Female Founder
We celebrate the variety of business' up and down the Kings' Road,
which have been the ideas and innovation of 'female founders.'
They take time to offer insight here:
Interview with Charlotte Staerck, founder of The Handbag Clinic.
You started The Handbag clinic in 2013 initially as just for luxury handbag repairs (at a time long before the luxury resale/preloved market took off) – what was the seed of the idea for you and when did you open the Chelsea store?
I’ve been obsessed with handbags forever. I’m not sure why, I grew up in a tiny village outside of Newcastle, and my mum wasn’t interested at all! But, I remember, when I got a Saturday job and saved everything to buy my first brand-named bag: a cream Luella tote, when I was 18yrs. However, it ended up covered in dye transfer from my jeans - a colleague told me there was a local company, The Furniture Clinic, that did repairs. She gave me their number, but I lost the piece of paper. Serendipitously, if I had gone, I’d have met my future husband, Ben, (business partner) two years earlier than I did — at a bar in Newcastle. Ben had built up a business with his father cleaning and restoring furniture and leather household items since 2004 and, by the time I met him, it had grown from a small online family operation to a thriving global business with a team of 75 people and a network of distributors around the world (still operated from its North-East headquarters.)
At the time, I was on a fast-track career path having risen through local government ranks to be appointed as a Senior Buyer of pharmaceutical and medical equipment for the NHS. I was fiercely independent and my career was going from strength to strength but my passion was always luxury handbags – I would spend ages browsing the preowned market and buying and selling at the right time so I could covet the latest It bag – something that’s now been coined as circular fashion.
By 2013, I began observing the increasing number of handbags that were being sent to Furniture Clinic for restoration. I also observed the significant value that restoration work added to handbags that may have otherwise been discarded or unsaleable. So, I encouraged Ben to officially incorporate The Handbag Clinic as its own independent luxury handbag offshoot in 2013 – all still operated through our ecommerce platform at the time. As the demand for our service grew, I noticed that a huge percentage of the online quotes were being received from the South West London area, especially Chelsea, so we opened the doors to our first store on King’s Road in 2015. Restoration was still very much the heart of the business but we had so much retail space. This is when I had my lightbulb moment. We were having dinner one night, and I suggested integrating buying and selling preowned luxury handbags as a resale operation in our stores. No one else was doing it on a large scale or as a retail operation, at the time. Nor were they combining restoration with resale which enables customers to fetch the highest possible price for their bags. There was a clear gap in the market. So, I decided to leave my career and board Handbag Clinic as a buyer to develop the preowned resale operation. From there, I injected my lifelong passion into the business as a whole, taking over the running of the business in its entirety in 2017, launching new services in our Clinic, overhauling and relaunching our flagship Kings Road Store and creating a workforce of handbag enthusiasts, ensuring The Handbag Clinic is a brand which is dedicated to extending the life cycle of all handbags and fashion accessories.
Whilst there have always been small local/independent shoe and bag repairers, by 2013 they were increasingly hard to find. What was the concept/USP of Handbag clinic from the get-go?
The initial idea was to build on the leather restoration business and pivot this into the burgeoning appetite for handbag restoration. At that point, yes, we had local high street cobblers who could perform simple repairs – but nowhere near the level of craftsmanship required for luxury items. When you’re spending hundreds and sometimes thousands on a handbag, that’s a promise of luxury and it should mean for life. So, I guess you could say The Handbag Clinic is a story of two passions colliding; a life-long obsession with handbags (mine) and a family legacy of leather restoration.
As our business grew, I observed how this directly impacted the resale value, I knew there was a clear gap in the market for combining restoration with buying and selling preowned luxury handbags. No one else was doing it on a large scale, at the time. So, we started off with our first store in Newcastle which was a showcase for the business model and housed our selection of the world’s most coveted designer bags.
It spiralled, and within the first year, we launched the integrated offering of ‘Buy, Sell, Restore’ and, in addition to our Chelsea and Newcastle store, we also opened another store in Leeds, followed by rollout into Europe (Monaco) and the Middle East (Qatar).
As we’ve expanded geographically with our retail locations or launched new services, we have always invested into heart of our business; the Clinic itself. We started with just two artisans and now have a team of 13, along with restoration specialists and logistical teams. We’re also developing innovative, bespoke technology to support the Clinic. Our research and development teamwork with chemists to create new products to ensure the most perfect possible finish. The advances we have made working with Chanel lambskin and exotic leathers are unrivalled specialist areas, which I’m particularly proud of.
We have also diversified into restoration for shoes, in response to demand from our customers. We offer everything from simple cobbler services; adding protective soles to extend the life of high fashion pumps to trainer cleaning, since the designer trainer market has boomed in the last few years. Knowing the value of these luxury fashion items and the importance of the circular fashion industry, our team are dedicated to seamlessly extending their life cycle.
