Capturing the essence of the wandering spirit, Rolls-Royce presents the Escapism Luggage Collection. The essential luggage range for those who travel for enriching experiences and spontaneous moments of discovery.
Crafted from exquisite leather and durable canvas. This essential range of pieces is beautiful in form, yet relaxed and contemporary. Choose from a number of curated colour ways or for the ultimate bespoke interpretation of your personality choose from ten leather colours and eleven fabric hues.
The pieces available in the collections are as follows:
- 48hr Weekender
- 24hr Weekender
- Tote Bag
- Optional organiser pouch
The luggage can be purchased as a full four piece set or as individual bags.
AVIONICS VM handmade electric bike captures the thrill of flying high while riding on solid ground. Blending minimalistic features into a retro style reminiscent of the 1930s, these two-wheelers boast an unparalleled spirit sure to turn heads as they speed by.
This artful conception hails from Avionics, a business started by two Polish gentlemen, Bartek and Jaromir, who discovered their joint passion for adventure and the golden age of invention by a chance encounter. “From the very beginning, we knew that Avionics must stand out in terms of design and performance. The design of Avionics references vehicles and planes from yesteryear, while its interior technology showcases the twenty-first century,” explains Jaromir. “Absolute fusion of nature and engineering powered by electricity.”
The innovative engineering, refined details, and incredible grandeur are all elements embedded in AVIONICS VM, now exhibiting at the M.A.D.Gallery in Geneva. We can’t wait to get in the saddle as this is not your run-of-the-mill bicycle.
AVIONICS VM disrupts the standard way to ride a bike with its unique and striking form built to be reliable and withstand time. A ride on the AVIONICS VM provides freedom of movement in harmony with nature, a surge of adrenaline, or the opportunity to defeat agonizing traffic jams on an environmentally friendly alternative free from noise and exhaust.
Created exclusively for the M.A.D.Gallery, the AVIONICS VM is limited to 52 electric bikes, numbered accordingly, each arriving with a certificate of authenticity. The sweeping lines of the sturdy frame are made with chromium-molybdenum steel, an incredibly strong and corrosion-resistant material, and chrome steel, a standout colour produced specifically for this M.A.D.Gallery collection. Integrated into the frame is an ergonomic seat using leaf spring suspension to provide a smooth ride and a notable design element.
“When you look at Avionics from the profile you will see the section of the airplane wing created from the leaf spring and part of the frame,” describes Bartek. “This is an unusual solution for suspension and a feature distinguishing Avionics from any other bike or motorcycle.”
Accents handcrafted from Jatoba wood enhance the AVIONICS VM’s visual allure with rich, warm tones. The sleek wooden chest located at the bottom of the frame confidentially houses the battery, immobilizer, and electrical components, protecting them from weather and dust while simultaneously adding a touch of class with old-school leather straps. From the saddle and grips to the headlight and fork covers, these hardwood features are exquisite.
The AVIONICS VM has a massive 5,000-watt electric motor harnessing incredible torque (125 newton-maters or 92 feet-pound) with top speed reaching 36 miles per hour (58 kilometres/hour), which is a hefty amount of acceleration for everyday use. Featuring a 24-ampere hour lithium-ion battery pack, the bike can travel an estimated range of 74.5 miles (about 120 km) in low-power street mode and can be topped up in two to three hours from a domestic plug socket. Additionally, there is a USB port for charging the bike.
The AVIONICS VM e-bike is programmed with various street modes limiting its power to more street-friendly speeds. The three different lower-speed modes for street riding restrict the power from 750 W to 500 or 250 W. Using the force mode of the AVIONICS VM, you can ride like the wind – which is certainly why the ‘M’ in ‘VM’ stands for makani, meaning wind in the Hawaiian language.
Controlling that kind of speed means being outfitted with the right tires and brakes to match the AVIONICS VM’s particularly impressive power. Decked out with hardy disc brakes measuring 203 millimetres (8 inches) on both the front and back wheels makes stopping as effective as possible. Another bonus to the brake system is that the power created from slowing down is recouped and helps charge the battery pack, extending the ride time until you have to plug in. Oh, and for when the battery runs dry or for the very sporty, AVIONICS VM is armed with traditional cycling components like pedals to get back home the old-fashioned way. The chrome-plated headlamp will help guide a night ride with its 1,000 lumens of light while the bike’s taillight offers an output of up to 15 lumens via a bank of 18 COB LEDs.
