Latest news with #VICs
The Age
26-06-2025
- Business
- The Age
Free flights to Milan; your own butler: The perks of being a Very Important Customer
Forget about doll-sized face-cream samples when you're next offered a 'gift with purchase'. Spend enough and you'll get invited to King Charles' private estate or the French Riviera to party at Pablo Picasso's mansion with the world's beautiful people. Sold! Welcome to the world of the VICs, the term giant, global, luxury brands use for their Very Important Customers. Women's Wear Daily describes VICs as customers who spend at least $US1 million a year in total. As Australia's rich get richer, we have more VICs than ever. 'It's easy to get hooked,' says Singapore-based expat and Sydney publicity queen Roxy Jacenko. 'Some people buy art to put on their walls; I buy handbags.' She now owns 28 Hermès Birkin bags. 'I sat near Kris Jenner at the Hermès Paris show. Afterwards, I got a selfie, then walked straight to the boutique on Rue [du Faubourg] Saint-Honoré and bought a 35-inch, crocodile-skin Birkin for $70,000. That's smart business for Hermès.' Loading Australia's VICs are not all familiar names. Sydney's Christie Arnaout, wife of panel beater-turned-billionaire property mogul Sam Arnaout, now sits front row at Hermès' Parisian fashion shows cradling her Birkin. Melbourne's Jaimee Belle Kennedy, wife of jewellery scion James Kennedy, is a VIC guest at Dolce & Gabbana's extravagant Alta Moda events and has mingled in Sardinia with Princess Diana's niece, Lady Kitty Spencer, as they ogled $200,000 frocks. Louis Vuitton recently flew half a dozen Australian VICs to Mallorca to be dazzled by sparkling pieces from its high-jewellery collection temporarily housed in the ancient La Fortaleza and Castell de Bellver. The guests browsed – and bought – the jewels in specially built suites replete with chilled Krug and a personal butler. With prices running into the millions, security was on par with that at Fort Knox. Online luxury retailer Mytheresa recently treated VICs to flights to Milan to see the ballet at La Scala as well as a private tour of the city's Cenacolo Vinciano museum to view one of the world's most famous paintings, Leonardo da Vinci's The Last Supper, up close. And, at the time you're reading this, Burberry is taking VICs on a trip to Highgrove, King Charles' private home and gardens in the UK's Gloucestershire, to mark the launch of a collaboration. 'While there's no such thing as a free lunch, these are magical brand immersions,' says Sydney VIC, socialite, philanthropist and businesswoman Kate Champion. She partied at Picasso's home, Pavillon de Flore in Cannes' La Californie quarter, when YSL took her to the film festival last year. 'I'm pretty sure the brand's getting a solid return on its investment,' she says.
Sydney Morning Herald
26-06-2025
- Business
- Sydney Morning Herald
Free flights to Milan; your own butler: The perks of being a Very Important Customer
Forget about doll-sized face-cream samples when you're next offered a 'gift with purchase'. Spend enough and you'll get invited to King Charles' private estate or the French Riviera to party at Pablo Picasso's mansion with the world's beautiful people. Sold! Welcome to the world of the VICs, the term giant, global, luxury brands use for their Very Important Customers. Women's Wear Daily describes VICs as customers who spend at least $US1 million a year in total. As Australia's rich get richer, we have more VICs than ever. 'It's easy to get hooked,' says Singapore-based expat and Sydney publicity queen Roxy Jacenko. 'Some people buy art to put on their walls; I buy handbags.' She now owns 28 Hermès Birkin bags. 'I sat near Kris Jenner at the Hermès Paris show. Afterwards, I got a selfie, then walked straight to the boutique on Rue [du Faubourg] Saint-Honoré and bought a 35-inch, crocodile-skin Birkin for $70,000. That's smart business for Hermès.' Loading Australia's VICs are not all familiar names. Sydney's Christie Arnaout, wife of panel beater-turned-billionaire property mogul Sam Arnaout, now sits front row at Hermès' Parisian fashion shows cradling her Birkin. Melbourne's Jaimee Belle Kennedy, wife of jewellery scion James Kennedy, is a VIC guest at Dolce & Gabbana's extravagant Alta Moda events and has mingled in Sardinia with Princess Diana's niece, Lady Kitty Spencer, as they ogled $200,000 frocks. Louis Vuitton recently flew half a dozen Australian VICs to Mallorca to be dazzled by sparkling pieces from its high-jewellery collection temporarily housed in the ancient La Fortaleza and Castell de Bellver. The guests browsed – and bought – the jewels in specially built suites replete with chilled Krug and a personal butler. With prices running into the millions, security was on par with that at Fort Knox. Online luxury retailer Mytheresa recently treated VICs to flights to Milan to see the ballet at La Scala as well as a private tour of the city's Cenacolo Vinciano museum to view one of the world's most famous paintings, Leonardo da Vinci's The Last Supper, up close. And, at the time you're reading this, Burberry is taking VICs on a trip to Highgrove, King Charles' private home and gardens in the UK's Gloucestershire, to mark the launch of a collaboration. 'While there's no such thing as a free lunch, these are magical brand immersions,' says Sydney VIC, socialite, philanthropist and businesswoman Kate Champion. She partied at Picasso's home, Pavillon de Flore in Cannes' La Californie quarter, when YSL took her to the film festival last year. 'I'm pretty sure the brand's getting a solid return on its investment,' she says.