Being the pioneers of handbag restoration, we’ve worked with some of the biggest brands in fashion, post Brexit. With sustainable fashion now firmly in the mainstream, we have seen a huge influx of luxury brands come to us directly to support them with repairs and cleaning services. This is huge progress towards a more collaborative industry. We’re also a trusted favourite with celebrities, influencers and fashion editors.
You have since expanded to tap into the ever expanding resale/preloved market – when was this and what was the reasoning behind it?
I was a devout eBayer from the age of 16, so I’ve always had a circular mindset. I would spend ages browsing the preowned market and buying and selling at the right time so I could covet the latest It bag. Having observed the financial value restoration adds to the preowned luxury handbags, I knew I was onto something and this is what ultimately inspired the unique concept of the business of ‘Buy, Sell, Restore’.
We formally integrated the resale operation into the existing restoration business in 2015 when we opened our first few stores and it spiralled from there. After I officially took over the business, we experienced rapid growth, growing as much as 186% in just six months. In the last year we’ve had record growth: we experienced year on year increase at 137% GMV with sales over £1.8million in the past 12 months. The presale side of the business has also boomed over the last year – with a record 51% increase in bag acquisition.
But scaling isn’t possible without significant investment. We began investment raising initially through crowdfunding back in 2018 and raised over £300,000. In summer last year, we secured an £800k investment to drive ambitious growth plans and enrich four core business areas; streamlining systems and infrastructure, investment in innovative new technology, brand building and recruitment of personnel, which includes senior management roles. Over the last year we have been focused on enriching and streamlining our operations, recruiting and priming the business for continued growth. We’re now onto our next round of investment raising, to drive our continued growth and expansion.
Can you tell me your process of authentication – one of the biggest challenges within the luxury resale sector so far?
I was in a fortunate position when starting the buying and selling of our preowned designer handbags as we had a clinic full of designer items from a wide range of brands spanning the decades. This was constantly replenished with new handbags coming in each week. I used to sit and research these bags all day long and had a team or artisans on hand, who were experts in the way these bags were constructed. This meant I had a unique opportunity to build experience and knowledge before we even began purchasing bags direct from consumers. If I ever had a query about a bag, I could also look through the bags which had been sent direct from the brands we work with for restoration, which include Harrods, Jimmy Choo and Dior, and compare the items to a bag I knew was 100% real.
It is so important to understand not only how to authenticate key features but the history behind the bag, how they are constructed and how the materials have changed over the years to truly authenticate well, especially given you can get some very carefully constructed fakes. We always look for handbag enthusiasts to join out Buying department as a desire to know everything about the brands is crucial in this field.
SEE AUTHENTICATE - UNDER FASHION SECTION
We have a cavernous collection of fully authenticated, preloved luxury and vintage handbags; stocking all the premium luxury brands, from Hermes and Chanel, to Louis Vuitton, Bottega Veneta, Saint Laurent, Dior, Gucci and Fendi.
With estimates at an extortionate 127% rise by 2026 for the luxury resale market, how did you want to stand out from the crowded resale market having come at it differently (through repair) and how do the two work together seamlessly between customer, demographic etc?
Our business model is a one-stop shop for sustainable luxury; we gently guide handbag lovers and collectors through their own unique circular journey; buying, restoring, authenticating and selling on handbags they no longer use. Or simply restoring or reinventing their most treasured items to pass down for generations to come.
Because we span restoration, authentication and the preowned resale market, we’re in a unique position to see the direct monetary value that restoration and modernisation treatments add to the value of shoes or bags.
We’ve steadily built up a community of discerning and savvy handbag collectors who recognise this intrinsic relationship and come to us because of the added value they receive from the wrap-around 360 process. They buy handbags in huge demand, check it into the Clinic for restoration to ensure it’s in pristine condition and then sell it on at exactly the right time to ensure it fetches its highest possible price. They play the pre-owned handbag market like stocks and shares and, for some, it’s a very lucrative side-hustle. We even provide consultation on when to sell their bags as part of this circular journey.
We are planning to launch a unique care plan for our dedicated community of handbag lovers in the next few months, which will enable them to maximise the value they receive from our services all year round.
The preowned luxury handbag market has exploded in recent years, with cult and vintage pre-loved handbags fetching higher prices than ever. Handbag’s holy trinity, dubbed ‘the big three’, include Chanel, Hermes and Louis Vuitton – they recently topped the bill as the number one investment asset in Knight Frank’s Wealth Report (2021) rising in value by an average of 13%, outperforming stocks and shares, property and all other collectible assets including art (5.2%), stamps (6.4%), fine wine (0.7%) and jewellery (-6.7%). They are also one of the most stable investments you can make, according to Deloitte, because luxury handbags offer the best risk vs reward proposition above other collectibles.
The Instagram effect has also dramatically fuelled the circular handbag ecosystem, with clients continually wanting to update their look but avoid repletion in their posts. They want to be seen wearing the next It bag, but very few people can sustain that kind of fashion status without selling pieces to reinvest into their luxury fashion desires. We are the best kept secret of fashionistas and influencers who use the resale service to continually update their look with the latest It bag. Through restoration they retain its value and, with expert guidance from Handbag Clinic, they sell it on at the right time to fetch its highest possible price.
