Info 216 Luxury and Craftsmanship

JANUARY / FEBRUARY 2015french chamber of commerce in great britain www.frenchchamber.co.uk

I N F Ot h e m a g a z i n e f o r a n g l o - f r e n c h b u s i n e s s

Job No: 49177-2 Publication: INFO Mag Size: 279x394 Ins Date: TBC Proof no: 1 Tel: 020 7291 4700

“PLUME DE CHANEL”RING AND JEWELLED HEADPIECE WHITE GOLD AND DIAMONDS

26 OLD BOND STREET - LONDON W1

SELFRIDGES WONDER ROOM - LONDON W1 HARRODS FINE JEWELLERY & WATCH ROOM - LONDON SW1

FOR ALL ENQUIRIES PLEASE TELEPHONE 020 7499 0005

www.chanel.com

Job No: 49177-2 Publication: INFO Mag Size: 279x394 Ins Date: TBC Proof no: 1 Tel: 020 7291 4700

“PLUME DE CHANEL”RING AND JEWELLED HEADPIECE WHITE GOLD AND DIAMONDS

26 OLD BOND STREET - LONDON W1

SELFRIDGES WONDER ROOM - LONDON W1 HARRODS FINE JEWELLERY & WATCH ROOM - LONDON SW1

FOR ALL ENQUIRIES PLEASE TELEPHONE 020 7499 0005

www.chanel.com

MODERN FRENCH CLASSICS. . .

W W W . J O E L R O B U C H O N . C O . U K1 3 - 1 5 W E S T S T R E E T , L O N D O N , W C 2 H 9 N 2 l 0 2 0 7 0 1 0 8 6 0 0

R E S E R V A T I O N S : I N F O @ J O E L R O B U C H O N . C O . U K

Atelier Joel Robuchon Ad.indd 1 1/12/2015 2:27:10 PM

TO MAKE GREAT IDEAS

COME TO LIFE

SGCIB.COM

OUR JOB: LINKING ISSUERS& INSTITUTIONAL INVESTORS

W I T H Y O U , A S O N E T E A M

THIS COMMUNICATION IS FOR PROFESSIONAL CLIENTS ONLY AND IS NOT DIRECTED AT RETAIL CLIENTS.

Societe Generale is a French credit institution (bank) and an investment services provider (entitled to perform any banking activity and/or to provide any investment service under MiFID except the operation of Multilateral Trading Facilities) authorised and regulated by the French Autorité de Contrôle Prudentiel et de Résolution (“ACPR”) (the French Prudential and Resolution Control Authority) and the Autorité des Marchés Financiers («AMF»). This document is issued in the U.K. by the London Branch of Societe Generale, authorized in the U.K. by the Prudential Regulation Authority and subject to limited regulation by the Financial Conduct Authority and Prudential Regulation Authority. Details about the extent of our authorisation and regulation by the Prudential Regulation Authority, and regulation by the Financial Conduct Authority are available from us on request. 2014 Societe Generale Group and its affi liates. © David Despau - FRED & FARID

CIB_INFO MAG_197,4X279,18_BRIDGE_GB.indd 1 06/02/14 10:44

info - january / february - �

editorialPresident,

French Chamber of Great Britain, and Executive Chairman of Cartier

Arnaud Bamberger

We are united in condemnation of the barbarous attack on the staff of Charlie Hebdo on 7 January. It was shocking not only for its violence against those individuals but also for being an assault on

the values we cherish as a democratic society. Freedom of speech and the press are pillars of this and have to be respected and protected at all costs. These are values we share with many around the world, who have rallied in support of the people of France. In an unprecedented show of unity and defiance, millions took to the streets in Paris, led by President Hollande and 44 world heads of state, among them UK Prime Minister David Cameron. Similar public demonstrations took place across France and in cities around the world, including London, where the colours of the French flag were projected on iconic monuments to show solidarity with France. While we will continue to stand firm against intimidation of our fundamental values, we should guard against giving in to racism and Islamophobia, and confusing extremist acts such as this with peoples or religions. Peace, tolerance and respect are also values we will continue to uphold.

Although INFO has a readership that extends well beyond the Chamber’s membership, I am taking this opportunity to address our members as it is a good moment to reflect on another good year for our Chamber and anticipate what the next holds.

2014 saw the Chamber continue to enhance the quality of its services and its role of helping companies develop and connect; we added new members, hosted some brilliant guest speakers, held another successful Franco-British conference and launched new initiatives such as the Franco-British Business Forum. But there is much more to come in the months ahead.

First, we are starting the year with a new logo that identifies us as part of the network of French Chambers abroad. This move towards a more harmonised network led by CCI France International has been initiated by its President Arnaud Vaissié, my predecessor at the Chamber, and we support the strong, unified image it creates.

We shall be launching a woman’s club, aimed at the chief executives of member companies, as the Chamber takes up the issue of gender diversity within the Franco-British context.

Also on the agenda is a conference, co-organised with the French Embassy, on Climate Change and Business, the goal of which is to come up with a series of recommendations from companies to present at the COP 21 United Nations Climate Change Conference in Paris in December.

Finally, I do particularly want to highlight the Cross-Cultural Quiz on 5 February, the first of its kind, which promises to be a lively, fun event. What better way to start the year than in a spirit of friendly rivalry and cross-cultural exchange?

The Focus theme of this issue is one that is close to my heart: Luxury and Craftsmanship. The articles look at the relationship between luxury and craftsmanship, how it has developed, and what the luxury industry is doing to ensure that rare skills are not lost and to safeguard their savoir-faire. Enjoy the discovery of this fascinating world that is so rarely glimpsed!

And so we begin another year, which I hope for all of you will be happy, healthy and prosperous. I

F L Â N E U R F O R E V E R

For all enquiries: 020 7499 8856

Hermes.com

01_197,4x279,1_InfoMagazine_UK.indd 1 11/12/14 16:19

issue 216 / January - February 2015Contents

5 minutes with... 8 Peter Hindle MBE,Saint-Gobain

News in the City 11 Cityshorties

12 FranceandtheUK:managingthroughthecrisisandfutureprospects

News 14 DeltaAirLinesorder50newAirbus

15 CovéaacquiresSterlingInsuranceGroup

17 CitroënwinsGoldforbeinggreen

19 Alstom’stidalturbinesgenerateover1GWhtotheScottishgrid

21 International SOSmarks30thanniversary

22 Schools

SMEs & Start-ups 24 Briefs

26 Profile:Michaela Jedinak

29 Interview:movingdesign

Focus: Luxury & Craftsmanship 32 Therelationshipbetweenluxuryand

craftsmanship

34 Themarketingofcraftsmanship

36 Hermès:acraftDNA

38 Christian Liaigre:deployingcraftsmanshipinhighdesign

39 Longchamp:balancingheritageandinnovation

41 Cartier:laMaisondesMétiersd’Art

42 Lalique:profileofacraftsman

43 Camuffo Yachts:afamilytradition

44 Thelastwordinluxury:artisanalprinting

45 Armorial:rareandnicheskills

46 ThestateofcraftsmanshipintheUK

48 Faye Toogood:thebridgebetweenhandandmachine

50 TheartandcraftofcostumemakingattheRoyal Opera House

52 Theartsandcraftsindustry–fromtheartist’ssecrettopatentableinnovation

53 Protectionoftradesecretsandcraftsmanship

Culture 55 WomenFashionPower

56 What’son

59 Bookreviews

Eat, Drink, Stay 60 TakingflightintheLandmark London’s

MirrorBar

61 ThestorybehindFoieGrasBelleEpoqueatClub Gascon

62 Cheese&WinePress

News at the Chamber 64 Newmembers

66 Hello/GoodbyeandHatsoffto

67 Chambershorties

Events 68 SayCheeseandWine:What‘grate’advice!

Rendez-vousChezCaudalie:AtouchofBordeauxinCoventGarden

69 DînerdesChefs:Hélène DarrozeattheConnaught

AMondaynightattheopera

70 Xavier Rolet:Theroleofcapitalmarketsandeconomicgrowth

71 BreakfastwithMarcPontet,CEOofAsendia

72 WinnersoftheFranco British Business Awards

74 Franco British Business Forum:Gettingdowntobusiness

Forum & Clubs 75 Climate Change Forum:Tidalenergy

76 Cross-Cultural Relations Forum:Cultivatingculturalintelligence

77 SME & Entrepreneurs Club:Howtounlockexportopportunities

79 ForthcomingForums&Clubs/Events

Faye Toogood: the bridge between hand and machine48Hermès:

a craft DNA368

�0 The art and craft of costume making at the Royal Opera House

Managing Director: Florence Gomez

Editor-in-Chief: Keri Fuller

Corporate Communication Executive: Marielle Fraize

Graphic Designer: Katherine Millet

Advertising & Sales: Suzanne Lycett

Publications Assistant: Katie Chadd

Subscription: INFO is published every 2 months

Printed by: CPI Colour

Contributors: Asli Bohane, Philippe Chalon, Eric Charriaux, Frederick Fischer, Annabelle Gauberti, Alessandro Iobbi, Minas Kastanakis, Thibault Lavergne, Severine Mas, Arnaud de Montille, Guy Salter, Rob Stevenson

Cover image: Courtesy of Cartier Cover artwork: Katherine Millet

Distribution: French Chamber members, Franco-British decision makers, Business Class lounges of Eurostar, Eurotunnel and Air France in London, Paris and Manchester

Editorial and Publishing Office:French Chamber of Commerce in Great BritainLincoln House, 300 High HolbornLondon WC1V 7JHTel: (020) 7092 6600; Fax: (020) 7092 6601www.frenchchamber.co.uk

5 minutes with... Peter Hindle MBE8

Cartier: La Maison des Métiers d’Art41 Women Fashion Power��

8 - info - january / february

Peter Hindle MBE,General Delegate UK & Ireland; Senior Vice President, Sustainable Habitat

Saint-Gobain

Saint-Gobain celebrates its 350th anniversary in 2015. What have been the key points in its evolution from a royal glass factory to the building material giant it is today? Saint-Gobain was established in 1665 as a ‘manufacture royale des glaces’ at a time when Louis XIV and his Minister of Finance Jean-Baptiste Colbert had embarked on an economic recovery plan for France. It quickly became a leader in glass manufacturing, most famously producing the mirror glass for the Hall of Mirrors at Versailles. In the 19th century, the company began diversifying with new markets and products – the Crystal Palace in London was one of the famous buildings Saint-Gobain supplied glass for in that period. After a merger with Pont-à-Mousson in 1970, it refocused on building materials with a high technological content and entered into distribution and plasterboard. Today the group is one of the top 100 leading industrial corporations in the world with operations in 64 countries, 190,000 employees globally and sales of €42 billion (approx. £33.5bn).

How will you be marking this milestone?It will be celebrated in various forms both locally and internationally, such as a 350-mile bike ride to Paris and a touring exhibition that will go from Shanghai across to Sao Paolo and Philadelphia and back to Paris. But one of the ways we will be marking the 350th anniversary and also Saint-Gobain’s 30 years in the UK, is by launching an Entrepreneurship Foundation. With 40,000 people due to retire in the next five years, there is a ticking time bomb around skills in the construction industry and this foundation will help small businesses accelerate their growth so they can employ more people with the right skills and knowledge to be able to contribute in a positive way in the future.

What does Saint-Gobain do in the UK and Ireland? We have a mixture of manufacturing and distribution with 33 businesses, 80 manufacturing plants, in excess

of 1,000 distribution sites, a total workforce of 16,750 and a turnover in excess of £3 billion. Saint-Gobain has the premier Building Material Distribution network in Europe and this is the largest part of the business here with 18 companies – comprising builders and plumbers merchants and timber importing/distribution. Eight companies make up the Construction Products part of the group, producing gypsum products, thermal and acoustic insulation, industrial mortar and ductile iron pipes and fittings. The other part is Innovative Materials – flat glass and high performance material – with six companies focusing on this. The Saint-Gobain business model is very decentralised, and as a result of acquiring British companies, the UK

& Ireland business has a distinctly local flavour. Its first acquisition was in 1985, but the main ones were Meyer International in 2000 and British Gypsum in 2005.

Saint-Gobain in the UK & Ireland contributes over £3 billion in sales to the Group annually and made up

nearly 10% of the Group’s global sales in 2013.

What do you do as General Delegate, UK, Ireland & South Africa and how does this fit together with being Senior Vice President, Sustainable Habitat?As Saint-Gobain is so decentralised, the role of General Delegate is to make sure we adopt local policies in those three countries, and I am very much involved in the strategy of the businesses, as well as the main support functions around the operations, from treasury through to tax and legal. Everything is done in the countries

5 minutes with. . .

We are looking at the big trends in society... and thinking about the role Saint-Gobain has to play in addressing some of these challenges

info - january / february - �

5 min u t es w i t h Peter Hindle MBE

so I run a team of people. The people side of it is very important with two big elements being communications and HR.

The Sustainable Habitat role is more global, and I work with a small team from the various countries on the development of policies for sustainable construction.

Sustainable Habitat is a pillar of Saint-Gobain’s strategy. How is this vision put into practice? Sustainable Habitat is a market place. It’s about improving the quality of construction, so is linked with rating systems such as BREEAM* in the UK. We bring products and solutions to the market, with a particular focus on comfort, i.e. air, light, thermal and acoustic quality, and also play an important role in helping to inform the regulatory and policy environment in which we operate by working closely with organisations such as the Green Building Council, trendsetters such as architects, trade associations and Government departments. In support of that, we have a CSR strategy encompassing our operational credentials in terms of safety, emissions, the environment and resource efficiency, apprenticeships, eco-innovation, waste and work in local communities.

We are also looking at the big trends in society – population increase; urbanisation; people living longer; and increasing property prices which creates demand for flexible homes for multi-generational households – and thinking about the role Saint-Gobain has to play in addressing some of these challenges through our products or know-how. Training and skills is a good example – we need to build better properties, and this requires a healthy construction industry with the right skills. We are helping to do this through our six Training Academies in the UK.

Innovation is integral to this, and Saint-Gobain is renowned for its research and development. Do you do any in the UK?We do some in East Leake, where British Gypsum is headquartered, but the bulk of the research and development is done across seven centres in France, India, China and the US. What we do have in the UK is the Saint-Gobain Innovation Centre, the first of its kind, which opened in 2013. It gives Saint-Gobain a visible presence in London, showcasing our innovative products and solutions – there are not many places where you can go to find out about the different types of glass, for example, and the benefits it brings to buildings. It is also a place to connect with those working in the built environment, to come together to talk about challenges, share knowledge and learn about sustainable buildings. In the past year there have been 110 events. A lot of collaborations have come out of it, and this is linked to innovation in a strong way because we can innovate more where we collaborate with others.

What are your main challenges in the UK? The skills gap is one, exacerbated by the fact that many tradespeople and skilled workers left the industry during the recession. As the economy recovers we are working on attracting young people to the industry through apprenticeships and graduate recruitment, and we are investing a lot in the training of our employees and clients through our Training Academies, which offer physical, practical and theoretical courses.

How big an impact has the performance of the construction sector had on business in recent years?The UK is one of Saint-Gobain’s better market places at the moment as legislation is sound and we are on a good track economically. But while the last 12 months have been excellent, the previous five years were very difficult. Between 2008 and 2012 there was a huge downsizing and we lost 3,000 people. We are particularly exposed to the residential sector, and therefore are directly affected by the number of houses that are built.

Does the fact that you used to be a professional cyclist who represented Great Britain have an influence on some of Saint-Gobain’s CSR activities?It does a bit. I still ride a bike and as cycling is very popular in the UK, over the years we have always done some sort of ride for charity, such as our Coast-to-Coast Cycle Challenge in 2014 to raise money for the Saint-Gobain Together Partnership, an annual fundraising initiative I established which brings together employees, customers and suppliers for a great cause, working with a charity partner.

And how did you cross over from cycling to construction materials?I had been in construction prior to full-time cycling, so when my sporting career came to an end I went back to it, starting at branch level in Jewson in 1977, which was bought by Saint-Gobain in 2000. I’ve had 40-odd years in the industry, and am a good example to young people today of the kind of careers and opportunities that are possible in construction.

What does it mean to Saint-Gobain to receive the Large Corporate Award at the Franco-British Business Awards?It is a real pleasure to be recognised by others for our work, especially as we approach our 350th year as a Group and our 30th year in the UK. The award is ultimately great recognition for our people who day to day live the values of Saint-Gobain and serve our customers right across the UK & Ireland with pride and passion. So the award is really for them – a great privilege overall. I Interview by KF

* Building Research Establishment Environmental Assessment Methodology

Subscribe to FT Weekend today

From great interviews to arts and property; travel advice to where to invest. It’s all in FT Weekend. As well as the news and comment section, FT Weekend includes:

• Life & Arts – features inspiring travel, intelligent fashion, masterful book reviews and unparalleled arts coverage, plus the legendary Lunch with the FT

• House & Home – brimming with incisive opinion and global features on property, design, gardens and architecture. The star-studded cast of writers includes David Tang, Jonathan Foyle, Izabella Kaminska and Robin Lane Fox

• FT Weekend Magazine – off ers an award-winning mix of evocative stories and powerful photography, unique in-depth investigations and reporting that draws on our global network of writers. Plus unrivalled food and drink pages

• How To Spend It – sophisticated, sumptuous and insightful, this award-winning magazine features every aspect of fi ne living, from fashion to fi ne wines, fast cars and philanthropy

• FT Money – provides clear unbiased comment and analysis on personal fi nance products and services, investment strategies and stock-picking tips

Subscribe today and save 23%*

visit ft.com/weekendsub

Read beyond the expected

* Saving shown is based on the price of 52 issues at the newsstand (£156). This off er is limited to UK subscribers and closes on 31 December 2015.

info - january / february - 11

news in the cit yBriefs

Polls apart

||| UK economics are being overtaken by politics as the country gears up for the General Election on 7 May. The Chancellor’s Autumn Statement was called a pre-election budget in all but name by the BBC’s Political Editor, Nick Robinson: ‘From his first to his last sentence – from boasting about Britain’s growth to unveiling the Coalition’s version of the mansion tax – Chancellor George Osborne delivered his Autumn Statement with not just one eye but both fixed firmly on polling day.’ That

meant tax hits on the rich – buyers of multi-million pound mansions, non-doms, as well as tax-avoiding banks and corporates – and handouts to the ‘hard working’ in the form of tax cuts on earnings, children’s flights, ISA inheritance and an overhaul of the stamp duty system that introduced a graduated rather than step approach to the benefit of those buying properties under £1 million. However, in the Statement’s wake came dire warnings of the ‘colossal cuts’ to public spending needed to clear

the deficit, and accusations that the Conservatives were planning a ‘fundamental reimagining of the role of the state’ (Paul Johnson, Director, Institute of Fiscal Studies). Both Labour and Liberal Democrats have been quick to set out their own stalls with differing plans to tax the rich and eradicate the deficit. But for businesses and the City alike, the greatest risk comes from the uncertainty over whether any new government will be prepared to make the necessary tough choices. I KF

||| A year-end deadline that would have resulted in the so-called ‘Tobin tax’ on financial transactions being introduced at the start of 2016 has been missed. Finance ministers of the 11 countries planning to introduce the tax were due to sign off a basic outline in December, but internal disagreements over what to tax, where to tax it and who should receive the revenue have caused a further delay. Jean-Claude Juncker, President of the European Commission, made the introduction of the financial transactions tax a priority for the new commission, but it faces legal barriers, inter-country squabbling and vehement opposition from the financial community. The UK is particularly opposed because of the effect the tax will have on its financial services industry, even if it is not signed up to it, and has gone

so far as to challenge the idea in the European courts. Critics believe it will hit investors harder than the banks it is aimed at, make it more difficult for companies to get funding and bring in far less in tax revenues than forecast. The latter point has been proved in France, where an experimental levy on financial transations in 2013 raised just a third of the money expected; a similar move in Italy saw equity trading volumes fall by 30% in a year with resulting revenues way below what had been anticipated. I KF

EU plans for Robin Hood tax in disarray

From punks to stocks||| London’s Camden Market, long a beacon of the alternative scene, is to be floated on the city’s Alternative Investment Market. Market Tech Holdings, which owns 11 acres of market real estate around Camden borough and an e-commerce business, is looking to offer a ‘state-of-the-art online presence through which the “Camden Markets” brand can capitalise on its international appeal’. The company is looking to raise up to £100 million through the IPO, which it will use to develop the existing Hawley Wharf site into Camden Lock Village, with commercial and retail space alongside housing and a new primary school. I KF

COUNTRIES PLANNING TO INTRODUCE THE FTT

Germany - France - Italy - Spain - Portugal - Greece - Austria - Belgium - Estonia - Slovakia - Slovenia


Qua rt er ly Economic Updat e – 23 October

France and the UK: managing through the crisis and future prospects

There were no holds barred as Rain Newton-Smith, Director of Economics at the Confederation of British Industry (CBI) and Patrick Artus, Global Chief Economist of Natixis, put both economies’ past and potential performances under scrutiny at the latest Quarterly Economic Update (QEU) held jointly with the Chamber’s Finance Forum

The UK: a bright light with very real challengesThe UK has seen a robust recovery with strong employment growth but still faces challenges: not everyone is sharing in the recovery and earnings growth is very weak. In comparison to other advanced economies,

the UK had a more severe recession and slower recovery, but over the last couple of years has picked up steam. Growth has surpassed its pre-crisis peak and investment has played a stronger role.

One characteristic of the UK recovery is that the service sector has performed particularly strongly, with manufacturing lagging behind and construction output still well below pre-crisis levels. However, there are encouraging signs that growth is becoming more broad-based. Investment has accounted for 45% of cumulative GDP growth since Q2 2009, which bodes well for sustainability of the recovery. Business investment, which saw a peak-to-trough fall of 19% between Q2 2008 and Q4 2009, is now 6% above that pre-crisis peak. Nevertheless, at 16% of GDP in 2013, the UK’s overall share of investment, i.e. total fixed investment, is still below the G7 average of 20%, partly reflecting the weakness in building and infrastructure. The longer-term investment climate in the UK also remains a concern, with the UK having consistently invested less than other advanced countries over time. The UK is relatively reliant on bank finance so one of the actions to address this would be to look at bolstering non-bank sources of finance, especially for SMEs. And while the UK’s corporate tax regime is competitive, its capital allowances are not, particularly for buildings and structures, meaning there is no fiscal incentive for companies to build factories and regenerate capital stock. This could be remedied by using the tax system to incentivise investment. The other main drivers of the recovery in the UK have been strong employment growth, rising confidence and improved credit flows to

households. While wage growth has been relatively weak, overall growth in employment has boosted households’ total spending power. Strong consumption is likely to have also been supported by the housing market, but a slowing in activity could signal a moderation in spending on durable goods. On the other hand there is potential upside for spending on services and non-durables.

House price inflation has been picking up across the UK, albeit largely driven by London. In the longer term, house price pressures, particularly in London and the Southeast, have implications for the competitiveness of the UK economy. The CBI/KPMG London Business Survey placed housing costs as the second biggest threat to competitiveness in the capital, with a quarter of those surveyed listing it as a risk to London’s ongoing competitiveness. The UK needs to be building over 250,000 homes a year to meet its housing demand, but is not yet coming close to this. There are also concerns that increased household indebtedness could be a risk to financial stability. Policymakers have taken some steps to address this: the Bank of England’s Financial Policy Committee (FPC) have made recommendations to curb the growth of riskier lending within the housing market, with anecdotal evidence suggesting that banks are already complying in line with their recommendations.

One of the good news stories of the UK recovery is that it has been jobs led. Unemployment is now at 6%, its lowest level since end-2008, and is expected to fall further to 5.3% by the end of 2016. However, earnings growth has been subdued and related to this, productivity is weak – 2% below its pre-crisis peak and 15% below a continuation of the pre-crisis trend – limiting the ability of businesses to increase wages. Overall output per worker in the UK is relatively low compared to international competitors so there is clearly scope to increase productivity.