The AVIONICS VM is set for any circumstances with 26 by 3 inch special tires with retro ZigZag tread and able to take on a variety of terrain. The e-bike is also waterproof so you can take it out while it is raining without any worries: simply deactivate the immobilizer and a rear-wheel electric blockade anti-theft system with your key and off you go.
Every component, down to the last detail, was considered and finessed by expert craftsmen (apart from the electric motor and lithium-ion battery packs), putting this electric bike in a class by itself.
Porsche has launched into the 2020 automotive calendar with a spectacular innovation: As the 90th Geneva International Motor Show (GIMS) had to be cancelled, the sports car manufacturer showcased the new range-topper of the 911 series for unprecedented power, driving dynamics and comfort with a live stream premiere that you can watch below:
Beyond the fact that both cities have a Louvre, there seems little to connect 1920s Paris with present-day Abu Dhabi, the capital of a nation founded in 1971. But American art historian Maya Allison, the founding director of the art gallery at New York University Abu Dhabi (NYUAD), sees things differently.
‘Early in my life I read A Moveable Feast, Hemingway’s book about Paris in the 1920s,’ she says. ‘And I’ve always been captivated by the idea of artists, writers and philosophers coming together and talking about their work, of communities of creative spirits supporting and sparking off each other’s practice and ideas.’
The notion of a creative community had resonated with Allison when she was curator at the influential Rhode Island School of Design in the USA. ‘The town of Providence has a really active underground scene,’ she says. ‘Many artists, even those who drop out of university, stay there and set up these groups.’ In 2002, five of them had work in the Whitney Biennial; another group has a cult following in Japan.
The UAE’s avant-garde art scene
To her surprise, Allison found something similar when she came to Abu Dhabi in 2012. There had been, she says, a ‘significant avant-garde art scene’ in the UAE since the 1980s, which had produced a number of important artists. But until the turn of the century, those artists were not well known outside the Gulf. ‘Very few scholars were studying the UAE’s historical art scene. And there were few accurate records, in English at least, so I decided to do an exhibition telling the history of avant-garde art in the Emirates.’
The result was the 2017 exhibition, But We Cannot See Them: Tracing a UAE Art Community, 1988–2008, and several of the artists it featured — most famously Hassan Sharif, his brother Hussain, and several of his students, among them Mohamed Ahmed Ibrahim, Abdullah Al Saadi, Ebtisam Abdulaziz and Mohammed Kazem — had, in the 1990s, congregated in a place they called the ‘Sand Palace’, out in the desert on the border between Ajman and Sharjah.
‘It wasn’t a café on a rainy night,’ says Allison, referring to Hemingway’s Paris. ‘It was a dune, because we’re in the Arabian desert. And if a bonfire was going, you knew that the artists were gathering.’
The Sand Palace also drew writers and poets: the community included artists in the broadest sense. ‘There wasn’t a formal art school, and there weren’t many spaces for exhibitions. So this network emerged, and the artists helped each other to survive. They were basically creating their own salon culture; they were aware of what they were doing, because they knew they needed each other to flourish. I like this thread of human ingenuity, of finding your kin creatively.’
The Louvre Abu Dhabi
When Maya Allison arrived in Abu Dhabi eight years ago, the local population was not, she says, ‘in the habit of going to exhibitions’. But in November 2017, the opening of the Louvre Abu Dhabi changed all that, drawing more than a million visitors in its first year.
‘It’s been wonderful,’ says Allison. ‘It has really set a precedent that, yes, exhibition-going is a fun, exciting thing to do. Before, nobody quite understood what [the NYUAD Art Gallery] was doing, which was fine. It’s part of my job to bring experimental new exhibitions to life. But the Louvre Abu Dhabi really upped the ante in the sense of both artistic synergy and audience synergy.