How do the ecommerce and physical stores work together from a return customer point of view?
I think the fact that we have a number of stores nationwide means that we have strong high street visibility. This is key to instilling trust, which is vital for our customer base given we are handling their treasured possessions –including precious family heir looms - or spending similar amounts buying a preowned luxury handbag. I think our physical high street presence has been key to converting our store footfall into online shopping traffic – our customers feel safe to shop with us.
Whilst we have stores in Leeds and in-store concessions in Fenwick Newcastle and Colchester, our flagship Chelsea store is very much the heart of the business. The physical interaction with customers in our stores is absolutely vital to our continued success. The most important part of my job is being on the front line – engaging with and understanding every need and behaviour of our customer. We’re lucky that, unlike most preowned resale or restoration operations in the UK, we have a chain of stores and can spend time with customers face to face really getting to know and understand them. Our extraordinarily high customer return rate is testament to this. The Handbag Clinic recognise that customers are spending thousands of pounds on a luxury handbag – it’s an investment piece and customers want to be able to touch, feel and try on the handbag in the mirror.
The Handbag Clinic is the only luxury preowned retailer in the UK that offers this hands-on, in store experience advising on everything from styling and restoration to after care and authentication. Our newly refurbished Chelsea store has installed a dedicated personal shopping space offering a deeply personal one-on-one service.
Our ecommerce platform became hugely important during the pandemic and we invested into streamlining and enriching it. We created a completely bespoke system for buying bags from customers and created an easy-to-use, customer led journey. Our ecommerce platform has always been slightly ahead of the curve: we prioritise having clear, professional images, super zoom functions so bags can be assessed inch by inch online and our phenomenal customer service team are always on hand remotely to answer questions. We also offer a robust returns policy, unlike a number of pre-owned retailers, so customers can shop with confidence.
Which luxury brands do you accept for sale and what’s the process if a new customer wants to sell a preloved item with you?
We accept a wide variety of designer brands, from Chanel, Louis Vuitton, Hermes and Mulberry to Gucci, Prada, Fendi, Saint Laurent and Valentino. You can find the full list on our website: https://handbagclinic.zendesk.com/hc/en-gb/articles/4672846775697-Which-brands-do-you-buy-
Selling your handbag with us is super easy and there’s no faff. Depending on the condition of the handbag, sellers with The Handbag Clinic can make up to 80% off the original RRP. We are also the only business of our kind to offer customers a choice of upfront payment if accepting a cash offer, store credit or payment upon consignment.
Customers can either drop their bag off in store, or they can complete an online form to obtain a valuation quote - we then provide a pre-paid courier label to they can ship their item to us directly and we take care of the rest. We offer authentication, a free clean or minor repair if required and we also professionally photograph, price and market the item so that it sells as quickly as possible. Most of our stock sells within 30 days.
You are known for repairing ‘the world’s most expensive handbag’ – a diamond encrusted Hermes. Fabulous! Can you tell me the process and the challenges of working with different leathers as well as gemstones?
At The Handbag Clinic we regularly restore some of the most expensive bags in the world. The most expensive bags, such as the iconic Hermes Birkin which is originally made by hand in an atelier, can take up to 40 hours using a double needle saddle stitch that cannot be replicated by a machine. As this work is so highly skilled, these are always handled by our Hermes Specialists: our artisans can choose to specialise in certain brands, leathers, or a more complex service we offer, such as exotic leather specialists, who regularly work with Hermes crocodile skin items worth upwards of £50k.
We completed restoration work on a £140k crocodile, diamond encrusted Hermes Birkin, which was hand delivered (five hours each way) to and from the client’s home. This was particularly memorable because it was such a rare and beautiful edition.
Otherwise, we’ve had all manner of restoration challenges, from handbags being burnt in fires or chewed by dogs to reconstructing the inside of vintage trunks or restoring satin-white wedding shoes - We can restore most things and our team of skilled artisans are always looking at new and innovative ways to solve complex repairs, whilst our research and development team are always working on improving our products to tackle the seemingly impossible.
SEE MATERIALS - UNDER FASHION CATEGORY
What do you love about the Chelsea area and community? Why did you choose it as a store destination?
We set our sights on Chelsea because we could see that there was huge demand for our services in the South-West London area – and we knew that the prestigious King’s Road would be an ideal home for our flagship store.
I have a huge soft spot for Chelsea personally, having lived in the area before. It’s my second home and I love everything about it – from the café culture, the beautiful architecture, to the vast array of boutiques, galleries and pop up stores. There’s so much history to it too when you think that Mary Quant chose the King’s Road to launch her first store back in 1955. I love that you’re in the heart of London, yet there’s a village feel because of the close-knit community.
What future plans do you have for the business?
Last summer we secured an £800k investment to drive ambitious growth plans and enrich four core business areas; streamlining systems and infrastructure, investment in innovative new technology, brand building and recruitment of personnel, which includes senior management roles.
