing their shopping in London. There

are no shops, or if there are shops you don’t know where they

are. They need to prepare the country, otherwise people don’t

spend. Nigerians are spending in the United States, Switzerland

and London. They have to support it themselves if they want

this in their country.”

Firth went on to talk about the need for investing in

training in Africa: “I’ve only been to the slums but I saw the

resilience, the willingness and the creativity. The problem is

we need to support these. By 2035, the average African will

be 28, and they need to be trained. What does it take for our

designers to properly invest in Africa and start producing there?

Africa has a high potential to

become the leading ecological

and sustainable manufacturer in

the world by learning from the

mistakes of Cambodia and India.

Africa’s already had a slave trade we don’t meed to impose

another one by forcing them to make cheap clothes.”

Livia Firth is well known for promoting ethical fashion on

the red carpet at high profile events, aided by her husband’s

successful film career. “It started as a game, if I could get on

every red carpet in ethical fashion,” she explained. “I set the

challenge and we’re all doing it together now.”

Firth and Sozzani are, in their own way, very much fashion

activists. Using the power of what they do to try and effect

some positive change in the world, and having fun with it.

L-R: Suzy Menkes, Livia Firth and Franca Sozzani

“Africa’s already had a slave trade, we don’t need to impose another one by forcing them to make

cheap clothes. ”


cHALLenGInG percepTIon of proDUcTs from AfrIcA

Day Two: Andrew Hunt

“Of all the botanical species in the world, more than 25% originate from Africa, but less than 7% of the leading medicinal extracts. That statistic tells us one thing: there is a HUGE pipeline of unique and extraordinary natural products just bursting to emerge from Africa - and the beautiful thing is - almost all of them are cultivated or owned by rural smallholders.”

Hunt, a former advertising executive, founded Aduna after

spending four years in The Gambia, managing a project called

Gambia is Good, for which he worked with rural smallholders.

On his return to London, Hunt was struck by the lack of

premium African and African-inspired brands in mainstream

retailers in Europe and the U.S. Instead, Hunt noted that only

“Fair Trade” products were on the shelves of retailers – a

conversation he claims is rooted in the past.

According to Hunt, it’s time for a new conversation – one

about products from Africa and brands that celebrate Africa –

not the Africa of the tourist craft market, but the Africa which

is the “most potent and unique source of vibrancy on the

planet.” Thus Aduna was born – a premium health and beauty

brand based on the fruit of Africa’s iconic Baobab Tree, rich in

vitamins, antioxidants and nutrients.

Beyond details of the product itself, Hunt spoke

passionately about the production of the wild-harvested

Baobab fruit – which involves community farmers and

individual households, rather than industrial plantations – and

which is worth a potential one billion dollars. AfrIcA UnmAskeD AnD UnAbAsHeDDay Two: Uché Okonkwo

“Everyone talks about Africa. Africa is a place full of confusing paradoxes. Africa is a continent going through a kind of emotional turmoil. It’s a continent full of opportunities too….How do you do business with a wounded people? Is Africa ready for luxury?”

In her session, Okonkwo explored the legacy of Africa’s

past, before talking about today’s consumer. Referring to

Africa’s demographic dividend with 70% of the population

aged under 30, Okonkwo asked: “who are these consumers?

They’re young, vibrant, educated and professional. They’re

aspirational. They love luxury. They love beauty.”

Okonkwo discussed the use of mobile phones in Africa,

noting there were Africans who had never seen or used a

computer, but were connected to the internet via his or her

mobile phone, banking online, connected to social networks

and interacting with brands. Uché Okonkwo


THe LAsT emperor of sHoesDAY TWO: Inspired by Africa, Made in Italy

Manolo Blahnik was born to a Spanish mother and Czech father on the Canaries - the outcrop of volcanic islands that although part of Spain are nearer to Africa than the Spanish mainland. Blahnik’s pop culture education came by way of the sounds of north African pop music through his father’s Philips radio.

