Tag Archives: Interview

Imperial’s Julia Stewart looks at the big picture

Can you paint an overview of Imperial and how it has become associated with so many of the biggest superyacht projects?

We believe in a detail-orientated approach as we are handling legendary superyachts. We leave nothing to chance and supervise every detail. Our yachts are very popular choices for charter because of high service standards, safety without compromises and perfect technical condition.

Our Monaco office is the heart of our activity and we also have offices located at leading shipyards in Germany, Netherlands and Italy to supervise new builds and refits on a day-to-day basis to protect owners’ interests. We have large new build and operational teams managing over 1,000 crew members worldwide. In addition, we have skilled HR and in-house legal teams.

 

How has Imperial’s business changed in the last few years as you’ve become known for working with some of the world’s biggest new superyachts?

We have sold more new-build projects and are currently supervising constructions at major European yards. Imperial is doing more hulls in the 100m-plus segment because we have proven management expertise and the specialist knowledge to control budgets as well as deliver the best result for the owners.

 

Imperial is the exclusive charter agent for the 136m Flying Fox, built by Lürssen; © Imperial Yachts (Photo: Guillaume Plisson)

Our delivered yachts speak for themselves. Imperial supervised construction and are Exclusive Central Charter Agents for Lana (Benetti 107m) and Flying Fox (Lürssen 136m). Furthermore, we are also experts in new construction such as Amadea (Lürssen 106.1m).

How would you rank the value of your various business divisions?

Imperial does not rely on one area of business, yet we have a firm core foundation based on the supervision of new builds and management, as well as strong sales and charter departments.

 

What are some of the projects that have elevated Imperial in term of recognition and earned the respect of your competitors?

Imperial respects the success of all brokerage firms as we believe healthy competition inspires us to do our best, not simply ‘good enough’. Imperial is unique because we have delivered more new build projects than any other brokerage house in the past decade.

 

Friedrich Lürssen, Imperial CEO Evgeniy Kochman, Julia Stewart and Peter Lürssen

We have technical, operational and interior managers that follow a meticulous management style. Our success stands out among the industry , with vessels such as Flying Fox, Lana, RoMEA (Abeking & Rasmussen 81.8m) and Lili (Amels 55m) creating a new standard of charter. Imperial is the owner’s representative and supervisor for operational, technical and interior aspects.

Imperial is smaller than some other companies in your sector. Would you like to scale up in terms of staffing and offices?

We utilise a different strategy as we have less sales offices but more on-site offices at major German, Dutch and Italian shipyards. Imperial supervises the new construction from these offices and therefore has real-time updates and can facilitate the owner’s requests right away.

Having all hands on deck is a real strength of ours. With the development of Covid-19, it became even more evident that we do not need many sales offices to succeed but we must have substance and a strong operational core.

Flying Fox features exterior styling by Monaco-based Espen Øino; © Imperial Yachts (Photo: Guillaume Plisson)

Which builders have you worked with most often in new builds?

Imperial has had the privilege to work with pioneers among the leading European shipyards. We have learnt from each other and share the same qualities of being detail-orientated, as well as to always protect the owner’s interest. In close collaboration with these shipyards, we have set high expectations and standards with the yards we choose to work with in the future.

 

Can you tell us about Imperial’s role as owner’s representative and build supervisor for the 120m Project Signature with Amels/Damen?

Imperial has a long-standing relationship with Amels/Damen as together we have built over 10 successful hulls over the past years . We have huge respect for the leaders of the Damen family and high regard as to how they support their clients with warranty and assistance. We firmly believe that Amels/Damen was the right shipyard for this ingenious vessel. Project Signature will raise the bar for design complexity within the yachting industry.

 

Imperial is the owner’s representative and build supervisor for the 120m Project Signature designed by Espen Øino

Project Signature will be a ‘green’ superyacht prepared for the Lloyd’s Register of Shipping EP (Environment Protection) notation, powered by diesel-electric engines and Azipod propulsion. Do you notice more owners showing more interest in the environment?

As a result of constructing larger vessels, future owners will continue to seek out new destinations and new platforms for adventure. With a shift in demographic, younger clients are looking for more experience-led activities through unique itineraries and on-board amenities. Wanderlust also comes with a desire to be environmentally conscious.

Our oceans, marine life and the surrounding shores are under threat. Today, the industry is more in tune with the climate change and clients request or are open to innovative engineering solutions or sustainable yacht designs with the end goal of reducing their yachting footprint.

Imperial is the exclusive central charter agent for Lana, the 107m Benetti build delivered in 2020; © Imperial Yachts (Photo: Breed Media)

Can you tell us anything about other upcoming builds that Imperial are involved in?

Imperial is dedicated to the protection of our client’s confidentiality. Imperial can confirm we have major new construction projects at leading German, Dutch and Italian shipyards. All I can say is, stay tuned!

 

Espen Øino designed Project Signature, Flying Fox and many other builds Imperial has worked on. Why does the company have such a special relationship with him?

Imperial is a Monaco-based company and is proud to have Monaco as part of its company heritage. We firmly believe in supporting the local economy and working with local talent. Espen Øino is the man behind some of the most iconic superyachts. He has an extraordinary talent and is effectively in sync with Imperial.

Building a superyacht to fit your needs is an exciting experience. The first footstep to constructing a new vessel is to find the right designer who understands your requirements. Espen’s success is how he manages expectations, establishes priorities and finds the balance between each space on board. In partnership with Espen Øino, Imperial has delivered many recognisable superyachts such as Amadea and Flying Fox.

The 106.1m Amadea, designed by Espen Øino and built by Lürssen, is exclusively listed for sale with Imperial; © Imperial Yachts (Photo: Guillaume Plisson)

How has Covid changed your business and impacted the different sectors of your business?

Covid-19 has been a major challenge for everybody. Nobody is exempt. We were the first management company to do mass testing for all crew on a regular basis to ensure the safety of guests and crew. Imperial developed Covid-19 prevention measures for the managed fleet. Given the high standards of safety on board the managed fleet, all charter yachts managed by Imperial are in high demand.

With the closure of many destination retreats, Imperial has found the perfect answer for those who are seeking a place to detach and improve their wellbeing while being in a clinically clean environment.

The wellness centres on board Flying Fox and Lana incorporate all aspects of personal wellness, using both a holistic and scientific approach. Imperial’s charter team has carefully selected safe destinations to charter where guests can choose how much interaction they want with life on land while adhering to local Covid regulations.

The 82m RoMEA was built by Germany’s Abeking & Rasmussen and is part of Imperial’s charter fleet; © Imperial Yachts (Photo: Guillaume Plisson)

Overall, what do you think are the biggest challenges to the superyacht industry?

Indeed, the global recession presents new complexities to the superyacht industry. In our opinion, true professionals that are meticulous in advancing in operational and new build management will prevail. Overall, the quality and expertise of the industry will gradually improve.

 

What more should the superyacht industry be doing to make the yachts and their operations more environmentally friendly?

Technological advances in design and build of superyachts has helped bring more sustainable solutions on board. More money and time are being spent on building greener vessels to lessen their impact on the marine environment. This is encouraging and demonstrates that technology can help. Imperial is providing its support by partnering with Blue Marine Foundation (BLUE) and joining the Blue Marine Yacht Club (BMYC) to help save and protect our ocean.