Furthermore, the UK still has major fiscal challenges. Ambitious plans to achieve a balanced budget by 2018/19 will necessitate tough choices on current spending, which does limit the scope of fiscal policy to support economic growth. GDP growth is expected to be solid this year and in 2015 and 2016 at 3%, 2.5% and 2.5% respectively (CBI forecasts), with business investment continuing to make a strong contribution, but it will primarily be a domestic

Rain Newton-Smith


Qua rt er ly Economic Updat e – 23 October

demand driven recovery. Longer term, consumption driven by the middle classes in emerging markets, and their demand for services – financial, media and education – presents opportunities for the UK.

France: the central issue of profitability and the dynamics of public debt

For France, the financial crisis had two different episodes under Sarkozy and Hollande, but neither pursued policies that addressed the real issues. Sarkozy quickly put in place a huge demand stimulus that pushed the budget

deficit from 2% to 8% of GDP. This had the effect of limiting the downside for the French economy relative to others, but by and large consisted of inefficient public investments and tax cuts, which had a short-term effect. When Hollande came to power in 2012, he did not change much as he was convinced that France would be supported by other countries. This has not been the case, and France is now having to confront the real problems in its economy. What is making things worse is the tax pressure on corporates that is suppressing demand in the short term, and profitability and growth potential in the medium term.

So what’s really wrong in France? One way of looking at it is to consider the unit labour cost in relation to the value added deflator in manufacturing. In France the value added is going down as labour costs go up. French corporates, especially in manufacturing and services, have had to cut their prices because their offerings, apart from farming and luxury goods, are very close to those of Spain, and yet labour costs are much

higher. One hour of labour in Spain is €22 compared to €37 in France. This is killing profitability.

Another serious issue is the return on physical capital, i.e. profits after taxes, interest before dividends / net capital value. In France it is 7% compared to 14% in the UK, so investing in France is much less profitable. This is due to the continuous compression of prices as France competes with countries with much lower wages – profits go down and there is no incentive to keep investing.

What should be done?The best thing to do would be to produce more sophisticated products and so move up the economic ladder. However, this takes time, and while France does have the highest number of start-ups in the world, they have a tendency to disappear rapidly. The French government will be cutting corporate taxes to the tune of €40 billion over the next three years, which should bridge half of the gap between costs and prices. The problem is that real wages are increasing faster than productivity, and will end up costing the corporate sector the same amount of money that the government will give them back in taxes, so there is a nil effect on profits. France has an insiders’ labour market which means that 80% of the French are extremely protected, and this is why wages do not adjust. As a result, there is little optimism for growth prospects in France as long as the labour market is not reformed.

To sum up... France and the UK are a tale of two different labour markets but it is essential to bear in mind that new jobs and growth can only come from the private sector. Since 2010, the British private sector has created 1.2 million new jobs; it is almost seven times less in France with 177,000. Private sector growth in the two countries is particularly striking. In that regard, French and British economies remain quite asymmetrical I KF and Philippe Chalon

L to R: John Peachy, Chair of the Finance Forum, Rain Newton-Smith, Patrick Artus and Philippe Chalon, QEU Chair

Patrick Artus


Compiled by Marielle Fraize

n e w s

Companies

Delta Air Lines orders 50 new Airbus

||| Delta Air Lines has placed a firm order for 50 new Airbus widebody aircraft: 25 A350-900, powered by Trent XWB engines, and 25 A330-900neo, powered by Rolls-Royce Trent 7000 engines.

‘When the most successful US airline today – a company that has flown passengers around the world for more than 80 years, has 80,000 employees and 165 million customers in a year – says ‘yes we want 50 more of your widebody planes’, you can’t debate the fact that it is a massive endorsement of your product line,’ said John Leahy, Airbus’ COO-Customers. ‘Airbus is unique in offering an optimised long-range choice in aircraft that will allow Delta to continue to modernise its fleet and customise its use with the most efficient and comfortable aircraft available.’

Delta Air Lines currently flies both Airbus single-aisle and widebody aircraft, including 57 A319ceo and 69 A320ceo aircraft, plus 11 A330-200s and 21 A330-300s. In addition to the order announced today, Delta has an order backlog of 10 A330-300s and 45 A321ceo aircraft, bringing its total Airbus backlog to 105 aircraft. I www.airbus.com

A330-900neo, Delta Air Lines

Safran’s contribution to the ESA Rosetta / Philae mission

||| On 12 November 2014, after a 10-year journey, the Philae lander touched down on comet 67P/Churyumov-Gerasimenko (aka ‘Chury’) over 500 million km from Earth. It was a giant leap for space history, and one the Safran Group helped make possible. The Rosetta probe was placed on an Earth-escape trajectory on 2 March 2004 by an Ariane 5 rocket. And that rocket was powered by none other than three Safran engines – two solid rocket engines and a Vulcain® cryogenic engine. Rosetta awoke from its almost decade-long hibernation on 20 January 2014, to rendezvous with ‘Chury’ last month and then successfully dispatch the lander. I www.safran-group.com©

ESA

– J

. Hu

art

Rosetta and Philae at the comet

info - january / february - 1�

n e w s

Covéa acquires Sterling Insurance Group

||| Covéa is strengthening its position in the UK through the acquisition of Sterling Insurance Group from Nicholas Cooper and his family. The transaction, which is subject to regulatory approval, will broaden Covéa’s product offering in this important market and generate further opportunities for growth. Total gross written premium post acquisition will be close to £600m.

Sterling Insurance provides a diverse range of insurance products and services across a number of specialist market sectors. Its business partners range from high street brokers to the UK’s leading retail banks and financial institutions. ‘The technical expertise of Sterling Insurance in household, commercial, protection and life insurance will complement Covéa Insurance’s existing strengths. The outstanding quality of service the group delivers to its clients and customers is another valuable asset in making this acquisition,’ explained Thierry Derez, Chairman of Covéa. I www.coveainsurance.co.uk

||| Bouygues UK has been awarded a new design and build contract by developers Morgan Capital Partners LLP. The award comes hot on the heels of the handover of another major office refurbishment in Queen Victoria Street, which is close to the new site at 45 Cannon Street, in the heart of London’s financial district. This project will see the demolition of the existing offices and the construction of a new eight-floor office building including a Category A fit-out and the addition of 13,000sqm of retail space on the ground floor. As part of the works, the entrance to Mansion House underground station will also be refurbished as

it sits on the site. Bouygues UK is aiming for a BREEAM Excellent rating on the project. Bouygues UK will begin construction work in the New Year, once demolition work is completed. The project is due for completion in 2016.

Arnaud Bekaert, Bouygues UK’s MD for Construction London and South East said: ‘We have a solid reputation for taking existing office sites and redeveloping them to maximise the commercial space available

for clients. This in turn is helping businesses to meet the continued and growing demand for more offices in the capital.’ I www.bouygues-uk.com

Bouygues UK lands £27m office deal

||| JCDecaux has signed the contract to be the media partner for the City of Edinburgh. The 10-year contract (with an option to extend for five years) was awarded by the City of Edinburgh Council, following a competitive tender. The

contract covers the design, installation and maintenance of 436 advertising bus shelters and management of all non-advertising bus shelters in the city, including the first network of digital screens in the city centre. JCDecaux will also provide interactive ‘LiveTouch’ screens in the main hub of Princes Street providing tourist, local and council information.

In addition, the company will provide 60 large-format billboards including the first large-format digital screen and consult with the city for the provision of wayfinding signage and a city-wide bicycle-hire scheme. Working with the City of Edinburgh, JCDecaux will market sponsorship and experiential advertising for key city events including the Edinburgh Festival and Edinburgh Festival Fringe. I www.jcdecaux.co.uk

JC Decaux wins Edinburgh contract

Artist’s impression of the Cannon Street site

CONSTRUCTING A SUSTAINABLE FUTURE

At VINCI Construction Grands Projets, we engineer solutions that are not only financially competitive, but also work in a way that is sustainable for the planet.

Sustainability goes beyond the care we take in protecting our people and our environment. It’s also a commitment to offer new solutions to our clients and stakeholders.

We nurture Innovation.

Every two years, the VINCI Innovation Awards get increased entries, reaching 2,075 in 2013. These awards reflect the core values of the group and we are proud at VINCI Construction Grands Projets that the Lee Tunnel project (Thames Water) was awarded the Grand Prize in the UK & Ireland.

To learn more please visit www.vinci-construction-projects.com/british-isles

© p

hoto

cre

dits

: VIN

CI, C

ross

rail,

BBM

V an

d M

VB p

hoto

libr

arie

s

Discover more...

AD_VINCI_2014_v11.indd 2 22/11/2013 15:16

www.delahayemoving.com | Tel: +44 208 687 0400

DEL000_ad2_197.5x46.5mm.indd 1 20/10/2014 13:42


n e w s

||| Two new Decathlon stores have recently opened, one in Harlow and the other in Croydon, bringing to 18 the number of stores the sports retailer has opened in key areas around the UK in an expansion that is very positive for the brand. Offering over 70 sports under one roof, Decathlon caters for sports enthusiasts or families getting into sport, with the aim of making sport accessible to all. I www.decathlon.co.uk

Decathlon opens more UK stores

Total and Vopak to build new bitumen facility near London

||| Total UK and Vopak Terminal London Ltd have signed a long-term agreement to construct new bitumen import and delivery facilities near London. Total Group is the leading refiner and marketer of bitumen in Europe. The bitumen will be supplied by sea via the Total Group’s extensive network of bitumen production facilities.

The partnership with Royal Vopak, the world’s largest independent tank storage services provider, will complement Total’s existing bitumen assets in the UK with additional storage capacity and the option for further expansion. Planned to open in Q2 2016, the facility will be built and operated by Vopak Terminal

London, taking advantage of the existing facilities at its major oil products terminal in Grays on the Thames.

Richard Laden, Total UK Managing Director, said ‘the decision to develop a new supply point comes at an important time when the UK government has announced plans for the biggest investment in road infrastructure since the 1970s. The market is already becoming reliant on imports due to the closure of several bitumen facilities over the last five years so this agreement demonstrates Total’s commitment to supply chain security and the consolidation of a sustainable business in the UK market’. I www.total.com

www.delahayemoving.com | Tel: +44 208 687 0400

DEL000_ad2_197.5x46.5mm.indd 1 20/10/2014 13:42

Citroën wins Gold for being green||| Citroën has been awarded a Gold trophy at the prestigious International Green Apple Awards, held at the Houses of Parliament in London. The award recognises the brand’s investment in minimising the environmental impact of its cars, LCV’s and its manufacturing operations.

Citroën impressed the organisers with its green philosophy, which has seen the organisation focus on reducing the environmental impact of production, through customer operation, to end of life disposal and recycling. Citroën’s green philosophy extends from initial design, manufacturing in energy efficient production facilities, to delivering

emission reductions and improved fuel efficiency throughout the vehicle’s operational life, with a 95% end of life recyclability.

Roger Wolens, Managing Director of The Green Organisation, remarked; ‘The standard of entries for these awards has never been higher, so Citroën’s achievement is that much greater. The manufacturer’s holistic approach to green

manufacturing is evident in the range of green initiatives it has undertaken. Citroën’s continuous improvement process has achieved significant reductions in energy usage, both in the manufacturing process and on the road.’ I www.citroen.co.uk

Jeremy Smith, Head of Commercial Vehicles & Business Sector Ops, collects the award

Proud to be the UK’s largestproducer of low carbon electricity

Feel better energy

To find out more about our low carbon nuclear generation visit www.edfenergy.com/energyfuture. Character under licence from BeatBots LLC. EDF Energy plc, registered number 2366852, registered office: 40 Grosvenor Place, London, SW1X 7EN. Incorporated in England & Wales.

info - january / february - 1�

n e w s

||| European business law firm Miller Rosenfalck LLP has announced, in conjunction with

leading German business law firms Factum and Esch & Kramer, the launch of ebl legal services as a European Economic Interest Group (EEIG). The EEIG will provide clients with integrated European legal and commercial advice particularly focused on complex cross border commercial transactions, and the three firms will rebrand prefixing their existing names with ebl as part of their membership of the Group. With offices in London, Frankfurt, Dusseldorf and Wuppertal, ebl legal services is ideally positioned to advise clients setting up and

investing throughout mainland Europe. Each firm has significant expertise in the inward investment market and offers the multi- jurisdictional experience of the Group’s European business heritage. Commenting on the launch of ebl legal services, ebl miller rosenfalck managing partner Emmanuelle Ries said: ‘Our aim is to provide a one stop shop offering high level, integrated, legal and business services to corporates operating across Europe. Our clients access a single platform that provides sophisticated, multilingual cross border advice supported by local knowledge and insight into the fast moving European business environment.’ I www.millerrosenfalck.com

Miller Rosenfalck rebrands with German law firms as an EEIG

||| Atos, a leader in digital services, is supporting EDF Energy’s innovative drive to develop new products by hosting a one-day ‘hackathon’. Within Atos’ Business Technology Innovation Centre, the energy company teamed up with engineers, data scientists and digital consultants from both Atos and Samsung to assess energy efficiency and smart homes.

Various real business-case briefs were set and the mixed company teams had just six hours to deliver mock-ups, wireframes and prototypes on topics including energy efficiency, smart thermostats and in-home displays. The ideas ranged from ‘Energy Hero’, a game-style app where the user progresses through levels by making real energy efficiency improvements to ‘Neighbourhood Watts’, an app created to encourage consumers to make energy donations to others in their community based on energy savings made in their own home. Rob Price, head of digital at Atos said: ‘For me, the value of the hackathon is in the fusion of business

concepts and consumer services, backed by real data. Bringing together both the concept and analytics in this sort of environment breeds ideas that are both practical and innovative.’ I uk.atos.net

Atos hosts efficiency ‘hackathon’ for EDF Energy

Finding innovative ways to develop new products at the EDF Energy Hackathon

Alstom’s tidal turbines generate over 1GWh to the Scottish grid||| As part of their testing programmes at the European Marine Energy Centre (EMEC) in Orkney, Scotland, Alstom’s tidal devices have now generated over 1GWh of electricity, in actual operating conditions, to the Scottish grid. Alstom’s 1MW tidal turbine, deployed in 2013 as part of the Reliable Data Acquisition Platform project, at EMEC’s tidal test site, has demonstrated its endurance, autonomous running and performance, generating at its full nominal power since July 2013. Previously, the 500kW tidal stream turbine had already generated electricity into the national grid after its connection in September 2010 at the Fall of Warness. Together, both tidal turbines have therefore produced over 1GWh of power to feed the local grid. I www.alstom.com

1MW under test at EMEC in Orkney

© A

lsto

m

Protecting your people is our priority International SOS is the world’s leading

medical and travel security risk services

company, operating from more than 700

locations in 89 countries. We offer you

preventative programmes with in-country

expertise and emergency assistance during

critical illness, accident or civil unrest.

We are passionate about helping you put ‘Duty of Care’

into practice. With us, multinational corporate clients,

governments and NGOs can mitigate risks for their

people working remotely or overseas.

46 clinicsAccess to a vast network of accredited

clinics practising international standards of

medicine

- even in developing countries.

79,000 accredited providersA network of accredited healthcare, aviation

and security providers, ensuring we provide

you with high standards of care in the air and

on the ground.

27 Assistance CentresWith local expertise available globally,

you can speak to us in any language,

anytime, 24/7.

5,200 medical professionalsImmediate access to experts with

extensive experience in all fi elds of

medicine coupled with a thorough

knowledge of the local environment &

healthcare system.

A global infrastructure you can depend on:

ISOS ad(1212).indd 1 15/12/2014 11:09


n e w s

easyJet backs Unicef appeal to help children affected by Ebola

||| easyJet has announced the launch of an emergency appeal onboard its aircraft with Unicef, the world’s leading children’s organisation. The onboard collections will support Unicef’s work, which includes helping the estimated 7,000 children and families orphaned by Ebola in West Africa. The donations made on UK aircraft will be matched pound for pound by the UK Government. The emergency appeal is in addition to easyJet and Unicef’s wider campaign, the ‘Change for Good’ partnership, which is working towards supporting the eradication

of Polio. The onboard donations from passengers will be collected on easyJet’s 6500 flights per week for two weeks, which span across the airline’s pan-European network of over 700 routes across more than 32 countries.

All the money raised through passenger donations will help Unicef to continue to deliver life-saving supplies including hospital beds, life-saving food, gloves, and soap.

There are currently over 15,000 people infected with the disease, with over 5,400 having already died from Ebola. I www.easyjet.com

||| The renovation of the Art Deco reading room has been completed thanks to the support of generous private donors and of the Trust ‘Friends of the French Institute’. The next renovation project is the Children’s library. Schools and families will soon benefit from a modernised and enlarged library, with digital equipment and contents as well as new collections and furniture. The project is of special importance given that it is the only French children’s library outside France. Renovation work will begin in the Spring, provided that the necessary funds have been raised. The Institut is now £100,000 away from achieving its goal and is asking for donations towards the renovation works. I www.institut-francais.org.uk/la-mediatheque/renovation

Institut français children’s library renovation plans

||| The International SOS Group, a leader in medical and security risk management, has unveiled a refreshed brand to mark 30 years of helping clients across the world. The new brand will provide the business with a new, contemporary look for its next period of growth and innovation.Implementation of the fresh look has started and will be rolled-out in 89 countries over the coming months. The International SOS tagline ‘Worldwide Reach. Human Touch’

remains at the heart of the new brand proposition. Both the logo and the tagline were based on internal and external research and have been extensively tested with clients, end-users and key stakeholders.International SOS Co-Founder, Chairman & CEO Arnaud Vaissié said: ‘We have come a long way since we first started helping international companies and their employees 30 years ago in Asia… I am excited to be celebrating International SOS’ 30 years of service and would like to sincerely thank our employees and clients who continuously put their trust in us.’ I www.internationalsos.com

International SOS refreshes branding to mark 30th anniversary


n e w s

Schools

HEC Paris designs the future of luxury and tops FT ranking

||| HEC Paris, one of France’s leading business schools, is now offering a complete portfolio of education programmes in the luxury sector. Its world-class faculty combines a rare blend of high academic expertise with significant industry experience. At each educational level – Grande Ecole, Masters, MBA, EMBA – students are able to take luxury modules and electives, preparing them for what is a highly competitive and developed industry.

Using its extensive ties with luxury brands and businesses, HEC Paris also offers worldwide custom-

designed programmes. As an example, recently, 26 senior managers from Kering and their flagship brands, including Gucci, Yves Saint Laurent and Alexander McQueen, attended a four-day programme focusing on ‘managing profitable growth in luxury business’ in China.

In response to the growing demand for expertise in the luxury sector, HEC Paris is also developing an advanced management programme in Fashion & Luxury which focuses on competitiveness, innovative capabilities and brand reputation. The programme brings together the joint expertise of HEC Paris, the Institut Français de la Mode (IFM) and Tsinghua University, and includes components in Beijing, Shanghai, Shenzhen and Paris.

HEC Paris has also been recognised recently in the Financial Times European Business School ranking, where it topped the 2014 executive MBA ranking, as part of the trium programme with NYU Stern and the London School of Economics and came second overall out of 81 European schools. I www.hec.edu

Hult recognised with AMBA Innovation Award and Bloomberg ranking

||| Hult International Business School has won the Association of MBAs’ MBA Innovation Award for their redesigned One-Year MBA curriculum. The new curriculum, which is the world’s first to be designed in collaboration with global business leaders and employers, fully integrates managerial soft skills development through training and feedback with classroom teaching, simulations, and live case challenges.

In addition, Hult has, for the first time, featured in Bloomberg Businessweek’s full-time MBA rankings, placed at #21 in the international category. As part

of this ranking, Hult featured in the top 10 among international schools for employer satisfaction, adding momentum to the school’s mission to provide the most global and employer-relevant business education. Iwww.hult.edu

HEC Paris-1998-117135-Biais Jean Marc

NEOMA Business School recruits international expert in leadership

||| NEOMA Business School has recruited high-level researcher Michelle Bligh, considered one of the leading experts on issues related to leadership. For many years, she has been publishing high-level research on this subject in recognised international academic journals. The school is fulfilling ambitious targets for business research with the aim of getting its studies published in the best academic journals. Michelle Bligh also possesses a true knowledge of business – fundamental to the school, which is committed to producing rigorous research. Her innovative approach to teaching will be introduced to the school’s programmes and will participate in the construction of its future centre of excellence in leadership. I www.neoma-bs.com

Groupe INSEEC London launches innovation programme and incubator

||| Groupe INSEEC has launched a Business Innovation and Entrepreneurship (BIE) Master’s programme, which is to be followed by an incubator for alumni. Launched in September 2014, the BIE programme provides general management courses together with highly specialised modules in the areas of Innovation, Strategy and Entrepreneurship. Mentored by serial entrepreneur and business angel, Mike Abeyta, students learn to design, build and oversee development projects. From 2015, alumni start-ups will be incubated and

accelerated on campus. According to Groupe INSEEC London Director, Ron Morris, there is a growing number of employment opportunities in the start-up ecosystem. ‘Our students are increasingly sought after by early- and mid-stage, high-growth companies,’ he says. ‘This is a testament to the valuable skill sets gained from our programmes, largely based upon experiential learning and delivered by insightful practitioners with impressive industry experience.’ I www.groupeinseec.com

Sciences Po’s Green Economy initiatives ahead of Paris Climate Conference

||| As the world comes to a critical point in reaching a climate change agreement at the upcoming 2015 International Climate Conference in Paris, Sciences Po and Tsinghua University are cooperating to find new ways of addressing climate change and initiating an energy revolution in both China and

France. Sciences Po President, Frédéric Mion was in Beijing at the end of last year to host a joint-conference on Green Economy and Energy Transition with Tsinghua Vice President, Xie Weihe and sign a cooperation agreement for new initiatives in the field of Green Economy.

These efforts are part of the ‘Paris Climat 2015: Make It Work’ programme, Sciences Po’s year-long initiative aimed at mobilising its entire student and scientific community as well as universities all over the world for the 2015 international climate negotiations. I www.sciencespo.fr

LONDON

PARIS

BERLIN

MADRID

TORINO

EXECUTIVE MASTER IN MARKETING & CREATIVITY

Let your creativity take your career to new heights!

The Executive Master in Marketing & Creativity is a 16-month, part-time programme designed to fi t into busy work schedules.

Apply now for 2015Ensure your place in our September intake at escpeurope.eu/emmk

ScholarshipsAvailable to female executives, and employees from charities and SMEs. Apply now!

Contact: Patrick SalesTel: +44(0)20 7443 8843Email: [email protected]

The World’s First Business School (est. 1819)

www.escpeurope.eu ESCP Europe is among the 1% of business schools worldwide to be triple-accredited

PARIS | LONDON | BERLIN | MADRID | TORINO


s p o t l i g h t o ns m e s & s ta r t- u p s

AsiaInspection’s latest barometer highlights ethical violations

||| AsiaInspection (AI), a leading quality control and compliance service provider, has published their latest quarterly barometer which casts light on ethical violations in global supply chains. Ethical audits conducted by AI in China have had a 26.4% critical failure rate so far this year, an increase from 22.9% in 2013.

Even scarier, AI data for January to July 2014 showed child labour was still found in 5.5% of ethical audits in Asia.

‘It’s completely unacceptable that in 2014 children continue to be exploited for profit,’ said CEO Sébastien Breteau. ‘It’s time for corporations to get serious about

tackling the problem at the source and for governments to move forward on legislation’.