Also over the next few months, I’m taking part in a discussion and workshop for Sustainable Fashion Week which is being hosted by Wear Next and The Prince’s Foundation. And I’m speaking at Retail Week’s Sustainability Summit in October where we will be showcasing the brand.
We’re also partnering with the British Fashion Council for their City-wide celebration of London Fashion Week and hosting an event in our King’s Road store for shoppers on Saturday 17th September – immersing them in the world of handbag restoration with trade secret tips and techniques.
We’re offering an exclusive a promotional discount one-day promotion for a 50% discount on cleaning and protection treatments and a 20% discount on leather restoration treatments, so do pop in and say hello if you’re in the area!
Interview with Gail Steele of Auerbach & Steele
What was your background in eye care before opening Auerbach & Steele in 1996?
Like many girls in the 1970s, I left school too early, seventeen in my case and got a job as a receptionist at the local opticians. It could have been anything but just happened to be an optician, part of a medium sized chain, and it all started from there. After a couple of years I was able, with the support of my employer, to go back to college and qualify as a Dispensing Optician, which I did in 1973. After that I gravitated to the management side of the business and had several years’ experience of running different business units of up to 150 stores. In the mid 1990s I took the decision to start my own business which I eventually did in 1996 with the opening of Auerbach & Steele on The King’s Road.
Auerbach & Steele makes the optician experience a 'sexy' one - but that wasn't the approach to eye care back at that time, tell me about your vision from the get-go?
Retail optics was a very dull business until the 1980s when a change in the regulations inspired larger companies like Boots and aggressive new starters like Specsavers to bring the business out of the shadows and into the consumer retail space. However, it did seem to me that, despite a big growth in the business, it was still stuck in the original model of a rather boring sight test and the provision of spectacles that for the wearer was still a grudge, paramedical purchase and just not fun. I was lucky enough to travel a lot during the 80s and 90s and could see how some countries - France, Germany and Italy for example, saw spectacle frames much more as a fashion accessory – necessary of course, but also something to be celebrated and enjoyed, like shoes or handbags. This was really the inspiration behind the vision I have always had for Auerbach & Steele, world class clinical excellence with all the latest technology in the consulting room but much more Rock ‘n Roll fashion and fun when it came to the supply of spectacle frames - “sexy” as you say. That is still my vision and it’s still very relevant today. Our test room equipment is second to none, some hospitals even refer patients to us because we have diagnostic and testing equipment they don’t have themselves and we still scour the world, literally, for new, exciting and innovative frames that no one else can offer.
What are the main developments you've seen in the landscape since the beginning?
Optics is now very much in the mainstream of retail, every high street, every shopping centre has more than its fair share of optical stores. All the players have developed their own positions catering for different sectors of the market, exactly as we have done at Auerbach & Steele. Thirty years ago, the majority of transactions would have been NHS sight tests and possibly NHS sponsored frames. Now this accounts for a much smaller percentage. Most retailers identify their customers and try to appeal to them. Thirty years ago optical chains were run by opticians, now they are run by professional retail managers.
You are a multi storey boutique that feels more like a concept approach - how do you think you offer a unique experience?
Our unique proposition rests on three separate pillars.
· Clinical excellence, highly qualified and experienced Optometrists only using the very latest equipment which we continually update
· Only qualified Dispensing Opticians (no unqualified “optical assistants”) on the sales floor to ensure the best and most appropriate lenses go into the new spectacles
· A unique and exciting range of frames to choose from, often uniquely available from Auerbach & Steele
Our multi storey location enables us to have a dedicated children’s floor as well as a separate “treatment room” and at all times we strive to give top class customer service.
Tell me about some of the revolutionary tech you now house in the store?
An instrument called an Optical Coherence Tomographer (OCT), think of a CT scan for your optical system, has come into vogue over the last fifteen years or so. A highly sophisticated diagnostic tool, these are becoming more prevalent in Optometric stores nowadays. They are very expensive. We have used them for the last 10 years and currently have three of them in Auerbach & Steele to ensure we have the latest models. We also use a variety of digital devices for accurate measuring and fitting of spectacle frames and lenses.
How do you connect eye care to general health and wellbeing?
Great question and very important. Your eyes really are the window to the body. We invest heavily in the latest technology, recently purchasing the latest state-of-the-art scanner on the market, which can detect underlying health conditions such as diabetes, high cholesterol and high blood pressure before symptoms start to show. A thorough eye examination can also detect liver and autoimmune problems as well as certain types of cancer. That’s why we recommend an annual eye examination.
Having started during the 90's do you feel the attitude to being a female start up was different? What were the challenges you faced?
To be honest, I don’t think the challenges of what I do are in any way gender related. Like most women I do face rather patronising assumptions (“Oh, your husband must have put a lot of money into this for you!”) I think people in London are very used to seeing women run their own businesses. Of course, it was not always like this in the 70s and outside London.