And now, with the NYUAD Arts Center presenting a range of performing arts, the area feels like a creative hub. We do totally different things from the Louvre. But people pour from one to the other. It has multiplied our audience.’
Said to be the most expensive museum ever built, the Louvre Abu Dhabi was intended, in the words of its director Manuel Rabaté, to ‘tell the story of humanity from its earliest days to the present, because all the world’s cultures have something in common’.
The name is slightly misleading: although the new museum has paid the Louvre a reported $525 million for a 30-year licence to use the name, and almost the same again for loans and other services, only about half of the objects and paintings in the inaugural exhibition actually came from France (from the Louvre itself and other institutions, including the Musée d’Orsay, the Pompidou Centre, Quai Branly Museum, Versailles and Fontainebleau) and further afield (the National Gallery of Art in Washington, D.C. and the Kimbell Art Museum in Fort Worth).
‘Abu Dhabi is having its own moment, in the way that Hemingway’s Paris was too’
The majority belong to the emirate itself, which, under guidance from the Louvre, has amassed more than 650 important works since 2009, when it successfully bid for Piet Mondrian’s 1922 Composition avec bleu, rouge, jaune et noir at the Christie’s sale of objects and works of art belonging to Pierre Bergé and Yves Saint Laurent (who used it as the inspiration for his 1965 collection of sack dresses). The price, with fees, was €21.6 million, and the museum acquired a stool by Pierre Legrain at the same sale. Over the past decade, the collection has continued to grow, and its acquisitions now span a dozen millennia.
Designed by Jean Nouvel, the museum is configured as a sort of stylised medina of 55 low, white buildings: there are 12 galleries containing 8,600 square metres of exhibition space; a dedicated children’s museum; a 200-seat auditorium; and a restaurant, café and shop. Not just a landmark, but a beacon of learning and a radiant symbol of enlightenment.
The art fair: Abu Dhabi Art
Dyala Nusseibeh, director of the emirate’s major art fair, Abu Dhabi Art, describes the show as ‘groundbreaking’, adding that Allison was one of the first to start ‘building up a timeline and mapping out’ the arts in the region, proving that it had had a thriving art scene for some time.
Although, as Allison says, ‘the biggest misunderstanding is the idea that the Emirati art scene is exclusively Emirati artists. Much like in New York City, the scene here reflects the actual population, which is densely diverse, with a concentration from South Asia, the Arab world, Africa and Europe.’
The art Nusseibeh collects reflects this, too. Her London home is filled with works she has bought at Abu Dhabi Art — by Mohamed Ahmed Ibrahim, the Jordanian artist Mona Saudi, and an affecting piece by the British-Lebanese artist Aya Haidar (from her Soleless series, made during a residency working with Syrian refugees, it consists of abandoned shoes, the soles of which were embroidered by Haidar).
‘It’s a very cosmopolitan place,’ says Nusseibeh of Abu Dhabi. ‘The number-one visitor group is now Chinese. A significant effort has been made to establish meaningful partnerships with China, and culture and art are central to that.’ (Last summer, the UAE signed 13 bilateral agreements with China, and decided that 200 schools would start teaching Chinese.)
Certainly, Abu Dhabi Art — which, unlike most fairs, is a government initiative, overseen by the Department of Culture and Tourism — attracts a wide range of visitors. Hence Nusseibeh’s commitment to involving curators and artists from beyond the Gulf.
For the 2019 edition, for example, she invited the Italian curator and artist Paolo Colombo to consider archaeological and heritage objects from Abu Dhabi’s Al Ain National Museum (the first museum to open in the UAE, in 1971), in the context of new works by artists such as Lamya Gargash, Alaa Edris and Nima Nabavi, and existing ones by Ilya and Emilia Kabakov, Hamra Abbas, Kamrooz Aram and Kiki Smith, among others.
The British artist Oliver Beer was also commissioned, to make an installation for the Al Jahili Fort and Qasr Al Hosn watchtower, as was Leandro Erlich, whose immense cloud sculpture, The Heart of Water, stood in the Al Qattara Oasis, a Unesco World Heritage Site an hour’s drive outside the city, ‘where people from Abu Dhabi would traditionally go in the summer because it’s a few degrees cooler’.