In 2014, the US Department of Labour reported that there are 168 million child labourers worldwide and 21 million victims of forced labour. Iwww.asiainspection.com

Credit Limits International Ltd approved as Growth Voucher Advisor||| Credit Limits International Ltd, a company which offers advice to small businesses on areas including cash flow and credit health checks is now a Growth Voucher Advisor. The Growth Voucher scheme, a government programme, involves businesses being randomly chosen to receive a voucher of up to £2,000 to help finance business advice such as that offered by Credit Limits International. I www.creditlimitsinternational.com

Briefs

CWF Group to launch new own brand||| Following the success of its first own labels, Billieblush and Billybandit, CWF is launching another new brand, Carrément Beau, in Autumn/Winter 2015. Designed for boys and girls up to 12 years, the brand is set to stir up the children’s wear market. Its name, combining ‘carrément’ – a fun word from children’s vocabulary – with ‘beau’, translates as ‘extremely beautiful’ and underlines its French origin, as well as giving a nod to the carré (check) pattern. Carrément Beau is nostalgic with a playful twist, reimagining and updating classic wardrobe staples and statement pieces with mischievous prints and quirky details.

The Carrément Beau collection will be distributed across the department stores, leading e-stores and independent boutiques. It will be available both in Europe and internationally (including the Middle East and Asia). I www.groupecwf.com

New identity for Expat Assure||| Expat Assure, a multilingual expatriate insurance broker based in the City of London, has kicked off the New

Year with the launch of a new website and logo. Expat Assure is the first specialist in the UK offering French international health insurance solutions, alongside solutions from other global providers. By the summer they will also offer short-term health insurance (aimed at young people) as well as income protection and life insurance. ‘Our aim is to offer a wide range of insurance solutions for people in the UK and abroad’, CEO Raymond Leprêtre explained. I www.expatassure.com

Paris-based doctors at The Medical Chambers Kensington in London

||| The Medical Chambers Kensington has recently welcomed the first of several Paris-based French doctors accredited by the internationally renowned American Hospital of Paris. French and international patients can now consult Paris-based doctors in London and have procedures and operations carried out at the American Hospital of Paris. It is not generally known that Paris medical prices are very competitive and almost all treatment costs compare favourably with the prices charged by similar quality hospitals in London. The Medical Chambers Kensington is now offering patients a single package price, including the option of a concierge service. I www.themedicalchambers.com



Ipedis develops mobile app to aid tech accessibility||| Ipedis, experts in web accessibility solutions for disabled users, has been developing a new mobile application to help companies communicate using technology which everyone can access. The aim of the R&D was to find ways of developing accessible solutions from scratch and create ready-made accessible communication tools.

This initial version of the app focuses on investor relations communication. It provides real-time information to shareholders and investors and allows companies to measure the needs and behaviours of their shareholders. Features also include live stock

prices, financial results, press releases and video interviews.

Recently, the French magazine Informations Entreprise included a feature on accessibility around the web and approached Ipedis for help, given the company’s accessibility expertise. In an interview with the magazine, co-founder and associate director of Ipedis, Moise Akbaraly discussed topics including the level of accessibility on the web today, what can be done to improve it, what needs to be improved and how to do it. I www.ipedis.com

Kirk Rice LLP provides expertise in Paris

||| Delia Rice recently represented Kirk Rice LLP at the Red Carpet Event held in Paris. Hosted by the UFE Corporate GB, the event was aimed at French entrepreneurs who are considering doing business in the UK.

Delia, a fluent French speaker and Partner at Kirk

Rice, was invited to attend as one of the professional UK experts. During the roundtable workshops and one-to-one meetings, Delia explained how the ways of doing business in the UK differ from those in France, covering tax, employment issues and UK compliance regulations. I www.kirkrice.co.uk

Launchworks contributes to government Scale Up UK report

||| Launchworks, a strategy advisory company which focuses on high growth business models has recently contributed to the Scale Up report. The report, commissioned by Chancellor George Osborne, states that £70bn to £225bn (and 45,000 to 150,000 jobs) could be added to the economy between now and 2034 if its recommendations for scaling up are implemented. Benoit Reillier, managing director of Launchworks commented: ‘It was a privilege to be a member of the Steering Committee of the Scale Up Report and to work with leading entrepreneur Sherry Coutu, who led this important initiative. I have no doubt that this report will contribute to shape positively the entrepreneurship ecosystem in the UK, and beyond, for years to come.’ The Scale-Up Report is available online at www.scaleupreport.org. I www.launchworksventures.com

Ligne Roset’s PRADO sofa a hit at London Design Festival||| At this year’s London Design Festival, Ligne Roset showcased their new seating system, PRADO designed by Christian Werner. Instead of focusing just on aesthetics and comfort, the designer studied people and their lifestyle in order to create a fully integrated sofa. PRADO was acknowledged by the UK and international industry as an innovative and functional creation for public and private spaces.

The PRADO sofa has also been recognised by the German Design Council, which awards annual prizes to top quality products, design projects and upcoming talents. This year, Ligne Roset received the prestigious Gold award for the PRADO sofa in the ‘Home and Decoration’ category. I www.ligne-roset.co.uk



Profile

It all started in Germany, where Michaela, the daughter of Czech emigrants, grew up. From the age of five,

Michaela would be sent by her mother, a busy General Practitioner, to scout out suitable clothes for her and have them put aside for trying on in the hour before the shops closed on Saturday. ‘I learnt not to pick out clothes that I liked, but rather pieces that would suit my mother’s size, shape, personality and lifestyle,’ Michaela says. As she developed her visual eye, Michaela’s expertise was sought after by her mother’s friends and patients, earning the young stylist a bit of pocket money.

After studying law, Michaela’s career went in a different direction, taking her first to Prague where as Managing Director of Cosmopolitan magazine she gained a good understanding of how to adapt content to the local market, then to Milan where, by her own admission, she became obsessed with Italian women’s dressing style and their knack of putting clothes together in a unique and seemingly effortless way, and finally to London, where she worked in luxury advertising. ‘When I came to London I was very frustrated that I could not find a good desk-to-dinner dress for a good price,’ she recalls, and that got her thinking about how she could make a

Michaela Jedinak

business out of her passion. It was her husband, himself an Internet entrepreneur, who gave her the push she needed to make the transition from the corporate world. ‘Entrepreneurs see the world differently,’ she observes, ‘and he taught me that you cannot wait for the perfect moment, but that you have to start somewhere and work it out through elimination.’

Michaela made a start as a stylist and began to define her mission of empowering women through dressing to body shape, signature style and lifestyle needs. That

led to the creation of her online stylist website – Joy of Clothes – with its interactive tool that enables women to try out clothes that suit their particular body shape on a personalised avatar. All the while, Michaela nurtured her concept of creating a line of dresses to fit the seven most common body shapes.

‘I knew what I wanted but did not know how to get from A to B,’ she admits. But urged on by her husband again, Michaela took the plunge in 2013, found a factory in London to make her designs, sourced the highest quality Woolmark-branded fabric from Italy and launched her first collection of seven red dresses, targeted at senior business women, which she saw as a gap in the market. For Michaela, the important

Fashion designer Michaela Jedinak has taken a circuitous and somewhat unconventional route to launching her own label – Michaela Jedinak London – a niche line of power dresses for senior business women

. . .the important elements were to have the best quality materials, the highest level of craftsmanship and “Made in Britain” credentials



elements were to have the best quality materials, the highest level of craftsmanship and ‘Made in Britain’ credentials. The styles are classic with a modern touch, combining luxury with comfort. And the choice of red was deliberate too – an empowering, confident colour that can be worn night and day as well as all year round.

Now working on her fifth collection, Michaela is able to reflect on the accomplishments and learning curves of the past 18 months. She has garnered a loyal and growing clientele, which includes a number of high profile customers such as Arianna Huffington, the BBC’s Fiona Bruce and Nathalie Seiler-Hayez, General Manager of the Connaught, and is building her brand, thanks in part to some excellent reviews and press coverage. ‘Little red dress is a cut above the rest,’ is how The Times described her debut collection, while Christina Binkley of The Wall Street Journal identified Michaela Jedinak London as one of the upcoming labels for women in government and corporate leadership positions who were underserved by the fashion industry.

On her business development, Michaela is both cautious and ambitious. ‘We are self funded,’ she says, ‘so I am taking things one step at a time, and building the foundation and the brand before we even think about seeking funding for expansion.’ But ultimately, by her own admission, she has global domination in mind – ‘I want every business woman in the world to have at least one power dress as a staple,’ she declares. Although initially her clients were London based, Michaela has garned a loyal Irish following, and also has customers in Germany, Italy, the US and even Australia.

Michaela does not keep stock as every dress is made to order within seven working days, and she has limited the palette because colours are so seasonal

and the fabric is expensive. However, for established customers, Michaela offers customisation options – sleeve and hemline length, colour blocking, leather and lace panels, trims, different lining and a range of colours beyond her staple red, electric blue, black and off white, which were chosen because they flatter every age group and skin tone.

As for the evolution of her label, Michaela is taking a wait-and-see approach, but other lines and limited edition runs could be on the cards. ‘There are various possibilities, it just depends on how we grow and where we grow,’ she says. However, she is determined not to go

down the wholesale route because of affordability. Dresses from her collections cost £495, increasing with customisation options, but retail outlet mark-ups would push the prices up to £2,000 apiece. She also intends to keep production in London, so she can monitor the quality

closely, pick up the dresses herself and deal with any problems in person.

Michaela’s journey so far has not been plain sailing. Starting her own business has brought sacrifices, both personal and financial, and Michaela admits she has had to learn to live with the fear and panic that going it alone brings on a daily basis, but she confesses she has now completely ‘mutated’ into an entrepreneur who ‘flourishes on hope’. She is well read on the subject, taking inspiration in particular from Coco Chanel, whom she liberally quotes, and other entrepreneurs. ‘I have changed my attitude towards failure,’ she says. ‘As Henry Ford once said, “Failure is only the opportunity to begin again, this time more intelligently”. No matter what, you always have to get up again.’ But considering she only launched her label in June 2013, Michaela Jedinak has not only handled her knock-backs well but also come a long way in great style. www.michaelajedinak.com I KF

a loyal and growing clientele. . . includes high profi le customers such as A rianne Huffington and the BBC’s Fiona Bruce

ici

londresmagazine

n° 1

88 –

10-

12 E

xhib

ition

Roa

d, S

outh

Ken

sing

ton,

Lon

don

SW7

2HF,

020

758

1 15

88 –

© D

avid

Kos

kas

Novembre 2014Gratuit

Novembre 2014Gratuit

nouvelle formule

Magazine

Le defi du jeup.8

Interview

Le defi du jeuLe defi du jeu

Le magazine des Français à Londres

Plus de 400 points de distribution à Londres

www.ici-londres.com10-12 Exhibition Road, South Kensington, London SW7 2HF

020 7581 1588


movingdesign has moved from producing pure content to integrating digital with architecture. What brought about this shift? Since its creation in 2007, our digital design studio has only had one goal – to enhance the connection between our clients’ digital messages and their target audience. In this sense, we have chosen the ‘less is more’ path, surprising people to get their attention through fascinating digital content that is less about wording and more about emotions.

Recently, we have discovered that however beautiful the content may be, if it is displayed using conventional screen technology, most people do not look at the brand message. Public screens are so prevalent that people often ignore what is on display. Therefore, we are now working with architectural digital technology that offers the perfect designer box to display our content and which, by breaking the convention of the rectangle screen frame, provides viewers with a completly new visual experience that in the end, enhances their connection with the brand message.

What sort of technologies do you use to achieve this?If you want to integrate digital with architecture and offer a new visual experience, you have to look for the most innovative digital technology and especially the most invisible. Architecture is all about lines and a rectangular screen will never offer a seamless design or a surprise to viewers. We currently use three different state-of-the-art technologies, which have their respective advantages from a design point of view:• Digital mirrors: offer fascinating floating 3D content and a seamless integration in the space• LED panels: follow architectural lines of a space for a complete immersion with the content• Video projections: invisible and perfect for extending interior architecture

Who are the people behind this design technology? We have a team of audio-visual designers able to source and implement the latest designer digital technology, and another team of 3D designers able to create the digital content that will best reflect our client’s digital message. These two teams work hand in hand to ensure the combination of technology and digital content is perfectly seamless and designed.

Which of your recent projects have created new visual experiences?Two projects that come to mind are Les 4 Temps shopping centre in Paris (pictured above) and the Cartier exhibition in Harrods. The Les 4 Temps project, called ‘Digital Dream’ opened in September 2013, but I want to mention it as we have just won the English DailyDooh award for the Best Overall Retail Experience 2014. Plus ‘Digital Dream’ completely fits with our new strategy as we provided consulting for both technology and digital content.

For Cartier, we were very proud to collaborate on their ‘The Man By Cartier’ watch exhibition at Harrods last November. They were looking for an innovative digital installation to show off their new watches. In the VIP area of the exhibition, we integrated a digital mirror where visitors could observe fascinating 3D versions of luxury Cartier watches. Guaranteed to leave you with a lasting impression!

What is movingdesign moving on to next?Architects have for too long neglected the role of digital as a new material, and as a result brands are turning to us to design entire spaces such as reception areas in HQs or retail boutiques. We do not have architects in our team yet but in the long term, we would like to incorporate this expertise into movingdesign and become the first digital and architecture practice. I Interview by KF

Philippe Lepron, founder/CEO of movingdesign, tells INFO about the digital design studio’s unique and innovative projects and future aspirations

Interview

movingdesign: marrying digital with architecture


C an craftsmanship be defined, how has it evolved over time, what is its relationship with luxury and does it have a future in our increasingly technological world? These were the questions we set out to answer in this focus, and the

answers were fascinating and sometimes surprising. First of all, the definition of craftsmanship is not easy to pin down. To some, it may conjure images of artisans bent

over detailed handwork, and this is sometimes still the case, but craftsmen invariably use tools, and being a craftsman does not necessarily mean only using old-fashioned tools. Hermès, renowned for its painstaking craftsmanship, uses computers to perfect the hand drawings of its scarf makers, and Lalique’s master crystal sculptor engineers his own high-precision tools to make his creations. For Faye Toogood, the British artist/designer, craftsmanship is the bringing together of man and machine, old techniques and new technology, and in that sense, craftsmanship is constantly evolving, and it is the skill in wielding the tool and the creativity behind it that is important. But there is another side to it. Before the advent of machines and the industrial age, the master craftsmen were those with the best skills whose work came close to perfection. Now with technology, perfection is easily achieved and copied, so the true value of craftsmanship, particularly in the context of luxury, has shifted to the uniqueness of products, materials, provenance and above all, evidence of the human hand involved in its making.

The renewed interest in the making of things and the artisans involved has been harnessed by luxury brands. Once hidden from public view in their ateliers, craftsmen and women are now being brought out for exhibitions and advertising, to reinforce certain brands’ artisanal credentials, differentiating them from the more affordable, mass-produced luxury products that viable business models require. To a large extent, the luxury industry can be credited for preserving and nurturing rare craft skills, which are no longer passed on from father to son. Some, such as Cartier, have set up institutes to develop and maintain specific skills such as watch and jewellery making. Others, like Longchamp, take on apprentices. Christian Liaigre is effectively a patron to a range of independent craftsmen who work exclusively for the designer, and are encouraged to innovate and adapt their skills to new applications. But craftsmanship is not entirely dependent on the mainstream luxury sector for survival. There is a new breed of independent artisans who work for themselves, finding their own clients, notably those looking for the unique, exclusive and unbranded. In some ways it is a return to the earliest relationship between luxury and craftsmanship, but it may also be the future of craftsmanship. I KF

focus


fo c u s

The relationship between luxury & craftsmanship

Craftsmanship has long been part of the luxury mantra – and never more so than now. There is

something of a symbolic, almost talisman-like quality attached to it. It is de rigueur for brands to extol their craft virtues, with beautifully shot print ads depicting craftsmen at work and customers increasingly getting the chance to meet the makers at special open days or travelling exhibitions. But does this mean craftsmanship is alive and well within luxury? Or is it a case of marketing style over making substance? In a world where affordable 3D printers are reinventing how we think about bespoke, does how something is made really matter anymore? When ever-more intelligent machines are able to precision-engineer something to a higher standard than the human hand, is the whole notion of craftsmanship outdated and irrelevant?

Maybe, despite the gloss, craft skills actually now come a low third in the hierarchy of luxury product development ‘pillars’, well after design and the quality of materials? Or is luxury still craft’s most important patron and are we seeing a renaissance of the luxury sector as the ultimate repository and protector of rare craft skills?

One thing is for sure. The luxury success story is mainly one of the post-war rise-and-rise of the luxury brand, not the craftsman. Indeed the same period has seen a significant decline in the numbers of specialist makers, especially in traditional skills.

To understand this, it is worth looking back 10 years. At the time, I was increasingly struck by the contrast between the ever-increasing sales of upmarket products of all descriptions and the diminishing role of craftsmanship in making them. It wasn’t just less emphasis on how or where luxury goods were made, but also on what they were made of. By that time, a distinct shift in the luxury sector had been under way since the late 1950s, in which a small group of highly sophisticated, often old-money, customers had been replaced by large numbers of baby boomers with fast credit on their plastic. Traditional family-owned enterprises had evolved into businesses whose brands

did the reputational heavy lifting; where the shop as a retail temple replaced the atelier. These were remarkable and exciting times but, I must confess, as someone who has always been passionate about beautifully made things, I was sad to see real standards of craftsmanship slipping and hard-to-replace skills disappearing.

I also worried that as an industry we were storing up trouble. In a white paper I wrote at the time called

‘The Discernment Curve’, I suggested that, while we were going through a period of huge growth, in due course those new to luxury would become

sophisticated, knowledgeable and increasingly more demanding. This rise in discernment would be what determined the winners and losers in the future, and, indeed, the success or failure of our industry as a whole. In other words, interest in logos would soon be replaced by searching questions about the quality of the hides or how many stitches per inch went into the making of our handbags. It would be back-to-basics luxury.

So what actually happened?The sudden and unexpected nature of the credit crisis did shock the industry to its core, as for a short while it looked as if the foundations had been knocked away. This led to some deep thinking about the future and especially toward a re-examination of the importance of the tangible values of the product itself.

Guy Salter, Founder and Chairman of Walpole British Luxury’s Crafted programme, looks at how the relationship between luxury and craftsmanship has evolved and is evolving

Only a relatively small number of mainstream luxury companies still have outstanding craft credentials


fo c u s

Indeed, what was lucky was that the logo-mania hadn’t done too much damage to either the mystique of luxury brands or the reputation they had for superior materials and craftsmanship. This meant they were still seen as delivering better value versus mid-market or fast fashion brands, as both stylistically and in real terms the products would last longer. Hence the marketing focus on reasserting these ‘pillars’ and providing reassurance. Indeed the brands which had deviated least from a focus on product quality and craftsmanship, have led the way in terms of growth in both sales and margins, even in markets like China.

So the renewed focus on craftsmanship is real. But does it mean a full-blown renaissance in which luxury has put ‘making’ back at the heart of what it does? I would argue that it doesn’t. This is primarily because the luxury business model just doesn’t allow for that anymore. But it is also because only a relatively small number of mainstream luxury companies still have outstanding craft credentials and have built their business models, pricing, employment policies and marketing around the ‘making’ philosophy.

Indeed some of the best practice in terms of product quality is now seen by new smaller luxury brands that eschew expansion and ubiquity in order to be niche and specialised. In doing so, these younger brands align themselves alongside the big players in the luxury tradition of craftmanship.

However, the reality for most is that the economics of the industry mean that much of the really exceptional making, even for brands with very high standards, is applied to small selections of exclusive or limited editions. The vast majority of luxury products are actually ‘in the middle’. This doesn’t mean it is poor quality and is certainly very much better than the mid-market but it can’t really be said to represent the highest levels of craftsmanship.

While there has genuinely been a real and growing interest in craft, much of this is actually happening outside the luxury industry, with an especially confident and discerning group of consumers becoming patrons in their own right and commissioning pieces from small workshops or designer-makers.

And there is another interesting trend running through all this: the increased focus on where a product is manufactured, not just how it was made. Driven especially by Asian consumers who care about this much more than Western shoppers, European provenance is becoming a short cut to boost a brand’s quality story. This results in convoluted attempts to keep the wrong country of origin off the label but also, more edifyingly, some European brands are repatriating manufacturing, even if this is rarely across the whole product range

and tends to be concentrated in the top end collections – another example of the inevitable marketing- orientated decision making that drives change in our sector.

Indeed the importance of the luxury marketing model is now so well established and effective that the most pressing requirement for brands is to go on telling their story in a way that engages consumers in an ever more complex omnichannel universe. This is as true for the companies that do still have outstanding craftsmen as those that don’t. In other words, it is no longer enough – however good the product – to rely on that alone. Even independent makers have to work hard to get attention; sitting at the bench all day is not enough.

This brings us to what I believe is the luxury sector’s main contribution to craft nowadays, what I call ‘commercial creativity’, or to take an older term, the luxury industry has become the outstanding practitioner of the ‘applied arts’. This has been invaluable to craft, not just because the vibrancy of the business model has employed many makers and kept alive rare skills but also because the Discernment Curve produces ever-more sophisticated consumers, some of whom go on to become serious patrons, not just of craftsmen and women but artists, architects and other creative disciplines. Imagine how much less fun, inspiring and creative our consumer-driven world would be if the mass brands were the only game in town, or if luxury had remained in small shops, catering just to the very few?


fo c u s

The marketing of craftsmanship

Craftsmanship (i.e. craft skills, workmanship, artisanship) has always been at the core of the

luxury product. Ironically, the term ‘luxury product’ is a neologism of the 20th century’s marketing industry. Whereas beautiful things of all kinds, made by skilled artisans, have always been around for those who could afford them, they were not understood, explicitly and in the modern sense, as ‘luxury products’. In time, these came to be synonymous with status, especially with the growing dominance of the logo. Contributing to this phenomenon has been the ‘democratisation of luxury’ which eventually became affordable to an ever-widening spectrum of consumers. So, within a status-driven industry, where does craftsmanship stand today?

Apparently craftsmanship is making a well-deserved comeback. According to a recent global survey of wealthy consumers (The Luxury Institute, 2011), craftsmanship (65%) stands alongside quality (73%) and design (54%) in the list of attributes that define luxury creations – with the status factor becoming less important in a recent phenomenon termed ‘luxury fatigue’. With the wealthiest and more sophisticated

consumer segments (both in the Western world and Asia) reacting to the excessive downward stretching of luxury brands, craftsmanship is becoming a sine qua non for connoisseurs who, then, may turn into brand apostles for the purist, historically established, heritage brands which, despite the status cult, chose to defend the artistry in their brand DNA.

Actually, discerning consumers are tired of the – sometimes vulgar – dominance of the logo. Craftsmanship, instead, could be a much more subtle and ‘comme il faut’ brand signifier for those in the know. And, in a

world of mass produced products (ranging from the so-called luxury ‘masstige’ down to pseudo-luxury and – God forbid – counterfeits), hand-made artisan luxuries can provide consumers with authenticity and that inner feeling of self-satisfactory, almost hermetic, knowledge that connoisseurs demand (a 2014 Mintel report highlights that even the status loving, nouveau riche Chinese assign a 64% preference to craftsmanship versus a less impressive 53% to status).

With that in mind, craftsmanship is actually a marketing message per se. Many luxury brands are now using this underutilised vehicle in a number of

What of the future?While some luxury brands will continue to be important employers of exceptional makers and have probably even increased standards, they are in the minority. However the increasing numbers of new brands who have outstanding quality at the heart of their proposition and the ever-expanding independent fine craft sector is creating a new hierarchy, defined not only by quality but by something that is hard to pin down which could be described as a cultural sensibility. Increasingly, the best maker-designers, the most specialist of workshops and luxury brands will work together. An example of this is how Chanel work, not only with their coterie of French artisans, but also with companies such as Scottish tweed and cashmere mills, who have world class specialist skills. This benefits everyone.