Yahoo
05-06-2025
- Yahoo
A Pennsylvania Man Pleads Guilty to Selling Fake Picasso and Basquiat Paintings
A Pennsylvania man pled guilty on May 29 to selling works falsely attributed to Joan Miró, Pablo Picasso, Andy Warhol, and other notable artists. According to the U.S. Attorney's Office, the man, 77-year-old Carter Reese, of Reading, was charged with one count of wire fraud and one count of mail fraud for an alleged art forgery scheme active between February 2019 and March 2021. He was accused of misrepresenting artworks as genuine creations from some of the most decorated names in modern and contemporary art, including Jean-Michel Basquiat, Roy Lichtenstein, Keith Haring, Fernand Léger, and Francis Bacon—all of whom have eight- or nine-figure auction records. More from Robb Report Old Forester's President's Choice Single-Barrel Bourbon Is Making Its National Debut Pizza, Parties, and Palazzos: How Mytheresa Is Winning over VICs Richard Simmons Called This $7 Million Hollywood Hills Estate Home for Decades The Philadelphia Inquirer reported that the Harvard-educated Reese worked at Pottstown's Hill School as a fine arts and history teacher and later as director of admissions. (The article added that Reese and his wife were old neighbors of Taylor Swift in Wyomissing before she moved to Nashville.) He was an avid antiques collector, with a collection that held some 17,000 toys, Oriental rugs, and furniture, among other objects. In court documents, he claimed the collection had a total value of more than $6 million. The forgery scheme was discovered through a joint investigation by members of the FBI's Art Crime Team working in Philadelphia and Miami, and is being prosecuted Assistant United States Attorneys Ruth Mandelbaum and Jason Grenell. Reese is set to be sentenced on September 12 and faces a potential 40-year prison term. Best of Robb Report The 10 Priciest Neighborhoods in America (And How They Got to Be That Way) In Pictures: Most Expensive Properties Click here to read the full article.
Fashion Network
01-05-2025
- Entertainment
- Fashion Network
Chanel's Bruno Pavlovsky on the arrival of Matthieu Blazy, Trump tariffs and business being better than ever
This Tuesday, the Parisian marque kicked off the European cruise season with a smart show staged on Lake Como at the mythical Villa d'Este hotel. No designer took a bow, but the lakeside show was crammed with jewel-bedecked VICs flown in from over a score of countries - testifying to Chanel 's near intoxicating power with the world's wealthiest one percent. An ode to movie-star chic and Italian glamour, whose muse as the great Austrian actress Romy Schneider, a great friend of Coco Chanel. Dior, Gucci, Louis Vuitton, and Max Max Mara will also stage gala runway shows in exotic locations over the next five weeks, but Chanel's status as the planet's pre-eminent luxury fashion label seems assured. That said, despite being a highly convincing commercial display of resort clothes and an ode to Italian cinema and movie star glamor, there was little directional about this collection. One reason, expectations about the appointment of the hyper talented Matthieu Blazy as only the fourth official creative director in the house of Chanel is causing so much anticipation. After four brilliant years helming Bottega Veneta in Milan, the 40-year-old Blazy officially began working at the house's historic home at 31 rue Cambon in Paris in early April. One figure beaming ebullience at Tuesday's show was Bruno Pavlovsky, fashion president of Chanel, happily ensconced between Sofia Coppola and Lupita Nyong'o. The show comes after quite a few months of criticism on social and established media of Chanel's prices increases last year, in the midst of difficult global economy and a major downtown in luxury sales. It's a point of view that Pavlovsky vehemently rejects, pointing to the sheer quality of all Chanel products, and the savoir faire, workmanship and technology involved in making top-level prestige goods. While in Como, Chanel ferried scores of editors to discover key Italian producers with whom the brand works, like Mantero, the brilliant silk producer and printer. Hence, pre-show sat down with Pavlovsky, to hear the latest from the man charged with overseeing this vital new step in the 120-year-old brand, and shining symbol of French flair and chic. Fashion Network: Why did Chanel come to show in Como? Bruno