BLUE’S BMYC private event on board Amadea in 2019, kindly supported by Imperial and Lürssen, was the most successful BMYC event that BLUE has held to date. The event was extremely well attended with BMYC supporters and new supporters from the industry. A large sum of money was raised that night including a very large donation by Imperial.

The evening marked a turning point in financial support for many of BLUE’s projects, especially its work in the UK Overseas Territories and Ascension Island.

What are the biggest opportunities for growth in the superyacht sector in the coming years?

We live in a world where the only constant thing is change. Developments in technology allow the ability to innovative and enhance just about any sector. The yachting industry is no exception. At Imperial, ‘Luxury Yachting 360 degrees’ is not just our company motto, it is what sets us apart. We provide a full-spectrum approach from initial concept, finance, design and construction to management, charter, maintenance and marketing.

 

‘Luxury Yachting 360 degrees’ is Imperial’s motto

What are your plans for the coming years?

Imperial has changed the future of yachting by delivering some of the most advanced superyachts. Imperial orchestrates the relationship between client, designer and shipyard, so we will continue with our proactive and inspired approach to superyachts delivered and currently in construction.

We push boundaries with the future in mind. We have a detail-orientated approach in everything we do including new build supervision at major yards, operational and technical management, and a very successful charter operation.

 

Visit imperial-yachts.com to discover more.

This article was originally published on www.luxuo.com.

 

In conversation with Datin Sri Zarida Noordin of Habib Jewels Group

Bringing over 60 years of experience and craftsmanship, readyviewed Habib Jewels is a brand synonymous with homegrown jewellery-making and heritage luxury . Datin Sri Zarida Noordin is the Executive Director of Habib Group, one half of a husband (Dato’ Sri Meer Sadik Habib) and wife team that recently included their daughter Marissa who had come of age and was starting to learn the ropes of the family business.

The youngest of eight siblings, LUXUO recently caught up with the enterprising Datin Sri Zarida to discover just what makes this woman of achievement tick in the highly competitive world of jewellery and the demands of juggling the roles of wife, mother and business partner.

You’re high accomplished today, what was young Zarida Noordin like?

I wanted my studies at Stanford to be quick and fast because I had a taste of work and dreams of freedom. My first job while waiting for my results was at the old Hilton which was then the hottest hotel in KL; because it was a business hotel, I had a lot of fun meeting business people, and other captains of industry including high ranking politicians. I was inspired to study secretarial science and marketing where I eventually joined Barclays Bank as a marketing officer in their representative office in KL.

Given that you came from an influential family, was it smooth sailing?

I got to meet all the branch managers at Barclays and I have to say some were very hard to deal with but it was a good challenge for me because, you know, it really encouraged me to grow up. There were days I came back crying because it was not easy convincing the bankers and I think they were also trying to be difficult with a 20 year old girl.

I was with Barclays for almost seven years and the only reason I left was because I got married and that was the agreement that I had with my future hubby was that I had to leave my job and join him in the business after we got married.

What was it like going into the family jewellery business (Habib) with no prior experience?

Datin Sri Zarida and her husband, Dato’ Sri Meer Sadik Habib

When I first joined Habib Jewels, my husband had just moved from Penang to open the first retail shop in KL. Back in Penang, my late father-in-law was focusing more on the wholesale business where there were a lot of traders from the east coast of Malaysia who would purchase from him and sell in states as far as Kelantan. The jewellery business was conducted very differently in those days. After many years, my father-in-law suggested to my husband, “why don’t you start your own jewellery business?”.

When my hubby started the retail expansion of the family business, he revolutionised the jewellery store. It used to be like a pawn shop, all bars and thick, secure, anti-theft display cases, it was very unwelcoming. So you know that you can’t really take the trays out of the counter, unless they are very comfortable with the customer: you just put your hand in, take it out. He developed a new open concept which you see now in all modern jewellery shops.

I’ve been in the business for over 30 years now. I learned everything you know from scratch. I believe this is the only way to learn something, starting from the beginning. I learned how to be a cashier, how to do stocks, and helped my husband develop business systems and processes with my background with Barclays.

Tell us more about being the first jewellery business on the Malaysian Stock Exchange…

Habib Jewels HQ

Dato’ Sri Meer Sadik was very ambitious, he wanted to list the business on the Malaysian Stock Exchange. Because of this, it forced us to come up with a lot of systems in the business to get the necessary approvals.  We created new standards for jewellery and worked with the government to come up with defined gold standards like 916 where in the past it was an informal system of ratings of gold purity because Malaysian consumers didn’t know better at the time.

When we finally got the approval to list, the 1997 Asian Financial Crisis happened. We had many issues with the banks because they all wanted to pull out as they were not sure that this was going to be a success but we were determined to see it through, so my husband met with the banks, made a personal guarantee and took personal responsibility. We eventually managed to get the company listed, at first on the second board but getting on the main board was a real feather in the cap. Then we wondered: Now what? Because other jewellers were paying attention and were evolving from being just goldsmiths and paying more attention to design.

Ah, the next evolution of Habib Jewels?

In America, it’s all about marketing and my husband implemented a lot of marketing strategies which was quite unheard of at that time. That a local jewellery company would invest money in marketing, and at a new TV station no less (TV3), it was very innovative. TV3 was very willing to go along with us and we came up with a lot of fun stuff. We also went on radio and to expose the company through talk shows puts one in a position of vulnerability because people can call in and complain about your products on the air. But that’s also the best way to do it because if you’re not confident of your products you will not expose yourself to such publicity and scrutiny and that garnered a lot of respect for the brand.

Habib Showroom

Having been in three industries: hospitality, banking and now jewellery, which would you say is the most challenging for you, and which felt like a more natural fit for you?

If you think about it, it’s all customer service; whether it is the hotel, bank or jeweller, everything we do is about customer service, only the products are different. The real challenge is in the difference of responsibility: being employed is very different from being self-employed and running your own jewellery business, alongside with your husband.

Is it difficult running a jewellery company with your own in house design?

It’s actually fun. We have a team of about 10 designers, and we can create beautiful things,  we can be the trendsetters and shape what customers will desire just like the fashion industry. We set the stage for what is going to be the design for next year, the colour and all that on the basis of understanding what your customers want because in our part of the world, Singapore, Malaysia, we are not just one homogenous ethnic race. So the real difficulty is understanding how to put these three together and come up with a design that would please either one or all of these ethnic groups.

Would you say that the taste was always very international since you started or only became more international because of social media?

We bring an international aesthetic to the table because we travel and participate in international exhibitions, we’ve become very exposed to what’s happening around the world. Our designers travel with us to these trade shows and so they are also exposed to all the international brands as well. But the best part, is that we get to design something with a distinct Malaysian flavour yet with cross-cultural appeal. What is very important to us is that one of our core values is to offer world class products.

Our customers get tremendous value for what they pay because we make everything ourselves, we purchase everything so we can control our costs. We will go for the best diamonds, the best gemstones and at the cost that we are able to negotiate with the suppliers, we can really bring down the price and give the savings to the customers.

18K rose gold diamond bangle

In terms of working relationships, how do you divide your work functions (at home and in the office)?