Craftsmanship and luxury continue to have a symbiotic relationship even if that is different from how it was in the past. For many consumers, they see the luxury experience as a continuum: from accessibly priced product to commissioning a one-off from a world-class craftsman.

Likewise a bottom-up desire for more locality, warmth and culture is challenging conceptual design across disciplines from architecture to fashion. As some of our most talented designers are first to acknowledge, how something is made does increasingly matter, whether in Beijing, Amsterdam or London.

It is these consumers who will determine our future but I see gratifyingly tangible evidence that increasing numbers of them understand what ‘exceptionally made’ really means; what sacrifices it demands; and, most importantly, that they are prepared to pay for it. I

Dr Minas Kastanakis, Associate Professor of Marketing & Director of Research, ESCP Europe, examines how craftsmanship has become a marketing message for luxury brands

Craftsmanship continues its almost symbiotic relationship with luxury even if that is qualitatively and quantitatively different from how it was in the past


fo c u s

ways that enable them to reach multiple – primary and secondary – audiences. Some bring their craftsmen into retail stores, private events, or public exhibitions to showcase their art in front of customers or the necessary admirers (but not customers) of the mythical luxury world. Consumers and the public have an opportunity to appreciate the amount of work and attention to detail that is necessary to deliver a true luxury item. Brands such as Hermès, with its acclaimed travelling ‘Festival des Métiers’ are reaching consumers all over the world (from Sydney, Singapore and Beijing to Düsseldorf, London and San Francisco), allowing fascinating insights into the tradition and values of the brand in the crafting of unique objects by encouraging visitors to interact with the craftsmen during the creation process of their signature goods.

Luxury producers are also using social media such as YouTube as a vehicle to show the world the venerable skill it takes to deliver their coveted products. Nice examples of short videos letting people glance into true luxury artisanship have been produced by Burberry (Prorsum range) Chanel (Maison Lesage/Maison Desrues), Dior (Savoir Faire), Dolce & Gabbana (Miss Sicily), Ermenegildo Zegna (Couture), Fendi (A Fur Story), Gucci (The Making of Jackie), Louis Vuitton (Leather Goods), Mulberry (The Mulberry UK Factory), Prada (Shoes Worker), and Ralph Lauren (The Making Of Fall 2011).

Store and event invitations, public exhibitions and YouTube are not the only means by which luxury brands prove to the world their expertise in fine artistry. Tod’s shows its commitment to arts patronage through collaboration with Teatro alla Scala through a beautiful ballet project, The Italian Dream, that highlights the heritage of the ‘Made in Italy’ brand. Tod’s has previously worked in similar ways with the Whitechapel Gallery in London, PAC (Padiglione d’Arte Contemporanea) in Milan, and, most recently, MOCA (Museum of Contemporary Art)

in Los Angeles. Another Italian brand, Bottega Veneta is opening Scuola della Pelletteria (together with La Scuola d’Arte e Mestieri di Vicenza founded in 1858), a new atelier to train the future generation of their master leather craftsmen.

These developments are great steps towards reinstating craftsmanship in its deserved place; however, one might object that the economics of the industry means that exceptional craftsmanship can never become mainstream (even for heritage brands not to mention newcomers or premium ones) but only kept for exclusive or limited editions.

This may be true: most luxury products will never exhibit the highest levels of craftsmanship reserved for 100% hand-made creations. However, first, it is these ‘griffe’ products that actually create the necessary mythical icon of a true luxury brand and feed the dream and desire of consumers who, then, turn into the lower ranges of each brand to provide the necessary quantity of sales. Secondly, middle ranges are not of poor quality and, sometimes, also exhibit some degree of pure artistry: mass customised luxuries, for example, can still have some hand-made add-ons allowing brands to instil some limited artwork into what is, otherwise, industrially produced luxury.

Craftsmanship continues its almost symbiotic relationship with luxury even if that is qualitatively and quantitatively different from how it was in the past. Since luxury is actually experienced along a continuum ranging from 100% hand-made creations to mass-produced items of high quality, craftsmanship has a role to play at every level.

Craftsmanship still rules more than ever. Luxury brands should nurture and develop recognisable and distinctive craftsmanship styles – even taking precedence over their logo(s) – if they are to stay true to their DNA and soul. I

A Hermès scarf engraver at work – one of the types of craftsmen to be seen at the Festival des Métiers


fo c u s

Hermès has a long tradition of almost entirely hand-crafting its goods in ‘Ateliers Hermès’ in France. How integral is craftsmanship to the company’s business model?Since Thierry Hermès set up as a harness-maker in Paris in 1837, his descendants have kept superlative manufacturing inspired by the value of traditional craftsmanship as a pillar of the business. Today Hermès demonstrates its unique creative spirit in a wide range of sectors: leather goods, men’s and women’s ready to wear, footwear, belts, gloves, hats, silks and textiles, jewellery, furniture, furnishing fabrics, wallpaper, tableware, perfumes, watches and petit h. Although it has achieved international stature, Hermès has never lost its human touch and continues its tradition of fine craftsmanship.

Do Hermès’ craftsmen/women still use traditional, old-fashioned methods or has technology changed the way things are made in any way?Like an alchemist, the hand of the craftsman transforms materials into beautiful objects. Technology is only necessary to help perfect the process of manufacturing. For example, the overall manufacturing of a silk scarf takes up to two years from the design to the finished product. The engraving step, which is done

in our Ateliers in Lyon, is the step by which the engraver breaks down the original scarf design of the artist into several colours. The number of colours will determine the number of printing screens. The engraver still uses the same hand-drawing techniques and transposes the design outline with black ink onto a transfer paper.

Recently, CAD (Computer Aided Design) drawing has been introduced in the process as a safety precaution to perfect the hand drawing. Each design is scanned and meticulously checked,

to make sure that outlines are properly ‘sealed’ to avoid any ink leaking in the next stage which is the printing process. Without the hand of the craftsman, the product would not exist. With technology, the manufacturing process is improved.

How does Hermès protect and nurture rare craft skills so that it can ensure it has the craftsmen it needs in the future?Established in 1919, the manufacture of Saint-Junien specialised in glove-making at a time when gloves were an essential accessory throughout Europe. In the 1980s, Hermès became the main client of this manufacture. In 1998, Hermès decided to acquire the

Hermès: a craft DNA

Without the hand of the craftsman, the product would not exist . With technology, the manufacturing process is improved

Bertrand Michaud, Managing Director of Hermès GB,explains how the company is rooted in craftsmanship


manufacture and rename it Ganterie de Saint-Junien. With this acquisition, Hermès not only secured the best craftspeople and experts in this sector but also rescued a craft that was about to go extinct.

The craftsmen of luxury brands used to be hidden away from public view. What was the thinking behind putting craftsmen into interactive public exhibitions such as Hermès’ Festival des Métiers and Forever Leather?At a time when craft is becoming a trend, Hermès thought it necessary to show the importance of its craftsmanship heritage. Held at the Saatchi Gallery in London in April 2013 for a week, Festival des Métiers was a unique occasion to provide the public with a fascinating insight into the traditions and values of Hermès in the crafting of fine objects. Visitors were able to see the Hermès silk scarf printed before their

eyes as well as handbags, watches, ties, fine jewellery and other iconic objects brought to life during the course of the exhibition.

A year earlier, Hermès GB hosted the Leather Forever exhibition at the Burlington Gardens gallery in London. For the first time in the UK, visitors were taken on a playful journey, an evocation of the relationship between Hermès and leather. Leather is the first material tamed by Hermès and remains its noblest conquest. During the exhibition, two leather craftsmen were permanently on site, giving the public a unique opportunity to exchange on their passion.

With these two successful initiatives, Hermès has proved that its craftsmanship heritage and creative spirit have never been so alive. I Interview by KF

A lthough it has achieved international stature, Hermès has never lost its human touch and continues its tradition of fine craftsmanship

Imag

es c

ou

rtes

y o

f H

erm

ès


fo c u s

Christian Liaigre: deploying craftsmanship in high design

In the creation of a unique design aesthetic, Christian Liaigre draws on ancient craft skills while also pushing its partner craftsmen to innovate. Asli Bohane, General Manager of Christian Liaigre London Showrooms explains

A lifelong love for nature has been the

oxygen for Christian Liaigre to nurture

craftsmanship. Since Liaigre likes to live with textures such as wood, bronze, leather, linen and other natural fibres, the company has been working with these materials for nearly 30 years. Moreover, the aspiration for timeless design, beauty, rareness and durability embodied in the essence of the brand is nurturing craftsmanship.

The design process is fed by traditional and local techniques whether in the arts or in everyday vernacular objects. In return, the craft techniques are fed by these re-interpreted designs to create a unique, exclusive and refined piece of furniture or lighting. As such, those pieces become in their essence luxury objects. They stem from a combination of knowledge, creation and production which results in exceptional pieces of quality.

The brand endeavours to use techniques and know-how, developed over hundreds of years, to master the end result whether it is the aesthetic, the quality or the functionality of the products. For example, to obtain the various colours of finishes on our bronze pieces, we use the blowtorch technique to apply a mix of corrosive pigments – these

pigment recipes, kept secret, have been developed by artists

or artisans. This is the type of knowledge

that the brand is keen to protect and use. However, we don’t only look to the past; we also look to the future.

As a design-led brand, we innovate with tradition. Old techniques are adapted to new surfaces; the boundaries of the materials are pushed to create new textures, materials are combined in a modern way. Thanks to our designs, we develop cooperation between various crafts. For example, the Gabar lamp is one of the most challenging pieces for one of our wood working partner workshops as it requires extreme precision to marry the wooden parts with the metal parts made by our metal working workshop. Another example is our new wardrobe: Pauillac. A metal finishing craftsman has transferred his talent from metal to wood surfaces. He is a master in marrying lacquer and wood veneers seamlessly.

Finally, part of the brand’s design imprint is creativity with solid colours to enrich them in subtlety, emotional vigour and uniqueness. To be able to achieve it, we collaborate with an artist who draws inspiration from nature and who continuously creates new shades and textures, bringing transparency and depth to colours. Artisans working on these finishes use the traditional Chinese lacquering technique amongst other methods.

As more and more customers endorse all the values embodied in our products; as the brand expands its collection of furniture, lighting and textiles, we are delighted to see our partner craftsmen, training more and more young people to meet demand and preserve the skills.

In today’s world, the deliberate choice of traditional production techniques as a design language is a luxury. I


fo c u s

Longchamp: balancing heritage and innovation

Jean Cassegrain, grandson of the founder and CEO of Longchamp, tells INFO about the role craftsmanship continues to play while the brand moves with the times

Longchamp is recognised in France as a ‘Living Heritage Company’. What is its craftsmanship heritage and how is it being preserved and perpetuated?66 years of savoir-faire are the perfect standpoint from which to focus on the future, drawing on the authentic leather craftsmanship for which our workshops are renowned. We select the highest quality leathers developed by the best tanneries to ensure a level of quality that has been the brand’s motto since its early years. Our workshops have maintained throughout the years the same quest for perfect finishing details and materials, making each bag and accessory a unique piece of Longchamp’s know-how.

Like my father and my grandfather before me, I believe that quality and craftsmanship are watchwords for Longchamp’s success today. The valuable relationships that we have with our partners and the high level of skill among our craftsmen and women, are a testament to that ambition and make it come true with every item that they create.What traditional skills are still deployed in Longchamp’s workshops?Designs, raw materials and creation processes are all sourced and carefully prepared in France and precisely calculated, right down to the number of stitches required per centimetre.

Exacting operations are required to create each piece, in many cases over 100 pieces and as many as 250 processes per bag are needed. Throughout the production process, a series of checks are built into the operation, to ensure that every item is carefully crafted at every step on its journey through the workshop.

Once finished, checked and double-checked, finished goods from all workshops return to the main workshop in Segré, France for shipping across the globe.

How does Longchamp ensure these skills are protected and preserved, and that it has the craftsmen to do this work?Our commitment to increasing skills is demonstrated in the establishment of special training programmes and apprenticeships for young people in the areas surrounding our workshops in France. It is complemented by the long service (in some cases over 30 years) of experienced and skilled staff across all of Longchamp’s sites.

To what extent has technology changed the way Longchamp makes its leather products?This model of identical production methods means that we can react swiftly to changes in market requirements, whether specific models, types or differing quantities. A good example of the evolution of the benefit of new technologies is our online personalisation service for Le Pliage! Customers can create their own unique bag. A personalised bag is a very luxurious and advanced service. It helps to create a more personal shopping experience for the customer and a special relationship to Longchamp, as we are then giving access to our own craftsmanship workshops!

How does Longchamp balance tradition with innovation in the making of its products?Times have changed, our customers have changed, and our product portfolio has evolved with them. One of our key characteristics is our ability to re-invent ourselves. We have always been contemporary, in the spirit of the moment. Pipe smoking was very fashionable in the 1950s, but fortunately we have moved on! What remains is our core values, in particular our sense of quality and our passion for leather. I Interview by KF


S ince its beginning in 1847, Cartier has been using beautiful techniques of craftsmanship to create

products of excellence. Every year since 1999, the Maison has launched a variety of new Métier d’Art watch dials every year in limited editions. The aim is to maintain, preserve and enhance specific crafts which have become rare or sometimes are no longer practised.

For many years, Cartier has been devoted to innovation, trying out new techniques, reviving forgotten ancient skills and exploring the countless possibilities of artistic craftsmanship. Its tireless curiosity and creative determination has led to such revelations as plique-à-jour enamelling, grisaille enamelling, straw marquetry and the techniques of granulation and cameo.

This year, as a result of a three-year effort to completely transform a Bernese-style farmhouse from 1872 in La Chaux-de-Fonds, located a stone’s throw from the Fine Watchmaking Manufacture, to a modern workspace where several of Cartier’s key artisan trades can be preserved, shared, and further developed. Housed on three open space floors, each with no walls, the mission of this new building is to keep these trades alive for future generations while permitting information sharing across trades for increased innovation.

The Maison represents through its architecture,

the successful combination of tradition and modernity. While the spirit of the building has been conserved, the interior has been completely redesigned and equipped with a highly technical invisible network. The creation of the Maison des Métiers d’Art represents a pioneering act with which Cartier takes up the challenge of enhancing tradition and grounding these expert practices in modernity. Some of the craftsmen learned their trade in art schools whilst others are self-trained. The project is aimed at preserving the authenticity of the farmhouse itself but also that of the region, using old woods from the 18th century sourced locally and limestone from old, unused farms.

Three main fields – jewellery-making, enamelling, and marquetry – are housed in the workshop, performed by 28 craftsmen and women. The Maison des Métiers d’Art is a showcase for Cartier’s watchmaking craftsmanship and brings together the most precious artistic crafts applied to watchmaking.

The new Métier d’Art this year is the filigree, a new technique used in jewellery twisting and turning very fine metals to create a beautiful work of art on the face of the watch dial. The ancient art of filigree appeared in Egypt in earliest antiquity. Its invention is attributed to the Sumerians in around 3000 BC before being developed in India, Tibet, Greece and Iran, and much later in Portugal, where it reached a new level of excellence.

Created in the new Maison des Métiers d’Art on site at La Chaux-de-Fonds, the Ronde Louis Cartier Filigree watch (pictured) reinvents the centuries-old technique of filigree using a figurative, precious approach. This creative heritage approach is testament to Cartier’s mission to perpetuate forgotten crafts and expertise such as granulation. I

Most precious artistic crafts

applied to watchmaking

Cartier: La Maison des Métiers d’ArtBorn out of its commitment to preserving and developing craftsmanship, Cartier has established a centre of excellence in a swiss farmhouse, where tradition and innovation work in tandem through dialogue and research, and numerous forms of watchmaking expertise sit side by side

Plique-à-jour enamelling


Lalique: profile of a craftsman

What led you into the work of crystal?At school, I was very good at drawing and handicraft. As I didn’t really know what to do, I did an apprenticeship in sculpting and engraving on glass. I am very fortunate to be from the east of France, Lorraine to be precise, where the glass and crystal industry is well established. I had several jobs and then joined Lalique in 2001, at the age of 22. I soon became passionate about sculpting glass. And exactly one decade after joining, I became a Meilleur Ouvrier de France thanks to my expertise which I acquired at Lalique.

How did you evolve within Lalique?In 13 years, I have evolved a lot, thanks to my knowledge in art and the techniques I acquired along the way. I improved my talent a lot. I even created new tools, just like an engineer! The collaboration with colleagues is fundamental. We work in groups of four on a same piece at a time, so ideas and initiatives are thriving.

Nowadays, do you consider yourself a craftsman or an artist?Actually I am a little bit of both, and also an engineer sometimes. When you work on crystal, you have to improvise and call upon your artistic sense in order to mend or embellish the pieces you are working on. In that stance I feel like an artist. Moreover sometimes in order to improve my work and skills, I have to create my own specific tools (reamers, spinning wheels, cones, specific screw drivers). Engraving tools, to give you an idea, are close to dentistry tools.

Speaking of tools, have you got the use of new technologies in your work?No, not really, they just help us to achieve better pieces, nevertheless we mostly use new technologies in the elaboration, the design and the modelling of the pieces. But when I need to sketch, I’d rather have a pen and a paper.

Are you currently working on any outstanding Lalique pieces?

Yes, I am. Since I am very good at the lost wax technique, I produced

the wolf and the lioness (these are Rembrandt Bugatti

pieces), sculptures of bulls (pictured), Angélique vases

and even one of the clocks in collaboration with the renowned m a n u f a c t u r e r Parmigiani.

What is your vision of craftsmanship and

artisans in general?Artisans have a great

future; there is a growing demand for traditional savoir-faire, and I believe school programmes leading to craftsmanship should include periods in universities to know more about history of art. Being a genius in the technique is not enough without knowledge in art.

And what about the future of Lalique?I think Lalique has a bright future. We have a lot of room for manoeuvre thanks to our glorious heritage. Lalique remains a symbol of the art-deco period and will grow as such. Even for the workers at the factory, the history of Lalique is a considerable motivation. We feel like the heirs of René Lalique! Nowadays, even in the modern pieces, you still find the unique signature of the Japanese art-deco style mixed with a certain French touch. And some designs from the 1930s are still very avant-garde! Lalique’s richness also lies in its diversity: we work in jewellery, tableware and perfumery – new ventures which are thriving!

Can you tell us more about these ventures?At the moment I am working on several confidential projects, which I cannot talk about, but some of them are related to a very famous artist. Last year, Lalique created pieces with Zaha Hadid and Rembrandt Bugatti for instance. I think in the near future, we will increase our collaborations with renowned artists, who will bring their creativity while we bring our expertise! I

Frederick Fischer, Director of Lalique UK, interviewed Pierre Pigeard, engraver and sculptor at the Lalique factory, in Wingen-sur-Moder, Alsace, France. Pierre joined Lalique in 2001 and became Un des Meilleurs Ouvriers de France in 2011


What is your craft?We are a shipwright with nearly 600 years of activity and 19 generations of our family involved with the business. We don’t just build boats, we design them from scratch. The Camuffo 65 is one of the most famous.

We have about 20 people working in all the artisanal aspects of making a boat. We take them on when they are 15 or 18 years old and train them, but it is not easy to find these people anymore. We teach not a craft but the finalisation of that craft, and what to achieve with that.

Our philosophy is to arrive in the sea before others and we have always worked with this goal in mind. Our boats are lighter and faster; they use less fuel because of the particular hull form we have developed. They are also made out of nothing but wood – an extraordinary material. That is why a specialist magazine once called our boats the ‘Stradivarius of the Sea’. A boat for us must ‘tenir la mer’.

Most of the work is done by hand using traditional methods. A single boat takes 15,000 working hours to make compared to 5,000 for a modern fibreglass boat. Very few instruments are used and electronic parts are only added at the end by a specialised technician, who works on the final test of the boat.

Who are your clients?Our books include several famous and historical clients over the centuries. As our shipyard also produced boats for military purposes, we served the Napoleon fleet, the Asbourg Imperial fleet and the Royal Italian Navy, but most importantly we provided boats for the Venetian Doges.

How do you view the future of your craft?We don’t have any family members to continue the business so at some point we will have to make a decision to pass the business on to someone else. It won’t be a matter of money but of passion and savoir-faire.

It is important not to give up on traditions and craftsmanship and to always aim to be Proto, which is Greek for First.

There are some traditional craft skills which if not improved, will end up disappearing. For example, buildings today can’t be compared to those of 100 years ago. None of these buildings turn my head unless they have a nice garden! I

Camuffo Yachts: a 577-year-old family tradition of hand-made boats

The Camuffo family started building boats in 1438, making Camuffo Yachts one of the 15 oldest family businesses in the world, which has even listed Napoleon amongst its clients. Alessandro Iobbi, Finance Director of The Art Newspaper, gained rare access to octogenarian Giacomo Camuffo in Portogruaro (Venice) to ask him about the craftsmanship passed down through the generations.

. . . a specialist magazine once cal led our boats the ‘Stradivarius of the Sea’


The last word in luxury: artisanal printing

Books were once the ultimate luxury product – hand-made, rare and unaffordable to all but the rich and powerful. Alessandro Iobbi, Finance Director of The Art Newspaper looks at how some of the skills required for high-end book publishing have evolved with technology

Printing and book publishing has for centuries been at the centre of the close relationship between

craftsmanship and high quality luxury products. The combination of craftsmanship, innovation and continuous improvement made this small and prestigious industry very successful. Printers and publishers have, since the Middle Ages, demonstrated an ability to adopt new techniques quickly, which has contributed to the creation of a dynamic, selective and competitive industry.

In the early days, books were highly regarded objects. Manuscripts and codices produced for the Visconti library in Milan from 1400 were so sumptuous that they were exhibited along with jewellery for the prestige of the Court and the admiration of its visitors. The story of the Visconti and the Sforza library has an interesting connection between Italy and France, not only for the artistic exchanges at that time but also for the fact most of those manuscripts ended up in the Biblioteque Nationale de Paris when the collection was dispersed in the aftermath of the Duchy of Milan’s demise.

Nowadays, both these countries, which contributed to printing history with innovators such as Firmin Didot and Giambattista Bodoni, continue the time-honoured tradition of hand-made books, with some publishers putting the artisan philosophy at the core of their brand’s mission, a concept which can be extended even to the very sophisticated subject matter and contents of those books. Outstanding examples include the French company Assouline and Italian publishing houses Franco Maria Ricci and Umberto Allemandi, whose state-of-the-art books deliver the very essence of elegance in the publishing world.

In the publishing sector, digitalisation has not meant a simplification of the process nor the disappearance of skilled professionals able to perform the work manually. Rather it has led to the evolution of the

skills required to produce a book. For example, the fact that designers use computer programs does not necessarily mean that their jobs have become easier or that they have to learn less to achieve a product of the highest quality. This is especially evident in the pre-press phase. Processing of images and text, which for a long time had been mechanical process (for example, the Gutenberg movable type) was replaced by digital procedures of creating video page layouts. Digital technologies had an ultimate influence on editing images, and the traditional process of printing photos and scanning them afterwards has nearly disappeared in favour of photo files. The skills mandatory for a pre-print professional have changed accordingly, but the artisan attention to the product and the highly qualified profile of the executor remain a prerequisite.

Every product of the publishing industry, be it a book or a newspaper, is the result of multiple operations, beginning with the design of the volume – both graphic and content, the selection of illustrations and paper on which to print it out, the running of test layouts and the test printing, proofreading and colour correction of every single image, the printing with meticulous attention each and every page and finally accurate binding and packaging. A quality book is different from a regular book in that at each step of its production experienced and qualified professionals control every action to be carried out with the utmost care. This is a philosophy and tradition that, for example, Allemandi applies to all its products including The Art Newspaper, which is still printed with the idea of giving its readers an exclusive product.

