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BACCARAT 1764 • BERLUTI 1895 • BERNARDAUD 1863 • CHAMPAGNE BOLLINGER 1829

CARTIER 1847

CELINE 1945 • CHANEL 1912 • PARFUMS CHANEL 1924 • CHÂTEAU CHEVAL BLANC 1832

CHÂTEAU LAFITE-ROTHSCHILD 1855 • CHÂTEAU D’YQUEM 1593 • CHLOÉ 1952

CHRISTIAN DIOR COUTURE 1947 • PARFUMS CHRISTIAN DIOR 1948 • CHRISTIAN LIAIGRE 1985

CHRISTOFLE 1830 • D. PORTHAULT 1924 • DALLOYAU 1682 • DELISLE 1895

DIANE DE SELLIERS EDITEUR 1992 • ERCUIS 1867 • ERES 1968 • FAÏENCERIES DE GIEN 1821

FLAMMARION BEAUX LIVRES 1875 • EDITIONS DE PARFUMS FREDERIC MALLE 2000

GEORGE V 1928 • GIVENCHY 1952 • PARFUMS GIVENCHY 1957 • GUERLAIN 1828 • HÉDIARD 1854

HERMÈS 1837 • PARFUMS HERMÈS 1948 • HÔTEL LE BRISTOL 1924 • HÔTEL DU PALAIS 1893

HÔTEL PLAZA ATHÉNÉE 1911 • HÔTEL RITZ 1898 • JEAN PATOU PARIS 1925

JEANNE LANVIN 1889 • JOHN LOBB 1899 • CHAMPAGNE KRUG 1843 • LACOSTE 1933

LANCÔME 1935 • LE MEURICE 1835 • LENÔTRE 1957 • LEONARD 1943 • LONGCHAMP 1948

LORENZ BÄUMER JOAILLIER 1992 • LOUIS VUITTON 1854 • LA MAISON DU CHOCOLAT 1977

MARTELL 1715 • MELLERIO dits MELLER 1613 • OUSTAU DE BAUMANIÈRE 1945

CHAMPAGNE PERRIER-JOUËT 1811 • PIERRE BALMAIN 1945 • PIERRE FREY 1935

PIERRE HARDY 1999 • PIERRE HERMÉ PARIS 1996 • POTEL ET CHABOT 1820

PUIFORCAT 1820 • COGNAC RÉMY MARTIN 1724 • ROBERT HAVILAND & C. PARLON 1924

ROCHAS 1925 • SAINT-LOUIS 1586 • S.T. DUPONT 1872 • TAILLEVENT 1946

VAN CLEEF & ARPELS 1906 • CHAMPAGNE VEUVE CLICQUOT PONSARDIN 1772

YVES DELORME 1845 • YVES SAINT LAURENT 1962 • YVES SAINT LAURENT PARFUMS 1962

Membres Associés : ACADÉMIE DE FRANCE À ROME - VILLA MÉDICIS 1666 • AIR FRANCE 1933

LES ARTS DÉCORATIFS 1882 • CHÂTEAU DE VERSAILLES 1661• COMÉDIE-FRANÇAISE

LA DEMEURE HISTORIQUE 1924 • MOBILIER NATIONAL - GOBELINS, BEAUVAIS, SAVONNERIE 1662

L A M O N N A I E D E P A R I S 8 6 4 • M U S É E D U L O U V R E 1793

OPÉRA NATIONAL DE PARIS 1669 • CERCLE DE L'ORCHESTRE NATIONAL DE FRANCE 1925

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BONPOINT 1975 • BOUCHERON 1858 • BREGUET 1775 • BUSSIÈRE 1924 • CARON 1904 •

S È V R E S - C I T É D E L A C É R A M I Q U E 1 7 3 8 • L A S O R B O N N E

Membres Européens : HEREND 1826 • LEICA 1865 • MONTBLANC 1906 • M O S E R 1857

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THE COMITÉ COLBERT IN 2011

Chairperson of the Board: Françoise MontenayPresident and CEO: Elisabeth Ponsolle des PortesEditor in chief: Valérie Sandoz Editor: Laurence SalmonTranslation: Alice ParteGraphic Design: Gilles Huot, HDL DesignPrint by Estimprim on eco-friendly ECF, FSC certified

Photos credits: Julio Piatti © Comité Colbert pp. 1, 8, 9, 31. Vincent

Leroux©Comité Colbert pp. 4, 5, 6, 7. Sylvain Riffe Stern pp. 14, 15.

Stéphane Cardinale©People Avenue pp. 12, 13. DR ©Comité Colbert

p. 13. ©Herend, ©Leica Camera AG, ©Montblanc, ©Moser Archive, p. 17.

Houssam Mchaiemch©Comité Colbert 2011 pp. 20, 21. George

Zouein©Louis Vuitton p. 22. G. Bzrek ©ambassade de France au Liban

p. 21. DR pp. 23, 26. © Bonpoint p. 32, © Les Arts Décoratifs p. 32..

Françoise MontenayChairperson of the Board, Comité Colbert

Chairperson of the Supervisory Board, Chanel S.A.S

Edito

rial

Dear friends,

The Colbert mission is to anticipate and prepare

for the future perpetuating our core values.

Our members must constant ly project

themselves into the future. That’s why, when

we hold discussions or events, we often target

young people. We work with the ENSAAMA art

school to reach young designers; our members

open their workshops to middle-schoolers to talk

about their crafts; and our Colbert Labo network

mobilizes young professionals from our member

companies.

The Comité Colbert makes an important

contribution to forward planning via its networks

of experts – the heads of industrial operations,

HR, communication, heritage, sustainable

development and intellectual property departments – who share best practices to their

mutual benefit. The Comité Colbert provides them with a valuable forum for discussion,

animated by the values of the French luxury sector that they represent.

Since the Comité Colbert was first established, its job has been to promote the influence

of French culture and creation worldwide. This year, it travelled to Beirut to present a book

about the language of luxury, Au cœur du luxe, les mots, at the French-language book fair.

Part of the book is in French and part in Arabic; it is co-authored by the French linguist

Alain Rey and the Syrian-born poet Adonis. This event gave our members an excellent

opportunity to highlight two things: the cultural dimension of the luxury sector and their

own openness to dialogue with “host” countries.

The year 2011 marked a turning point for the Comité Colbert, which has opened up to

admit European members. Once again, our association of French luxury houses has

demonstrated an undeniable talent for navigating in a fast-changing world.

The New Year promises enriching new encounters as the Comité Colbert heads for new

continents. And it’s my privilege to share our members’ enthusiasm about all of these bold

undertakings!