I have the mindset that in the office he is my boss, even though he treats me as an equal and we discuss a lot of things together. We often have different perspectives but that has worked very well for us, because at the end of the day whatever decision that is to be taken is his to make. I don’t seek the limelight. I don’t fight for the limelight. I’m quite happy to be the supportive partner and at home, I’m the boss.

I suppose the coronavirus situation means that you’ve been the boss for most of 2020?

We realised that the house that we’ve been staying in for the last 16 years, came to full use, because otherwise, we go out in the morning we come back at night. He’s got a wing that has become his home office and I’ve got a room that became my home office.

My son and daughter were all in the house and we all had our own space. What we did is like okay we’ll meet up in the morning for breakfast. And then after that, because you see in our company we have this thing called alignment meeting, which we do every morning at 10am. Well now we do twice a week, but during the MCR we did every day. So whether you like it or not at 10am, you are in front of the zoom alignment meeting with all the department heads.

We are home and I’m also the wife. So, in between meetings, I managing the household and checking if lunch is ready and whatnot. We are very lucky to have good help. I just decide what to cook or sometimes decide that the help prepares it and then we meet up at 12.30pm for lunch. Then after that, we all disappear into our own space, and we meet up again for tea.

With your years of business experience, do you think a female boss should be feared or respected?

I truly don’t believe in this fear factor. You know, as humans, I don’t think we should really fear anyone except God. Respect is earned. At the end of the day, a boss is simply a human playing different roles. I believe in working along with my team and I respect you for the job that you put in the effort that you put in. And so in that way we learn to respect each other.

Do you know or do you think in this business being a woman is a natural advantage and what are some of those advantages?

We are customers ourselves so sometimes you put yourself in their shoes. You are more sensitive to what their needs are, what they’re looking for, that really helps. But you’d be surprised, male designers can be better, sometimes. Also, female customers prefer to be attended by male attendants.

What’s the one tip you have for business leadership?

I always tell my team this. We’re in a jewellery business, we are like a Pandora chain, one link breaks and the chain is useless. We have to work together as a team. It’s not my success, or your success, it is our success.

 

Interview: Kos Cos expresses the beauty of emotions through dynamic portraits

In the golden age of hand-drawn signage, Hong Kong-based artist, Kos Cos turned his father’s agency workshop into a personal playground, where he studied and practised brush skills after school. Renowned for portraits that are distinctive through their use of vivid colour and bold brushstrokes, Kos’ work explores beyond the conventional and traditional, adding movement and energy to create a more dynamic piece of work.

Kos Cos Depicts The Canvas of Our Every Emotion Through Dynamic Portraits

In a dark place_Oil on Canvas (Life Goes on within you without you)

You were born in 1974 in Sri Lanka in an artistic family. What memories do you have of that specific time of your life, what influence has it had on your art?

I consider myself lucky to have been born to my parents. I had a normal childhood just like other kids growing up in the suburbs of Colombo, Sri Lanka during the late 70s to mid 80s. Life was slow-paced and simple – with lots of greenery and nature. In my mid-teens we moved to Mount Lavinia which is a coastal town: that’s where I developed my relationship with the sea. I still love the sea and I’m currently living close by to the sea! I had a bunch of great friends while growing up: playing cricket was our favourite pastime. I remember being more focused on my studies until high-school. I gradually lost interest in academia and got more focused on the usual ‘teenage activities’ at that time.

My parents wanted me to be an engineer so they pushed me into related studies – and not art and stuff like that. So I never studied art formally, although later on my father sent me to one of his friends – an artist – to learn political cartooning. My homefront was always a creative space and influenced me greatly. My mother used to make patchwork using textiles in her free time. All this was done at this table with lots of colourful textiles next to her sewing machine. I watched her combining colourful pieces of textiles to create fantastic wall hangings etc – I feel this influenced me on colours. My father had his own outdoor advertising agency. I have vivid memories of this when I was 7-8 years old. I remember going to my father’s workshop after school to see artists working on outdoor advertising billboards. Here, I had the first-hand opportunity to see painters creating advertisements from babies to movie stars, milk powder to cigarettes on giant billboards. In addition, there were also many art materials available to me, which I used to paint drawings and make crafts.

Sadly though, that was the last 2-3 decades of hand-painted outdoor billboards: everything went digital after that. I believe I am very fortunate to have that exposure to watch and learn from. Looking back, those outdoor billboards were a heavy influence on my early portrait works.

Glamorous Yellow Lily – Oil on Canvas

You moved to Hong Kong in 1999, working in the advertising & creative field. A rather radical change of life. What did Hong Kong inspire you of? When did you decide to focus fully on your art and creation? 

I wasn’t planning on moving to HK; it was an opportunity that came out of the blue. One day I received a call from one of my best friends, who used to work at the same advertising agency as me in Sri Lanka. He asked me if I’d like to come and work in Hong Kong, I said yes and told my parents that I was going away for two years. So here I am, in Hong Kong – after 21 years!

Hong Kong was at the peak of advertising at that time, with agencies producing award-winning creative Ads. It was also much ahead in Multimedia and Web; which was a new learning area for me with new software and a new way of thinking to work with this new media. Working with top creative directors inspired me to come up with out of the box ideas. Having to learn new tools and also think differently to fit new media was a challenge for me initially.

Even at that time, Hong Kong was Asia’s top Art Hub with many international and local galleries, artists and exhibitions. This was a lot of exposure for a young artist and I feel it greatly influenced my art-works. Personally, it was a big change in scenery compared to Colombo/Sri Lanka. It was a great opportunity to learn, experiment and grow as a person.

Coming to Hong Kong  straight from Sri Lanka was like entering a futuristic city with super tall glass and concrete buildings, massive colourful neon signs and infinite energy was an amazing experience. It was definitely sensory overload! Even food was an alien experience because of the bland taste (Sri Lankans love spices!) served with two sticks (chopsticks)!

With the spread of digital and social media, I felt that ‘creativity’ was starting to fade away from the advertising industry. In fact, I sensed this change many years ago. It was at that time when I decided to return to my canvases to express myself without any boundaries. Around 8 years ago, I was fortunate to have my work recognised by a gallery  in Hong Kong. After that I started to show my work regularly in galleries across Hong Kong and the United Kingdom.

In 2019, I finally decided to fully focus on Art as my career and went to open another studio in Belgium with my creative partner.

Portraits are at the very core of your art. Tell us more about your fascination for human faces in all their diversity?

Yes, I’ve always been drawn more towards portraits than any other type of painting. Our face is our identity. The human face is complex and constantly changes with emotions and moods. Of all the things in the world, humans are most susceptible – physiologically and biologically – to take an interest in another human face. This is because it displays a great deal of information about that person. When we meet someone, we look at their face to read their emotions and understand their personality.

I think portraiture has become a dying art with the development of photography. I knew of many artists who were put-off by portraiture as it gradually became out of fashion. So as an artist, I like to challenge myself – this is why I started with portraits. Further, I like to leave portraits artfully unfinished compared to traditional portraits. Not only does this bring a modern-touch but also, the viewer can engage more with the piece.

The Gamers – Oil on Canvas

Tell us about your painting techniques. You are known for always looking at experimenting new materials and various forms of mixed media?