As his contemporaries in the the West were following first

Elvis, and later the Beatles, Blahnik listened to Fela Kuti. In

the words of Suzy Menkes, Blahnik’s childhood was “perfumed

with the scent of Africa.” Indeed, if one takes the time to

examine his extensive archive, the examples of African

influenced designs are legion and manifold. “Cecil Beaton told

me once, ‘You always have a

little bit of Africana in your

designs’” confessed Blahnik.

The account of how a young Blahnik once took his sketches

to Diana Vreeland, only for her to tell him to go away and

concentrate on designing shoes is well documented, and the

story was only mentioned to confirm its veracity. “It’s all true,”

said Blahnik, “I followed her advice and that’s how I got started

designing shoes…although it was Saint Laurent who was

responsible for my African madness,” although he later

admitted that one of his favourite creations was a Maasai-

inspired sandal for Galliano.

The conversation with Manolo Blahnik was littered with

names from fashion folklore past and present, although his

tone was never pretentious. Blahnik had affable charm to burn,

– there’s a definite sense in the audience that they would not

mind if the conference was extended for an extra day to allow

for tales of the London fashion scene of the 70s with stories of

Ossie Clark and Tina Chow.

At the same time a Blahnik retrospective seems inappropriate,

given how current his name remains, having discovered a new

audience through associations with a new crop of designers like

Victoria Beckham. “It’s not really anything to do with me,” he

confessed, “it’s all my niece [Kristina Blahnik]. But I can tell

you that she [Victoria Beckham] is very gifted, and she works

like a devil. She has an incredible sense of the past.”

Blahnik shared his love of England, naming it his place (his

second is Italy). His house in Bath, where his niece now lives

along with something like 30,000 shoes, “But I only have single

shoes, there aren’t any pairs. A

woman with one leg would be

very happy there.”

Despite his fondness for England and his “African scented”

upbringing, it is Italy and Rome which are the spiritual, and

production, home of Blahnik’s shoe empire. Italy is the second

country Blahnik “couldn’t be without”. His Italy is immor-

talised in the films of Anna Magnani and Monica Vitti, which

fascinated a young Manolo and can be seen as the starting

point for his love affair with the country. “All the shoes are

made in Italy - absolutely,” he explained, “Everything up from

the smallest buckle. I was invited to try it in other places like

Spain, but I do not like the way they make them anywhere

else.” When asked about what particular skills the Italians

possess, he replied simply, “Magic”.

Manolo Blahnik, “The last emperor of shoes”

#IHTLUX

@AtelierLondonManolo talks his early days in a charming, self deprecating way. He wanted to be a set designer & Diana Vreeland suggested shoes.#IHTLux

“Blahnik has affable charm to burn”


#IHTLUX

@WGSNSelfridges is planning a Nigerian pop-up store in December based on what it saw at Lagos fashion & design week. #ihtlux

@luxechronicles“I don’t understand why we still don’t see one single premium main stream brand from Africa. Instead, we get cliches.” (Andrew Hunt) #IHTLux

@IHTLuxury@Luxecorp’s Uche Okonkwo: People now care less about what Westerners have to say about Africa than what Africa itself has to say #ihtlux

@luxurysociety#IHTLux P&G Prestige have grown Gucci and D&G fragrance business by over 250% by leveraging heritage & provenance cues

@azzafahmySimone Cipriani: “True luxury is sustainable, enviornmentally sound, and always desirable” #IHTLux @IHTLuxury

@IHTLuxuryJoanne Crewes, President of P&G Global Prestige saying that dreams and aspirations are universal. Everyone wants to be beautiful #ihtlux

@merchantsonlong“Most of the world is stumbling while Africa is getting stronger.” Jochen Zeitz #IHTLux

@luxurysociety#IHTLux 6th generation Hermès family member Guillaume de Seynes just referred to the brand as a ‘small French company’

@luxurysociety#IHTLux Many speakers have mentioned the power of ‘meaningful’ objects that invoke ‘emotion’ as true luxury in a democratized market.

#IHTLUX

@luxurysociety#IHTLux Many speakers have mentioned the power of ‘meaningful’ objects that invoke ‘emotion’ as true luxury in a democratized market.