Cont

ents Editorial Françoise Montenay

3 O u t l o o k

Shaping the future of the luxury industry

4 The Colbert International Design Workshop

7 FocuS Interview with Marie-José Mascioni, director of the ENSAAMA

Art and Design School

8 Young talents from the Institut Viénot master’s program

10 The art of sharing knowledge

11 C h a l l e n g e s

Advocating luxury’s assets for Europe

12 The Comité Colbert mobilizes European luxury

15 FocuS Interview with Lionel Fontagné, economist at

the Paris School of Economics

17 Luxury, a European industry

18 Sustainability as a core value

19 I n t e r n a t i o n a l Engaging in cultural dialogue

20 The “words of luxury” visit Beirut

21 FocuS Interview with Denis Pietton, French ambassador to Lebanon

23 FocuS Interview with Adonis, poet and essayist

26 FocuS Interview with Emmanuel Pratt, President of the Local

Colbert Committee for Japan

27 E n c o u n t e r s The colbert brain trust

28 Expert networks

30 The players behind the strategy

31 The Comité Colbert welcomes Bonpoint and Les Arts Décoratifs

32 The Board of the Comité Colbert

O u t l o o k

Shaping the future of the luxury industryLooking to the future,

the Comité Colbert considers that passing on its values to the younger generation is one of its most important missions. Members met regurlarly to exchange on the future challenges for the industry and to initiate the younger generation to its exciting jobs.

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Presentation of student projects at ENSAAMA on May 19, 2011

1 Collection androgyne, a project for Christian Dior Couture2 Professionals from Bernardaud talking with students3 Putting the final touches to a model.

M aintaining close ties with schools is a lively way to lead thought on what

luxury is all about today. The Comité Colbert has set out to encourage young people to learn more about the skills and techniques that constitute the strength and richness of French luxury.

The Comité Colbert has long been com-mitted to reach the younger generation. One good example was its Young Designers Com-petition, a very successful event launched in 1987.

The Comité Colbert makes a point of demonstrating as much creativity as its mem-bers and decided to do something new in 2011. The idea was to find more targeted ways of interacting with art and design schools and introduce an international dimension. The result was the Colbert International Design Workshop. “With 84% of sales generated abroad, our members think in multicultural terms. We wanted to help young designers

realize this,” pointed out David Caméo, Pre-sident of the Creation Commission of the Comité Colbert.

Six Colbert houses involved

For the first workshop, the Comité Colbert contacted the Ecole Nationale Supérieure des Arts Appliqués et des Métiers d’Art or ENSAAMA (Paris) and its counterpart in London, Central Saint Martins College of Art and Design. Six Colbert companies – Bernardaud, Christian Dior, Hermès, Cognac Rémy Martin, S.T. Dupont and Yves Delorme

– helped conduct this cross-cultural seminar on “The Art of Pleasing” for the designers of the future. Students were asked to tackle a topic assigned by the luxury house of their choice.

“When they work with Colbert luxury houses, young designers get a chance to see what goes on behind the scenes,” adds Elisabeth Ponsolle des Portes, President and

The colbert International Design Workshop

The Comité Colbert invited students from the ENSAAMA Art and Design School (Paris) and Central Saint Martins College of Art and Design (London) to define together

“The Art of Pleasing”.

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On May 19, 2011, each pair of students presented their project to Colbert professionals. 1 S.T. Dupont 2 Hermès 3 Yves Delorme

CEO of the Comité Colbert. “It’s all about style, craftsmanship and high standards.”

Paris-London, a cross-cultural

experience

During the three-month workshop, forty-three fourth-year object design majors worked in bicultural pairs, each on their respective side of the English Channel, and organized ways to confer. Teachers from ENSAAMA and Central Saint Martins teamed up to supervise all of the members of the group.

Thanks to this cooperation-based set-up, the Comité Colbert was able to attain its objectives. “Despite a few language difficul-ties, the French and English students were on the same wavelength at work. It was interesting how each project enriched the others,” said Jean Gaide, faculty supervisor at ENSAAMA.

The workshop yielded a harvest of new ideas, 21 projects, for a comprehensive look at how the younger generation sees the art of pleasing. Certain descriptive words kept sur-facing, such as “timelessness” or “elegance” or “materials,” and students were also highly focused on rituals and gestures. “We felt that only the best would do for a subject like this, so we took more risks. The workshop was a

great learning experience because it brought various nationalities, cultures and methods into contact. Google Translate and Skype got a major work-out!” said Léa Aubertin. A first-year student in the master’s program at Central Saint Martins, she co-designed the

“Five Five” project for S.T. Dupont.The participating Colbert houses opened

up to students, giving them a “full immer-sion” experience in the workaday world, with its attendant constraints. Each facet of the luxury business had lessons to teach: stu-dents learned about brand strategy by visiting retail outlets; about products by visiting pro-duction sites and catered food places to see and taste products for themselves; about craftsmanship by talking to artisans and so forth. These encounters made quite an impression on most of the students.

A harvest of new ideas

On May 19, the projects developed during this Franco-British workshop were presented at the ENSAAMA premises in Paris. Their forward-looking ideas cannot be exploited

“as is,” but that was not the point of the exercise. “While school and work are two different worlds, a student’s perspective can energize thinking at a luxury house,” said Jean Gaide.

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The experience was deemed positive by participating houses, which all noted the quality of the propositions submitted. “This was a high-grade learning experience because it involved different cultures and teaching approaches,” commented Corinne Poux- Bernard of Hermès.

Augustin Depardon from Rémy Martin also expressed enthusiasm at the work accom-plished. “The point is not to use existing ideas but to create new opportunities, push

back boundaries and expand the range of possibilities. That’s why I wish to present to our teams the student projects.”

As for the students, they enjoyed this opportunity to compare cultural references and working methods. The workshop helped students think about what they are doing and get a taste of international work experience while giving luxury houses a chance to spot talented young designers.

1-2-3 Faculty members from ENSAAMA and Central Saint Martins supervised student projects during the three-month workshop

1 Project presentation on May 19, 2011 at ENSAAMA2 The “Heritage” project for Rémy Martin Cognac.

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How did the ENSAAMA-Colbert cooperation start?

The school has worked with the Comité Colbert for years and regularly entered students in the Young Designers Competition. The Comité Colbert was interested in doing something different with schools and thinking about establishing a chair for the study of luxury crafts. At the same time, ENSAAMA was working with the Université d’Evry on plans to set up a master’s program in design strategy that would involve corporate-sponsored chairs, so our projects dovetailed perfectly. We were both interested in a program that would offer a high standard of teaching, focus on French excellence and style, and perpetuate craft techniques and skills.

What do you expect of the Comité Colbert and its members?

A corporate-sponsored chair requires real commitment based on shared ideals. The company must become fully involved in the training process in that it co-teaches with members of our faculty. The advantage is that contact with a Chairman and CEO or a house designer has a catalytic effect on students. On the other hand, companies know that their commitment pays off, because students have a lot to teach them! The input from a student can help save them a great deal of time and effort.

How do students see the world of luxury and its aesthetic codes?

Well, I have to admit that students were more nervous about their introduction to the luxury industry via this program than when they entered the YDC competition. When they found out that the Comité Colbert would be involved in the master’s program, some felt intimidated or uneasy at the idea that French luxury houses would be following their work. Eventually it came to be a source of motivation, making them even more determined to outdo themselves. The luxury sector fascinates them and, as they well

know, it generates jobs. Bringing students and employers together is a win-win proposition. The fact that the Comité Colbert is in the picture has helped boost the number of applications. I wanted to limit enrollment to 18 to keep the feel of a research lab, but there were so many applications that I had to increase the number. Today, 24 students are enrolled.