Oil is my main medium but over the years it has changed with the flow, influence or the subject matter. In my early works, I always started with a charcoal sketch and subsequently covered all the charcoal markings with oil paint.

Later on, I did a series called ‘Serene Majesty’, which was about my most beloved animal of all time – elephants. This series also started with charcoal sketching and then I found it’s better to leave the charcoal marks because with these, I could bring to life the true character of the elephant. Later on, I experimented with pastels after seeing ‘Two Dancers Resting’ by Edgar Degas at Orsay Museum in Paris. Basquiat and George Condo further inspired me to work with oil sticks. Oil sticks are a great expressive medium which I love very much and I still do most of my studies using pastels.

While I have used different mediums, I also try to combine different mediums to create experimental works. So my technique always changes based on the medium that I use.

Kristal Blue – Oil on Canvas

Are these thick vivid paint colours you are using your signature as an artist? 

With my early works, yes; I loved to apply thick layers of paint on canvas, as in the “Life goes on within you without you” series. Carefully selected vibrant colours are poured onto the canvas and left until a dried outer-layer forms. The entire portrait is painted over this crusty layer. I then make incisions using a palette knife. This releases the dynamic inner layers of still liquified paint which make their own unique impression along the portrait.

All these were my experiments in the recent past, so I wouldn’t call it my signature as an artist. However, I feel my latest collection resonates more as a unique signature – I have a very positive feeling towards this. In fact, I’m also planning to make sculptures based on this series.

Greta – Oil on Canvas

Your art has evolved over the past 15 years. Your latest collection, what story does it tell?

Many artists like to express their thoughts via paintings. However, I thought in the opposite direction for my “Shape of a thought” collection.

For me, the shape of a thought is a very abstract idea to play with. Subjectively our thoughts come from nowhere: they just pop into our heads; no one really knows what it looks like, it’s colour, size, weight, shape or where they originate from. Objectively, we can say that thoughts emerge from neural processes. Thoughts are the result of interrelationships between forms and colours – they create an aesthetic experience which engages sights and emotions.

The thoughts we allow into our brain everyday shape our lives and impact our future. They contribute to our behaviours, decisions and therefore our actions, personality and character are based on our thoughts. We become what we think, our thoughts are as unique as our individual profiles. Therefore I created thoughts as the shape of a human profile in a cylindrical or spherical way, almost looking like a spinning top or a UFO.

Colours also play a major role in this collection as I believe thoughts come in a shape as well as colours. These colours change according to each particular thought. To create this phenomenon, I chose different colour combinations very carefully to convey your thoughts to those scenes. Colours are the tools to imagine what a scene might look like therefore, those combinations offer alternative and subjective interpretations to the viewer.

It’s an idea based on a story of a thought. For instance “Riding a purple unicorn in a lavender field at dawn”, “Paul Smith searching for his lucky rabbits while travelling to Nottingham”, or “Kos walking through a bluebell forest in Belgium” (which btw, is my first ever self-portrait). In a way, it’s more about what we expect a painting to be but the possibilities of what the painting could be if you think about long enough – and that for me, is the coolest aspect of these paintings.

Lance Armstrong – Oil on Canvas

5 Words which describe your work best?

Abstract, Colourful, Contemporary, Modern, and Timeless.

 

You have today collectors around Asia and around the world. You are referenced amongst the leading global art websites. What does such recognition inspire you?

I am humbled to have my work recognised locally and internationally. The intention behind my works is to express a point of view – mine. I feel it is important to build your worldview as it becomes your unique visual language. If my work in turn inspires someone else then this is probably the greatest value I can bring.

Lucid Dreams 03 – Oil stick, Oil paint and Acrylic on Canvas

What are your sentiments on the current art scene in Sri Lanka ? Did you keep strong ties with your native country? Do you have artist friends there?

The art scene wasn’t all that big when I left Sri Lanka – that was 21 years ago. I am happy to say that this has changed significantly in the last decade with new artists and galleries. With the nation emerging from the trauma of the almost three decade conflict, I see more people investing their time (and money) into art.

My parents still live in Sri Lanka. As they are a bit old now, I make it a point to visit them at least twice a year. I also use this time to reconnect with my classmates and friends as well.

I have very few artist-friends from back in the day. That time period wasn’t very promising for artists so, none of my friends made progress in this area. However later on, like me, a few of them changed their careers to become full time artists. In fact, one of them is my brother, who’s currently based in Sri Lanka and pursuing a career as an artist.

Paul Smith searching for his lucky rabbits while travelling to Nottingham Oil on canvas (Shape of a thought)

When and where can we expect to see your next solo exhibition? 

I can’t comment on exactly when, because of the current health situation in society. In fact, this affected my most recent plans to open an exhibition in Belgium with my creative partner. Being optimistic and looking at the situation, I hope to have my show in late 2020 or early 2021. 

 

Where can we see some of you work online, are these for sale?

Saatchi online. You can find them here. You can view my works on my website www.koscos.net. Selected works are available on Saatchi Art online gallery (https://www.saatchiart.com/KosalaNamal)

 

If you were to name one mentor who has inspired you in your life and path as an artist, who would that be? 

It would have to be my father – who has been a lifelong inspiration for me. 76 years young, a wheelchair user and still continues to be a painter!

 

Web: www.koscos.net
Instagram: https://www.instagram.com/koscos/

Chok Yue Zan Divulges The Memories of His Childhood’s Lost Paradise

As winner of the prestigious 2017 UOB Painting of the year in Malaysia, young Kuala Lumpur based artist Chok Yue Zan is a renowned emerging force in the contemporary art world. Born in Tawau, Sabah, Zan grew up with his grandparents, in a forested environment surrounded by lush greenery and breathtaking sceneries. It was his sanctuary, a space of unbridled happiness which he considers his lost paradise. Heavily inspired by nostalgia and the singular theme of past, present, and future – Zan believes that one’s memories of the past can have a very tangible effect on one’s future.

Chok Yue Zan Divulges The Memories of His Childhood’s Lost Paradise

Memory Of The Ocean III Acrylic and oil on canvas, 95(H)x180(W)cm, 2018

You were born in Sabah, East Malaysia. How influential has Sabah and its lush forests been in your art?

Sabah, Borneo is a beautiful place surrounded with lush forest and ocean. Unlike other kids, I am very lucky to grow up with my grandparents who were living in a beautiful paradise (forest). There are clean rivers where I can see all the fish dancing in the water, duck and geese singing for the fish, chicken and dogs chasing each other, cats sleeping all the time. This is all about my childhood happiness and joyful moments. I think my mum made the right decision for my childhood.

The themes you have chosen over the past years are often been related to Paradise, or a Lost Paradise”. Tell us more about this Paradise which is so vividly present in your art?

Forest (paradise) means a lot to me. I remember the first time I was here in Kuala Lumpur, I easily get lost while in the big city. But I never get lost in the paradise. Trees and river always lead me to the correct direction. The paradise is a space; at the same time it is a guardian. I wish I could spend a long year in the paradise right now. Always good memories of living with my grandparents. They taught me how to collect eggs in the right way and fruit picking in the garden.