The ability to create a product through a process where artisanal care and attention are closer to an atelier than an industrial cycle, still works for the benefit of the high-end printing and publishing sector in Europe. I


A rare, old Waite and Saville die stamping press is used to stamp an engraved image onto cardstock

Letterpress printer

How did you acquire your skills?I learnt the skills on the job.

What drew you into this line of work? I wanted to do something that was a little out of the ordinary. Working in high end stationery certainly gives you a feeling that what you are doing matters to your customers. We print orders that go into some of the most high profile places in the world, Embassies, High Commissions, city businesses and the homes of discerning private customers.

What particular skills do you need to do what you do? A love of old fashioned machinery helps. These presses are very old, and very well designed and built, so they last for much longer than they were probably designed to. Unlike modern litho presses, they are very slow running.

What tools do you use? Some of the old traditional hand setting of type has now gone, as the type is no longer available, so these skills are disappearing, but there are all sorts of other aspects of the trade that are still relevant. The presses are amazingly wide ranging in what they are capable of. One can print with ink, crease, number, perforate and cut, all on the same single press.

How do you view the future of your craft? It will never be an expanding industry as it is too specialised and niche, but I think that there should always be demand for high quality products. I

Armorial: rare and niche skills

Diestamper

How did you acquire your skills?Diestamping is the process by which an engraved image is stamped onto paper or card. I did an apprenticeship with the company I work for. It took me a year to complete my training.

What drew you into this line of work? I wanted to become skilled in a niche craft, where the final product is of the very highest quality, and sought after. I take great pride in my work, and know that those who buy our products appreciate this.

What particular skills do you need to do what you do? Manual dexterity, mechanical understanding, an eye for detail, and a desire to always improve at what I do.

What tools do you use? The main tool of my trade is a diestamping press. These are old machines that have remained unchanged since the 1960s. They were built in Yorkshire and do a superb job. Like any old machine, they need to be carefully looked after and maintained. Any machine that is at least 50 years old needs to be cherished!

How do you view the future of your craft? There will always be a future for stationery that is of the very highest quality. People might send fewer letters these days, but when they do, they often want the very best quality stationery available. We work for people who are only happy with stationery that tells a story about quality.

Because of the amount of skilled labour involved, it can never be a cheap or mass produced item, but that is what sets our work apart from the stationery that you can buy on the high street. Well done, it is lovely both to look at, and more importantly, to use. I

Hand-printing traditions are preserved at Armorial, where luxury bespoke stationery is made by craftsmen who wield niche skills and operate rare old machinery to ply their craft

A Heidelberg press being used to overprint envelope flaps


fo c u s

The state of craftsmanship in the UK

Guy Salter, founder of the Crafted mentoring programme in 2007 and now its Chairman tells INFO what its impetus is and what the prospects are for the UK luxury craft sector

Why did you found the Crafted mentoring programme? I was worried that some luxury brands were becoming better and better at being brands but drifting away from the fundamentals of true luxury. And in doing

so, impoverishing our sector and storing up trouble for themselves, given the growth of knowledge and sophistication amongst luxury consumers – something I call the Discernment Curve.

How do you select companies for the programme and how are they helped?We trawl through the large and growing number of applications we get each year until we get to a reasonably informed long list. We then contact the makers on that list and talk through their challenges, ambitions and business plans. This results in a short list, each of whom we ask to a face-to-face session with a panel of seasoned business people, mentors from the programme and makers. After two days of this, we end up with our final selection.

What have been some of Crafted’s success stories? Almost everyone has managed to achieve the objectives they set at the outset of their year with us, but some really fly. One such is Carré Ducker, the shoemakers, who were lucky enough to have Mark Henderson, Chairman of Savile Row’s Gieves & Hawks, as their mentor and have transformed their business, much of which is because they are hugely talented and nothing to do directly with us.

How healthy is the UK’s luxury crafts sector? Burgeoning. But it’s still far too

hard to make a decent living out of making beautiful

things. The key here is more value being placed on the exceptional rather than the good. But this requires the

customer to understand the difference. This is part of what

London Craft Week in 2015 is about – showcasing the best international and

British craftsmanship to a much wider audience.

What other ways is this sector supported and nurtured in the UK? The Heritage Craft Association, whose Patron, HRH The Prince of Wales has been urging the saving of centuries-old skills long before it was fashionable to

Guy Salter


fo c u s

This brand new initiative will position makers centre stage of the world’s creative capital in May

2015. The event will bring together an unparalleled public programme celebrating craftsmanship across the city, where hidden spaces and lesser known makers will be revealed alongside celebrated galleries and luxury brands, shining a spotlight on centuries-old skills and exciting new talent. For the inaugural year, central locations such as Mayfair and Bloomsbury will be the primary focus; historical

hubs of industry and craftsmanship, which continue to inspire new examples of creativity and skill in making. Supported by founding partner Vacheron Constantin, the world’s oldest watch-makers in continuous production, and strategic partners, the Mayor of London, the Crafts Council, Walpole and the Heritage Crafts Association, London Craft Week will run from 6-10 May and will continue to be an annual event showcasing exceptional and innovative British and international craftsmanship. I

London has long had a Fashion Week and a Design Festival. From 2015, it will have the equivalent for the craf t sector: London Craf t Week. Featuring the ar tistic flair, painstaking skills and raw talent of exceptional craf tsmanship and, as a result, at tracting an ever-increasing quality and volume of collectors and customersGuy Salter, Founder & Chairman of London Craft Week

do so, the Crafts Council, Cockpit Arts, whose workshops literally provide the foundations for making in the capital, and self-help organisations like Savile Row Bespoke; the UK craft sector is incredibly lucky to have so many who are active, effective and care. But we all now need to raise our game. The prize is to grab the consumer’s imagination the way fashion or contemporary art does.

How do you see Crafted evolving? Stick to our knitting. We are about quietly getting on with what we do best – mentoring and assisting craftsmen sort out their commercial challenges. But we would like to help many more. And so we have ambitious plans to spread and share what we have learnt to a wider group of makers. As with anything in life, after a while you see pattern recognition and those insights could make all the difference to a master craftsman struggling to pay the mortgage or affording an apprentice. I Interview by KF

Celebrated throughout the world as a centre of creativity and innovation, London has a long and rich heritage of craf t and designer-making, which do not always get the at tention they deserve. London Craf t Week will throw the spotlight on this vibrant and growing sector and the highly skilled craf tspeople at work in our city todayBoris Johnson, Mayor of London


fo c u s

As an artist/designer, what is your definition of craftsmanship?My definition of craftsmanship is not necessarily something that is handmade. Although the word ‘craft’ is always associated with that, to me it also extends to industry, manufacturing and machines. That bridge between the hand and the machine is something that

I am particularly interested in – how can you bring together man and machine, old techniques with new technology? I see the future of craftsmanship as the bringing together of those two areas. Overall, I think craftsmanship is about time, learning your skill and bringing the most to a material in a way that seems effortless. For example, in jewellery, sometimes a single cut can be just as beautiful and fine as something that is highly ornate. Craftsmanship is often considered as something that is very laboured over, but what looks simple may have involved a lot of time, energy and learning to get to that point.

You have described your own work as ‘the combination of the unexpected and the theatrical with something tactile or handmade’. How does craftsmanship come into this?Craftsmanship bridges the gap between the three areas I work in – furniture, material and fashion. I have come to realise that the process is always the same. You go into the workshop and start experimenting with different materials to discover new ways of working with or putting them together. From there it develops, often in a direction you never expected. I think the spontaneity – not knowing what you are going to get – is important. Recently I’ve done a lot of pewter casting, and I like the fact that the sand mould shapes the object. I am not afraid to show the handmade. I am interested in things that are slightly imperfect. Luxury has always been in search of the perfect, but because so many things can now be made perfectly by machine, it is actually rather beautiful to see something that has a relic of where it has come from. People connect to an object in a greater way when they genuinely feel there is a person behind it.

You have worked on installations with luxury houses such as Hermès. Can you explain how you brought the artisan to the fore in these?For the installation we did when Hermès brought ‘Petit h’ to London we needed to communicate that this project was all about using the offcuts from the ateliers. I had visited the Hermès ateliers in France and was staggered by the level of craftsmanship. I found something really beautiful in the tools that these people were using, which were very precious to them. Again, it is that relationship between man and machine, where that machine is a tool that allows the artisan to create. We made casts of their actual tools, which were hung on a wall in the shop as part of the installation. For me it was amazing to see those tools which had been used for years and years to make precious objects, and to make them the centre of attention.

© R

ory

Van

Mil

lin

gen

Faye Toogood is a British designer of furniture, objects and fashion, whose pieces are handmade by small-scale fabricators and traditional artisans. Through her Studio Toogood, she has also worked on interiors and installations for clients such as Hermès, Perrier Jouet, Kenzo and Vivienne Westwood


What has been your experience of working with craftsmen?Many people would consider a craftsman to be a person who works in an atelier with fine tools on leather, ceramics or jewellery, for example, but actually there is also incredible craftsmanship on an industrial or manufacturing level in this country because that is what people have had to do to survive. To make my dressing table out of security mesh, I worked with a man who normally hand-makes motorbikes as well as scientific/medical instruments. He was almost like a jeweller in the way he welded the individual points, very precisely, to the frame. For my wooden chairs, I needed someone with the appropriate tooling to fashion English sycamore, and the person I found is usually a maker of wooden toilet seats! There are a lot of craftsmen out there, but sometimes their output is unexpected. And it is not always easy to find people who are prepared to make something for me or work on my scale.

In your first fashion collection you celebrate the makers of each garment in a ‘passport’ label. What prompted this? When I decided to work with my

sister, a fashion cutter who has been the person behind quite a few designers’ couture, I realised that in the fashion world, the person who actually creates the garment is not always acknowledged. As we started making the clothes, it became apparent how many people were involved in making each individual piece, be it the cutter, the seamer, the presser, the person who sews on the buttons or who finishes it in a particular way. I felt

that people would be interested in that, and so we came up with the concept of a ‘passport’ containing the initials of everyone involved in the process, and space for the owner and subsequent owners to add their names to it too. The provenance of that garment – not only who made it and sold it, but also who wore it, its history and life, creates an attachment and makes it interesting.

Do you think this reflects a change in the way craftsmanship is perceived? For a long time, craftsmanship had quite negative connotations – in the fashion, design or art world, it was

considered the bottom of the pile. But more recently there has been an acknowledgement of traditional techniques and provenance because while we should embrace new technology, there is a fear that we might lose some of these very important hand-made qualities, which have been the making of us as a culture. People now look at uniting craftsmanship with design and fashion, or bringing it into the art world. In a world where

anyone can get anything from anywhere, retailers have to work harder to give people a reason to buy their products. Some are doing it through high experiences in their retail environments,

others by concentrating more on the craftsmanship behind their products that makes them unique or particular. Previously, as long as someone put a brand name on something it would probably sell, but that is no longer the case. My clients, who could probably afford to buy furniture from anywhere they wanted to, actually want to have a relationship with the designer who designs and makes it for them. On a retail level, introducing the craftsman and the craftsmanship behind the scenes makes the product relevant and creates that connection. I Interview by KF

The Hermès ‘Petit h’ exhibition

I am not afraid to show the hand-made. I am interested in things that are sl ightly imperfect


The art and craft of costume making A glimpse behind the scenes at the Royal Opera House reveals astonishing skills and levels of craftsmanship akin to those in luxury ateliers

The imposing grandeur of the Royal Opera House in Covent Garden gives nothing away about the hive

of industry within. Lavish operas and ballets come to the stage as magical spectacles of set and costume, but few give thought to the incredible detail and thousands of hours of work that go into making the garments and accessories. Who would know that each hair of the opera principal’s wig had been hand-knotted, or the sleeves of his jacket hand-embroidered by skilled tailors in the men’s workroom? Who would realise that the principal dancer’s tutu had been constructed from fabric hand-painted in the dye department, or that her necklace had been hand-stitched on to net to keep it in place while she dances?

Scattered over four floors of the labyrinthine building, the Costume Department is made of many parts: women’s and men’s workrooms, hats & jewellery, wig studios, a dye department, a stock room, the revival production workroom and the costume running areas where new costumes are made and existing pieces are refurbished and altered to fit the artists of current productions. Presiding over it all as Head of Costume is Fay Fullerton MBE, who joined the ROH as a graduate from the London College of Fashion in 1977. Fay had originally intended to do fashion design, but changed her mind as soon as she started studying the history of fashion in her first year. ‘I realised I had a passion for costume construction and love the creativity needed to develop characters that are going to be seen by many people,’ she says. Her first interview was at the Royal Opera House which has the

widest and most varied repertoire of any theatre in the UK. Starting as a junior costumier, she moved up through the ranks as she gained experience, becoming

a cutter in the women’s workroom, then head of the ladies workroom. As Head of Costume since May 2014, she now manages over 100 permanent, and up to 50 casual staff, brought in during busy times, in addition to managing the costume budget for over 50 shows each Season. It is rare for someone in Fay’s position to have such a wealth of technical experience but it allows her to have a lot of creative input. ‘Because of my background and experience I have the technical skills to guide a designer regarding appropriate fabrics, their cutting and fit. I enjoy passing on the knowledge and experience that I have,

especially as my position affords me the opportunity to stand back and see the entire picture.’ Her MBE was awarded in 2010 for ‘services to dance and opera’.

The heart of the Costume Department are the production workrooms and running areas. In the workrooms you will find highly skilled cutters, costumiers and tailors constructing costumes from scratch, transforming the designer’s drawings into reality. Costumes are made to withstand heavy demands of movement and wear, the lighting and cleaning. Fabric type, weight, flexibility and the character all help to shape the construction techniques used alongside skills rarely used in conventional garments today such as boning. It is a true creative process, backed up by both traditional and modern costume construction skills that take many years to

Fay Fullerton MBE

Dancers of The Royal Ballet in Swan Lake

© R

OH

-Ali

ce P

enn

efat

her


master. Some costumes in the repertoire are over 40 years old, unlike modern garments which have a shelf life often measured in months rather than years.

‘Lesley, our head tailor in the men’s workroom, has over 44 years’ experience working at the ROH and her skills are phenomenal,’ says Fay. ‘She can make any costume, from a bespoke period suit for an opera singer to an elegant but flexible outfit for the men’s ballet. Most establishments have separate workrooms for opera and ballet as the skills and know-how required for the costumes are different, but the ROH has just one, which means its people have to be specialist in both disciplines.

Unfortunately, getting good costumiers is difficult, and not just in theatre. ‘Training courses today tend to concentrate on costume design rather than construction techniques, which is why we, like Savile Row, train our own staff,’ Fay explains. ‘You could never teach yourself how to make a ballet costume that works, for example. There are so many skills that you need to know to be able to do it, or to make a costume that will withstand the rigors of multiple performances and long tours.’ For this reason, the Royal Opera House has instituted work experience, allowing students to work alongside experts for two-week periods, as well as apprenticeship programmes. Places are in great demand.

But it is not just tailor’s skills that are required in making costumes. Hats and jewellery are important adjuncts, with an atelier of their own at the Opera House. Here highly accomplished milliners create the headpieces worn by characters from the Mad Hatter’s top hat to ornately bejewelled crowns. Also trained as silversmiths, they can make elaborate jewellery too. Another type of headwear is made in the wig department. Used chiefly for operas, wigs are individually made for each principal by hand, using real human hair, which is knotted on to a foundation that has been moulded to fit its wearer’s head exactly, and then styled as befits the period or theme. The dye department, true to its name, has several large dying vats where be-gloved dyers stir fabrics in special colours. Many other techniques are also deployed including digital printing of bespoke designs onto fabric and hand painting by skilled artisans. Alongside these areas there are also specialist shoe departments catering for all the requirements of the opera, and a ballet shoe room which holds bespoke made-to-measure pointe and flat shoes catering for each dancer’s individual requirements. In the running areas, teams manage multiple shows currently on stage, dressing the performers and ensuring costumes are cleaned and repaired ready for each performance.

The process of designing costumes for a show starts 18 months in advance, while their making begins in earnest nine months before the opening night when

prototypes are made and fabric sampling is done. The most intense period starts six months before the opening night when chorus or corps de ballet fittings commence, with the principals arriving around four weeks before opening night. Throughout the process, a ‘bible’ is kept with records and samples of every design and fabric, trim and dye used in each costume, so that repairs and replacements can be made in the years to come.

The Royal Opera House has more than 20,000 costumes for opera and ballet productions currently in the repertoire, as well as an archive collection of over 6,000 items dating back 200 years. Currently kept in locations all various parts of the country, the costumes for the main repertoire will soon be brought together in the new Bob and Tamar Manoukian Costume Centre at High House Production Park in Thurrock which will allow for more efficient management and storage, as well as better preservation of the costumes. The Costume Centre will also provide facilities for costume making and training with permanent workrooms for students. A new BA Hons degree in Costume Construction is being created in partnership with South Essex College so that the next generation of costumiers can acquire the skills and craftsmanship needed to continue this fine tradition. Whilst many of the skills are traditional, the creativity with which they are used is constantly changing. ‘What I love about my job is that techniques are evolving all the time,’ says Fay. ‘You may think that a show is the best you have done, and then someone comes along and takes it in a new direction that is even better than the last.’ I KF

© S

im C

anet

ty-C

lark

e

© R

OH

-Ali

ce P

enn

efat

her

Melanie Bouvet, Wigs & Make-Up Coordinator


fo c u s

The arts and crafts industry – from the artist’s secret to patentable innovation

Severine Mas, a dual-qualified Solicitor and Avocat specialised in Intellectual Property protection and litigation at Mas Legal, examines the different legal approaches taken by France and the UK to the protection of the work of artisans

The arts and crafts industry relies on a unique economic model: the knowledge-driven economy. 1

In France, luxury ‘Artisanat’ is a very important industry. French regulations maintain the list of trades and crafts of Artisanat. Across France, there are 38,000 arts and crafts companies, the large majority of them small and medium enterprises.2

These professions have unique skills and know-how. There are a wide range of trades including shoemakers, furriers, costume makers, cord and ribbon manufacturers and glass blowers. In order to promote this industrial heritage, the French State created the label ‘Entreprise du Patrimoine Vivant’ (Living Heritage Company). This label recognises a company’s commitment to preserving its heritage. It also awards tax breaks and tax credits, in particular to help in the training of apprentices.

Calais Lace is one of the pillars of French Artisanat, with nearly 200 years of history. It is interesting to note that lace looms used in the French Calais Lace industry were invented in England in the 19th century.

The need for conservation of this unique industrial heritage is acknowledged by the European Commission.

The importance of training and employing young people in these professions is also recognised. However, it is clear that a lack of concrete action at the European level is causing certain arts and crafts industries to suffer from a lack of skilled craftsmen. Entire sectors like the lace industry are under threat.

The majority of these luxury industries have conserved their European-based economic model and manufacturing processes. This has driven consumers’ demand for exceptionally high quality products. These industries have also entered a new phase of rapid change led by the mass media. ‘Haute couture’ aims to conquer our streets. Fashion designers have begun promoting their image in partnership with high street brands. An example of this is Karl Lagerfeld for H&M.

In haute couture, it is notoriously difficult to distinguish between mainstream fashion and designs which are eligible for Intellectual Property protection. The nature of the fashion industry makes protection difficult. Some ready-to-wear brands have regularly copied designs of fashion designers without authorisation.

Although it is often difficult to objectively demonstrate counterfeiting rather than the following of a fashion trend, there is a line over which a competitor can cross where they would be likely to risk litigation. The copying of a substantial portion of a competitor’s fashion collection would demonstrate the will to unfairly attract a competitor’s clients. As a consequence, the company copying the collection could risk litigation proceedings for unfair competition.

Regarding Intellectual Property rights protection of Artisanat in Europe, there is no uniform rule. There are large differences between French and English law. In France, copyright regulations protect all created works, whatever their kind, form of expression, merit or purpose.4 In England, the purpose of the creation may exclude the work from copyright protection. In a recent case, the UK Supreme Court excluded from copyright protection creative works having a purpose other than purely artistic.5

Creations, protected de facto in France by Copyright

The first Leavers lace looms were smuggled into Calais in 1816 by the English men Webster, Clark and Bonnington. They came to seek their fortune in a market hungry for lace, but also to escape socio-economic troubles in the Nottingham region where lace looms were born. Lace looms used today in the region of Calais are between 50 to 100 years old. 90% of the world’s Leavers looms are located in France.3 At the turn of the 20th century, over 2,700 looms could be found in Calais. 600 companies employed more than 31,000 workers.

© N

oyo

n d

ente

lle.

Ph

oto

: Pau

l Mau

rer


Laws, would need to be registered as designs in order to receive protection in England. In the EU, a design is entitled to protection to the extent that it is new and has individual character. However, it is also important to be aware of differences in registration laws between France and the United Kingdom.

Novelty criteria requires that a design must not be divulged to the public before the registration request has been filed. A problem arises when a French company markets a design in the United Kingdom within a period of 12 months before filing for protection under UK law. In France, the design owner can sell products within this 12 month period. In the UK, this commercialisation renders the novelty criteria invalid, making registration impossible. French fashion houses should thus examine their collections before selling new items in the United Kingdom. This would give them the opportunity to register designs in the UK where appropriate.

Recent innovations such as 3D printing may lead to the reproduction of virtually everything. Will 3D printing have the same effect as digital technology, allowing to mass-reproduce a creation in an identical

manner? We can only hope that manufacturers will develop sophisticated means to identify their products and tell them apart from copies.

Between tradition and modernity, Artisanat is a source and promoter of exceptional talent We have a duty to nurture this industrial heritage and protect it for future generations. I www.mas-legal.com

1 Dominique Foray, Professor, Ecole Polytechnique of Lausanne, L’industrie du luxe et l’économie de la connaissance, 2012. 2 Source : Onisep. 3 Source Fédération Française des Dentelles et Broderies (FFDB). 4 Article L.112-1 Intellectual Property Code. 5 The ‘Star Wars Imperial Stormtrooper helmets’ were refused protection by the Supreme Court because they are ‘utilitarian objects’, Lucasfilm Ltd v Ainsworth, [2011] UKSC 39.

In the legal world, craftsmanship is usually referred to as ‘know-how’ or ‘trade secrets’. Unlike trademarks, copyright, designs and patents, trade secrets – which are an integral part of

the creative strategy of 75% of companies in the European Union (EU) – do not currently benefit from strong protection granted by a harmonised and set framework of rules.

As a result, at the end of 2013, the European Commission proposed a new directive to harmonise the protection of trade secrets in the 28 member-states of the EU.

The directive on the protection of undisclosed know-how and business information (trade secrets) against their unlawful acquisition, use and disclosure, will protect trade secrets, being information that:• is secret, in that it is not generally known or readily accessible to relevant persons in the field;• has commercial value because it is secret; and• has been subject to reasonable steps to keep it secret.

The acquisition of a trade secret will be unlawful in a range of circumstances where it is a result of breach of a confidentiality agreement or other practice ‘contrary to honest commercial practices’. A common set of remedies where there has been unlawful acquisition, disclosure and use of trade secrets, such as interim and permanent injunctions, seizure and destruction of goods which result from the misuse of trade secrets and damages to compensate the trade secrets holders for losses suffered, will be implemented by the new directive. Another key change introduced is that some procedures will be in place to ensure the confidentiality of trade secrets during legal proceedings.

Many legal practitioners hope that the new directive will come into force in 2015, and then be implemented by each member-state by 2016.

The directive is good news for businesses, especially those focusing on craftsmanship. The new minimum level of protection for trade secrets will give them greater certainty that their trade secrets are safe and may facilitate cross-border investment and innovation. However, these changes will not remove the need for confidentiality agreements, especially as a pre-requisite to the exchange of valuable confidential information. I Annabelle Gauberti

Protection of trade secrets and craftsmanship: what is in the works?