Within the Colbert partnership, ENSAAMA organized an international workshop on “The Art of Pleasing” with Central Saint Martins College of Art and Design in London. Are you planning to repeat this experiment?

Thanks to the Comité Colbert, we were able to run a joint workshop whereas our previous interaction with the London school had been limited to student exchanges and one-off visits. We are delighted that the workshop has served as a showcase for our school. Equally enthusiastic, Saint Martin’s would like to repeat the operation. We haven’t made a decision yet, because we’re tempted by the idea of taking the experiment to another school in another country. What interests us is exposing our students to different approaches to design, know-how and materials.

Interview with Marie-José Mascioni, director of the ENSAAMA Art and Design School. Marie-José Mascioni is at the heart of the cooperation with the Comité Colbert which had two folds: the Colbert International Design Workshop and the Institut Viénot master’s program.

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On December 13, the twenty-four students enrolled in the master’s program presented their projects to three panels of judges composed of academics from their school and professionals from Colbert companies.

1 Students await the results of judging.2 The judges at work.

T his research-oriented occupational trai-ning course at the postgraduate level

aims to anticipate the needs of brands. It is intended for students with an undergraduate degree in visual communication, product design or spatial design. According to Marie-José Mascioni, the idea was “to enrich the curriculum for students planning a career in design.”

This master’s program set out to build bridges between the school and those companies most likely to hire its students. When they enroll, students still have very little experience working in a business environment. They have been well trained academically, but need more exposure to the realities of this environment so that, when hired, they can become quickly operational. In this respect, the Comité Colbert plays the role of a missionary in this effort to perpetuate French ideals concerning style.”

A new take on French style

This year, six luxury houses – Bernardaud, Boucheron, Chanel, Ercuis, Hermès and S.T. Dupont – were involved in teaching this course, intended to raise student awareness of the French luxury industry. The Comité Colbert suggested “French style” as an umbrella theme for the subjects chosen by members to fit their own agenda. “Each topic offers scope for a new take on brand values,” says Corinne Poux-Bernard, director of innovation at Hermès. “We are looking for strong concepts in step with societal trends. We want to see if these topics capture students’ interest and what new ideas are generated.” The Colbert luxury houses each picked a special topic for students to explore. Hermès chose the theme of Le déjeuner sur l’herbe (“luncheon on the grass”), while Boucheron focused on the creation of an event for its Quatre ring and Bernardaud on

Young talents from the Institut Viénot master’s program

For one semester, six Colbert companies helped co-teach a course for ENSAAMA’s Institut Viénot master’s program in design strategy.

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1-3 Students finalizing their presentation

2 Teachers and professionals deliberating

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lookthe role of artistic director in 2030. Chanel

asked students to develop an event cele-brating the “little black dress.” S.T. Dupont asked them to ponder the implications of

“the art of pleasing.” Ercuis had them design the Ercuis shop of tomorrow, in which own-brand products would be featured separately from Raynaud porcelain products. The young people were asked to come up with forward-looking scenarios for new concepts reflecting societal trends..

Total immersion in the world

of luxury

Before the first semester started, the stu-dents spent a month and a half at the com-panies learning about the business environ-ment, the core values of luxury as well as craft skills and techniques. They visited retail outlets. They were asked to think about the singular role played by design in the luxury

business and how creativity, innovation and craftsmanship relate to each other. For these houses, a significant amount of involvement was required. Their professionals met regu-larly with students to keep student projects in line with business realities. Some of these

“reality checks” meetings took place on com-pany premises. School teaching and research staff also advised students on their projects, which were presented for evaluation on December 13. The second semester calls for a 25-week internship at a company: not only will students gain work experience, but they

can also start building their own professional network with a view to landing a job. Their master’s defence will take place in Septem-ber 2012 before a panel of judges including academics (from ENSAAMA and Université d’Evry) and professionals. The mark given to students for their internship will be based on the quality of the completed project. Last year, all fourteen of the students enrolled in the master’s program were offered a contract at the end of their internship. This is a good indicator of the quality of this program, which broadens young people’s horizons and helps them understand the business challenges of the future.

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F ounded four years ago, the Colbert Labo is a “think tank” composed of

young people working for Colbert com-panies. Its mission is to brainstorm about the evolution of the industry between now and 2030. The Colbert Labo has sixty-

nine members, all men and women aged 25 to 33,

whose jobs cover a broad spectrum of activities

at Colbert companies including human resources,

creation, finance, production, communication,

sales and intellectual property. Multi-disciplinary

groups are set up to think about the future of the

luxury industry and examine new concepts and

territories given an economic environment in

constant flux. The chairmen of Colbert companies

follow closely the work of this think tank, which

gives them plenty of food for thought.

The idea that “real luxury is to be found where

least expected” came through in three projects

carried out this year by Colbert Labo members.

Their assigned topic: “Starting a French luxury

business today”. On September 27, these projects

were presented to an attentive audience in the

Ecole du Louvre auditorium (Paris).

True to brief, they boldly explored new ideas – a

Couture cheese, luxury wear for pregnancy or the

unique experience of travelling backward through

time – while rejecting preconceived notions. Sup-

ported by market surveys and unusual communi-

cation strategies, all three concepts expressed

the core values of French luxury: product desi-

rability, exclusivity, specialized expertise and

excellent craftsmanship. This experiment comes

as a reminder that the luxury sector knows how to

self-rejuvenate while remaining true to its identity.

The Comité Colbert works to inform middle-schoolers about luxury craft

careers. In the last four years, the career infor-

mation program co-organized with the Paris school

board has been a big success. “It is unrealistic to

suppose that a middle-schooler will decide to be

a trunk maker tomorrow,” says Nadia Civiale, the

principal of Collège Raymond Queneau, a middle

school in Paris. “But meeting the right person at

the right time can be decisive. Personality makes a

big difference. Last November, Jean-Marie Ancher,

who manages the famous restaurant Taillevent,

came to talk to about forty of our students. They

were so interested that, when the bell rang at

the end of class, nobody got up to leave. They

really appreciated Mr. Ancher’s generosity with

his time as well as his modesty. He told them that

he started working when he was 16. He wanted

to get ahead and learned not to settle for second

best. For once, students asked questions about

the work and not the pay! Four said they would like

to visit Taillevent to find out more. This contact

with an unfamiliar luxury business left them full

of curiosity and admiration. For them, visits to

luxury houses are like stepping into a dream. They

discover original professions – trunk-maker or

porcelain-maker – that they never knew existed.

Without this sort of encounter, most students

would never think of a career in the luxury sector.

Brand prestige gives considerable value-add to

these professions animated by passion.”

In parallel, the Comité Colbert aims to gain

recognition for luxury craftsmen working for its

members. Since 2006, it has submitted names to

the French Ministry of Culture and Communication

for the honorary distinction of Maître d’art. Yves

Parisse, crystal cutter and engraver (Baccarat),

was one of the happy few selected in 2011. Like

Japan’s National Living Treasures, these artisans

possess rare expertise and are encouraged to

transmit their precious know-how in high-level

training programs.

Looking to the long term, the Comité Colbert pursues forward-planning and training initiatives, e.g. the Colbert Labo network, a career information program for middle-schoolers and the ongoing effort to gain recognition for luxury craftsmen.