Following the passing of my grandparents in 2006, the paradise that I hold dear to my heart started to disappear. Everything turned into a sweet dream. All the life and space are gone. After a few years, my parents divorced. The relationship between me and my family is changing, and everything becomes strange. Paradise is not only a space, at the same time, it is everything for me.

Memory Of The Ocean Acrylic and charcoal on canvas, 115(H)x210(W)cm (Triptych), 2018

The concept of Memory” is central to your art. How does it influence your vision of the future?

My last solo exhibition “Retrospect of Paradiso” 2018 at Art Porters Gallery is a recollection of my childhood memory. In this exhibition, I pay homage to my family ties and the environment I lived in. It is a narrative about the connection between me and the paradise, and relationship with family.

Recently I’ve been working on a new series called “De Upside Down”. This is a series that contemplates the imbalanced world and personal memories. The world we live in is transient. Nothing is permanent. Things change rapidly in a short time and the sceneries we used to know become unfamiliar. Can we trust our memories? With this series, I want to emphasise the connection between memories and unfamiliarity, using natural landscapes as an analogy. These works are based on my personal memories and experience growing up in Sabah, and hope my audience can relate to them in their own tangible ways.

Simultaneously, I planned another series as well. This is a project focused on how technology today affects our life and memory. This is an interactive work with people who are using smartphone. Smartphones have become such an important necessity in our daily lives. A big issues to tackle today is how information is recorded with smartphone photography.

Memory always is at the center of my art. It’s all about original stories happening in our journey. I believe everyone has a unique memory in their heart.

We Used To Be Together, Strong Like Stones II Acrylic, charcoal and oil on canvas, 140(H)x120(W), 2018

Does the art of Chinese contemporary artist Zhang Xiaogang and his extensive work on bloodlines and family memories” resonates in you, and if so how?

Yes, Zhang Xiaogang’s “Bloodlines and Family Memories” resonates with me. I used old photographs from my family albums, like Zhang Xiaogang. He uses a red line to connect family members in his paintings, symbolising a bloodline and relationship. In my work, I use stones to represent relationships. Stones are tough, but I draw with charcoal. Charcoal as a material illustrates the weakening of paradise over time. Wood transforms into charcoal through high temperatures, signifying change. On the other hand, the brittleness of the charcoal connotes a quality of impermanence and vulnerability.

I Thought, We Can Stay Strong Like Stones Acrylic, charcoal and oil on canvas, 120(H)x180(W), 2017

How important has been for you the recognition of your talent in 2017 when you won the UOB Painting of the Year Award (Malaysia)?

First of all I would like to thanks UOB (United Overseas Bank) in holding this programme to support talented artists every year. This created a big change in my life. I didn’t have a high expectation while submitting the very first painting of “Tough Like Stones, I Thought” series to UOB Painting of the Year 2017. I just wanted to get more exposure for my new series. It was an opportunity for me at that time. Surprisingly, I won the Painting of the Year (Malaysia) in 2017, and also a one-month residency in Fukuoka Asian Art Museum. This award gave me a huge confidence in my field. Also a big nudge for the next stage of my journey. Thankfully at the same time, I joined Art Porters Gallery as one of their artists. It was a new start, and new challenge in my art journey.

Your technique as an artists is rather You are carving into layered canvases to bring out the colours beneath, colours which have been mixed with gesso in order to create a solid surface that the woodcutting knife can etch into. When did you start to adapt such technique and where did the inspiration came from?

I started discovering this technique in the early part of 2017, when I was a tutor and studio technician at Dasein Academy of Art, Kuala Lumpur. My job was to guide students in the subjects of printmaking and sculpture. I am always interested to explore different medium and materials that I can apply on the canvas. The inspiration came from woodcut print. At that time, I was wondering is there a possible way to carve on canvas? One day, I realised gesso can be carved and it is almost the same effect as carving on lino and plywood. This technique allows me to mix colour with gesso and it’s possible to create any size I want.

 You have lately been using 3D techniques in your art, tell us more there?

 I am interested in making texture on canvas. Texture is defined as the tactile quality of an object’s surface. It appeals to our sense of touch, which can evoke feelings of pleasure, discomfort, or familiarity. Texture is something that I can play with through the manipulation of medium and technique to narrate my emotions.

De UPSITE DOWN Oil on canvas, 120(H)x200(W)cm, 2019

Has your vision of the art scene become more international since you are closely working nowadays with the Art Porters gallery and team?

 Yes, I have more opportunity to exhibit my works at international level. I enjoyed my first solo at Art Porters Gallery, Singapore, a few group exhibitions at the gallery’s booth in fairs in Jakarta, Indonesia, and Kuala Lumpur, Malaysia. My collectors are not only from Southeast Asia, but more international as well. Beyond exhibitions, there are opportunities to work with others art dealers through Art Porters Gallery. I am very pleased and thankful to become part of Art Porters Gallery. Always having a good experience and creating good memories working with them.

De UPSITE DOWN II Oil on canvas 120(H)x160(W)cm 2019

 In which city(ies) would you dream to stage a solo exhibition?

I am very happy to stage a solo exhibition in any city. Recently I am planning my second solo exhibition in Kuala Lumpur, Malaysia. I would like to take every opportunity to get more exposure in any city. I believe different places come with different audiences and art lovers to enjoy my works. At the same time, I can listen to what they feel when exposed to my art. Everyone has their own understanding based on their own memories and experience.

You are an astute observer and lover of nature. What have been your thoughts on the related Covid-19 lockdown in Malaysia and around the world?

As we know Covid-19 seriously affected the global economy and our daily lives. Simultaneously, some countries face political and government issues in this time, including Malaysia. From another angle, it is a good time for healing our mother earth. For me, I could take some time to think about environmental issues, read some books, and do more research on my next project.

If you were to name a mentor who has greatly influenced your art and vision of the world, who would that be?

 In my early career, I did a lot research on Anselm Kiefer. I really like his work. I study how he thinks and materials he used on the canvas, materials have their own significance, and techniques as well. From here I always think about the medium I choose and what I want to narrate through my concept. Like charcoal and carving technique on my paintings.

By Julia Roxan

 

For more information,

Visit: https://www.artporters.com/

Contact: [email protected]

 

Interview: Dato’ Sri Meer Sadik Habib talks gemstones, vision for 2020 and more

Over the years, Habib has established its Diamond Festival as an annual spectacle that sets the benchmark for the local jewellery industry.

This year, however, the group signalled a turn in the tides as it introduced its first-ever Gem Festival. Habib had occupied the centre court of Putrajaya’s IOI City Mall and put on display over 1,000 pieces of precious gemstones jewellery from the many brands under its wings including Hearts On Fire and Stephen Webster.

And as we join the festival, we took the chance to sit down with the man behind this ingenious project, Dato’ Sri Meer Sadik Habib, the managing director of Habib Jewels for a chat about jewels, his plans for the company and more:

What’s unique about Gem Festival and how does it differ from the previous Diamond Festivals?

Firstly, people buy jewellery for two reasons: investment and adornment. Gold and diamond jewellery has been very popular among buyers and has the value of an investment. Gemstones, on the other hand, have always been there but they haven’t been so exposed to Malaysians.

We’ve done a lot of research on this and we found that gemstones are becoming very popular and it’s becoming a trend going into 2020. People are no longer looking for only investment pieces; they also look at the trends.