In the three years she has been in charge of Abu Dhabi Art (having previously worked at London’s Saatchi Gallery, then run Art International in Istanbul), Nusseibeh has been instrumental in creating a host of art initiatives across the emirate.
To nurture new collectors, she has added a second, smaller, more local fair to the calendar, which is held in March and features 10 galleries selling works costing less than 10,000 dirham (about US$2,700). ‘They might be works on paper, or by emerging artists,’ she says.
Public art on the island of Al Reem
She is also a champion of public art, having recently commissioned Etel Adnan, Nadim Karam, Noh Jun, Wael Shawky, Pascale Marthine Tayou and Mehmet Ali Uysal to commemorate last year’s Special Olympics World Summer Games, and local artists Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian to make work for the skate park in Reem Central Park.
‘It looks amazing,’ she says of the areas they have painted, next to which are what she describes as ‘five monumentally big walls’ painted by Mohamed Ahmed Ibrahim, ‘with symbols that form a sort of language, like five chapters in a book that can be read from either end’.
All that is to be found on the island of Al Reem, but the best-known of Abu Dhabi’s islands is Saadiyat, a previously uninhabited triangle of land 500 metres off shore, linked to the mainland by a bridge. Saadiyat is home not just to the Louvre Abu Dhabi and NYUAD, but to the forthcoming Zayed National Museum and the emirate’s planned branch of the Guggenheim.
As well as its art gallery, NYUAD also has a separate project space for smaller exhibitions, and a growing collection of public artworks by the likes of Hassan Sharif, Etel Adnan and Wael Shawky. ‘Alice Aycock has made one of her tornado sculptures, Whirlabout (Dynamo),’ says Allison. ‘And Tomás Saraceno has done a major installation for the ceiling of our library.’
Titled On Cosmic Clouds, it consists of clusters of skeletal polyhedrons inspired by the Weaire-Phelan structures of aggregating soap bubbles, suspended from a huge spider’s web. As anyone who saw the artist’s work at last year’s Venice Biennale might have read, these works are, in the artist’s words, a ‘post fossil-fuel emergent cloudscape’.
A commitment to education and culture
But then Abu Dhabi’s commitment to education and culture has been inspired, in part, by the need to build a knowledge economy and a tourist destination lest its resources begin to dwindle, and as demand for fossil fuels is supplanted by renewables.
‘People sometimes think technology is one thing and creativity another, but they often combine,’ says Nusseibeh, who read anthropology at Cambridge. ‘At Abu Dhabi Art, for example, we run an artist’s residency at the leading technology university, Khalifa, which enables artists to work with engineering students. It brings home the idea that creativity is in everything.’
Artists are keen to collaborate with other bright minds, she says. Hence Bait 15, a shared studio and gallery space set up two years ago by Afra Al Dhaheri, Hashel Al Lamki and Maitha Abdalla: a more practical, permanent place than the Sand Palace was a generation ago, but nevertheless a base where artists support each other.
I mention Allison’s comment about Hemingway, and Nusseibeh pauses to consider it. ‘Abu Dhabi is having its own moment in the way that Hemingway’s Paris was having a moment too,’ she agrees. Like Paris at the dawn of modernism, Abu Dhabi is cosmopolitan and forward-looking, and art is at the very heart of that.
All the most gorgeous roses in the world, spreading out their aura like a red carpet, twirling and dancing with a superb parade of natural scents, creating multiple emotions. Love Chopard is a flamboyant, sweet and seductive fragrance. The ultimate adornment for any young star who gorgeously walks her own red carpet every day.
An ode to the rose, queen of love, queen of flowers and queen of perfumery.
The red carpet fragrance that makes heads and hearts turn.
A Whirl of the Most Gorgeous Roses
Chopard Loves Roses
Love Chopard is composed around six exceptional varieties of roses, among which some of the most extraordinary roses, such as Bulgarian rose oil, Turkish rose absolute and Centifolia rose absolute.
“I must have roses always and always! They are the most beautiful way to a woman’s heart.”