The art of sharing knowledge

C h a l l e n g e s

Advocating luxury’s assets for Europe The Comité Colbert has

emerged as the spearhead for mobilizing the synergies of European luxury in a cross-border effort to strengthen the voice of a high-performance business. A driver of growth, employment and exports, the luxury industry has major assets that leave it better armed to face a beleaguered business environment.

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The Comité Colbert invited representatives of the luxury sector from different European countries to a conference on June 29 in Paris, at which a joint plan for action at European level was adopted.

T he June 29 conference held in Paris offe-red further proof that Europe is central to

Colbert action. Businessmen from the luxury sector in other European countries (Czech Republic, Denmark, Germany, Spain and Swe-den) were invited to confer with their French colleagues and the existing national asso-ciations: Fondazione Altagamma (Italy), The Walpole British Luxury (UK) as well as Circulo Fortuny (Spain), more recently established.

Strength in numbers

This initiative is consistent with the united lobbying strategy advocated by the Comité Colbert to gain recognition for luxury’s impor-tance in Europe and its specific status as a cultural and creative industry.

There is undoubtedly strength in numbers now that there has been an exponential increase in consultations of all kinds underta-ken by the institutions of the EU, the leading interlocutor for our industry in regulatory matters. “There’s so much at stake right now. The texts voted are so vital to our sec-tor that we are compelled to strengthen our presence,” declared the President and CEO of the Comité Colbert at the press conference. As part of the drive to build greater represen-tation within the luxury sector, the Comité Colbert has recently reformed its by-laws to create a new category of member, “European Members,” admitted under certain conditions. This amendment took effect at the General Assembly on June 29, when, for the first time

The Comité Colbert has amended its by-laws to admit European members and encourage concerted action for the purpose of strengthening the voice of the luxury industry and promoting its interests.

The comité colbert mobilizes European luxury

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Françoise Montenay (Comité Colbert) with representatives from the European members newly coopted on June 29 : Andreas Kaufmann (Leica), Michel Adé (Montblanc) and Jiri Riha (Moser).

in its history, the Comité Colbert admitted four European members.

A joint action plan at European level

This move reflects the Comité Colbert’s inten-tion of encouraging the emergence of other national associations in countries that do not have one. It was not long before things started happening: the German association Meisterkreis – Deutsches Forum für Luxus was founded in October and has already joined the recently formed European Cultural and Creative Industries Alliance (ECCIA) whose members, the existing national associations,

advocate common values. The purpose of ECCIA is to coordinate lobbying and speak with one voice to the European Commission.

Once again, the Comité Colbert has demonstrated its ability to mobilize and unite, as well as its determination to build the most powerful network possible. Since eighteen of the top twenty-five leading brands on the luxury market are European, their best move is clearly to work in synergy.

At the June 29 meeting, a joint action plan was adopted. It contained six recommenda-tions covering the key concerns of the luxury

ITALY ADOPTS

COLBErT ANTI-COuNTErFEITINg C AMPAIgN

T o reiterate the obvious: counterfeiting is a terrible economic scourge. According to the International Chamber of Commerce, counterfeiting and piracy cost the world

economy more than 1 trillion dollars in 2011. Since the luxury industry is one of the prin-cipal victims, the Comité Colbert has made the fight against counterfeiting one of its priorities and launched high-impact poster campaigns. Studies have shown that these awareness-raising initiatives are much more effective if carried out at international level, so the Comité Colbert has set up cooperation with customs administrations in other European countries, starting with Croatia, Slovakia and the Czech Republic and most recently Romania and Hungary. Today, Colbert-customized posters are hanging in customs offices throughout these countries and similar operations with others are in the planning. Italy kicked off its campaign in September 2011 and, for the first time, the visuals show non-French brands (Bulgari and Officine Panerai) with the French ones (Chanel and Lacoste). “The scale of our joint anti-counterfeiting campaign with Italy reflects our common determination to protect consumers as well as luxury businesses, which generate jobs and drive growth in Europe,” declared Elisabeth Ponsolle des Portes, President and CEO of the Comité Colbert.

Anti-counterfeiting campaign – Italy

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The international “Quality and Trade” seminar, Paris School of Economics/ G-Mond, May 9 and 10, 2011.

sector, including the harmonization of legal and tax frameworks within the Internal Mar-ket to facilitate cross-border trade, increase consumer safety, boost consumer confidence in online commerce and defend the selec-tive distribution regulations. As far as third countries are concerned, demands for stron-ger trade reciprocity have been submitted to improve access to emerging markets (e.g. India and Brazil) and the China-EU dialogue on IPRs has been reinforced.

Luxury drives growth in Europe

“Recognizing luxury as a cultural and creative industry is consistent with the Europe 2020 Flagship Initiative strategy, which aims to strengthen the role played by knowledge and innovation,” pointed out Elisabeth Ponsolle des Portes. The luxury sector, whose know-ledge ecosystem features traditional know-how, creativity and innovation, provides European enterprises with a unique business model. This was brilliantly demonstrated by Dominique Foray, the chair of economics and management innovation at the Ecole Polytechnique de Lausanne, in his analysis of the strategic position occupied by the luxury industry in the knowledge economy.

This in-depth research undertook in 2010 by the Comité Colbert in collaboration with well-known university professors continued in 2011 with Lionel Fontagné from the Paris School of Economics. The study of this specia-list on international trade on the perimeter of Comité Colbert companies, confirms European dominance in high-end exports – the Europe of 27 accounts for 68% of the market – and the resilience of the luxury industry in a gloomy business environment.

The bottom line is that our industry drives growth in Europe and is an extremely valuable source of jobs. At a time when employment in most of the other industries is plummeting, our sector can take pride in the fact that it is expanding its workforce. For instance, the number of jobs at Colbert member companies went up by 10% in France between 2006 and 2010, to reach a total of 36,000 direct and 128,000 indirect jobs.

The industry also demonstrates real vitality and a talent for self-renewal. While several of

its seventy-five member companies are more than a hundred years old, the Comité Colbert is proud that five luxury houses established in the last decade or two have joined its ranks: Diane de Selliers Editeur (1992), Lorenz Bäu-mer Joaillier (1992), Pierre Hermé Paris (1996), the luxury shoe company Pierre Hardy (1999) and Les Editions de Parfums Frédéric Malle (2000). In other words, the luxury sector is ani-mated by a dynamic entrepreneurial spirit that bodes well for the future. The Comité Colbert and its European counterparts will be using these arguments in defending the interests of the luxury industry vis à vis the European Commission and the European Parliament.

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Last May, you organized a seminar for G-MonD, a think tank on globalization and development at the Paris School of Economics. How was the Comité Colbert involved?

First of all, it works with our think tank. For the seminar, it gave us valuable input on organization. We had many conversations about the general concept and how to orient the seminar, whose topic was “Trade and Quality.”