How do you see the people’s perception of gemstones with regards to their investment value?

Gemstones may or may not be a good investment but people aren’t worried about that anymore. That said, real gemstones do have value and they are certainly better than costume jewellery. That’s why we’re exposing our customers to all these different gemstones — spinel, tanzanite Paraiba.

And some of these Paraiba stones are even more expensive than diamonds.

What’s a normal starting point for customer relationship? Is it always bridal?

We have a collection called My First Habib, which carries trendy jewellery items for young women. The alphabet pendant is one of the most popular pieces; it comes with a chain and an alphabet with diamonds, and it’s offered at a competitive price. So, it’s not necessarily bridal; it can start anywhere.

What can we expect from Habib in 2020?

You can expect a lot of different gemstones coming out in the next few months — new collections – and Habib is also working with all kinds of different stone cuts and fantastic designs that I can’t disclose just yet.

 

This article was originally published on www.lofficielmalaysia.com.

Interview: Rolls-Royce CEO Torsten Muller Otvos

The Cullinan has fast become one of Rolls-Royce’s most successful models

Named for the largest gem-quality rough diamond ever discovered, the Rolls-Royce Cullinan is the Goodwood brand’s belated if epic response to the SUV genre of automobiles. During the early days of the SUV growth spurt, Rolls-Royce briefly courted some controversy when they declared that a sport utility vehicle and all its connotations of “practicality” and “utility” would run counter to the brand’s automotive ethos. Nevertheless, when Rolls-Royce sets it mind to making a sport utility vehicle, by damned, it’s going to be an SUV worthy to carry the Rolls-Royce badge. The Cullinan, the Goodwoord marque’s first SUV, is also the brand’s first all-wheel drive vehicle.

When you pay a certain price, it comes with certain expectations and we spend over 800 hours making a single Rolls-Royce to ensure that it is immaculate. This is our competence. – Rolls-Royce CEO on build quality of his cars

Swinging through the East, starting in Japan, spending some time in Seoul, LUXUO’s Jonathan Ho and YACHT STYLE’s Gael Burlot eventually caught up with CEO Torsten Müller Ötvös at the Fullerton Bay Hotel Singapore to talk about the direction of Goodwood and the potential of the Rolls-Royce Cullinan.

 

Rolls-Royce CEO Torsten Müller Ötvös on brand direction and the growth potential of the Cullinan

In fact, with the Cullinan, we’ve begun to use words at Rolls-Royce that we never thought we would use like “utility” and “practicality” – Rolls-Royce CEO Torsten Müller Ötvös on the new Cullinan

LUXUO Group Managing Editor Jonathan Ho and YACHT STYLE Publisher Gael Burlot in conversation with Rolls-Royce CEO Torsten Muller Otvos at TMO, the lobby lounge of the Fullerton Bay Hotel Singapore

You have enjoyed great success in 2018, especially in Asia, could you share some of the factors which contributed?

It was a record year for us historically. In comparison to 2017, we had full availability of the Phantom in 2018 and it had fantastic reception, becoming our main driver of revenue for that year. We were also helped with the launch of the Cullinan which brought lots of attention to the brand as you can imagine. We have delivered a cars since last Christmas across the ranges: Ghost, Wraith, Dawn and of course the Phantom. Furthermore, many markets are in excellent condition, the United States, our biggest; the Middle East is recovering while China is growing from strength to strength. Meanwhile in East Asia, Japan and Korea in particular, show amazing growth rates, totalling up to 1700 cars last year in all [laughs].

 

How has this exuberant growth affected your operations? Have you had to appoint more apprentices to the program?

We’ve had to employ 200 more crafts people to deal with the demand for the Cullinan. Our brand is running in contrary to what is evident in the UK automotive industry, we’re in very good shape. We want to continue our growth rate. We are always looking for more apprentices because it is not easy to find the skills required for our products, we are always looking into training and educating our staff. The best example is that coachline painting has to be done by hand and we only have three artisans capable of doing this under the guidance of Mark Court, famed Coachline painter; hence, we are always on the lookout for new people to train in all artistic fields required: embroidery, marquetry, etc. We’ve had a record intake of apprentices this year as well, we will probably continue for a number of years to come.

 

Do you share craftsmen in common with British shipyards like Princess and Sunseeker?

No, we have done so in the past. The teak decking found on so many yachts can also be found on models like the Dawn and the Phantom drophead. Back then, we had to get the marine skills to make that decking. We used to hire people from shipyards but not anymore because they are quickly snapped up by Princess and all the others. For this reason, we are no longer sharing but we have amicable relations. When you pay a certain price, it comes with certain expectations and we spend over 800 hours making a single Rolls-Royce to ensure that it is immaculate. This is our competence.

Torsten, pictured with the latest and greatest Rolls-Royce Cullinan parked outside the Fullerton Bay Singapore

 

You have the ability to offer really bespoke products…

Indeed, I dare say Rolls-Royce wouldn’t exist if we weren’t able to deliver this experience. 98% of all cars leaving Goodwood are heavily bespoke because once you decided that you want a Rolls-Royce, a lot of creativity goes into making the ultimate car your own. Your imagination is our limit. The bespoke division alone employs over 100 people: engineers, designers, consultants and so forth.

 

With this level of hyper-luxury, do you find any synergies or similarities with other industries like watchmaking or the arts?

Very much so. In fact, many of our clients are very interested watches way beyond the kind that I would wear [he wears a Vacheron Constantin Patrimony]. These timepieces are commissioned by them and just for them, over half a million dollars or more by watchmakers I have not even heard of before. We share common ground in our attention to details and artistry. Art and even bespoke tailoring inspires us, I’m glad that luxury exists because it’s an enriching lifestyle.

he eighth-generation Phantom featured a dashboard panel fashioned from a single piece of glass, allowing three-dimensional artworks to be displayed. This is known as the Rolls-Royce Gallery.

 

We have seen C-level Executives from yacht companies crossing over to luxury automotive brands, are there crossovers in design or more potential collaborations?

We deal a lot with Burgess. We also attend all the relevant boat shows (Monaco Yacht Show, etc) because client profiles are very similar. We have also launched cars on the decks of yachts and we provide a great experience on the Sydney Harbour as we unveil a car on the helipad with a great party. Amazing photo-opportunities. Part of the allure of luxury is our ability to surprise and delight a client: Rolls-Royce is not in the car business, we are in the luxury goods business, nobody actually needs us and so we have to create something they absolutely want. It’s all about inspiration at the end of the day.

 

Have you been asked to incorporate your designs onto their yachts?

What we have seen happen is clients who want the Rolls- Royce feel for their Gulfstream. Sometimes certain colours and key details are commissioned to match. As you get to know your customers better, you will find key elements and themes will be commissioned for his helicopter, home and private jet. His DNA is reflected in his environment.

Interior of the Rolls Royce Cullinan

 

The media landscape changes often, is there a platform you find particularly effective to reach ultra high net worth individuals?