Pavlovsky: It's a mythical location that works extremely well for Chanel. It's a place where so many films have been shot, ideal for the theme of this collection. Last week, they were shooting a feature in the villa! And half of Coco Chanel's heart was in Italy, another reason this location is perfect. Access to Villa d'Este is actually very hard. We needed two years to organize as we booked the whole villa for four days. But quite frankly, its terrace is inspiring to anyone who is a designer. FN: Why are cruise collections so important for Chanel? BP: Coco was the first to do a cruise capsule for Americans leaving for cruises in the Caribbean in the '20s. Karl was the first to stage a cruise show. Cruise is an exceptional moment where a brand is fully able to express itself and be inspired by a certain location. And, the delay of the collection – it enters in boutique in November and lasts to May and is lighter and more colorful and that adds energy to our boutiques. That's another magical moment. FN: Not every brand continues to stage shows, especially cruise, especially between creative directors. Why was it important for Chanel to keep staging shows in the interim? BP: It's because Chanel the brand is stronger than any designer. When Karl or Virginie Viard were our designers, we never skipped a collection. Because that's who we are. It's not just about showing to the press, but also our relationship with our clients. I can tell you we have never sold as much ready-to-wear as we do today The client is of course influenced by who is the designer and their ideas and energy, but they buy because of the product. We do these shows to make people dream. Certain clients, I believe, don't even know who exactly is our designer. But they know Chanel and have certain strong feelings about what Chanel is. And we need to preserve that. That's why we are very content to see Matthieu arrive - with his eye, his talent and his experience together with the experience of our studio. FN: Explain why Chanel made recent investments in Italian suppliers, like Mantero where you just bought a 35% stake? BP: One of reasons for coming to Como is that it helps us show off our ecosystem. Like Mantero for silk. It demonstrates the reality of work behind the product – the savior faire, the hands and the machines. Luxury only exists thanks to that today. Without this expertise that exists for decades, Chanel could not incarnate luxury as it does today. Forming a new generation of artisans is essential. Plus, these visits to factories gives editors a chance to understand why our products are so expensive – you see the technology and skill and time required. It's a virtuous circle. FN: And why specifically did you acquire 35% of Mantero? BP: We have worked with Mantero every single year for over a half century, together developing exceptional products. Today, the situation is such that neither Lucia nor Franco Mantero have heirs. So, the question had to be asked what will happen with one of the most beautiful Italian manufactures, if tomorrow morning there is accident? That's why we want to be present and help. This is not about control. To create Mantero's exceptional silk, the investment needed is very high. So, we can help with that to guarantee Mantero makes the best prints, using less electricity and polluting less, while still making money. We work with 67 different suppliers and plants and each brand and family has a certain rapport. Many work independently of Chanel with other luxury brands and that's good. FN: There has been a certain amount of negative reaction, especially on social media, to top level luxury brands increasing prices. Do you think that is unfair? BP: Those complaints last year do take into account this ecosystem of hyper-quality required to make our Chanel products. We also need to guarantee this ecosystem exists in the future which requires substantial investment and explains why prices sometimes have to be raised. FN: What are your plans for dealing with Trump tariffs in the U.S.? BP: Tariffs already exist. For ready-to-wear it's already 15%. There is not free exchange in the world. What matters to Chanel is the client and harmonization of prices. It's very hard to predict the final position of tariffs, but the harmonization of prices will continue. And don't forget, right now the dollar has greatly weakened, so prices will go up thanks to the dollar falling.