How do you think times have come on for women in the workplace? And how do you try and re-enact that with diversity of employment and opportunities?
I think the environment has changed hugely, both for women and in favour of diversity generally. Certainly in our case at Auerbach & Steele, we pride ourselves that our small workforce accurately reflects the profile of London’s hugely varied population. More than 10 years ago we won an award from the Evening Standard as a diverse employer and this has not changed. And we do try hard to give our team opportunities, including sponsoring them through University to obtain the next qualification, sponsoring their membership of their professional bodies and ensuring their continuing participation in Training and Education processes.
What's the most challenging part of your day to day as a female founder/owner?
Well a few months ago I might have said it was managing our staff rota but that has changed!
We are now operating under an appointment only system and adhering to very stringent cleaning protocols. It has been challenging getting to grips with our new system but actually it seems to be working well with customers very positive about the even more personal approach we are taking.
Tell me about the exact process of putting together frames and what you offer?
Frames are sourced from around the globe. We travel to Europe, America and the Far East to seek out unusual, fun, colourful and striking products from designers who only design spectacle and sun spectacle frames. All top quality, all made in materials that last, keep their colour and can be adjusted to fit perfectly and comfortably. We do not sell mass produced frames that simply have a famous fashion name stuck on them, that all look the same apart from the logo and that cannot be adjusted easily, if at all.
We also offer our own range of frames under our own label, commissioned from small, artisan suppliers in Europe. This range, which is fast becoming our best-selling line, comprises more than fifty shapes in endless colour choices and can even be made in natural buffalo horn along with other materials and shapes as part of our bespoke service.
What is your main demographic of customer?
Our customer base is actually very broad. We have a fairly even gender split across most age ranges, barring perhaps 21 – 25 yr olds. I think this is the time parents stop buying for their kids and they are not yet earning very much. But they usually come back to us! Our style conscious customers are looking for that mix of great care along with unique, individual frames.
How does your online and offline complement each other?
We don’t currently sell online. For us it’s all about getting the right fit and it is really difficult to do that online. Our service is very personal and we think that is where our value lies.
What has been your greatest or most interesting discovery about your business/consumer during Covid times?
People’s cavalier attitude to their spectacles has been a shock. People who wear their glasses all day every day and totally rely on them yet only have one pair - often years old. What else do you have in your wardrobe that you wear all day every day and cannot function without efficiently if they break or are lost? We would always recommend a spare pair for emergencies but also to give you a different look. After all, we wouldn’t wear the same shirt or belt, handbag or shoes with every outfit so why do it with your specs?
Why did you choose the King’s Road area to open Auerbach & Steele and what do you find most rewarding and re-energising about the community?
When we first opened the store, the King’s Road was eponymous with independent fashion. It has a long history including Vivienne Westwood and Malcom McLaren’s Let it Rock and later, SEX to Just Men, frequented by bands like The Who. There was Mary Quant and of course, the Chelsea Drugstore. Then we had the New Romantics and later the Sloane Rangers. So it’s always been seen as a fashion forward street. Of course, there are now more high street names joining the independents but there are still several of us left who have a very loyal following! It’s still a bustling, lively road with a very strong sense of community and we look forward to many more years here!
What is the future for Auerbach & Steele?
We moved from a smaller space just a few shops along to our new premises in September last year. We were just beginning to feel settled in our amazing new space when Covid-19 struck. We are fortunate that we have all this space on offer as it gives us a chance to offer safe social distancing for our customers. We are very much in recovery mode now but feel positive about the future. Our customers have come flocking back and I think the very personal approach is highly valued. We will continue to stay ahead of the curve, ensuring we offer the best service and a highly curated range of covetable frames. As I always say….onwards& upwards!
An interview with Stephanie Mordehachvili of Blaiz
How did the idea for the Blaiz concept store come about? How long was it from initial idea to execution?
The idea to start Blaiz was a marriage of my retail expertise (through financial retail investing whilst previously working in finance) and trips to Brazil, where I discovered such unique designers. The business was initially going to focus on wholesale only as a business channel, and swimwear only as a product lateral. However when I started researching deeply into the talent of Latin America, I couldn’t limit Blaiz to that.
Timewise, from the moment I sat down and said “ok that it’s happening” to inception being the launch of the platform was 3 months. I knew the Latin American designer landscape by that point quite well from many trips to different regions on the continent. We launched the business with an event in Knightsbridge for a fine jewellery designer from Brazil I was representing, and that was the day the website went live.
Having said that, what I intended Blaiz to be and what it became are very different - Blaiz took on a life of its own!
Can you tell me more about the concept behind Blaiz? What was the determining factor in your decision to launch - at such a challenging time in the fashion retail landscape?
'Latin spirit, London style' is our USP. We work tirelessly to bring Latin or Latin inspired unique and exclusive products to the market infusing them with London style and displaying them in our Chelsea flagship and on our website. We have our finger on the pulse of the Latin fashion environment and we have a team on the ground in Peru, Brazil, Mexico, and Colombia. Blaiz offers everything from clothing to accessories and also includes a lifestyle edit (books, stationery etc)
The fashion landscape is currently very challenging this is true, but it can be the best time to bring a new concept into the market - deals can be made with designers/landlords/suppliers.