The high profile of seminar participants tells me that economists find this a “hot topic”…

Yes, which is why we held the seminar. This subject is attracting a great deal of attention in the research community. For example, Peter Schott at Yale University is looking at the role played by quality in the competition between the countries of the South and North. He argues that the sectoral specializations of these countries are similar but that their range positioning is different, which limits the competitive effects. In the area of international trade theory, there has been a lot of research on the measurement of quality, such as the work by Amit Khandelwal of Columbia University on measuring “quality ladders.” The seminar was also attended by rising young stars like Julien Martin and Isabelle Méjean, both French, whose statistical studies bearing on all French exporters show that, when faced with competition from the South, French companies shift their positioning uprange.

Why do you prefer to use the term “quality” instead of “luxury”?

The word “luxury” doesn’t exist in economics. More sociological or marketing-oriented, this concept underlies conspicuous consumption, conveys history and projects images. Economists prefer to work with precise facts and objective, easily quantifiable measurements.”

You wrote a study entitled “European Top-End Products in International Competition.” Can you cover the main points for us?

The luxury sector relies heavily on high-end, labour-intensive products. This leaves manufacturers exposed to competition from low-wage countries while offering the competitive advantage of differentiation. We wondered what equilibrium produces these two contradictory forces. We looked at the price distribution observed in trade flows to define a high-end segment. We also compiled a database on export prices and sales for more than 400 products for which global competition on some 200 markets was monitored from 1994 to 2009. It became apparent that European manufacturers dominated the world market. (in 2009, the EU accounted for more than two-thirds of the world’s exports of luxury products defined as such.) We looked at how competition redistributes market share among the top exporters. Several factors enabled European manufacturers to withstand the competitive pressure from emerging countries: the intensity of skilled labour, emphasis on design and marketing budget. In this sector, Italy and France figure as the most prominent players on the world scene.

What lessons are to be learned for European policy?

On the industrial front, using your assets is a no-lose proposition. For Europe’s export capacity, the future does not depend on hi-tech goods alone, even if there is a tropism in Brussels for breakthrough innovations or Silicon Valley. Naturally, the new sectors are important

Interview with Lionel Fontagné,economist at the Paris School of Economics and professor of economics at the université de Paris I (Panthéon-Sorbonne). The Comité Colbert and its Economic Commission call on economists from the halls of academia – this year, Lionel Fontagné – to help them build on and enrich the existing body of research on the importance of luxury as a driver of growth in Europe.

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in renewing the European manufacturing industry, but Europe already possesses a more incremental model of innovation in which the improvement of products, the level of quality and consumers’ perception of products are the object of cumulative efforts and investment spending. Neither traditional sectors nor sectors in which substantial experience has been accumulated should be abandoned. Look at Germany. The image of German products is so strong that her manufacturers are holding their own against waves of new competitors in the mechanical industries or the field of professional equipment.

European top-end products in international competition (thousands of dollars)

Source: Lionel Fontagné and Sophie Hatte / 2011 / mimeo Paris School of Economics

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The Comité Colbert was pleased to admit four prestigious European houses as “European members,” co-opted at the General Assembly on June 29.

Luxury, a European industry

At the foot of Hungary’s Bakony Hills, Herend has earned a worldwide reputation for its hand-painted, finely gilded porcelain. Established in 1826, this business is emblematic of the Hungarian cultural identity. Specialized in the replacement of pieces from antique services, it was much acclaimed at Universal Expositions. In the mid-19th century, Herend was an official supplier to the Hapsburg dynasty, with customers all over Europe. After the fall of Communism in Central Europe, Herend was privatized and today enjoys an international reputation.

Equally renowned is the German camera maker, Leica Camera AG, whose photography equipment owes its fame to a venerable house tradition of excellence in the manufacture of optics equipment. Combi-ning traditional know-how with innovative technology, Leica Camera AG successfully navigated the switch from silver-based to digital cameras in 1998. This is the first “tech” company to join the Comité Colbert.

There is no need to introduce Montblanc pens, objects of consummate distinction. This German luxury house, whose name is associated with exacting design standards, know-how and elegance, was founded in 1906. The head office is in Hamburg and the design studio in Paris, quite symbolic... Backed by a network of 360 shops, the brand with the “white star” trademark has become internationally famous. On the strength of its success, Montblanc has extended its range to include watches, jewellery and leather accessories. Alongside its commercial operations, Montblanc is very active in cultural sponsorship.

Located in western Bohemia in the hot-springs resort of Karlovy Vary, Moser dates back to 1857. Gradually, the little family-owned crystalware business developed into a world-famous company with a reputation for creativity, luxury and exceptional craftsmanship. Thanks to the skill with which its artisans execute each step, whether blowing, engraving, gilding or hand-painting, Moser has become a prestigious brand whose creations are coveted by collectors, embassies and heads of state.

T he cooptation criteria applicable to European members are the same as for the other members of the Comité Colbert. They must uphold its core values: superior quality, creativity, ethical

conduct, imagination and an international ambition. European members may only act in an advisory capacity and their number is limited to 10.

Herend Porcelain

Leica M3 1958

The Meisterstück 149, a writing instrument made from black resin and yellow gold

A set of “Lady Hamilton” crystal stemware by Moser

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I n our industry, excellence is what defines and sets the standard, at every level of

activity. The values of sustainability, which aims to meet present demand without jeo-pardizing the ability of future generations to satisfy their needs, overlap with those of the luxury industry: high standards, respect for the artisan and the customer, product quality and durability, the conservation of raw materials and long-term entrepreneurial vision.

The Comité Colbert didn’t wait to mobi-lize. Years before the relevant rules became mandatory, its Ethics and New Members Commission made an inventory of our spe-cificities and assets in this area. This year, the Comité Colbert went one step further: its General Assembly approved a document for internal use that states the values of French luxury and its goals in the areas of social, societal and environmental responsibility. This should make our sector a reference in the field – based on the shared best practices – and ensure that the relevant institutions of standards recognize our specificity. In adop-ting this text, the sector has set itself 15 targets reflecting its values: high standards, aesthetics, durability and respect. While it is now compulsory to account for the eco-impact of products and packing materials, French luxury houses, which use rare and precious

materials, have long been aware of the issues and their commitment goes well beyond their legal obligations.

In the area of societal responsibility, the luxury industry provides a model based on its principles regarding quality, innovation and aesthetics from which other industrial sectors – and, through them, society at large

– can benefit as well, whether or not they pur-chase luxury goods.

Most importantly, the luxury sector is active in preserving, promoting and perpetua-ting the time-honoured skills and techniques of its craftsmen. In doing so, it helps safeguard elements of the French cultural identity by putting the know-how of the centuries to work for creative minds in France. In this way, it brings aesthetics and design to the heart of society and encourages cultural diversity.

With the world’s natural equilibria out of balance, the concept of sustainable development raises a number of serious issues for the future. One step ahead of the game, the Comité Colbert is already leading thought by organizing meetings for members to share their experience and best practices.

Sustainability, as a core value

High standards

Durability Respect Aesthetics

I n te r na t i ona l

cross- cultural dialogue The luxury industry is a

window on the world. The international strategy of the Comité Colbert reflects its desire to engage in cultural dialogue with countries where French luxury houses do business. China, Russia and India were the primary focus of our attention in previous years, followed by the Middle East in 2010 and 2011.