Caroline Scheufele, Chopard’s Co-President
A Precious Flower of Hearts
Chopard Loves Jewels
Love Chopard’s superb flacon is a talisman that beautifully speaks the words of love. Entirely crafted from noble heavy glass set with gold details, it is sculpted to outline a precious flower of hearts, dressed in fiery red, the universal colour of love and passion. True jewel of perfumery and iconic symbol of love, Love Chopard is the perfect gift, to offer and receive.
Towards a More Sustainable World
Chopard Loves Nature
“With Love Chopard, I am proud to take our Journey to Sustainable Luxury Perfumery to new heights, introducing what I consider one of the most sustainable luxury fragrances in the world.”
Caroline Scheufele, Chopard’s Co-President
Within the United Arab Emirates’ most extravagant city, The Ritz-Carlton, Dubai International Financial Centre embodies modern luxury. Discover a world of superlatives within this Art Deco-inspired hotel, from the biggest ballroom on Sheikh Zayed Road, to an impressive fine art collection. Dubai’s legendary attractions are just moments away, but you may be tempted to stay in and enjoy the acclaimed cuisine, spa treatments and following features.
- Art Deco design with Arabic accents
- 341 elegantly appointed accommodations
- Serviced apartments and Club Level rooms
- Seven restaurants including Le Cirque
- More than 28,000 sq ft of event space
- Opulent venues like the Samaya Ballroom
- Holistic and customized spa treatments
- 24-hour fitness center
- Indoor and heated rooftop swimming pools
Weekend Shuttle bus service to La Mer Beach and Dubai Mall
Launched in 1992, the Pasha de Cartier Eau de Toilette became the symbol of an era, with a hedonistic trail that explores all the facets of lavender: aromatic, mineral, ozonic.
A sophisticated, sensual fougère accord, this new edition of the Pasha de Cartier Perfume fragrance features depth and warmth from the addition of amber. The fullness emerges and the heat spreads, woody like a crackling fire, smooth with sandalwood notes.
A scent in keeping with today’s generation, a talented community who owes its success to bold choices. Their creative and expansive vision of the world allows this exceptional pairing. A great classic, the Pasha de Cartier perfume, is partnered with an utterly contemporary and off-beat allure.
The bottle expresses this energy with its extraordinary design and distinctive Cartier codes:
The metallic gleam of the three bands that encircle the cap.
The lid topped with a blue cabochon inspired by the winding crown of the Pasha de Cartier watch.
The gadroons which add structure and upend the dynamic of the bottle.
Helvetic Airways takes delivery of its second Embraer E190-E2
Swiss regional airline Helvetic Airways formally received its second state-of-the-art new Embraer E190-E2 aircraft at Zurich Airport on Sunday evening. The second member of the new Helvetic Airways Embraer E190-E2 fleet, which bears the registration HB-AZB, touched down in Zurich as planned yesterday evening at 20:28 CET. The delivery flight from Brazil to Switzerland had taken just over 11 hours, with intermediate stops in Recife, the capital of the Brazilian state of Pernambuco, and Las Palmas on Gran Canaria.
A quieter and more ecofriendly aircraft The arrival of HB-AZB marks a further milestone in Helvetic Airways’ ongoing fleet renewal. By 2021 the Swiss-based carrier will have one of Europe’s most advanced and eco-friendly regional aircraft fleets. With its enhanced aerodynamics and its impressive latest-generation engines, the Embraer E190-E2 boasts much-improved fuel consumption credentials. Helvetic Airways has already seen a substantial reduction here in the E190-E2’s first few weeks in operation.
The Embraer E190-E2 is good news for Zurich Airport area residents, too. Its geared turbofan (GTF) engine technology helps reduce noise emissions, making the E190-E2 quieter than its predecessor. So as a key European regional airline, Helvetic Airways is making a tangible contribution to the sustainable further development of Zurich Airport and its local region. HB-AZB should enter revenue service on Swiss International Airlines’ European network in the next few days. Its arrival brings the Helvetic Airways fleet to 13 aircraft: eleven Embraer E190-E1s and two E190-E2s. New E190-E2 deliveries will intensify next year, with further aircraft scheduled to arrive in the first and second quarter.