Annabelle Gauberti is the founding partner of Crefovi, a London and Paris law firm specialised in advising the creative industries in general, and the art and luxury goods sectors in particular. She is a solicitor of England & Wales, as well as an Avocat with the Paris bar. Annabelle is also the President of the International Association of Lawyers for the Creative Industries (ialci).


Available in English on Freesat / Sky / TV PlayerAnd in English and French on Virgin

WORLD NEWS

MADE IN FRANCE

FRANCE24.COM

F24_AP_TourEiffel_197,4x279,18_PP.indd 1 15/12/14 10:50


Compiled by Katie Chadd

||| From Elizabeth I to Margaret Thatcher, Coco Chanel to Lady Gaga, the clothes women wear have always been a powerful form of self-expression and part of a sophisticated visual language.

Women Fashion Power looks at how influential women have used fashion to define and enhance their position in the world. The exhibition celebrates exceptional women from the spheres of politics, culture, business and fashion – forward thinkers who have had an impact on our wardrobes and the world stage.

Bringing together clothing, photo-graphy, archive footage and interviews, Women Fashion Power showcases more than 20 contemporary women – each of whom are contributing an outfit for display as well as sharing their personal style philosophy.

Highlights of the vintage pieces on display include a Zandra Rhodes ‘Conceptual Chic’ punk wedding dress, a Mansfield suit worn by Margaret Thatcher, clothes and accessories owned by Elsa Schiaparelli and a Jacques Azagury dress worn by Princess Diana.

The Mayor of Paris, Anne Hidalgo, who was invited to open the exhibition, also contributed an outfit: slim fitting trousers, a silk blouse, a jacket and a scarf. Speaking at the opening she said, ‘First and foremost, I look for clothes that are comfortable, combining elegance and sobriety, whatever the circumstances. This outfit … is my lucky charm, it is the scarf I wore on the evening when I won the election for Mayor of Paris.’

As more women are holding office and being recruited into society’s most powerful leadership roles, Women Fashion Power asks whether it is time to reassess the role of fashion in the public sphere – not a frivolous distraction, but an essential component of the working woman’s toolkit.

Women Fashion Power is designed by the world renowned architect Zaha Hadid. The exhibition is co-curated by fashion expert and commentator Colin McDowell and Donna Loveday, Head of Curatorial at the Design Museum. IDesign Museum, LondonUntil 26 April 2015 / Open daily from 10am to 5.45pm / Full price: £12.40

Available in English on Freesat / Sky / TV PlayerAnd in English and French on Virgin

WORLD NEWS

MADE IN FRANCE

FRANCE24.COM

F24_AP_TourEiffel_197,4x279,18_PP.indd 1 15/12/14 10:50

Women Power

Zandra Rhodes’ kaftan 1982

Anne Hidalgo, Mayor of Paris, opening the exhibition

Ph

oto

s C

op

yrig

ht:

© M

irre

n R

osi

e

The exhibition showcases outfits chosen by 20 contemporary women


||| By delving into the mind of one of the most famous fictional Londoners of all time, the Museum of London’s exhibition – the first on the detective since 1951 – examines how and why the character of Sherlock Holmes has had such a lasting impact since his creation by Conan Doyle in the late 19th century, transcending literature onto stage and screen.

The museum will look beyond the familiar deerstalker, pipe and cape in search of the ‘real’, complex and multi-faceted Sherlock Holmes, mirroring the way he used his own remarkable observational powers and analytical mind to reveal the truth. The exhibition will also consider the relationship between Holmes and the city that is equally a backdrop, a character in the stories and a source of fascination for the fictional detective himself for, as Holmes remarks, ‘it is a hobby of mine to have an exact knowledge of London’. I Until 12 April 2015 / Open daily 10am to 6pm / Full price: £10.90

Conservator Melina Plottu preparing the cape and deerstalker

Sherlock Holmes | The man who never lived and will never die

m u s e u m o f lo n d o n, d o c k l a n d s

© M

use

um

of

Lo

nd

on

||| In the run up to the General Election in 2015, this exhibition provides a new perspective on how we got to where we are today. The exhibition is made up of sections curated by seven artists: John Akomfrah, Simon Fujiwara, Roger Hiorns, Hannah Starkey, Richard Wentworth and Jane and Louise Wilson. Each look at a particular time in history over the last 70 years covering topics as varied as the Campaign for Nuclear Disarmament

movement, post-Thatcherite society, urban planning and feminism. Bringing together more than 250 works, the exhibition will shed new light on how we remember, rethink and reconsider the past. I 10 February – 26 April 2015 Monday 12pm to 6pm, Tuesday, Wednesday, Saturday, Sunday 11am to 7pm and Thursday, Friday 11am to 8pm. Full price: £11

HISTORY IS NOW | 7 artists take on Britain

© t

he

esta

te o

f L

. S. L

ow

ry. A

ll r

igh

ts r

eser

ved

, DA

CS

2014

L.S. Lowry, July, the Seaside, 1943

h ay wa r d g a l l e ry, lo n d o n

w h at’s o n : a s e l ec t i o n o f e x h i b i t i o n s i n lo n d o n a n d b e yo n d

||| This exhibition brings together, for the first time, a collection of John Singer Sargent’s intimate and informal portraits of his impressive circle of friends, including Robert Louis Stevenson, Claude Monet and Auguste Rodin.

Curated by Richard Ormond CBE, the exhibition will explore the artist as a painter at the forefront of contemporary movements in the arts, music, literature and theatre, revealing the depth of his appreciation of culture and his close friendships with many of the leading artists, actors and writers of the time.

Featuring rarely exhibited loans from various galleries and private collections, the exhibition follows Sargent’s time in Paris, London and Boston as well as his travels in the Italian and English countryside. I12 February – 25 May 2015Open Saturday to Wednesday 10am to 6pm and Thursday and Friday 10am to 9pm Full price: £14.50

Sargent | Portraits of artists and friends

n at i o n a l p o rt r a i t g a l l e ry, lo n d o n

The Fountain, Villa Torlonia, Frascati, Italy by John Singer Sargent, 1907

© A

rt I

nst

itu

te o

f C

hic

ago


||| This exhibition is an exploration of the artistic legacy of Peter Paul Rubens (1577–1640), the most influential of Flemish painters. It brings together masterpieces by Rubens and the artists who were inspired by him during his lifetime and up until the 20th century, including Van Dyck, Watteau, Turner, Delacroix, Manet, Cézanne, Renoir, Klimt and Picasso. Over 160 works, comprising paintings, drawings and prints drawn from some of the finest collections in the world, are presented by six themes: Poetry, Elegance, Power, Lust, Compassion and Violence.

While Rubens is most renowned for the depiction of his fleshy, sensuous ‘Rubenesque’ women, the exhibition will illustrate the breadth of his accomplishment and present an artist whose visual language, from composition to theme, style and colour, impacted on artists at the time and has had continued resonance for artists throughout the centuries following his death. I 24 January – 10 April 2015 / Open Monday to Thursday, Saturday to Sunday 10am to 6pm and Friday 10am to 10pm / Full Price: £15

Rubens and his legacy | Van Dyck to Cézanne

roya l ac a d e m y o f a rt s , lo n d o n

Ph

oto

© M

adri

d, M

use

o N

acio

nal

del

Pra

do

||| Widely regarded as the most significant art movement of the last century, Pop Art exploits identifiable imagery from mass media and everyday life to reflect on the nature of the world we live in. This exhibition examines the relationship between western Pop Art and its lesser-known eastern counterparts including ‘Sots Art’ in the Soviet Union and ‘Political-Pop’ or ‘Cynical Realism’, which has flourished in Greater China since the turn of the 21st century.

This exhibition brings together 250 works by 110 renowned artists from China, the former Soviet Union, Taiwan, the UK and the USA in the largest exploration to date of Pop Art’s enduring legacy. Post Pop: East Meets West celebrates the art being produced in these distinct regions since the heyday of Pop, and will present them in relation to each other through the framework of six themes: Habitat; Advertising & Consumerism; Celebrity & Mass Media; Art History; Religion and Ideology; Sex & the Body. IUntil 23 February 2015 / Open daily 10am to 6pm / Free admission

Post Pop: East Meets West

s a atc h i g a l l e ry, lo n d o n

||| This exhibition showcases contem-porary ceramics and glass from young and established Chinese artists.

China is traditionally associated with imperial porcelain or modern mass-production. Ahead of the Curve includes striking new work and highlights current trends and practices from the traditional porcelain city of Jingdezhen and other artistic centres across China. The 20 artists featured in this exhibition challenge traditional

approaches to porcelain and glass in a variety of ways.

Main works include ‘Dreamers’ by Shao Changzong, an engaging group of figures who communicate only through their eyes and ‘Birds, Twitter and Fragrance of Flowers’, Wan Liya’s porcelain version of industrial products covered in imperial-style floral designs and poetry. I Until 1 March 2015 / Open Monday to Friday 10am-5pm, Saturday to Sunday 10am-6pm/ Free admission

Ahead of the Curve | New China from China

b r i s to l m u s e u m & a rt g a l l e ry, b r i s to l

Wan Liya , Birds, Twitter and Fragrance of Flowers

© W

an L

iya

Peter Paul Rubens The Garden of Love, c. 1633

STEP 2The Children’s Library

STEP 3The Tech Hub

STEP 1The Listed Reading Room

Help the French library set sail

The library of tomorrow is on its way... but we need your help.Please support our renovation project... and let the reading begin!

Donate now

The Friends of the French

Institute

PUB.indd 1 12/10/2014 4:44:37 PM


b o o k r e v i e w s

These books, recently translated into English, were selected by the French Institute

||| In a crumbling colonial mansion besieged by slums in the old quarter of Algiers, Lamia lives a life of self-imposed isolation. Her family are dead, but for her beloved brother Sofiane, who has become a harraga – one of those who risk their lives attempting to flee the country for a better life in Europe/elsewhere.

Lamia’s tranquil, ordered existence is turned upside-down when a 16-year-old stranger knocks on her door in the middle of the night. Pregnant, unmarried and dressed in garish finery, Chérifa is talkative, curiously innocent and utterly unafraid. She enters the house like a whirlwind, and leaves a trail of destruction in her wake. Lamia must try to teach her, to protect her against a world where a woman who is not meek, subservient and married is an affront, where a girl who is pregnant can be killed to spare her family’s honour.

By turns funny and lyrical, luminous and sardonic, Harraga, by the controversial author of An Unfinished Business, is the engaging and ultimately tragic story of two very different women who become friends and allies in a patriarchal world. I

HARRAGAby Boualem Sansal

Published by Bloomsbury

Translated by Frank Wynne

Original title: Harraga

||| A forlorn traveller is taken in by three suffering orphans, who, in the midst of their pain, give him food and shelter. The first, orphaned by history, still mourns a father who was sent to a Nazi concentration camp, never to return. The second, orphaned by pathology, has a rare disease, and is facing madness alone in a mountain chalet. The third, orphaned by philosophy, is a teenager who has decided to cut all ties with his parents.

This portrait of people forgotten by the world is simultaneously harrowing and droll, broaching essential questions about the difficulty, if not the impossibility, of maintaining one’s legacy, one’s freedom, or indeed one’s happiness. I

ORPHANS by Hadrien Laroche

Published by Dalkey Archive Press

Translated by Jan Steyn

Original title: Les orphelins

||| Gaspard Winckler, master forger, is trapped in a basement studio on the outskirts of Paris, with his paymaster’s blood on his hands. The motive for this murder? A perversion of artistic ambition. After a lifetime lived in the shadows, he has strayed too close to the sun.

Fittingly for such an enigmatic writer, Portrait of a Man is both Perec’s first novel and his last. Frustrated in his efforts to find a publisher, he put it aside, telling a friend: ‘I’ll go back to it in 10 years when it’ll turn into a masterpiece, or else I’ll wait in my grave until one of my faithful exegetes comes across it in an old trunk.’

An apt coda to one of the brightest literary careers of the 20th century, it is – in the words of David Bellos, the ‘faithful exegete’ who brought it to light – ‘connected by a hundred threads to every part of the literary universe that Perec went on to create – but it’s not like anything else that he wrote. I

PORTRAIT OF A MANby Georges Perec

Published by MacLehose Press

Translated by David Bellos

Original title: Le Condottière

||| Eric Chevillard here seeks to clear up a persistent and pernicious literary misunderstanding: the belief that a novel’s narrator must necessarily be a mouthpiece for his or her writer’s own opinions. Thus, we are introduced to a narrator haunted by a deep loathing for cauliflower gratin (and by a no less passionate fondness for trout almondine), but his monologue has been helpfully and hilariously annotated in order to clarify all the many ways in which this gentleman and Eric Chevillard are nothing alike. Language and logic are pushed to their farthest extremes in one of Chevillard’s funniest novels yet. I

THE AUTHOR AND MEby Eric ChevillardPublished by Dalkey Archive Press Translated by Jordan Stump Original title: L’auteur et moi


Taking flight in the Landmark London’s Mirror Bar||| There are classic cocktails and contemporary cocktails, and then there are theatre cocktails. More than a drink, this is entertainment, where the making and the pouring is an experience in itself. Long part of the nightclub scene, such show cocktails are not usually seen in five-star establishments… but Kamil Winnicki, mixologist of the Landmark London’s Mirror Bar, has come up with a class act for a different environment. His Flight Martini is a rainbow of six different Martinis, poured simultaneously from six gold shakers, carefully stacked with ice to space them evenly, and held end to end over a formation of glasses. All six Martinis are based on Grey Goose vodka, notably French, which is then flavoured with particular liqueurs and juices to create apple, peach, passionfruit, French, melon and Atlantis versions. Kamil recommends it is shared between two – deciding who gets what is the fun part! As for the name, ‘flight’ is a term used to describe a selection of three to eight wines

presented at a tasting, so why not a Martini flight? It also aptly describes the spectacle of it being poured!

Martinis are a signature drink at the Mirror Bar, which has a whole selection commemorating the hotel’s role in the Second World War when MI9, the

British Directorate of Military Intelligence Section 9, requisitioned a whole floor for part of its operations.

Tucked away in a corner of the hotel, the Mirror Bar is a relaxed and intimate space, which has a regular and loyal clientele. So personalised is its service, that it even has martinis created for and named after regulars. ‘We get to know their tastes, which gin and vodka they prefer, and create the perfect drink for them, which is thereafter

called “Mr Jones’s Martini”, for example,’ Kamil explains. There is an educative element too. ‘We discuss the cocktails with our guests, tell them the stories behind them, talk about the different spirits and distillations. Maybe they will discover something new.’ Taking the Flight Martini seems a good place to start. I KF

stay.•

drink•

eat


||| The Foie Gras Belle Epoque is a new dish that has been created by Club Gascon Chef-Patron Pascal Aussignac, taking inspiration from Maison Perrier-Jouët’s Belle Epoque Champagne and Emile Gallé’s iconic anemone design which has been imprinted on the bottles themselves since 1964.

The idea behind the dish is to pair two luxury products, the Foie Gras and the Champagne, on one plate, and in doing so, to recapture the style, elegance and ‘insouciance’ of the Belle-Epoque period. ‘The design on the bottle reminds me of Maxim’s in Paris, and the fashion and glamour and I wanted to put some of

that stylishness into the classic combination of Champagne and fois gras,’ Pascal explains.

Gallé’s design – dating back to 1902 – has been recreated using a specially commissioned stencil based on Pascal’s drawings from the Champagne Perrier-Jouët Belle Epoque bottle, with the anemone stem and petals being formed from white, green and pink powders made from parsnip, green peas and ginger, so that ‘you can eat the flowers that you see’ as Pascal says. Within this frame sits a Foie Gras terrine topped with a froth of pomegranate and ginger, edible silver leaf and sugared pearls reminiscent of the glamour of the inter-war period. To encapsulate the key flavours from the wine, citrus notes are incorporated into the dish with the addition of confit kumquat, crystallised ginger and toasted ginger, which complement the flavours of the fois gras. The finished dish is served with an accompanying glass of Perrier-Jouët’s prestige cuvée Belle Epoque Champagne.

Pascal has been delighted to collaborate with Pernod Ricard UK, also a French Chamber member, for this creation and although originally conceived for the Christmas menu, the Foie Gras Belle Epoque will appear on the Club Gascon A La Carte menu throughout 2015. Pascal Aussignac’s collaborations with Pernod Ricard UK will also continue into 2015 with his cocktail bar Baranis serving up new cocktails using Pernod Ricard brands as part of the London Taste Festival in June. Club Gascon will also present a new dish showcasing a Pernod Ricard brand. I

The story behind Foie Gras Belle Epoque

at Club Gascon


FONDUE by la cave à fromage

||| When cold and dark days leave us feeling a bit glum, one way to beat the winter blues is to have a cosy dinner party with friends and family. For such an occasion, what better dish to serve up other than a fondue which everyone can share?

Even Homer in his Iliad talked of thinly sliced goats’ cheese, which was melted and cooked with wine and flour. There are as many recipes around as there are melted cheese lovers, and there is no need to overcomplicate a dish which is simply delicious. Therefore, no starch, flour, potatoes or kirsch are required. Just a good white wine or full-bodied ale with two hard cheeses will do.

The other rule – warm gently and do not cook the cheese. It is best to balance the consistency with flavours. Use two cheeses, a pinch or two of pepper and most importantly some stale farmhouse bread or rye bread.

One Swiss recipe even advises fondue makers to use 7 kilogrammes of Beaufort cheese, 5 litres of Fendant wine and another 5 litres for the Chef! I by Eric Charriaux

E: [email protected] T: +44 (0)845 108 8222W: www.la-cave.co.uk

Your wine with fondue by wine story

- CHEESE & WINE PRESS -

||| Winter is the season for festive meals and rich, rustic comfort food often made with cheese from different regions in France. In particular, it is the season for fondue and tartiflette, a traditional dish from the Savoy region of France, consisting of potatoes, onion, Reblochon cheese and lardons. To accompany these dishes, nothing beats a dry white wine. Altesse, a very good white grape variety from Savoie, goes particularly well with fondue and tartiflette.

It is also worth trying Savagnin, made from the Jura grape variety, with dishes containing Comté, a cheese from the same region, or the Alsace Pinot Gris with flammekueche, a thin-based Alsatian pizza, topped with cheese. Aligot, a dish commonly found in Auvergne consisting of mashed potatoes and melted cheese, is a perfect match with a white Saint-Pourcain, containing Chardonnay from the same region. If eating sausages with the Aligot,

then why not try the red Saint-Pourcain made with the Gamay grape?

I am writing this column having just returned from Sancerre in the Loire region where the local goats’ cheese, Crottin de Chavignol, is also grated into crème fraiche, a technique similar to that used in the south-west of France with Roquefort. This white sauce is very good on

potatoes accompanied by a white Sancerre produced by Nicolas Millerioux’s estate or over red meat accompanied by the Cabernet Franc grape variety with the Chinon Rouge appellation from Renaud Desbourdes’ Domaine de la Marinière. Bon appétit! Iby Thibault Lavergne

E: [email protected] T: +44 (0)7921 770 691W: www.winestory.co.uk


News at the Chamber

A New Year and a new look for the Chamber as it ‘rebrands’ with the new CCI France International

logo that identifies it as part of the network of French Chambers abroad. Along with the logo we have streamlined the Chamber’s name to ‘French Chamber of Great Britain’, while still retaining the marker of our longstanding presence and heritage in this country with the ‘Established in 1883’ baseline.

2014 ended on a good note with two high profile Franco-British events – the Awards and the Forum. One was a celebration of bilateral business and entrepreneurship, while the other was a platform for new business between our two countries. It was our first ever business forum, and successfully laid a solid foundation for future editions as they become an annual event in the Chamber’s calendar.

Several new members joined the Chamber before year-end, bringing the annual total to 150. Most recently our ranks have been swelled by six new Corporate members and 19 Active members, whose details are in the following pages. But it’s not all about quantity, and we are proud to have sustained a high quality of services for our members in every area, from business set-up and consultancy to recruitment, and from events to publications.

2015 gets off to a good start with the resumption of the Ambassador’s Briefs for Patron and Corporate members at the French Residence on 20 January. This will be the first brief given by HE Ms Sylvie Bermann, the French Ambassador to the UK, who, in the short time that she has been here, has shown great commitment to supporting the Chamber’s activities.

Our very first Cross-Cultural Quiz evening on 5 February promises to be both entertaining and educational, as both sides have the chance to show off what they know about each other, or discover the gaps in their cultural knowledge, and what better occasion to present the Intercultural Trophy, which is in its 17th year of existence. Let the year begin! I KF

DISCOVER the French Chamber

copies sold in 2014 (23 a week!)

1,200Light at the End of the Tunnel:

practical reflectionson the French and British in business


6 NeW CoRPoRAte MeMbeRS

n e w m e m b e r s

Akacia events | Corporate events agencyRepresented by Davina Lacaze, Director | www.akaciaevents.comAkacia Events is a corporate events agency with three main areas of focus and expertise: Events, Stage Management and Hostessing. We offer real creative value for our clients across several sectors, helping them to achieve daring ideas and organising outstanding events, tailored to their individual needs. Our team is internationally oriented and fully experienced with more than 12 years in the world of corporate hospitality.

Armorial Paris | Luxury bespoke stationer Represented by Laetitia Vielvoye, Boutique Manager | www.armorialparis.comAlongside Armorial’s beautiful bespoke stationery and its heritage print service, we also make available the most distinctive range of luxury stationery products including engraved greeting cards and correspondence cards, all of which are available in beautiful gift packaging. Armorial also offers a carefully curated selection of the world’s most superior pens from S.T. Dupont, Caran d’Ache, Omas and Montegrappa.

Aurum Holding Limited | Luxury watch and jewelleryRepresented by François Le troquer, Executive Director - Luxury Division | www.watches-of-switzerland.co.ukEstablished in 2007, Aurum is the largest prestige and luxury jewellers in the UK which includes the Watches of Switzerland, Mappin & Webb, Goldsmiths, ‘boutique.Goldsmiths’ brands and the newly acquired Watchshop brands within its portfolio. The group is proud to be the largest distributor in the world of luxury brands such as Omega, Tag Heuer and Gucci. It is also the UK’s largest distributor for Rolex, Cartier and Breitling. Aurum prides itself on the excellent product range and unrivalled service that we provide across our brands.

bacchus | Event production, creative strategy and communicationsRepresented by Anouschka Menzies, Co-founding Director | www.bacchus-pr.comBacchus is a creative agency offering the very highest standards of luxury brand development/positioning, media/communications, creative content generation and event production. Bacchus is the lead producer of London Fashion Week, the V&A’s ‘Fashion in Motion’ and London Collections: Men. Charlotte Lurot, the French co-founder, has produced events for luxury brands across the globe. Anouschka Menzies, also of French origin and fluent, has an unprecedented high-net-worth individual network and is the PR of choice for leading French Chefs, high end food and drink and luxury brands.

tridelity | Glasses-free 3D media companyRepresented by Jean Charles Vasseur, Co-founding Director | www.tridelity.comGuardium Holding owns three companies: Tridelity, Sellinity and Abbakan. tridelity is a glasses-free 3D media company actively placing 3D media solutions in the growing market of digital signage advertising. 3D advertising results in a 44% longer attention span, on average, making a greater impression than a 2D equivalent. Sellinity provides a Software as a Service (SaaS) platform designed for the tourism industry and the hospitality sector in particular. Abbakan is a European value-added distributor specialising in critical security for services provider, integrator.

Les Hôtels du Roy | French hotel collection in Paris and Nice | Upgrade from Active to CorporateRepresented by Nathalie Montenon, Account Manager | www.leshotelsduroy.comLes Hôtels du Roy, a unique boutique hotel collection, offers you five addresses in Paris and an exceptional property in Nice. Each place is unique and contributes to delimiting a collection of hotels with specific personalities. Find the one that corresponds to the theme of your stay: Hôtel California, Royal Hôtel, Résidence du Roy, Royal St-Honoré, Pont Royal and La Pérouse.