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At the 18th Beirut French-language book fair, Alain Rey signs Au cœur du luxe, les mots at the booth of publisher Dar an-Nahar.

T here are many characteristics of French luxury, but its attentiveness to language

is probably one of the most significant. Hence the publication of Au cœur du luxe, les mots. For this ambitious project, the Comité Colbert recruited two prominent men of letters, the Syrian-born poet Adonis and the French linguist Alain Rey. “This adventure centred on the language of luxury is an effective way to highlight the affinities between our cultures,” pointed out Elisabeth Ponsolle des Portes. This work is the international follow-up to Alain Rey’s impressive research in French on the semantics of luxury, based on 375 words that, according to the members of the Comité Colbert, define luxury. As for Adonis, he concentrated on finding the terms and concepts in Arabic that best render the essence and poetry of luxury, and even its musicality. Out of respect for the authors, each text is presented in the original language with a preface by essayist Régis Debray, who discusses the paradoxes of luxury and its

connection with things sacred. Calligraphy by Ghani Alani and other-worldly photographs by Quentin Bertoux complete this reference work.

Launch at the Beirut French-

language book fair

The Comité Colbert chose Beirut and its well-known book fair, which ran from Octo-ber 29 to November 6, 2011, to present this book, published in Lebanon by Dar an-Nahar. Created in 1992 at the initiative of the French embassy, the fair is a major cultural event on the Lebanese calendar and boasts the third highest attendance for French-language book fairs after Paris and Montréal. For ten days, readers flock to meet authors and professio-nals from the book industry.

“In France, the world of luxury has constantly turned for inspiration to the Orient, either as it exists in reality or in their imagi-nation. So this book is also a tribute to the Orient, the Middle East in general and Leba-

The final Colbert event in a series of events celebrating the special place occupied by French luxury in the Middle Eastern imagination was the Beirut book launch of Au cœur du luxe, les mots, written in French and Arabic.

The “words of luxury” visit Beirut

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lInterview with Denis Pietton, French ambassador to Lebanon. On November 2, 2011, Denis Pietton gave a reception at the ambassador’s residence for the Comité Colbert and its members in honour of the official presentation of Au cœur du luxe les mots at the 18th Beirut book fair for French-language literature.

What is your take on this book, which celebrates the Franco-Arabic cultural dialogue, and its launch at the Beirut book fair?

This is exactly what the book fair is all about. The point is to highlight the cultural contribution made by multilingualism in Lebanon and bring different publics into contact: authors, students, artists, journalists and book-lovers... anybody who enjoys discussing ideas. Naturally, I was happy to hear about this initiative and welcome the Colbert delegation to the book fair and to the ambassador’s residence. The Lebanese appreciated this mark of esteem and our further recognition of the fact that multicultural Lebanon forms a bridge between East and West.

Do you think, like the Comité Colbert, that luxury is an element of French cultural diplomacy?

I think it’s always necessary to stress – as this book produced by the Comité Colbert does so well – that real luxury is the product of the artisan’s passion for his craft, style and skill as well as cultural encounters. Luxury is part of national identity and entails a patient search for quality and beauty. In this sense, and considering that promoting French businesses abroad is an important part of the embassy’s job, the effort to gain recognition for the members of the Comité Colbert, especially when they work with us locally on our projects, is an element of French cultural policy in Lebanon.

Is French luxury especially well regarded in Lebanon, “the garden of French culture” of the Middle East?

Yes, the idea of luxury is closely associated with that of France and French culture. The presence of French luxury companies in Lebanon is long-standing. In recent years, they have returned in strength and enjoy bright prospects. Not only is Lebanon a “garden” but it is also a regional platform that is the key to the Middle East. The Lebanese are much attached to the luxury houses represented by the Comité Colbert! It’s up to us to see that they continue to feel that way.

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The ambassador’s residence in Beirut, Lebanon

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Discussion of Au cœur du luxe, les mots at the “literary café” event at the Louis Vuitton shop in Beirut.

non in particular, as an inexhaustible source of inspiration for French luxury and all of the members of the Comité Colbert,” noted Denis Pietton, French ambassador to Lebanon, at the evening launch event on November 2, held in Beirut at the ambassador’s residence and attended by a number of prominent guests. Several satellite events helped drum up exci-tement about the book, including Louis Vuit-ton’s literary café, which drew a large number of enthusiastic literati.

Continuing our dialogue

with the Middle East

“This book shows that luxury is almost always the result of the clashing and mixing that occur when different cultures come into contact... when skills, often ancient, native to what the French call le terroir, are exposed to exotic discoveries, journeys and emotions inspired by far horizons.” These remarks made by Denis Pietton at the evening reception at the French embassy perfectly express the reasons for our focus on the Middle East. In 2010, the Comité Colbert undertook a pro-gram of cultural events highlighting France’s close ties with this part of the world. The first event took place in Paris, when the first Colbert Award for Creation and Culture was presented by Irina Bokova, Director General of UNESCO, to Sheikha Mai Al Khalifa, the Bahraini Minister of Information and Culture. The Colbert Award is intended to honour a

prominent local figure that, like the Comité Colbert, is committed to advocating the values associated with heritage-inspired creation.

Equally significant was the Festival Colbert “Icons of French Style” event at the prestigious Dubai Mall, which plunged shoppers into the world of French luxury and Art de Vivre. For the first time, exceptional objects emblema-tic of the know-how of Colbert houses were exhibited in the Middle East.

The great statesman Jean-Baptiste Col-bert, minister under Louis XIV, left his mark on French economic history. A man of vision and culture, he was responsible for the crea-tion of state-owned manufactures and the Comédie-Française. A man of international stature, he founded the Académie de France in Rome and the Compagnie des Indes trading company. This explains why French luxury chose the name Colbert and why its exports account for 84% of sales. The Comité Colbert aims to take its message about the cultural dimension of French luxury to all points of the compass, including the Middle East.

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What does luxury mean to Arab culture?

The concept of luxury is complex and has spiritual overtones. It does not evoke an abundance of material wealth or extravagant consumption or the intoxication of purchasing power, unlike badhkh, which suggests pomp and lavishness. Luxury can be found in a humble home when its inhabitants transcend the utilitarian dimension of objects by endowing them with significance, imagination, beauty and singularity. The manifestations of luxury may originate in materiality, but the ultimate goal is to elevate from the material level towards an ideal.

What does this ideal consist of?

All luxury must be characterized by unsurpassed “rightness,” dexterity and finesse. Being in a state of luxury, or on the path to it, transforms the desired life into something exceptional and unique. The aspirant to luxury finds himself on a quest for perfection.

You say that luxury is unfinished perfection. Can you elaborate?

Luxury implies that man is inhabited by a desire to exceed the limits of the ordinary and attain the extraordinary. It transcends all connections with the materiality of consumption, tapping the creative power of the human mind. The urge to create never ceases but is always at work, always surpassing itself. A steady state of change is the first condition of luxury. If this forward movement were to come to a halt, man would simply repeat past experience, knowing that familiarity breeds... banality.

How does the imagination figure into it?

The path to luxury is one of ongoing creativity and innovation. It’s a way of life, a path of individuality and singularity, the art of eliciting astonishment. Luxury is what appeals to the imagination and leads man’s desires into the world of dreams.