It’s very much driven by private functions and money can’t buy invitations. We do a lot on social media and electronic direct marketing. Broader advertising is not very effective for us. The brand doesn’t have a problem for not being recognised or being unknown, everyone knows Rolls-Royce, for us, it’s all about targeting customers. We do more with digital intelligence and digital science to identify potential prospects and finally, the most important thing is that the potential customer needs to test-drive it. You can talk about a Rolls for hours but nothing compares to the experience, particularly on a model like the Cullinan. This model approaches customers we have never seen before and its crucial for them to drive it first thus, we started having exclusive drive events which allow the customers to drive it for a day so they understand what it means to own one.

 

When I last saw you at the launch of the Wraith, you mentioned that this was the ultimate self-drive Rolls-Royce, is the Cullinan more for personal driving or for people to be driven in?

Self-drive is the name of the game. You hardly see in Asia that our cars are operated in chauffeur mode with the exception of the Phantom. Nobody operates a Dawn or Wraith or Black Badge in chauffeur mode. The Cullinan is 80% self driven. Funnily enough, the demographics have changed as well, our customer profiles are skewing younger and younger over the last years. They are so much younger than they used to be 10 years ago thanks to new business models, IT, apps, Fintech and technology entrepreneurs. If you are smart and creative, it’s much easier to make money today than 20-30 years ago hence, we are getting new customers we have never seen before including families and female customers.

Rolls Royce Black Badge Dawn

 

How do you precisely target this younger generation in Asia?

Just to go on a slight tangent, Bloomberg reported that the car brand most mentioned in pop songs and music videos is Rolls-Royce by far. In a way, with all the influential celebrities and pop cultural influences, this becomes a self-fulfilling mechanism which helps us a lot. We can’t influence this and we are not paying influencers, this authenticity comes from natural, organic, influence. We also created a lot of marketing collaterals and assets which help support the eco-system. The Black Badge with a black Spirit of Ecstasy also helped to create an “edgy” Rolls-Royce which resonated with younger audiences. Success with the Black Badge has shown us how to connect with these consumers.

 

We have seen Rolls-Royce entering less developed markets like Kazakstan and closer to home, Cambodia, what are some of the considerations when choosing which market to enter? What would be the trigger to enter such a market?

We look at the market potential. We don’t open a dealership because we have 5 or 6 ready customers, we look into the long term to see what potential there is and how many high net worth individuals are in the area, will there be potential growth over time? We look at mutual growth opportunities. Our partner invests big money and we want to ensure that it is a successful enterprise, especially for us brand-wise. It takes a year at minimum to analyse, make a conclusion, develop a business plan and then execute. I would say that we are happily covered globally, there’s no need for further expansion, we are currently sitting on 135 partners and representatives in 56 countries worldwide and that’s sufficient. It’s easy to harvest the low hanging fruit like the first 4 or 5 customers but once they’ve bought, you have to look for the others and if they’re not there, then you are in trouble. Having a luxury dealership close because there’s no business doesn’t convey the prestige of success if you fail.

The Rolls-Royce Maharaja Phantom Drophead Coupé, a one-of-a-kind Bespoke vehicle created exclusively for customers in Dubai

 

Do you find the same situation with other luxury car brands where the infrastructure or roads not ready to support these vehicles but people still want to buy?

Yes we do. Cambodia and Africa are good examples where certain individuals just collect the cars. India is a difficult market for us even with the long-standing history between the country’s maharajahs and the brand. We are still selling cars there but the combination of lack of infrastructure, a complicated tax scheme and the government not supporting luxury consumption adds up to create a slower market for us there. In fact, Indian journalists often ask when India will be overtaking China so there’s definitely the aspiration for luxury, just not the consumption.

 

China has clamped down on luxury consumption as well haven’t they?

They did it years ago during President Xi’s investigation of corruption scandals and that dampened demand for luxuries for not just cars but timepieces and other luxuries. Things have since normalised and now business is in good shape in China.

The Cullinan is sold out far into the 3rd quarter 2019 and the beginning of the 4th quarter.

How do you measure success and importance of a model like Cullinan in Asia?

We have our business matrixes whenever we conceive a new model. We are not sales or volume driven. We are profit driven. My target for the BMW group (our shareholders) is profit and we are tasked with how we want to reach it. We need to sell cars otherwise we wouldn’t generate revenue but I think we have conservative plans because it is even better to achieve victory when we overshoot these goals. The Cullinan is sold out far into the 3rd quarter 2019 and the beginning of the 4th quarter. The whole plant is doing extra shifts to cope with demand but there is a limit to how many we can produce. The Cullinan appeals to families and female customers for many reasons – the power, strength and safety of an SUV. In fact, with the Cullinan, we’ve begun to use words at Rolls-Royce that we never thought we would use like “utility” and “practicality” – you can take the kids to school or throw the dogs in the back.

Rolls-Royce is backed by the electrical engineering technology of parent company – BMW Group

 

What is Rolls-Royce’s stance on the environment? Any plans to go electric?

We will go full electric and not hybrid within the next decade. We are probably one of the last ones offering 12 cylinder combustion engines and there are a growing number of markets which will no longer allow combustion vehicles in the current form. For this reason, we need to prepare ourselves and I believe that a fully electric car fits very well with the brand in terms of instant full torque and silent running. I’m very optimistic that evolution of battery technology will see improved range that is inline with what we expect from a Rolls-Royce. We are also part of the BMW group which has invested massively into electric drives.

 

Where do you believe the next big opportunity for the brand?

I would say the next big thing is electrification. These technologies will be developed in-house using BMW Group technology but most importantly, it has to be a proper Rolls-Royce at the end of the day. This is one phase. The next phase is also to enter real customer commissioned bodies and coachbuilds.

Rolls-Royce will be looking into more serious bespoke options right down to bodywork commissions in the future

 

What is the biggest challenge for Rolls-Royce in Asia?

Uncertainty in business – from lowering taxes or consumer sentiment. You only buy a Rolls-Royce when you feel good because you don’t need one to travel from A to B. Consumer sentiment is the most troubling because it is a very big influence on our customers who are business people and entrepreneurs worried about politics, international trade routes, trade relations, tax wars between countries. This is the biggest concern in general, not just Asia.

 

Any challenges due to Brexit?

It’s extremely hard to forecast. We are very much worried and we are urging the government to create a smooth transition. A hard Brexit will disrupt our logistic chains overnight, the flow of skilled labour from outside the UK – 30% of our staff are non-Brits. Going down the wrong alley would not be good for our business. Not from a tax or import tariff perspective but the super delicate logistics chains which will affect the flow of parts for our cars. We are importing 38,000 components daily, higher for some models and I only need to lose one part and we cannot finish a product anymore. Only 10% come from UK suppliers and even these suppliers will have sub-suppliers in Europe, this chain is very delicate and our products are super bespoke with specific configurations. I cannot afford to go on a stock hold for components.

 

Is the contingency plan a Rolls-Royce that is not from Goodwood?

No. Definitely not. We will not move to our factory to Europe, our contingency plan is alternative routes for logistics and even the feasibility of flying components into the country to avoid jams on the border. But all this is limited because we can only sustain this for a short period.

 

My Super Petrel is the exclusive seaplane exhibitor at Penang Rendezvous 2018

Penang Rendezvous 2018 welcomes My Super Petrel to its four-day luxury event at Straits Quay Marina Penang this July 2018.