I go by the adage: 'we only live once.' I believed in the concept of bringing unique merchandise at affordable price points to the European market. I also am not afraid to ‘fail’ as long as I have thrown my hat into the ring and really tried to make a success of a concept.
You now have a storefront and have introduced your own line (more on which later), why do you still think a shop space is important in today's e-commerce led landscape?
Our first store opened after almost 18 months of running on and off pop-ups in the Chelsea and Knightsbridge area.
I believe in having a window to the public - it adds credibility to the brand and to our online customers, where most designers/multibrands do not have physical store visibility. We also now offer private styling sessions with our in-house team.
Why did you choose King’s Road as your location?
We did a few pop-ups around the King’s Road area, including in our now flagship space! The clientele is very on brand for us; they are fashionable, they love to have exclusive pieces, they are curious about Latin American brands, and they are not afraid of colour.
What does the area represent to you personally?
I lived in Chelsea for quite a number of years, so I watched the retail landscape changing in the area. Before that I used to visit my Aunt and Uncle when I was very young, and we would always walk up and down King’s Road. It is a very special street for me.
What have you learnt from the community - who’s your regular, local clientele day to day? How have their shopping interests changed since your inception?
That is a great question. We have been watching our clients for over 3 years now - we speak to them regularly to gauge their tastes and interests.
We have lost a lot of international clients due to the political landscape of the UK, however we have gained more British clients and we have a strong following amongst European and American tourists.
We have noticed that they now tend to be more specific in their purchasing - asking us for particular items of clothing or accessories. In the past they bought more on impulse because they loved things.
Why did you specifically want to focus on the Latin American market?
I strongly believe that the talent in that area of the world is unparalleled. They are not afraid to dare to be different, to mix textures and colours in unexpected ways - whilst doing this they are also influenced by the Western world so it felt like there was as gap in the retail landscape.
There are also a lot of new designers emerging from the region - the best part of my ‘job’ is receiving these incredible look books and going out there to discover the undiscovered - Palo de Yucca, Batiche, Puntamar to name just a few.
What do you find inspiring about their craftmanship and design process? Why and when did you find there was a call for it in London?
The Latin American designers follow no rules. They aim for female perfection and they work so tirelessly on the clothing bringing out the female shape to its maximum potential. They research fabrics and techniques constantly; whilst ancestors use weaving and artisanal techniques (see for example the Peruvian warp technique) that have been passed down through generations – often woman to woman.
I feel that the UK was ready for something different. Maje and Sandro were pretty much the only contemporaries for a few years. Ladies wanted something more than Zara but less than high end designers, and they wanted to be different, to have unique pieces.
What is the story and process behind your own label collections for Blaiz?
Our customers mean everything to us - to this effect we are always listening to what they wish they could find at Blaiz and this gave birth to our own label. We make and source accessories and sportswear to react to these gaps that our customers are looking for. We really enjoy designing these items in house and then going through the manufacturing process of seeing them come to life.
You also sell now through ecommerce. How do they both feed into one another with click through etc?
Our ecommerce platform is relatively new, but is very much our fastest growing retail avenue. We find that the store and the website work together i.e both driving people to the store from the online, to driving people online from the store. However we do feel that our online client is slightly different from our in-store client - we are still in the data analysis mode for this, however soon we will be doing separate buys for each customer.
How do you incorporate sustainability and ethical sourcing into your buying process?
We always try and find sustainable brands with a story. From our Alpaca weavers in Peru, to Mexican raffia makers in Oaxaca prisons, we are constantly looking to give back to Latin America, which is a region where poverty is very real and on a different level to the Western world.
What difficulties or challenges do you think you faced as a female founder (if any)?
The challenge of being a mother, a wife but also an entrepreneur. Only women in the same position as myself can understand how tough it is. Fierce organisation is paramount to being able to stand a chance in this intense juggling game.
What advice you would give to other female entrepreneurs?
Don’t be afraid of failing your own expectations. If you don’t try you don’t know. But be fiercely organised in your business strategy, and in your life organisation in general.
What business support for female founders would you like to see more of?
I would love to be able to meet more with women in business and be able to chat in small groups vs forums about the struggles and also the solutions that we have come up with.
There are so many of these gatherings that happen amongst influencers and not enough amongst women who are running corporations.
What does the future hold for Blaiz?
I want to keep growing Blaiz as a multi-brand exclusive contemporary platform: We are constantly trying to improve our product mix, streamlining and growing our online sales channel (incredible campaigns upcoming). We aim to get as many women as possible choosing our exclusive pieces as part of their everyday wardrobes
An Interview with Ancienne Ambiance
What first sparked your fragrance obsession?