19 NeW ACtIVe MeMbeRS

B-Pack SoftwareEditing software, computering services

Represented by edith Prieur, CEO

www.b-pack.com

Crystal Finance SASWealth management

Represented by bruno Narchal, President

www.groupe-crystal.com

CTO & Co LtdCTO Services / Information Technology strategy

Represented by François Collomb, Managing Partner

www.ctoandco.com

Delabie UK LtdWater controls and sanitary equipment

Represented by Alexandre Anagnostides, CFO

www.delabie.co.uk

EasyStep CateringEvents, catering, planner, networking, food and drinks

Represented by Joe Soufflet, Director

www.easystepcatering.com

EliotusInternational consulting strategy & development

Represented by Pascal D’hont, Founder

www.eliotus.com

Food Alert LtdFood hygiene and health & safety specialists

Represented by Constantine Costa, Chief Executive

www.foodalert.com

Frédéric Royer Consulting Telecom and network consulting agency

Represented by Frédéric Royer, CEO

[email protected]

Integrative Business Coaching LtdBusiness coaching for wellbeing and performance

Represented by Laurence bridot, Director

www.integrativebusinesscoaching.com

Intuitiv’ Coaching Ltd High quality coaching and training for executives

Represented by Florian Zuretti, Director

www.intuitivcoaching.co.uk

Lewis Silkin LLP Law firm

Represented by Marie-Caroline Frochot, Partner

www.lewissilkin.com

Orée Bakery & coffee shops

Represented by Laurent d’orey, CEO

www.oree.co.uk

Pitaya l’agence Culinary agency: audit, consulting and food events

Represented by Leslie Johns, Chief Executive

www.pitayalagence.com

Realtid Innovative online translation chat service

Represented by edouard baldé, Founder

www.realtid.net

The Ampersand HotelLuxury boutique hotel in South Kensington

Represented by Jeremy Daudin, Senior Corporate Sales

Manager

www.ampersandhotel.com

Tramonex International payments for SMEs

Represented by Amine berraoui, Co-founder

www.tramonex.com

VIP Real EstateLuxury property

Represented by Noël Castinel, Owner

www.vip-real-estate.com

Witam Family Office Independent wealth management advice and structuring,

including portfolio management

Represented by Andrew Hodder, Senior Advisor

www.witam.fr

WLC Partners HR consultancy expert in collective intelligence

Represented by Gisèle Szczyglak, CEO & Founder

www.wlc-partners.com

For more information (including email, address, phone number etc.), please consult the online directory at www.frenchchamber.co.uk/membership/search-for-members


h e l lo / g o o d by e

James Ainscough was recently appointed Chief Operating & Finance Officer at the Royal Albert Hall. He replaces Jasper Hope who has been Chief Operating Officer since 2007 and is now moving to the Dubai Opera.

James joined the Royal Albert Hall as Director of Finance in January 2008 following a finance career that included roles in the charity sector and the music industry. James is married with three children and is a keen amateur musician. I

James Ainscough

• banque PSA Finance | Cruciano Infosino, Managing Director

• Crédit Suisse | Martin Ash, Relationship Manager

• Guinot Mary Cohr | Chris Gillam, Managing Director UK

• Lloyds banking Group | Andrew Dawson, Relationship Manager

• thomas eggar LLP | Mélanie Stancliffe, Employment, Partner

n e w m a i n r e pr e s e ntati v e s

h at s o f f to

Andrew Didlick, PR director at Peugeot, was awarded ‘PR Person of the Year’ by Headlineauto at their 2014 Journalism and PR Awards as voted by other journalists and PRs. With a record number of 62 individuals nominated, the 2014 were the most hotly contested awards ever. Andrew was hailed as ‘Knowledgeable, with extreme attention to detail, he delivers exactly what you want, all of the time.’ Andrew maintains a close relationship with the media and manages a busy press office that deals with all aspects of automotive media – national press, magazines, websites as well as lifestyle media. I

ebl Miller Rosenfalck has appointed emmanuelle Ries as Managing Partner, following Stuart Miller who held the role from 2011.

Emmanuelle Ries joined Miller Rosenfalck in 2004 and leads the Employment team and the French desk. She advises clients on English employment law, frequently in a European or cross-border context. Commenting on her appointment as Managing Partner, Emmanuelle Ries said: ‘I am delighted to have been appointed as Managing Partner at an exciting time of change and expansion for our firm.’ I

Gilles Normand is to be appointed CEO of Swinton Insurance.It is intended that, subject to approval by the Financial Conduct Authority (FCA), Mr Normand will take up his role in January 2015.

Mr Normand, 46, will add his Swinton position to his role as CEO of MMA Holdings, parent company of Covéa in the UK, which he has held since 2012. Swinton is the biggest high street branch network in the UK, with 350 branches and 4500 staff. I


c h a m b e r s h o rti e s

Emmanuelle Parré joins the Chamber as Communication Officer, replacing Nicole Joyce. She has a Bachelor’s in Foreign Languages (English, Spanish and Japanese) from Nantes University and a Master’s in International Negotiation from the University of Angers. She

moved to London in 2011, working as a Marketing Assistant in a digital marketing company where she managed the accounts of Gap, Banana Republic, Kurt Geiger, House of Fraser and Thorntons. I

Welcome to Emmanuelle Parré

For 23 years, Nicole Joyce, our Communication Officer, has greeted visitors to the Chamber with a gracious smile, and facilitated the smooth running of the office on a daily basis. Over the years, she has worked under six managing directors, seen about 500 interns come and go, moved offices three times, and witnessed the modernisation and transformation of the Chamber.

‘When I arrived in 1991, we only had two computers and there was no email. Everything was done by phone and I took about 200 calls a day,’ she recalls. In those pre-Internet days, students would come to the Chamber to search the Trade Directory for job leads, there were only three departments – Accounts, Membership and Business Consultancy – and events would be organised by fax. It was the first time Nicole had worked in a French environment, having left France at the age of 19, and she enjoyed being able to speak French again and meet such a spectrum of interesting people. ‘All the managing directors did something good for the Chamber,’ she says, ‘but it changed tremendously under Florence Gomez. There was an influx of energy and it has become a very vibrant place. You can feel it as soon as you enter!’

Not many people know what an adventurer Nicole really is. Before settling in the UK, she travelled the world for five years, working in a kibbutz in Israel a few metres from the Jordanian border soon after the Six Day War, hitch-hiking from London to Afghanistan, running a hotel in Kabul for three months, and funding her travels around Canada and the US by making and selling jewellery fashioned from horseshoe nails. If anything, her time at the Chamber has been a period of stability in her life. While we will all miss her terribly, we wish Nicole a happy and invigorating retirement, knowing that it may well be the start of a whole new adventure! I

Happy retirement to our longest-serving staff member

We are pleased to announce that Sandrine Rayée has just joined our team as Senior Recruitment Consultant, a new position created within our Recruitment Service.

Sandrine has more than 10 years of UK recruitment experience, having worked for Korn Ferry, Search Partners and PSD, where she focused on senior

and middle management roles. She has a proven track record, after working in Brussels, New York and London, and a network of contacts across a large number of sectors, with particular expertise in hospitality, finance, fashion and luxury. Sandrine can be contacted on telephone +44 207 092 66 25 or email [email protected] I

Meet the Chamber’s new Senior Recruitment Consultant: Sandrine Rayée

the Franco-british trade Directory &

Coming soon!

the HR Guide


The French Chamber has a new logo, which identifies it as part of the network of French Chambers abroad, CCI France International. All 112 French Chambers abroad are adopting the new standard logo to give them a common visual identity which will make it easier for businesses to recognise the ‘Chamber brand’. At the same time, the French Chamber is streamlining its name to ‘French Chamber of Great Britain’.

‘Beyond just providing a new visual identity for the French Chambers of Commerce abroad, this new logo is a strategic move for our network. French Chambers are now more in touch than ever with the professional needs of businesses and have diversified their activities. They now display their ‘brand’ as

a truly harmonised, unified network, featuring a comprehensive strategy’, said Arnaud Vaissié, President of CCI France International since 2013.

Arnaud Bamberger, President of the French Chamber of Great Britain commented: ‘We are very excited about the move towards a stronger and more harmonised network lead by CCI France International. Our new logo will better communicate what our Chamber is today – a very dynamic platform that is part of a global network. Indeed we are very proud of being the third French Chamber of Commerce to have been set up abroad back in December 1883. The baseline ‘Established in 1883’ will therefore convey our experience and heritage through this new visual identity’. I

New logo and name for the French Chamber

What ‘grate’ advice!

The fourth edition of this ever popular networking event took place in the heart of London’s French

district at La Cave à Fromage’s South Kensington boutique. Thibault Lavergne, Director of Wine Story and Eric Charriaux, Manager of La Cave à Fromage Notting Hill led guests on a journey of cheese and wine discovery. They revealed their very best combinations including the rather controversial ensemble of red Clos Baste Madiran and Roquefort – usually considered to be a white wine cheese. Following the introduction, participants put the experts’ recommendations to the test and the remainder of the evening was taken up with much tasting and talking! I KC

say cheese and wine 29 october

A touch of Bordeaux in Covent Garden

In the cosy atmosphere of Caudalie’s new UK boutique in Covent Garden, around 30 guests enjoyed an

evening of pampering, networking and shopping. After Jean-Axel Pain, Boutique Manager of Caudalie had said a few words about the brand and its products, participants lined up for complimentary hand massages and facials. Amidst beautiful festive displays and aromatic candles, guests shopped, networked and indulged in delicious canapés accompanied by wine from Caudalie’s very own Bordeaux vineyard. The winner of the evening’s lucky draw took away two sets of the special Christmas range, but Caudalie made sure that each guest left with a goodie bag filled with a range of their products. I KC

rendez-vous chez caudalie 19 november

r ec e nt e v e nt s


T he Chamber’s very first Dîner des Chefs was held at the 2-Michelin starred Hélène Darroze at the Connaught in

2010, so returning there was a homecoming of sorts. Guests gathered in the Connaught’s art deco-style ballroom for a Champagne and cocktail reception at which Pernod Absinthe ‘Green Beast’, which came in pipe-like glasses, and Lillet Spritz were served along with Perrier-Jouët Grand Brut NV. The main event was a 5-course menu that Hélène Darroze herself had put together. It was, as she told the guests when she made a brief appearance at the end of the meal, what she would have chosen to eat if she was dining at her own restaurant. Each course was named after one of the main ingredients in the dish – Caviar, White Coco Bean, Scallop, Grouse and Vanilla – but characterised by other strong flavours such as sea urchin, smoked eel, tandoori, fois gras, Mexican mollé, banana and passion fruit. Dishes were accompanied by wines, carefully selected by Head Sommelier Mirko Benzo and Pernod Ricard UK provided the superb Perrier-Jouët Belle Epoque Rosé 2004 to accompany the dessert and Martell Cordon Bleu Cognac to round it all off. It was an evening of gastronomy both grand and personal – a showcase of Hélène Darroze’s great talent and an insight into her own tastes and preferences.

In attendance, as always, was French food ambassador Raymond Blanc, who makes a point of being at all our Dîners des Chefs to support his compatriot Chefs. I KF

dîner des chefs 12 november

In the intimate setting of the Royal Opera House’s Clore Studio, Chamber Patron Members and

their spouses attended an exclusive evening of opera. This was the second Patron member concert of this type, established thanks to the Chamber and ROH’s special partnership. After a delightful drinks reception which included champagne kindly provided by Vranken Pommery and a range of delicious canapés, Russian mezzo-soprano, Nadezhda Karyazina, Ukranian bass/baritone, Yuriy Yurchuk and Italian pianist, Michele Gamba enthralled guests with their renditions of popular arias from both Carmen, and Samson and Dalila. At the end of the private performance, guests even had the opportunity to mingle with the

artists and learn more about their work. Sally O’Neill, ROH’s Chief Operating Officer then took to the floor to share her thoughts on the ROH season so far as well as the opera house’s international presence. Guests left with the melodies of the famous arias on their minds, eager to return for more music next year! Our thanks go to Jane Storie, Head of Sponsorship and Patrons at the Royal Opera House, for organising this privileged event. I KC

A Monday night at the opera

Hélène Darroze at the Connaught

Raymond Blanc surprises Hélène Darroze in the kitchen

patron event 3 november


annual financial lunch 7 november

The role of capital markets and economic growth

A long-established Franco-british tradition, the Annual Financial Lunch was addressed by Xavier Rolet, Chief executive of London Stock exchange Group, and attended by over 110 guests from across the financial and business spectrum, as well as our French Ambassador He Ms Sylvie bermann

As Société Générale Corporate and Investment Banking clocked up its 18th year of sponsorship of

this flagship event, Ian Fisher, Chief Country Officer and Head of Coverage & Investment Banking UK, remarked on the bank’s longstanding association with this Chamber event. He introduced the keynote speaker, Xavier Rolet, as ‘a Frenchman and experienced banker who is now leading one of the most important, historic and venerable institutions in the City – London Stock Exchange Group.’

‘Growth’ was the subject on which Xavier Rolet spoke, starting with the lack of it in the EU which has 26 million unemployed. ‘How are we going to create 26 million jobs in a pre-deflationary or even disinflationary environment, particularly when the leading nations have a stock of debt in the billions? Where is growth going to come from and, more importantly, what do we have to do?’ he asked. He pointed to the fact that states will have to shrink, ruling out growth coming from the public sector. As for blue chips, even in the last cycle of growth in 2005-7, when earnings grew at about 15% a year, cost-sensitive blue chips had a net employment creation performance of -0.4%. ‘In a high cost environment such as Europe, even in the best of times, blue chips are likely to keep their stock of employment flat. That leaves the small and medium enterprise (SME) sector as the only source of net employment creation in Europe.’ Notably most of the 1.8 million new jobs in the UK have been created by SMEs.

Ensuring that these companies create the necessary jobs is the next challenge, but Xavier observed that there are 23 million SMEs in the EU, whose business is innovation. ‘By definition you have something new to offer that is going to create wealth, you have pricing power and you will need good, well-educated people to work for you.’ However, the main issue facing entrepreneurs is the ability to raise capital ‘from start-up to stardom’. He explained that bank lending is better suited to well-established companies, making debt the wrong tool to fund start-ups. ‘The right way is to have an investor whose interest is fully aligned with that of the entrepreneur, who accepts the risk of bankruptcy, who will not ask for servicing of the capital interest payment, but who in exchange has unlimited upside,’ he went on, ‘But the biggest missing link in Europe today is risk capital that is tailored in size and accessible at low cost.’

So what needs to be done? Europe’s corporate sector is awash with capital to invest and has the desire and risk appetite to do so, but the biggest handicap to putting it in the hands of entrepreneurs is the regulatory environment and the fiscal system that make equity funding almost unaffordable. ‘Europe urgently needs to stimulate unused capital to be redirected towards entrepreneurs, not through tax breaks but the recalibration of the fiscal environment,’ he said, ‘and this can be done simply by reducing the subsidy of debt financing.’

Another way of securing more growth in Europe is to reconcile citizens with the capitalist economy but they cannot be asked to subsidise a financial system based on excessive leverage. If debt is not subsidised beyond a particular level, savings could be reallocated to diminishing taxation on equity funding, which would help entrepreneurs raise the right type of capital and create local jobs, but also help reduce volatility in economies, and save our economies from the burden of regulation, which chokes economic growth. He concluded: ‘If we are able to stimulate this army of entrepreneurs with the right type of capital we can absolutely create the growth, wealth and jobs that we need to pay for the other side which is our expensive welfare system.’

Preceded by a Vranken Pommery Champagne reception, lunch was complemented with wines from Le Conseil des Vins du Medoc, Les Vins de Graves and Les Vins de Pessac-Léognan. Richard Brown, Deputy President of the Chamber, who facilitated proceedings throughout, thanked Xavier Rolet for his visionary and thoughtful ideas, bringing yet another successful lunch to an end. I KF


breakfast with marc pontet 21 november

Post masters

Speaking at the Chamber’s 15th Ceo breakfast event, Marc Pontet, Global Chief executive officer of Asendia (La Poste) gave an eye-opening account of the new distribution landscape in which the joint-venture company operates

The postal industry is facing challenging times,’ Marc Pontet began. ‘And when you have been in

existence since the reign of Louis XI in the 15th century, as we have, reinventing yourself is not easy!’ The postal business saw impressive growth from the 1960s to 1990s, but was not as efficient as it might have been, so when plans to liberalise the market were set in motion 15 years ago it was an opportunity to improve the quality and efficiency of services, as well as productivity. Nevertheless, it was not the liberalisation of the market that had an impact, but the Internet, which brought about a drastic change in the use of mail and a substantial decrease in volumes. ‘This is the reason the postal industry has had to reinvent itself,’ Marc stated. Some mail businesses have moved to banking activities, others are investing in logistics, but Asendia has opted for international/cross-border mail parcels.

‘The best way of explaining who Asendia is and what it does, is by talking about our customers,’ Marc went on, revealing the logos of some of their major customers. One of the best is Victoria’s Secret, the large American lingerie retailer, which has the ‘full package’ of Asendia’s services, including delivering its direct mail, catalogues and small parcels to 50 countries. It has also developed software for the company that allows customers to calculate the full landed cost of delivery including taxes and manage the returns and payments. Other customers include Amazon, Citibank, the Financial Times, the Economist, H&M and more surprisingly TripAdvisor, for which Asendia delivers welcome letters and the awards given to establishments, and Google, which uses direct mail to target its AdWords customers.

Marc then went on to explain that Asendia is an equal joint venture between La Poste and Swiss Post, with dual headquarters in Paris and Bern, and a presence in 15 countries – mainly Europe but also North America and Asia. The UK is its second biggest subsidiary after the USA, with Germany, Singapore and Hong Kong following. The company delivers to 200 destinations in the world and has 1,150 employees. Asendia UK is a leader in cross-border mail in the UK with four sites, 350 employees and a turnover of £90 million. Yet, Marc made clear that the UK market was ‘not the easiest one’, because early liberalisation had created a competitive landscape of one dominant operator – Royal Mail – with

both postal challengers and local competitors, which created some tension.

Marc identified Asendia’s three main challenges as cultural, the market and the position it wants to have in the market. In terms of culture, he spoke about the decision to have mixed Swiss and French teams in every department. ‘Over and above strategy and immediate results, my main focus was the achievement of a successful integration,’ he said. ‘Without this, the joint venture could have failed.’ The market is its second challenge because of the way e-commerce has changed the playing field. While the decline in mail volumes has been compensated by growth in B-to-C commerce – it now represents 25% of Asendia’s global business – there are an increasing number of players chasing the same volumes. As for positioning, Asendia’s ideal is exemplified by the Victoria’s Secret case, and it envisions this evolution on a wider scale. Traditionally the core business of postal operators has been transport delivery, but no matter how efficient this has become, it is no longer enough especially in the cross-border business. Thus, Asendia is looking to position itself further upstream as a provider of software solutions to integrate with key customers. Its latest acquisition of eShopWorld, a leader in global e-commerce and logistics management, is a first step in this process. ‘Our ambition is to make cross-border commerce easy and reliable worldwide, and we hope this will be a pillar of our future growth,’ he concluded. I KF

L to R: Marc Pontet, Richard Brown, Deputy President of the Chamber and Fréderic Petton, CEO Asendia UK


Best of the best

franco british business awards 27 november

Organised by the French Chamber under the high patronage of HE Ms Sylvie Bermann, French

Ambassador to the UK, and HE Sir Peter Ricketts, British Ambassador to France, represented by Michael Ward, Director of UK Trade & Investment (UKTI), the Awards were presented at a dinner, which took place at the May Fair Hotel in London, attended by nearly 200 guests. Invest in France and UKTI were partners of the event, which was sponsored by Eurostar, HSBC and Mazars.

The evening was opened by Arnaud Bamberger, President of the French Chamber and Executive Chairman of Cartier, who spoke about the purpose of the Awards in recognising the achievements and innovative spirit of the ‘star companies that boost our bilateral links’ and encouraging further development of cross-Channel trade and investment.

HE Ms Sylvie Bermann then took to the stage,

remarking on the diversity of the nominated companies. ‘They represent, amongst other sectors, energy, transport, agrifood, fashion, construction and digital technologies. This reflects the wealth of Franco-British experience and expertise,’ she said. ‘The winning companies have managed to combine

the best of our two countries to bring their projects to fruition, whether in France or

the UK.’ As both emphasised, it had been a hard

task for the jury to select winners from such a worthy selection. Nevertheless, the

winners on the night were Merci Maman (SME/Entrepreneur), ARM (Innovation), and

Saint-Gobain (Large Corporate), while an Award for its support of, commitment to and involvement with the French Chamber went to HSBC, and for the company that tugged at the Jury’s heartstrings, a Coup de Coeur was presented to Caviar Petrossian.

Created in 2000, the Franco british business Awards marked its 15th anniversary this year by bringing together French and british businesses of all sizes and across all sectors to acknowledge the expertise, enterprise and success of all the nominated companies, and to celebrate the winners

The winners L ro R: Eric Lalardie (ARM), Kevin Crawley (Saint-Gobain), Béatrice and Arnaud de Montille (Merci Maman), Philippe Henry (HSBC), Bruno Gils (Petrossian)

Main Sponsors: Partners: Press Partner:

2014

FRANCOBRITISHBUSINESS AWARDS


The 2014 Winners

Saint-Gobain Large Corporate AwardSaint-Gobain is a world leader in the design, manufacture and distribution of construction materials, delivering high performance products for all areas of the built environment as well as future-minded innovative and sustainable solutions.

Accepting the Award on behalf of the Saint-Gobain group, Kevin Crawley, Environmental, Health & Safety Director, said, ‘We are very proud and grateful to have been given this award by the French Chamber. Saint-Gobain has a rich and interesting history, having been formed in 1665 by Louis XIV’s royal warrant and this award is all the more poignant as we celebrate 350 years of business in 2015. But the award really belongs to the people who form our UK business. For 30 years our presence has been immense in the UK, helping us to be a leader in the sustainable habitat market, and the innovation, creativity, diversity and sheer fun of working for Saint-Gobain and the people with us, is what drives us on to be the best in what we do.’

Merci Maman SME/Entrepreneur Award Set up in 2007 by Beatrice de Montille, Merci Maman creates personalised jewellery, hand-engraving each piece with French cursive writing. Their jewellery has something of a celebrity following, and even the Duchess of Cambridge has been seen wearing it. Having started in a bedroom, the company now has its own ‘atelier’ in Parsons Green, 13 employees and a £1.7 million turnover. ‘I’m very proud to receive this Award from the French Chamber. It’s a great honour for me, and also for my team – 11 girls and the man who left his comfortable job in the City to join me in this great adventure,’ Beatrice said, referring to her husband Arnaud. ‘It is also a great reward for all the hard work and energy we have put into Merci Maman since its launch.’ She described the company’s success as a ‘fairy tale’, acknowledging the role of loyal customers and ‘word of mouth’ recommendations. ‘Thank you for this award – we’ve scored a try and now we need to convert it in the coming months and years. Come on England, and Vive La France!’

ARM Innovation AwardARM designs scalable, energy efficient-processors and related technologies to deliver the intelligence in applications ranging from sensors to servers, including smartphones, tablets, enterprise infrastructure and the Internet of Things. Its innovative technology is licensed by ARM Partners which have shipped more than 60 billion System on Chip (SoCs) containing ARM’s intellectual property since the company began in 1990.

‘We are proud of this Innovation Award recognition from the French Chamber of Commerce in Great Britain,’ said Eric Lalardie, Business Development Director of ARM. ‘France is an important location for ARM, both as a location for highly educated and talented engineers who help us retain our competitive advantage globally, and as a location of strategic partners who license our processor designs and create world leading, differentiated semiconductors and solutions. The French technology market is vibrant and we look forward to continuing to work with our French ecosystems partners to grow all our businesses. To further sustain innovation in France, ARM is part of Systematic, the well-established innovation cluster.’