In Arabic, how important is the sensorial aspect of luxury?

Remember that caravans used to transport fragrances and spices through the Arabian desert.... that khol and woven fabrics were imported from Yemen or Damascus. Remember the ornate swords, the famous horse races, not to mention na’ûma ad-duha, the indolent, cherished woman immortalized by the poem of Imru’u al-Qyas. The Pharaonic, Babylonian, Phoenician and Yemenite and other civilisations of antiquity looked upon life as the artistic practice of existence. Luxury was the art of living well, enjoying the pleasures of the intellect, the felicity of the spirit and the voluptuousness of the senses.

In your view, luxury possesses a moral and spiritual dimension that transcends the materiality of the visible world.

A rider who gives his horse to a person that is poor or exhausted embodies the moral side of luxury. Ditto for the man who shares his meal with a hungry traveller or takes off his coat to cover another person shivering with the cold. In the Arab world, generosity is well within the register of spiritual luxury and so is forgiveness... being magnanimous, repressing one’s desire for vengeance when in a position to inflict punishment, granting a reprieve to a defeated assailant awaiting death. Our tales, poetry and histories are peopled with legendary figures of this sort. By evoking their singular presence, associated with bravery, generosity, forgiveness or succouring the oppressed, luxury can take on an eminently spiritual dimension.

Interview with Adonis,poet and essayist. The text by Adonis starts with a first essay entitled Le luxe fait chanter la matière. The author highlights the spiritual dimension of luxury that is specific to Arab culture. In the glossary that follows, he tells the story of certain words and their “odyssey” over the centu-ries, stressing the importance of their musicality.

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Any discussion of the Arab perception of luxury must make mention of the Arab passion for books. Before the printing press was invented, they loved their manuscripts.

All books were valued, whether they were works of science, literature or history. Drawings were like a book within the book. The use of high-grade paper, fine leather for the cover and beautiful drawings for the illustrations could transform a book into a superb art object. There is no end to the stories about the Arab passion for books. If, by definition, luxury is what transcends the necessities of life and mirrors the aspirations of the spirit, then it is perfectly justified to consider most books as being of aesthetic or spiritual inspiration.

You also contend that music represents another essential facet of luxury.

Yes, music can unite luxury and religion by giving the melody a highly spiritual dimension. In music, when the desire for perfection is penetrated with religious feeling and the melody exudes spiritual fulfillment, luxury reaches a state of ecstasy. Anyone that has experienced a musical evening with certain Moroccan mystical groups has enjoyed a taste of luxury that is sheer bliss.

Do you notice anything particular about the words of luxury in the Arabic language?

Some of these words already existed in pre-Islamic times or were contemporary of the Quranic revelation. At first, they were used to name material objects and later designated feelings and a vision of the sublime. The best example may be murhaf, which was initially the name of a sharp sword with a fine blade, but came to mean “fine” or “sensitive.” These words, which had originally expressed the necessities of life in the pre-Islamic Arabian desert, saw their function and purpose change with the advent of cities and an Arab urban lifestyle. Now they serve another purpose, i.e. to express what transcends necessity in order to refresh desire and inspire new dreams.

Al Rahafa, means “refinement.” Calligraphy by Ghani Alani, using the Naskhi style of writing

Elegance. Photograph by Quentin Bertoux

Following these terrible events, how did luxury companies, notably the French ones, show their solidarity with the Japanese people?

The Tohoku earthquake, which caused unprecedented damage, gave rise to a tremendous feeling of solidarity. Everyone wanted to help those affected and contribute towards rebuilding devastated coastal areas. Japanese businesses, like French ones, continue to be very active. Some donate goods in kind or financial aid for reconstruction, equipment, food and schools while others set up humanitarian programs to provide psychological and medical support. Many mobilize their personnel for the cause. Each Colbert company has contributed according to its means and priorities. During the acute crisis phase following the tsunami and the accident at Fukushima, our companies stayed in close touch and coordinated their action, following “the precautionary principle” to ensure the safety of personnel.

How is Japan doing in the process of recovery?

Recently, I went to a place on the coast located 250 kilometres north of Sendai in Iwate Prefecture. Once again, I observed the magnitude of the disaster. Razed cities look as if they’d been bombed to the ground. Winter is coming, so the atmosphere is desolate and everything has to be rebuilt. The Japanese people have handled themselves admirably, showing the qualities of courage, dignity, discipline and unity that account for the grandeur of this country. Economic activity in Tohoku, which is an agricultural region and an outsourcing hub for big industry, is reorganizing as quickly as possible. The third-quarter figures show that the Japanese economy grew by 1.5%, having started to recover in June, sooner than expected. After the catastrophe on March 11, French luxury brands saw earnings fall but made up for it by

the autumn. Towards the end of the year, the prospects looked good. Investment is picking up again on this strategic market, which is a very encouraging sign.

Have these events changed Japanese society?

The gravity of these events has prompted the Japanese to rethink their values, especially their relationships with family and friends. We’re seeing a wedding boom, which expresses the human need for security as people realize that our world is fragile and the future uncertain. Aware that excessive restraint would be counterproductive for the economy and the reconstruction in Tohoku, consumers resumed their habits by the month of May. However, they have become more demanding. This trend does not change the strategies in place, but it does have implications for Colbert companies. Demand is for products and services that are always at the cutting edge. Differentiation and segmentation are required to tackle the Japanese market, which is especially mature and sophisticated. In addition, our houses must come up with ways and means to cultivate the younger generation, whose modes of communication and consumption evolve very quickly.

Interview with Emmanuel Pratt,President of the Local colbert committee for Japan and President of LVMH Japan. It is impos-sible to forget the terrifying images of Japan, devastated last spring by an unprecedented series of disasters (ear-thquakes, tsunami, the threat of a nuclear catastrophe). Six months later, we asked Emmanuel Pratt to share his impressions with us.

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The colbert brain trust The diversity of

our membership, composed of luxury houses and cultural institutes, enriches our discussions and helps us structure the actions of our collective strategy.

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T he Comité Colbert can call on a vast support network to help formulate its

collective strategy, which is amended and approved by the Board then submitted to the General Assembly for a vote.

1,200 experts

Our organization can call on 1,200 associates from our member companies, who meet to dis-cuss topics and projects of common interest. Their work is overseen by nine commissions composed of chairmen, or executives from member companies. Our commissions have designated 120 leaders to head Colbert pro-jects and initiatives on topics ranging from the creative, business or regulatory environments to ethics, international and/or cultural affairs, crafts or human resources.

Our Commissions have formed large expert networks involving more than 1,000 people from Colbert companies.