@IHTLuxury@AdunaWorld Andrew Hunt: Fairtrade has done an amazing job, but that label is part of a conversation rooted in the past #IHTLux

@luxecorpNigeria is one of the 5 countries that account for 95% of China’s trade with Africa #ihtluxury #IHTLux #fashion #retail #afr

@HauTeFashionAFR#IHTLux: Manolo Blahnik really believes that a handmade shoe is a testament to respect, for the inspiration, the craftspeople, & consumer

@LuxurySociety @IHTLux A recurring idea this morning that aid & charity has proved counter effective for Africa. The future focus is doing real business

@IHTLuxury @Luxecorps Uche Okonkwo: People now care less about what Westerners have to say about Africa than what Africa itself has to say @ihtlux

@versace“I want to focus on digital in the future” #DonatellaVersace #IHTlux @IHTluxury

@luxurysociety#IHTLux @AshokSom explains that the more desirable a luxury brand, the more it sells. But the more it sells, the less desirable it becomes.

@twedun“Unless you give people the dignity of work, you will not be able to extract them from the cycle of conflict.” #IHTLux

@marian_kihogoMy hope is that it does not end with the end of the @IHTLuxury #ihtlux conference + that businesses do go and invest in trade across Africa

@diesel#Bono: By 2050 half of the world’s youth will live on one continent, think about that @IHTLuxury #IHTLux #Africa

@okapiafrica @IHTLuxury #IHTlux thankyou Michael Zaoui ANYONE who wants to understand & work in Africa must read Dambisa Moyo’s Dead Aid - Africa agrees!

@maiyet“This is a turning point for luxury - it’s about craft and love and the human touch” - Suzy Menkes speaking at #IHTLux

@matthewzorpasJean Paul Gaultier ‘On my first Couture collection I only sold two pieces. Now I sell a bit more.’ @IHTLuxury @JPGaultier #IHTLux

@wgsnAll I’ve heard today is abt middle class consumer as future. absolute nonsense, climate change means future in doubt. Viv Westwood #IHTLux

@luxurysociety#IHTLux Pernod Ricard have opened subsidiaries in Namibia, Kenya, Angola, with Ghana to follow, creating local jobs in Africa

LUXUry mInDeD, socIALLy AwAre#IHTLUX

The International Herald Tribune Luxury 2012 hashtag was popular enough to trend worldwide.

Tweets quoting statistics and words of wisdom from speakers set the Twittersphere alight with discussions about the role of luxury and fashion brands in the future of Africa. Here are some of the best.


500 delegates

From 33 countires

7, 000+

livestream views

Valentino Garavani has

11,000+dresses in storage

1,491 tweets using #IHTLux from

543 different contributors

Total twitter reach:

988,928 accounts with

6,227,341 impressions

30,000: The number of single shoes in

Manolo Blahnik’s house in Bath,

England

The IHT Luxury Conference in numbers

The International Herald Tribune thanks all the speakers, sponsors and participants whose contribution and support have made this year’s luxury conference such a success.

LUXURY 2012 ROMA

Thank you

Principal Sponsor

Sponsors


L UXURY 2012 ROMA

Thank you

Principal Sponsor

Sponsors


LUXU R Y 20 1 2 R O MA

Thank you

Principal Sponsor

Sponsors


The International Herald Tribune (IHT) is the premier international newspaper for

opinion leaders and decisionmakers around the globe. Founded in Paris in 1887 as the

New York Herald’s European edition, it embodied an international spirit that thrived

through changes of ownership and name until it became the International Herald

Tribune in 1967.

Today, the IHT is the international voice of The New York Times and continues

to expand the reach of its authoritative journalism through the newspaper, which

is available in 180 countries and read by millions on the Web and mobile devices.

The IHT aims to enhance the global community by creating, collecting and distributing

high-quality news, information and entertainment.

The IHT Worldwide Conference program is a natural extension of the newspaper’s

highly regarded approach to reporting and analyzing issues of international importance,

bringing together the world’s industry and opinion leaders.

For further information on the International Herald Tribune, please contact us at:

International Herald Tribune

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www.ihtluxury.com

Photos courtesy of Getty Images.

Text by Mark St. Andrew and Adrian Ting.

©International Herald Tribune, 2012.

iht luxury conference 2012: post event report

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