HSBC Jury AwardHeadquartered in London, HSBC is one of the largest banking and financial services organisations in the world with around 6,300 offices in both established and faster-growing markets, and 52 million customers.

Presenting the Award to HSBC, Arnaud Bamberger said: ‘HSBC has been such a loyal supporter of the French Chamber of Commerce, and we are very happy to give them this award.’ Philippe Henry, Head of Banking, Continental Europe and Africa, accepted it, saying, ‘This Award is very important to us. It shows that we have a role to play as a bank in creating economic and business connections between our two countries.’

Caviar Petrossian Coup de CoeurFounded in 1920, the Petrossian brothers were the first to introduce Paris to the magic of caviar, and over time their name has become synonymous with it. Today the company combines its traditions with the launch of new products to maintain excellence and create innovative ways to enjoy caviar.

‘We don’t give a Coup de Coeur every year, but the Jury was seduced by a company, recently arrived in the UK, that gave them salmon garnished with “fleur de caviar”, their innovative product!’ joked Florence Gomez, Managing Director of the French Chamber. Bruno Gils, Export Sales Director, accepted the ‘unexpected’ award with delight, thanking the Chamber for ‘a very valuable award that speaks to our heart and soul at Petrossian’.


franco british business forum 27 november

Getting down to business

The purpose of the first ever Franco British Business Forum was to provide a platform for French

companies, interested in doing business in the UK, to meet British companies with the potential of being clients, partners and suppliers. And this it achieved. On the day, 170 delegates were involved in over 160 B-to-B meetings, and many other connections were made in the expert village, where advice on taxation, employment law, logistics, transport, real estate and banking was readily available from sponsors and partners including DHL, Mazars, Eurostar, HSBC, UKTI and Ubifrance.

The Forum was inau-gurated by the French Ambassador, HE Ms Sylvie Bermann, who said: ‘This forum makes complete sense in a country with more than 5 million private companies – 5.2 million to be precise – and where our bilateral relations in the economic sphere are already particularly strong. France was the UK’s fourth-largest customer and supplier in 2013. The UK is the fourth-largest investor in France, and France is the third-largest investor in the UK. The strength of these ties, above all, reflect the dynamic partnerships between our companies. This Business Forum is an opportunity to strengthen

and diversify these partnerships. As much for French SMEs which want to set up and develop in the UK, as for British SMEs which have the same goal in France.’

The Forum also provided opportunities for information exchange, centred around three roundtable sessions on ICT, Creative Industries and Distribution Networks, where delegates could hear experts in these particular areas speak about the

current situation and opportunities in the UK, as well as give advice on some of the issues and pitfalls that a foreign business might encounter. Conducted informally, the roundtables afforded all participants the opportunity to ask questions and comment

on the topics under discussion.Many of those participating gave positive feedback

about the format of the Forum as well as the quality of the meetings they had had. The proof of the pudding, as the saying goes, is in the eating, and so the success of the day will take time to unfold as businesses follow up on the meetings and contacts that were made. But if the positive buzz that pervaded the Forum is anything to go by, the right ingredients were all there. I KF

Over 160 business meetings took place over the course of the dayFrench Ambassador HE Ms Sylvie Bermann addresses the forum

Main Sponsors:

Supporting Sponsors:

The forum enabled me to gain a better understanding of the British market and clarified my strategy. Following the event, I received the confirmation from Chelsea Flower Show that we will be able to exhibit our products in May 2015

Claire Chopitel, LAORUS


r ec e nt fo ru m s & c lu b s

climate change forum 21 october

demonstration turbines located at the European Marine Energy Centre in Orkney, Scotland. The 1MWe turbine which is installed as part of the Energy Technology Institute ReDAPT2 programme continues

to deliver power to the grid today. Alstom Ocean Energy has built an experienced team in the UK and France with a strong understanding of the challenges of harnessing tidal energy: through a process of

incremental technology development, Alstom Ocean Energy is now positioned as a leading tidal generation business.

The testing to date has taught Alstom many lessons in terms of the environment, performance and maintainability and enabled them to build those lessons into their developing technology. As a result their first commercial offering will be the Oceade™ 18m 1.4MWturbine, which will be the first variant in a ‘platform’ offering that is designed to optimise tidal array energy extraction. The new Oceade™ platform builds on Alstom’s established and proven concepts of having a buoyant turbine, a yawing turbine and pitching blades. Alstom is also developing key enabling technologies including a subsea hub that will enable multiples of turbines to be connected to it so only having the requirements of a single cable to shore.

Alstom sees the key priority as moving from single device demonstrators to semi-commercial pilot farms and as a consequence are working with GDF SUEZ in France to make this happen. Going forward, the challenge is to reduce the total cost of energy to a level at least commensurate with other forms of renewable power and this will be achieved through a focus on capital cost, array yield and reliability, all of which are important.

Alstom firmly believes that tidal energy can be a part of a low carbon energy mix that minimises the impact on climate change and the environment. I

Alstom Ocean Energy is a business that is part of Alstom New Energies which in turn reports into the

Renewable Power sector. It is dedicated to developing innovative solutions that can extract electrical energy from the oceans, whether through tidal streams, wave power or other innovative techniques and is in the process of obtaining its first commercial contract.

The business is currently concentrating on tidal power, with tidal flow occuring as a natural phenomenon as a result of the gravitational impact of the sun and the moon causing rise and fall of the sea level, coupled with local geographical formations turning height changes into high tidal flows. This makes tidal energy both predictable and reliable and for these reasons extracting tidal energy is a logical way of producing low carbon, reliable electricity.

The world tidal resource is estimated to be up to 100GWe1 with more than 10% in the UK and France hence there is currently a great deal of activity to deliver tidal stream pilot projects in both these countries. As a result the Alstom tidal strategy is initially focused in Europe where tariff structures and grant aid are supporting the early development.

Alstom Ocean Energy have been working on tidal stream energy concepts from 2005 and have now generated >1GWh from their 500KWe and 1MWe

Tidal energyRob Stevenson, Vice-President, ocean energy at Alstom Power explains how it is developing the next generation of tidal energy technology through the design, development and manufacture of tidal stream turbines for the capture and conversion of electrical power

1MW turbine lift

More than 10% of the world tidal resource is in the UK and France

1. GWe - Gigawatt electric: one billion watts of electric capacity

2. Reliable Acquisition Platform for Tidal


cross-cultural relations forum 20 november

Confucius for China – that underpin any understanding of a culture.

Communication stylesTwo distinct styles of communication are used by

different cultures. Low context is extremely direct, very clear and both written and spoken words

convey the whole message without ambiguity. High context cultures are the opposite, with

indirect, implicit and coded messages along with the use of silences. The British use of humour, often with a straight face, irony, sarcasm and idiomatic expressions can be very confusing to other cultures, particularly in a business environment when misunderstandings

can arise.

Time managementCountries are divided typically into monochronics and polychronics. For the former, time is a valued commodity and a

way of controlling life; they monotask in specific time units and are good

at deadlines. Classic examples are the Germans, Swiss, British and Americans. Polychronics,

on the other hand, use time as a guideline and consider it moveable because life is unpredictable, yet they are able to multitask and always have time for people. The French, Greek and Africans tend to fall more into this category.

Hierarchy and authorityCultures with flat management styles tend to be egalitarian and informal. Information will flow well in all directions, open disagreement with the boss is acceptable, people dislike being micromanaged and junior people will take initiative. In the hierarchical version there is much more deference for the boss and the approach is formal and authoritarian. The sharing of information is perceived as a dilution of power, there is more micromanagement, juniors will wait to be asked to do something and open disagreement with bosses is not permitted. Understanding which approach a culture takes can be crucial in a business context, as, for example, not sending a senior person to a meeting could result in a deal falling through in a country that values hierarchy.

Cultural intelligence’ is the individual’s ability to work effectively across cultural boundaries. More than

paying lip service to cultural mores, it is a way of working smarter in situations where there is a clear cultural gap. It is increasingly taught as amanagement skill, and some companies incorporate it into their induction programmes, particularly after a merger or acquisition. But culture is something of an iceberg – what you see is a small proportion of what you need to know to operate effectively. So what are some of the submerged perils to be aware of?

Self awareness The natural human tendency is to jump from observation to interpretation based on our own subjective view of the world, but this can cause problems. Shouting does not always mean anger or loss of control, smiling does not necessarily mean disrespect and challenging advice may not imply a lack of trust! Part of cultural intelligence is suspending judgement and not jumping to conclusions. An awareness that we tend to do this, make assumptions and revert to stereotype, particularly in times of stress, is key.

Cultural averages There is such a thing as average cultural behaviour, but it is important not to treat it as an absolute. Cultural averages are useful as benchmarks, predictors of likely behaviour, to increase self-awareness and to bring context. But note that all culture is relative – different cultures will have different perspectives of each other. In the Franco-British context it is useful to bear in mind some of the influences in each business culture. Part of the British psyche is the tradition of Protestantism and the rejection of authority, which contrasts with the French tradition of Catholicism that engenders conformity and obedience. Along the same lines is the British mistrust versus the French tradition of state intervention, and the fact that experience can be a route to power in the UK, whereas education is often the be-all and end-all in France. Behind all this are different philosophical influences – René Descartes for France, John Locke for the UK, Hegel for Germany,

Cultivating cultural intelligence

In a fascinating workshop on cross-cultural skills, Chair Peter Alfandary gave members some valuable insights into the science behind cultural intelligence and how it can be cultivated into an effective management tool


Reasoning and decision makingSome cultures reason inductively – taking facts and building answers to fit within a theory. They like to have the answer quickly and then figure out the why. Deductive thinking is diametrically opposed, starting from theory and going through all the steps to the conclusion. This can often create conflict, particularly in Anglo-French meetings, where the British may want to come to a decision quickly and the French may want to go through all the steps in a more logical and systematic way.

TrustTrust is classically built two ways: mind or heart. Some cultures use people based on activity – what they have done or have proved they can do. The personal is disassociated from the material. Conversely, in relationship-based cultures, work will only be given to someone once a personal relationship has been built. This can lead to classic cultural misunderstandings, for example, when one side does not realise that long lunches are part of the negotiation process.Cultural intelligence does not mean cultural dilution. Some people are convinced that their view of the world is right, but the culturally intelligent executive knows that their view of the world is not the only one. The tools for this start with empathy, without which nothing happens, and include listening, asking questions, getting personal and self perception. I KF

sme & entrepreneurs club 18 november

Why companies set up in LondonThe UK is currently the third destination for foreign direct investment in the world, after the US and China, and London has been ranked the number one city for establishing a successful business by Cushman & Wakefield’s European Cities Monitor 2011. It is also one of the most cost-effective cities in Europe to establish a business, beaten only by Dublin.

12 good reasons to set up a business in London• Access to Europe’s 500 million consumers.• Direct flights to more than 450 destinations.• First for qualified staff in Europe.• More european HQs than any other city in Europe. • 230 languages spoken.• Leading digital hub at Tech City. • Office hours overlap with countries generating 99% of global GDP.• Number one european city for the number of patents registered in healthcare, informatics, nanotechnology, wireless technology and video games. • entrepreneur visas for those seeking start-up funding.• 21% corporation tax by 2014. The small companies rate (profits up to £300,000) has been reduced to 20%.• 30% tax relief on investments up to £1 million.

• Fewer restrictions on doing business than in most other major European cities.

Why should companies export?The UK Government has ambitions to double UK exports to £1 trillion a year by 2020, and increase the number of companies exporting. Exports contribute about 60% of GDP and one in four jobs in the UK are linked to overseas business. Moreover, exporting makes businesses more competitive, productive, innovative and resilient. Companies can achieve levels of growth and economies of scale that are not possible domestically, spread business risk, increase the returns on investment in R&D, increase the commercial lifespan of products and services, and employ more and better people.

UK Trade and Investment is a government department that works with UK-based companies that want to trade and invest overseas, particularly highly innovative, high growth businesses with scalable products or services. It offers a number of services including impartial advice and strategy from International Trade Advisers, bespoke market research, one-to-one help on export programmes, overseas visits and contacts, and even financial support. Most of its services are free, although a few, such as the Overseas Market Introduction Service, are chargeable. I

From London to the rest of the world: how to unlock export opportunities

London is a great place to set up a company, but it is also a good springboard to the rest of the world. Maria Corts of London & Partners and Graham Nicholas of UKtI presented the different tools available to outward-looking companies, while Arnaud de Montille, co-founder of Merci Maman, explained how they achieved significant growth internationally on a low budget


Merci Maman creates, engraves and assembles bespoke jewellery in its workshop in Fulham, London. The company was selling to the UK market almost exclusively until it decided to start exporting in 2013.

The B2C approachMerci Maman sells personalised gifts through its own website and to attract international traffic, it has been working on the development of its brand and image by investing in:• Social media

Merci Maman grew through word of mouth in the UK over the last seven years and wanted to adopt the same approach internationally given its efficiency and low cost. Gaining social media fans, interacting with them, incentivising them to share and tag was a fantastic way to start building the brand outside the UK. Initially focused on Facebook, Merci Maman is now working on all key social media.

• Digital marketingSending newsletters is one of the cheapest and most efficient marketing tools. The company started to segment its population to send more targeted newsletters. For instance, Mothers Day may be in March in the UK, but it is in May in most countries and the message has to be adapted to its audience. Merci Maman has been working on Search Engine Optimisation to improve its natural ranking in search engines, but it has also purchased keywords. Once again, this can be very targeted to a specific population or geography and cost/benefits analysis are relatively straight forward with Analytics tools.

• Press adverts and editorialsThis is a more difficult approach unless you have great contacts. Celebrity endorsements definitely help.

• Partnerships and cross-marketingThis entails engaging with other brands to leverage on each other’s social media and customer database.

Convert traffic into sales: once visitors are on the website, you need to convert them into customers. Websites needs to be ‘export friendly’ with a range of languages and currencies but the whole operations of the firm need to be aligned, from customer service with native speakers in foreign languages to production and logistics. Beware of local regulations and customs rules.

Exporting can also be completed through online market places. There are global giants such as Amazon, Ebay, etsy or Alibaba but also numerous and fast growing market places focused on a niche segment or a specific country. A third of Merci Maman’s sales are completed through this channel, notably notonthehighstreet.com in the UK, hardtofind.com in Australia and alittlemarket.com in France

The B2B approachSmall firms would not be able to set up a presence through a local subsidiary initially. Merci Maman recently launched a B2B ‘trade’ range and has been exhibiting in international trade shows in London and looking to exhibit in trade shows in its target markets. The French Chamber and government agencies such as UKtI and Ubifrance are also great resources to get advice, contacts, meet international buyers and sometimes even get funding to grow exports. I Arnaud de Montille

Case Study: Merci Maman


CROSS-CULTURAL QUIz EVENINGWhere: PwC’s offices, 1 Embankment Place, London WC2N 6RHCost: £75+VAT per person; £700+VAT for a table of 10 Dress code: Business attire

Take part in the quiz and test your knowledge of Franco-British topics!Join us for a cross-cultural evening as we meet for a buffet dinner and take part in a quiz on French and British topics, habits and traditions with a focus on bridging the divide between our different business practices. This is your chance to impress with your cultural know-how or gain a better understanding of both cultures, whilst continuing to build your network and having fun!Contact Cécilia Gonzalez: [email protected]/0207 092 6642

f o rt h co m i n g f o ru m s & c lu b s

SME & Entrepreneurs Club Co-chairs: Sébastien Delecour, Managing Director of Doublet UK Limited, and Sophie Mirman, Owner and Founder of Trotters Childrenswear & Accessories. When: 27 January, 8.30 - 10.00am Theme: The power of networking: unlocking and creating business opportunities Open to all SMEs and Entrepreneurs

Legal Forum, By application onlyChair: Olivier Morel, Partner, Cripps Deputy Chair: Ken Morrison, Legal Director, EurotunnelWhen: 4 February, 9.00 - 11.00amTheme: Cross-border mergers & schemes of arrangementSpeaker: Paul Lester, Partner, Cripps

Climate Change Forum, By application only Chair: Richard Brown, Chairman, Department for Transport Franchising Advisory Panel When: 10 February, 10.00am - 12.00pm Theme: Passenger travel in LondonSpeaker: Lili Matson, Head of Delivery Planning, Transport for London

Human Resources Forum, By application only Chair: Jennifer Westen, Group Director HR, International SOSWhen: 11 February, 8.30 - 10.00am Theme: International mobilitySpeaker: An expert from Global Compensation Services, EMEIA Tax Centre - Human Capital, EY

f o rt h co m i n g e v e n t s

5Feb

19.00 - 22.30

The 17th

INTERCuLTuRAL TRoPHywill be awarded on the night

sponsored by:

All forums and clubs take place at the French Chamber. For more information, please contact Frédérique Compain: [email protected] / 0207 092 6638

sponsored by:


RENDEz-VOUS CHEz... L’ATELIER DES CHEFS Where: L’Atelier des Chefs, 19 Wigmore Street, London W1u 1PHCost: £20+VAT per personDress code: Business attire

Discover L’Atelier des Chefs during an evening of interactive cooking and cocktail making, with the opportunity to meet up to 45 new business contacts from a wide range of sectors. Cook, eat and network your way around the kitchen with the sought-after Street Food experience. There will be a selection of different cooking stations as well as an interactive cocktail station to try your hand at. on the night you will receive 10% discount on the cookware store as well as gift cards and a L’Atelier des Chefs goodie bag to take home.Don’t miss this unique social experience!

Contact Sonia Olsen: [email protected] / 0207 092 6644

10Feb

18.00 - 20.00

BREAKFAST WITH TOM MEGGLE Where: The Bulgari HotelGuest speaker: Tom Meggle, Managing Director uK, Ireland & South Africa, Louis VuittonCost: £30+VAT per person; £50+VAT special price for two Dress code: Business attire

After graduating from the European Business School in Germany, Tom held various positions within the wine industry before working with the Richemont Group as General Manager of Cartier, Northern Europe and Switzerland. In September 2008, he became General Manager of Louis Vuitton Germany where he successfully contributed to the development of Louis Vuitton in this market, especially with the expansion of the Düsseldorf store in September 2010. He was then appointed Managing Director of Louis Vuitton uK & Ireland in 2011 and his official title is now Managing Director uK, Ireland and South Africa.

Launched in 2009, our Breakfasts bring together around 80 key decision makers of the Franco-British community.

Contact Sonia Olsen: [email protected] / 0207 092 6644

6March

8.00 - 10.00


MEMBER TO MEMBER COCKTAIL AND EXHIBITION 2015Where: The Pullman London St Pancras, 100-110 Euston Road London NW1 2AJCost: £40+VAT per person; £60+VAT – special price for twoEarly bird tickets: £30+VAT per person until 31 January Dress code: Business attire

As the Chamber’s largest cocktail, held for the 16th year running, this event gives companies the opportunity to promote their products and/or services in person to other members from the Franco-British business community. It also provides extensive networking opportunities with representatives of very varied sectors, from SMEs to blue-chip companies.

Participants in this unique event will be able to:• Meet and exchange with a wide variety of exhibitors and Chamber members• Take advantage of exclusive offers in our Member to Member offers Booklet

Contact Suzanne Lycett: [email protected] / 020 7092 6651

25March

18.30 - 21.00

PRESENTATION OF THE NEW DEVELOPMENTS AT BATTERSEA POWER STATION Where: Battersea Power Station, 188 Kirtling Street, London SW8 5BNDress code: Business attireOpen to Patron & Corporate members (main representatives only) Contact Cécilia Gonzalez: [email protected] / 0207 092 6642

Battersea Power Station is at the heart of one of central London’s largest, most visionary and eagerly anticipated new developments, which will see this vast 42-acre former industrial site become a community of homes, shops, cafes, offices and 18 acres of public space. The realisation of architect Rafael Viñoly’s masterplan will see the creation of a new town centre for London, serviced by an extension to the Northern Line and the restoration of the Grade II listed Power Station. The redevelopment is taking place in seven phases, with each designed by specialist architects, including Ian Simpson Architects and De Rijke Marsh Morgan (dRMM) in Phase 1, Wilkinson Eyre Architects in Phase 2 (The Power Station), and Foster + Partners and Gehry Partners in Phase 3.

The Battersea Power Station site is owned by a consortium of Malaysian investors. The development of the project is being managed by British-based Battersea Power Station Development Company.

25Feb

08.30 - 10.30

A r nAu d BA m B e rg e rPresident of the French Chamber of Commerce

&

roB Ti nc k n e l lChief Executive Officer of Battersea Power

Station Development Company

request the pleasure of your company for anexclusive presentation of the new developments at

on Wednesday 25 February 2015 from 8.30 to 10.00am

at Battersea Power Station188 Kirtling Street, London SW8 5BN

This exclusive event will afford the opportunity to develop business relations and

discover one of the world’s most iconic buildings.Breakfast will be served.

rsvp to cecilia gonzalez

e: [email protected] • t: 0207 092 6642

This invitation admits one and is non transferable

FRENCH CHAMBER pAtRoN & CoRpoRAtE EvENt

B AT T E R S E AP OW E R S TAT I O N

f o rt h co m i n g patro n & co r p o r at e e v e n t


LONDON BRANCH

Patron Members of the French Chamber of Commerce in Great Britain

:V

V

LOGO

alidation DA/DC

alidation Client

Date : 31/05/11

Nº dossier : 20110049E

100 83 0 22

10 25 25 40

CRAFTSMANSHIP IN EVERY PAGE

108-110 Beddington Lane, Croydon, Surrey CR0 4YY T: +44 (0)20 8688 7500 E: [email protected]

CPI Colour is one of the UK’s leading printing

companies. At the heart of what we do,

there’s a passion for print.

It’s a passion that’s borne of a proud heritage

of excellence in lithographic printing. We’ve

been honing our craft since 1802, building a

reputation for print quality that’s unsurpassed.

Today, we help numerous blue chip

companies and luxury brands – with

impactful corporate reporting, marketing,

promotion and publishing. Our continued

investment in the very latest technology

takes our services beyond those of a

traditional printer, delivering content

in print and online.

Times have changed – but our success

is still due to the skill and experience of

our people. Plus ça change, plus c’est

la même chose.

cpicolour.co.uk

www.renault.co.uk

The official fuel consumption figures in mpg (l/100km) for the All-New Renault Twingo SCe 70 Stop & Start are: Urban 56.5 (5.0); Extra Urban 76.4 (3.7);Combined 67.3 (4.2). The official CO2 emissions are 95g/km. EU Directive and Regulation 692/2008 test environment figures. Fuel consumption and CO2 may vary with driving styles, road conditions and other factors.

SMARTPHONE INTEGRATION INCLUDING FREE OFF-LINE NAVIGATION

12020_REN_Twingo_Lock_Info6_279.18x197.4mm_1.10.indd 1 15/12/2014 11:23

SALES LETTINGS MANAGEMENTRELOCATION PRIVATE PROPERTY SEARCH+44 (0)20 7221 5429 | www.boulle.co.uk | [email protected] | 1 Norland Place, London W11 4QG

WE’LL ALWAYS MAKE TIME FOR YOU! +44 (0)20 7221 5429

years inREAL ESTATE

years inLONDON

years’MEMBERSHIPOF THE FRENCHCHAMBER

LET’S

40

2015

20

15

THANK YOULONDON!!

CELEBRATE

L'INFO Jan15:Layout 1 9/12/14 18:09 Page 2

Date post:	07-Apr-2016
Category:	Documents
Upload:	french-chamber-of-commerce-in-great-britain
View:	231 times
Download:	2 times

Info 216 Luxury and Craftsmanship

Documents