Tiffany & Co. gives new meaning to “the more, the merrier” with the ultimate holiday gift – a custom-made Tiffany Blue® motorcycle!
Features 16” laced wheels with chrome-plated rims and spokes dressed in vintage tread tires, stainless steel exhaust and a custom sterling silver Indian Motorcycle x Tiffany & Co. plaque.
This luxurious present showcases Tiffany’s ingenuity and legacy of unparalleled craftsmanship, reflecting the magic of the brand.
Supreme’s transformation from hip, downtown New York skate shop to global powerhouse has been nothing short of extraordinary. From humble beginnings in 1994 on the then unfashionable Lafayette Street, Supreme has become ubiquitous worldwide, its distinctive logo a signifier of edgy authenticity, cultural diversity and, now more than ever, must-have-it desirability. Inspired by the propaganda art of Barbara Kruger, that logo is the currency for a brand valued at more than $1 billion.
From 26 November to 10 December, Christie’s presents a curated online auction of the rarest and most sought-after Supreme collaboration pieces — ‘the best of the best’, as Head of Sale Caitlin Donovan puts it. The items range from skateboard decks produced by the biggest names in contemporary art to ‘exhibits’, in what author and cultural commentator Byron Hawes describes as Supreme’s ‘alt-design museum’. The latter includes short-run collaborations with heritage brands in hardware, homeware, sport, leisure, music and beyond.
‘Over the past 20-plus years, Supreme has gone from a brand servicing skaters who were often considered rebels, to becoming a highly respected, highly sought-after collecting category in its own right,’ says Donovan.
‘It was the first of the streetwear and “hype” brands to forge the path to an entirely new market and audience of collectors,’ she adds. ‘Supreme has been a cultural lightning rod. Through supply and demand it has transformed young male retail shoppers into secondary market collectors and connoisseurs.’
As well as selling T-shirts, hoodies and decks that change hands for dizzying sums, Supreme has put its stamp on a quite bewildering array of products. ‘From a cultural perspective, it makes sense,’ states Hawes. ‘If you think about these objects through the lens of Duchamp and his “Readymade” series, they are cultural pieces, art pieces.’
Noah Davis, a post-war and contemporary art specialist at Christie’s, agrees: ‘Seeing the Supreme box logo stamped onto utilitarian items like bolt-cutters, basketballs and harmonicas is like Duchamp famously scribbling “R. Mutt” on a urinal. Anything is fair game, and once it’s been anointed by Supreme it becomes elevated, collectible — to some, even holy.’
Supreme might not present itself as a cultural arbiter in the same way that a museum self-consciously does, yet its flagship store in downtown New York feels like a cathedral for youth culture. ‘In the same way that the MoMA does for modern art,’ insists Davis. ‘The really impressive thing is how organically, seemingly effortlessly, this has happened.’
So what is its secret? ‘Our formula is, there is no formula,’ Supreme’s founder James Jebbia famously once said. Hawes, who has authored two books on the Supreme phenomenon, smiles: ‘Maybe he was alluding to the broader point that Supreme cannot be put into one box. They never did anything accidentally. It was always very articulated.’
Supreme and the ‘Artist Series’ skateboards
As Byron Hawes says, ‘Nobody looked at a skateboard before Supreme and saw a canvas waiting to be utilised’. The company released its first deck — the Copyright — in 1998, and its first ‘Artist Series’ deck in 2001. Since then the artists who have designed boards for Supreme represent what the writer describes as ‘a veritable who’s who of contemporary art’.
‘The artists chosen by Supreme indicate that the brand never saw skate culture as narrow,’ Hawes says. ‘To do four decks with Peter Saville, the guy who designed the album covers for Joy Division — that’s not the specific culture people would have associated with a downtown New York skate shop. The same goes for George Condo and Christopher Wool.’
The connection with a street artist such as KAWS or a young, downtown New York artist like Nate Lowman might seem more obvious, although KAWS, like many of those the company has worked with, did not have the profile he enjoys today when he designed his first Supreme decks in 2001. The decks designed by Wool, Jeff Koons, Damien Hirst and Marilyn Minter, on the other hand, demonstrate that Supreme ‘saw parity between all these different aspects — and recognised how they would coagulate’.