Set to take place between 26th to 29th July, Penang Rendezvous is a comprehensivhe showcase of yachts, supercars, seaplanes, helicopters, watches, properties, fine cognac, and art for aficionados, existing clients, and prospects.

And among the showcase is My Super Petrel, our exclusive seaplane exhibitor for 2018.

Along with over 20 yachts by key partners Pen Marine (including Princess Yachts, Jeanneau, Leopard catamarans, Amel), Simpson Marine (Monte Carlo Yachts, Beneteau Oceanis and Gran Turismo, Lagoon catamarans) and Hong Seh Marine (Ferretti yachts and Cranchi), the showcase is a true spectacle to behold.

In anticipation of that, we interview Evgeny Savelyev of My Super Petrel, to share his thoughts about operating amphibian aircraft in Malaysia, and his favourite haunts in the area to cruise.

Interview with Evgeny Savelyev of My Super Petrel

Since when have you been operating your Seaplane in Malaysia?

We have been operating amphibian aircrafts in Malaysia since November 2014.

What kind of customers do you have?

All our customers are very special people. By now, we have 8 persons and 10 different types of aircraft in our group.

Most of the guys are supercar owners. They look at the possibility to fly as an expansion of their extreme life horizons.

Which are the favourite destinations in Malaysia that your customers wish to experience?

The most enjoyable among us are flights to lakes and islands. There are many beautiful places which are very difficult to reach by normal transport, but very easy by seaplane.

Any special memory of a special flight that made you feel good flying the Seaplane?

I love to fly in Langkawi. In this area, you can really enjoy all the benefits of an amphibian aircraft. The best pictures of our aircraft are made in Langkawi.

You will be exhibiting the Seaplane at the PENANG RENDEZVOUS 2018, what are your expectations there?

We expect to meet many new friends and really hope that some of them will join our group of “tropical aviation lifestyle enthusiasts”.

As a Russian living in Malaysia, what are your favourite spots across the country? Langkawi, Penang, Borneo, others?

Langkawi, Royal Belum, Perak, and Pangkor.

What would you recommend to people wanting to buy a Seaplane in Malaysia? How tough is legislation, and how long does it take to learn flying?

I would say that Malaysia has brilliant opportunities for those who want to become pilots. There is no other country in Asia where you can enjoy flying so much. It’s hard to find such a nice place like Malaysia where you can fly so free. We are actually flying everywhere. And we have pictures to show that!

Interview: Emily Teh on the best of Straits Quay, Penang

A spectacular establishment to behold, Straits Quay Marina is one of the most coveted spaces in Penang Island and set to be the host of the inaugural Penang Rendezvous 2018, a one-of-a-kind, four-day luxury lifestyle experience.

And ahead of this exciting event in July 2018, we met with Emily Teh, Senior General Manager, Group Projects & Property Investment at Eastern & Oriental Berhad (the proprietor of Straits Quay Marina) to have an exclusive insight on the marina and see what it has to offer to its patrons.

What is the key concept behind Straits Quay Marina and when was it established?

Opened in May 2011, the Straits Quay Marina was conceptualised as a festive marina to bring together the best of Penang and the sea.

Realising this is its mix of retail partners, which is a blend of the island’s colour, culture and world-famous cuisine, all enhanced by the magic of the sea.

How unique is this marina on the Malaysian landscape?

Marinas, in most parts of the world, are generally big and fully utilitarian in the sense that they come with all the necessary amenities and facilities catered towards the nautical experience.

However, the Straits Quay Marina is more intimately sized and it is designed for leisure and targeted at a wider audience beyond the boating fraternity. For the general public, Straits Quay is a picturesque sea-fronting space for the local community and festive events, as well as a favoured venue for the arts and leisure crowd.

For Straits Quay, there are many visiting yachts. What are the services provided for them?

There are 40 wet berths at the Straits Quay Marina, complete with facilities provided for the marina customers such as a Boaters’ Lounge, shower rooms and laundry machines, all of which are conveniently situated right off the Marina Management Office and Information Centre.

There are also convenience stores available to cater to the supplies refill needs of the boaters. While ancillary services are not provided, yachts requiring haul out and repair may count on the shipyards located in the island and also, the Marina Management team is always within reach to assist in any way possible.

You are located in Penang, one of the most vibrant touristic destinations in Malaysia, how does Straits Quay Marina integrate itself within the vibes surrounding the island and its rich heritage?

Straits Quay blends in seamlessly with old and new Penang in many ways.

Architecturally, the retail marina draws its inspiration from the island’s grand colonial heritage, with wrought-iron filigree work reminiscent of the iconic Eastern & Oriental (E&O) Hotel.

Sitting amidst a world-class township, its classic façade presents a unique view of the island’s past and future. As Penang’s first and only sea-fronting retail marina, Straits Quay has become a must-visit destination for tourists, showcasing several unique attractions to complement other tourist offerings on the island.

What are the key highlights of Straits Quay?

For art and culture buffs visiting Penang and wishing to catch a performance, there is
penangpac in Straits Quay, the first of its kind performing arts centre in Penang and the
northern region.

There is also the iconic lighthouse at Straits Quay houses the E&O Visitor Centre, which is designed to take you through the evolution of E&O in the context of Penang’s transformation through the centuries.

Apart from the constant offerings mentioned above, there are year-long events and activities at Straits Quay, conducted to keep both tourists and the local communities entertained including Raja Muda Selangor International Regatta, St. Patrick’s Day Parade & Festival, New Year’s Eve countdown parties and, of course, the coming Penang Rendezvous.

We have noticed some art galleries at Straits Quay marina. What are the other retail experiences offered?

Apart from Ming Art showcasing high-quality Chinese ceramics and artworks from the 19th and 20th century, Nasim and Kashmir are two outlets where you can pick up handcrafted high-quality carpets or wood carved new and antique furniture.

There is also The Art Room where local and foreign artists take turns to feature their collections.

Straits Quay Marina will play host to the upcoming Penang Rendezvous in May 2018. How do you see such a large scale event to be held here?

Straits Quay Marina has hosted several nautical and lifestyle events in the past, where featured elements include luxury cars, motorbikes and a light aircraft! Events like these are popular with both locals and tourists alike – be it an opportunity for the boating enthusiasts to invest or upgrade their interests or for the community at large to come and marvel at these leisure beauties up close.

So, naturally, we are very excited to be hosting Penang Rendezvous as we believe the reception will be even greater.

As Penang Rendezvous promises to bring together bigger and more beautiful boats, along with other luxury offerings, fringe attractions and events, it will definitely a much-anticipated event for marine enthusiasts in the region as well as Penang residents in general.

Hence, we are looking forward to working very closely with Penang Rendezvous organisers to ensure planning and coordination of this event are well supported and successfully executed.

Before we end, let’s talk about other projects that Eastern & Oriental are working on.

Works for Seri Tanjung Pinang Phase 2 (STP2) are ongoing now.

To create a thriving local community on the island based on a live-work-play model, STP2’s proposed concept masterplan features components such as new waterfront promenade areas; park and ride facilities; leisure and cultural facilities; a waterfront square lined with F&B outlets and even a network of green spaces.

An international marina and yacht club are also expected to augment the waterfront lifestyle proposition of STP2.