Fashion Network
01-05-2025
- Entertainment
- Fashion Network
Chanel's Bruno Pavlovsky on the arrival of Matthieu Blazy, Trump tariffs and business being better than ever
This Tuesday, the Parisian marque kicked off the European cruise season with a smart show staged on Lake Como at the mythical Villa d'Este hotel. No designer took a bow, but the lakeside show was crammed with jewel-bedecked VICs flown in from over a score of countries - testifying to Chanel 's near intoxicating power with the world's wealthiest one percent. An ode to movie-star chic and Italian glamour, whose muse as the great Austrian actress Romy Schneider, a great friend of Coco Chanel. Dior, Gucci, Louis Vuitton, and Max Max Mara will also stage gala runway shows in exotic locations over the next five weeks, but Chanel's status as the planet's pre-eminent luxury fashion label seems assured. That said, despite being a highly convincing commercial display of resort clothes and an ode to Italian cinema and movie star glamor, there was little directional about this collection. One reason, expectations about the appointment of the hyper talented Matthieu Blazy as only the fourth official creative director in the house of Chanel is causing so much anticipation. After four brilliant years helming Bottega Veneta in Milan, the 40-year-old Blazy officially began working at the house's historic home at 31 rue Cambon in Paris in early April. One figure beaming ebullience at Tuesday's show was Bruno Pavlovsky, fashion president of Chanel, happily ensconced between Sofia Coppola and Lupita Nyong'o. The show comes after quite a few months of criticism on social and established media of Chanel's prices increases last year, in the midst of difficult global economy and a major downtown in luxury sales. It's a point of view that Pavlovsky vehemently rejects, pointing to the sheer quality of all Chanel products, and the savoir faire, workmanship and technology involved in making top-level prestige goods. While in Como, Chanel ferried scores of editors to discover key Italian producers with whom the brand works, like Mantero, the brilliant silk producer and printer. Hence, pre-show sat down with Pavlovsky, to hear the latest from the man charged with overseeing this vital new step in the 120-year-old brand, and shining symbol of French flair and chic. Fashion Network: Why did Chanel come to show in Como? Bruno Pavlovsky: It's a mythical location that works extremely well for Chanel. It's a place where so many films have been shot, ideal for the theme of this collection. Last week, they were shooting a feature in the villa! And half of Coco Chanel's heart was in Italy, another reason this location is perfect. Access to Villa d'Este is actually very hard. We needed two years to organize as we booked the whole villa for four days. But quite frankly, its terrace is inspiring to anyone who is a designer. FN: Why are cruise collections so important for Chanel? BP: Coco was the first to do a cruise capsule for Americans leaving for cruises in the Caribbean in the '20s. Karl was the first to stage a cruise show. Cruise is an exceptional moment where a brand is fully able to express itself and be inspired by a certain location. And, the delay of the collection – it enters in boutique in November and lasts to May and is lighter and more colorful and that adds energy to our boutiques. That's another magical moment. FN: Not every brand continues to stage shows, especially cruise, especially between creative directors. Why was it important for Chanel to keep staging shows in the interim? BP: It's because Chanel the brand is stronger than any designer. When Karl or Virginie Viard were our designers, we never skipped a collection. Because that's who we are. It's not just about showing to the press, but also our relationship with our clients. I can tell you we have never sold as much ready-to-wear as we do today The client is of course influenced by who is the designer and their ideas and energy, but they buy because of the product. We do these shows to make people dream. Certain clients, I believe, don't even know who exactly is our designer. But they know Chanel and have certain strong feelings about what Chanel is. And we need to preserve that. That's why we are very content to see Matthieu arrive - with his eye, his talent and his experience together with the experience of our studio. FN: Explain why Chanel made recent investments in Italian suppliers, like Mantero where you just bought a 35% stake? BP: One of reasons for coming to Como is that it helps us show off our ecosystem. Like Mantero for silk. It demonstrates the reality of work behind the product – the savior faire, the hands and the machines. Luxury only exists thanks to that today. Without this expertise that exists for decades, Chanel could not incarnate luxury as it does today. Forming a new generation of artisans is essential. Plus, these visits to factories gives editors a chance to understand why our products are so expensive – you see the technology and skill and time required. It's a virtuous circle. FN: And why specifically did you acquire 35% of Mantero? BP: We have worked with Mantero every single year for over a half century, together developing exceptional products. Today, the situation is such that neither Lucia nor Franco Mantero have heirs. So, the question had to be asked what will happen with one of the most beautiful Italian manufactures, if tomorrow morning there is accident? That's why we want to be present and help. This is not about control. To create Mantero's exceptional silk, the investment needed is very high. So, we can help with that to guarantee Mantero makes the best prints, using less electricity and polluting less, while still making money. We work with 67 different suppliers and plants and each brand and family has a certain rapport. Many work independently of Chanel with other luxury brands and that's good. FN: There has been a certain amount of negative reaction, especially on social media, to top level luxury brands increasing prices. Do you think that is unfair? BP: Those complaints last year do take into account this ecosystem of hyper-quality required to make our Chanel products. We also need to guarantee this ecosystem exists in the future which requires substantial investment and explains why prices sometimes have to be raised. FN: What are your plans for dealing with Trump tariffs in the U.S.? BP: Tariffs already exist. For ready-to-wear it's already 15%. There is not free exchange in the world. What matters to Chanel is the client and harmonization of prices. It's very hard to predict the final position of tariffs, but the harmonization of prices will continue. And don't forget, right now the dollar has greatly weakened, so prices will go up thanks to the dollar falling.