Much of the credit for the ‘Artist Series’ must go to James Jebbia’s long-time friend and collaborator, Neville Wakefield. The British curator has organised exhibitions at Mary Boone and MoMA PS1, and is the founder of the Desert X art fair in Palm Springs. As Hawes explains: ‘Jebbia credits Wakefield’s savoir faire and exceptional taste with many of the artist decks, particularly in the early years, when a major artist working on a skateboard with a small shop in New York seemed almost laughable, until they consistently got it done.’
Noah Davis sees skate culture and art as sharing ‘the same kind of potential for anarchic creative freedom as rap and punk music’. This isn’t to say that all art is free reckless, or even dangerous but, according to the specialist, ‘the art that is rhymes well with the spirit of skate culture, which is equally about the balance of independence and community, risk-taking, expertise and performance.’
‘These are serious pieces of art,’ insists Hawes. ‘There’s a lot to be said for putting them under glass, keeping them, and watching them appreciate. They are a crystallisation of high meets low — expository rather than assimilatory.’ In other words, quintessential Supreme.
Supreme’s ‘alt-design museum’
In the preface to his book Art on Deck: An Exploration of Supreme Skateboards from 1998-2018, Byron Hawes makes the point that ‘the collective history of creativity is awash in homage, responsivity, reactivity, and outright theft’. Noah Davis puts a slightly different spin on it: ‘when Supreme does its Duchamp thing with an object, it becomes sanctified.’
Supreme has been collaborating with brands for over 20 years, taking a considered, highly curated approach to who and what it leaves its mark on. The objects, says Hawes, are ‘very specific and not really based on any theoretical idea of hype’.
They are also produced by heritage brands — the Coleman Mini Bike, the Spalding basketball, the Everlast Punchbag, for example. This attention to detail and authenticity feeds directly into Supreme’s brand values. Or, as Hawes puts it: ‘Supreme really does always choose the realest item in any given world’.
The online sale at Christie’s focuses on the most important and collectible objects and accessories. Certain objects, like the Stash Box Bible, are instantly identifiable as a Supreme piece. It speaks to the ethos of the brand: cheeky, clever and very well done.
One of the interesting things about the art world, of course, is that an object is worth precisely what anyone will pay for it at any given time. The secondary market for Supreme items is currently at fever pitch, fuelled by Jebbia’s appropriation of luxury brand tactics — cohesive branding, the stoking of hype, and a scarcity cultivated through ‘drops’ of items produced in small edition sizes — and the pervasive power of social media.
‘You look at the objects,’ says Hawes, ‘and you think, “Okay, it’s a fire extinguisher”. But nobody’s going to put out a grease fire in the kitchen with a Supreme fire extinguisher. These things are, essentially, sculptural entities.’
He likens Supreme’s approach to ‘DJ culture’, suggesting it is ‘remixing and mashing up all of these various, theoretically unrelated cultural signifiers to create a more cohesive whole.’ The Supreme brick is a perfect example.
‘Think about these objects as under-represented design objects, and the brick becomes the single most important industrial design piece of all time,’ he says. ‘But no one’s going to buy one Supreme brick and make anything out of it. It is a very cheeky, very subtle acknowledgement that these things are going on shelves.’
While many of Supreme’s collaborations might appear arbitrary, Noah Davis also recognises the sophistication that underpins them: ‘If you understand the lifestyle of skateboarding and its significant overlap with graffiti, especially in New York, then you immediately get the significance of bolt cutters (the street artist’s keys to the city) and fire extinguishers (hackable tools to create mural-scale tags by filling them with paint).
‘These things have that magical “if you know, you know” quality that is at the heart of why Supreme remains relevant and vital. They don’t care if you don’t get it, and if you don’t get it, you know deep down, you kind of want to.’
Handbags X HYPE featuring a collection of Supreme skateboards and accessories is open for bidding from 26 November
CYBERTRUCK is built with an exterior shell made for ultimate durability and passenger protection. Starting with a nearly impenetrable exoskeleton, every component is designed for superior strength and endurance
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