Fragrances featured a lot in my childhood. My mother, grandmother and godmother helped form my earliest scent memories and the perfumes they wore are still favourites of mine. I got my first bottle of Guerlain's Shalimar when I was around 7 years old and would say that was when fragrance became an obsession.
How would you define 'l'art de parfum' in three words?
special, creative, complex
How did you 'train' to become a parfum nose?
My background is in product development and fashion/beauty/arts, so my route has not been a conventional one but I am a fast learner and having a passion for fragrance since childhood has helped a lot.
What are your favourite notes to work with and why?
I lean towards more oriental/woody notes, but these often have a floral element blended with them... eg Ancienne Ambiance Colonia IV is a citrus based fragrance with bergamot, lavender, neroli and Tonka bean (which is soft and vanilla-like used in orientals/men's colognes).
Fragrance ingredients date back to ancient wisdoms and the likes of Cleopatra - which are your personal favourites/anecdotes?
Yes the use of aromatic oils dates back 5000 years or more- the Mesopotamians and Egyptians, Greeks, Romans all loved fragrance. Scented oils were used for personal care and wellness, but were also a sign of status and thought to bring you closer to the gods.
All Ancienne Ambiance products feature ancient stories/anecdotes about the fragrances but my favourites are how Cleopatra filled her banqueting hall with two feet of fragrant roses for Mark Anthony’s first visit from Rome (see Rosa Rose Bath Salts) and how the Phoenicians thought cedars to be the sacred wood of gods (see Phoenicia Cedar Candle)
Describe your process from idea to finished bottle?
Ancienne Ambiance products are inspired by antiquity, so the foundation for all product development begins with ancient recordings, mythology and artefacts.
From there an ancient element will be woven through, from packaging to labelling... eg candles all have mosaic motifs in labelling, perfumes are in classic column bottles.
What makes that process personal to you and Ancienne Ambiance?
The process is entirely personal in some cases... My family have specialised in ancient art for five generations, so I'm fortunate to have an archive of ancient artefacts that are a constant inspiration. Our award-winning Goddess Argan Beauty Oil is a good example, began partly because of my own need for skin hydration and also a 2000 year old tablet detailing the trade/recipe of argan oil. Many items are also created with certain clients in mind, what they've wanted and invariably certain fragrances i've created that are not to my personal taste, have become best-sellers due to them being right for our clients.
How do you connect fragrance to memory, style, character?
Scent memories are incredibly powerful, they can transport you back to a time/place - much like music does. Scent memories are much like accessories... you accessorise your home with a comforting scented candle to remind you of your favourite trip, your special perfume can feel like a coat of armour.
How does 'smell' and the process differ when you are incorporating it into luxury bath care and scented candles?
I don't tend to use the same fragrance in all formats, as compositions have to change for certain products and they don't always translate in the same way. Tweaking a fragrance used in a scented candle so that it goes into a lotion hasn't been something we do at Ancienne Ambiance, but there will always be a cross-over of ingredients in different products we make.
Through Ancienne Ambiance how do you best want to educate people on the power of smell/fragrance?
Our motto is that Ancienne Ambiance takes you back in time and lets your senses come alive...
Fragrances can be both indulgent and essential for your wellbeing. Smelling good also makes you feel good and Ancienne Ambiance is about making you feel good (or someone special feel good), taking inspiration from 1000s of years ago.
An Interview with Emma from Box Galleries
Tell me about your background in art and how you came to open Box Galleries?
I started Box Galleries in 2012, having worked in a large commercial gallery and been given enough autonomy to have the belief I could do it myself! Although I studied law, I always had a creative side and, at one point, was an artist myself, so I felt I understood both sides of the fence - business vs creative.
Box Galleries represents such an incredible array of artists; from access to icons like Douglas Kirkland, Bridget Riley to emerging talent. Do you feel the art landscape has shifted towards a more democratic way of exhibiting and buying away from a focus on high end galleries?
I definitely think the way in which people are considering and buying art is certainly changing and it is becoming more accessible. Personally, I wanted to set up a gallery that was in between a commercial, print oriented chain and the very high end intimidating galleries, where you have to ring a bell to enter. My aim was to be able to showcase emerging artists alongside investment artwork in a welcoming environment, where clients can buy their first original to collectors building an investment collection. There is also ever increasing ways of purchasing art such as online platforms, social media and the increase in clients going to and buying from art fairs.
Do you believe that art investment and collecting has become too elitist?
I think there will always be an element of elitism or a notion of the art market being unattainable, but I do not think that has to be the case anymore. There is so much knowledge out there online and through galleries such as Box Galleries, that collecting from an entry level up to a much higher level is possible if you seek out good advisors.
How much of your clientele/sold work comes through online as opposed to the traditional forms of art purchasing?
Despite our presence online, most buyers still want decent discussions or for me to bring the artwork to their house or office or for them to come into the gallery/physical space to view the artwork. This is important due to size/texture/framing/provenance and having the reassurance that they are being advised by an art consultant. Although it is a good start to look online, in my opinion, the online market is saturated and it is far more difficult to differentiate quality and worth.
What do you look for when sourcing/taking on an artist?
I look for consistency in style, whether their work will fit in with our current collections, their position in the current art market, whether they have had any museum/International exposure and their potential for a secondary market. I think it’s also important to keep an eye on the market generally by going to art fairs and keeping in touch with what is happening auction/sales wise so that you can adapt and keep up with trends in the market.
What were the challenges to accessing such leading names in the art world and their estates (including the likes of Damien Hirst, Andy Warhol) as a start up gallery?
You cannot access leading names in the art world straight away; it takes time to build up your portfolio of artists and name in the art world. Solid relationships with other art dealers, clients, galleries and contacts within the auction houses will enable you access to the leading names but this does not happen overnight.
You also have an immersive approach including a programme of events, talks, workshops - what did you want to achieve by this - and what has been a stand out event for you?
Events are enjoyable for myself and my staff; our programme acquires and interests new clients, and it is more immersive and provides further knowledge and experiences for current clients. There are two stand out events for me from 2019: our dog charity event where we hosted an exhibition inviting all our clients with dogs with proceeds going to ARK (Animal Rescue Kefalonia). The other was our Diamonds Live Silkscreen evening with artist Simon Claridge. Clients were able to come and see Simon talk through and demonstrate his process of silkscreening live in the gallery and then they had an opportunity to try the process themselves and buy their own unique work on the evening - it was great fun and very informative.
Why did you decide on the King’s Road as your location for the gallery?
King’s Road is one of the most famous streets in London - it’s a prominent position for us. People come from all over the world to visit King’s Road and it’s certainly got a reputation for great shopping as well as culture and history.
When I first opened Box Galleries in 2012 I had a goal to have a permanent gallery in Chelsea within 5 years and managed it within 3 years.
What personal connection do you have to the area?
All my exhibitions leading up to opening on the King’s Road had been in South West London and it just felt like the perfect spot. There aren’t many places in London that still have a neighbourhood feel and King’s Road still has a lot of independent businesses and a closeness in community, which attracted me. The area also has a music and arts heritage, which still brings a lot of pride and passion for both locals and visitors to the area. I know most of, if not all, the other business owners on this side of King’s Road - I loan artwork out to many of them (Lockonego, Beaufort House, Bluebird amongst others) and with the Interior Design Quarter so close on New King’s Road, we also have built very good relationships with designers. We all help each other out!
Whose your day to day clientele - is there any artist or genre in particular you've noticed appeals to the local community?
We get a combination of local residents, shoppers who have walked down from Sloane Square, international investors and Interior Designers. As we hold such a diverse range of artists, we find different genres appeal to different clients, however I would say the Connor Brothers at the moment have a universal appeal to the local community. The slogans are fun, satirical and the colours and artwork are bright and contemporary, which fit perfectly with the Box Galleries' ethos and style.
What particular challenges did you face as a female founder/businesswoman when starting (e.g investment)? If any?
There’s obviously been difficulties along the way and a lot of people do question why I would want to go through the stress and responsibility, but I never really thought about it in that way. If you are careful and sensible financially, then you will find there are loan opportunities and I just had to take my time. The art market is sadly still very much dominated by men and I have been asked many times where my boss/investor is or who is financially running the gallery etc, but I just don’t let it affect me, I take it as a compliment! There are bumps along the road, but I think if you have a clear vision and you’re focused, then there’s no reason to not take the risk.
What are the toughest parts of running the gallery day to day?
On the whole it is very enjoyable day to day. The toughest part would probably be constant self motivation as there aren’t always people walking in or enquiring online. Having said that, we have enough of a database, leads and business development now, that there is always something to be doing.
What advice would you pass onto any other female attempting to start up a business or cross career sectors as you have done?
If you have no doubts and have a clear vision, then just go for it, and don’t focus too much on competition.
I am talking to you on the anniversary of Helmut Newton's death (one of your photographers). What is the artist or piece of work that was most difficult to come by or you are proudest to have in the gallery?
Currently I am most proud of our photography collection - Helmut Newton, the Terry O Neill archive and Douglas Kirkland. Photography is a relatively new genre to Box Galleries and in the space of a few years we have secured three of the best photographers of all time.
Your next exhibition ('Shaken,not Stirred') celebrates all things Bond. What do you think we can still today take away from the Bond legacy and the 'boys world' in the 21st Century? How did you want to approach this to suit modern day audiences?
It was an idea that grew organically from selling a lot of Bond Terry O Neill images last year and celebrating the release of the new Bond film in April this year. We obviously have to be a lot more careful in modern day, politically charged times, but on the fun side, there is always something great about creating something aspirational. I’m sure the exhibition will appeal to both men and women.
What is your vision for the future of Box?
I am happy with the current direction of Box but always want more! We have some excellent shows planned this year at the gallery as well as outside collaborations - for example our FAME Photography Exhibition will be showcased at 45 Park Lane hotel April - June 2020. We also have some exciting new international pop up exhibitions in the pipeline - watch this space!