A forum for sharing knowledge

The Colbert Labo network, an incubator for new ideas set up by the Economic Commis-sion, numbers about 70 members from Colbert companies between the ages of 25 to 33. Their brief is to think about the future, although this year’s topic was “starting a French luxury business today.” Qionger Jiang, creative director at Shang Xia, and Charles Znaty, co-founder of Pierre Hermé Paris, talked to them about their own experience. This year, the Economic Commission got its network of finance managers together for a presen-tation of ISO 10668 and a discussion about the French label Entreprise du Patrimoine Vivant (“Living Corporate Heritage”). The Communication and Heritage Commission called a meeting of the heads of communi-cation and subsequently organized a lecture

for heritage assets managers at which Didier Bondue, head of Saint-Gobain Archives, spoke about his own professional experience: three decades at the head of the company’s indus-trial records. A meeting organized by the Crafts and Human Resources Commission for the heads of technical and human resources departments focused on employee well-being and the prevention of risks associated with hardship conditions. Finally, the Ethics and New Member Commission convened the sus-tainability officers to finalize a document on the Colbert values and objectives in the area of sustainability, which was submitted to and adopted by the General Assembly.

The Comité Colbert also has three local committees coordinated by the International and Cultural Commission. They handle liaison with three geographic areas with considerable importance for French luxury: the Arabian Gulf countries, Japan and India. Their role is to help the Comité Colbert extend its influence network outside French borders.

For the Comité Colbert and its members, this kind of interaction at every level is vital to cultivate the knowledge needed to prepare for the future and bring about a business environment conducive to the development of Colbert brands, individually and collectively.

Dedicated to reflection and forward-planning, the Comité Colbert is a place for exchanging views and formulating proposals to provide its members with tools to expand their businesses.

Expert networks

crafts andHuman

Resources commission

Network ofHuman

resourcesOfficers

Ethics andNew

Memberscommission

club

commission

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commission

communicationand

Heritagecommission

Network ofHeritageOfficers

Board

Network ofSustainable

DevelopmentOfficers

Colbert Labo

creation

commission

Local Committee

India

Local Committee

Japan

regional

Committee

Middle-East

Executive Committee and Presidents of

Commissions Council

Public

Authorities

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International and culturalcommission

Network of Industrial

Operations Officers

Network ofFinanceOfficers

Economic

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GeneralAssembly

Network of Press and

Communication Officers

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Nine commissions oversee the work of ten expert networks, whose work is a resource to individual Colbert members and to formulate the collective strategy.

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DAVID CAMÉO Chairman of Sèvres-Cité de la céramique. He serves as President of our Creation Commission, whose mission is to help energize creation. This year, the Commission co-organized two workshops with the ENSAAMA school of art and design, the first for fourth-year design students and the second for students in the Institut Viénot master’s program.

YVES CARCELLE Chairman of Louis Vuitton. He serves as President of the International and Cultural Commission, whose mission is to enhance the influence and prestige of the Comité Colbert at international level. In 2011, the Commission concentrated on the Middle East. In November, it co-published Au cœur du luxe, les mots, a book about the words of luxury in French and Arabic, and held the launch in Beirut.

JEAN-MICHEL DELISLE Chairman of Delisle. He serves as President of the Communication and Heritage Commission, whose mission is to find ways for members to share information about their heritage assets and communication. It organized one meeting on archives manage-ment for assets managers and another for the heads of communication and press relations concerning the circulation of Colbert news.

DOMINIQUE HÉRIARD DUBREUIL Chairman of Cognac Rémy Martin. She serves as President of the Ethics and New Members Commission, whose mission is to see that the values of the Comité Colbert are properly upheld. This year, the Commission proposed the creation of a new membership category, that of European member, and held meetings for sustainability officers to share best practices.

MICHEL ROUGET Chairman of Ercuis. He serves as President of the Finance Commission,

whose mission is to propose the budget and monitor its implementation.

CHRISTOPHE SALIN CEO of Château Lafite-Rothschild. He serves as President of the Club Commission, whose mission is to facilitate exchange and strengthen ties between members. This Commission works to ensure that conviviality is the hallmark of Colbert gatherings.

GUILLAUME de SEYNES Chairman of John Lobb. He serves as President of the Crafts and Human Resources Commission, whose mission is to gain recognition for the luxury crafts and promote networking. This year, the Commission oversaw a program to inform middle schoolers about careers in luxury crafts and set up meetings for the heads of HR departments and technical departments to share best practices.

PATRICK THOMAS CEO of Hermès International. He serves as President of the Economic Commission, which carries out, monitors and circulates studies about the luxury sector and also oversees reflection and forward planning at the Comité Colbert. In 2011, the Commission supervised the work of two networks, the “Colbert Labo” and the network of finance managers. It also continued its work with economists and academics.

SIDNEY TOLEDANO Chairman and CEO of Christian Dior Couture. He serves as President of the Public Authorities Commission, whose mission is to maintain good relations with public authorities in France and abroad. This year, the Commission continued to be especially active in the effort to influence EU institutions. It also worked to extend the Colbert anti-counterfeiting campaign internationally.

The people behind the strategy

The nine Commissions appearing on our organization chart offer a place to exchange ideas and think about the future. Their work is instrumental to formulating the strategy of the Comité Colbert, which serves as an “idea incubator” for the luxury industry.

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On November 17, the chairmen of Colbert member companies co-opted two new members that share the same values.

The comité colbert welcomes Bonpoint and Les Arts Décoratifs

T he two new members will add to the diversity of the crafts and businesses represented within the Comité Colbert and share many of the same core values, including superior quality,

creativity, imagination, ethical conduct and an international ambition.

Bonpoint and Les Arts Décoratifs will now be able to take part in all discussions organised by the Comité Colbert to promote the growth of the entire sector and individual brands as well as in international events, to build influence for French culture abroad.

Founded in 1975, Bonpoint has based its distinctive image and style on imagination, creativity and know-how. Artistic Director Christine Innamorato creates three children’s collections a year that reflect her work on colour and an exacting approach to propor-tions, materials and finishes similar to that of the luxury fashion sector. The house also markets a range of accessories in addition to shoes, fragrances and skincare. Active on international markets, Bonpoint has more than one hundred boutiques world-wide.

Les Arts Décoratifs is an original institu-tion that comprises a number of cultural enti-ties including the Musée des Arts Décoratifs, Musée de la Mode et du Textile, Musée de la Publicité, Bibliothèque des Arts Décoratifs, Musée Nissim de Camondo, École Camondo and Ateliers du Carrousel.

The object of these entities is “to maintain, in France, a culture of arts intended to create beauty in the realm of the utilitarian” and they work closely with the business world, often via cooperation agreements.

Window at the Tournon shop, Bonpoint Nave of Les Arts Decoratifs

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ters The Board

of the comité colbert

Françoise Montenay CHANEL

Michel Bernardaud BERNARDAUD

Jérôme Philipon CHAMPAGNE BOLLINGER

Florence Ollivier BREGUE T

Bernard Fornas C ARTIER

Christophe Salin CHÂTE AU L AFITE-ROTHSCHILD

Christophe Navarre MOË T HENNE SS Y / CHÂTE AU D’YQUEM

Sidney Toledano CHRISTIAN DIOR COUTURE

Jean-Michel Delisle DELISLE

Michel rouget ERCUIS

Bruno Pavlovsky ERE S

Patrick Thomas HERMÈ S

François Delahaye HÔTEL PL A Z A ATHÉNÉE

guillaume de Seynes JOHN LOBB

Patrick Scicard LENÔTRE

Daniel Tribouillard LEONARD

Yves Carcelle LOUIS VUIT TON

Lionel Breton MARTELL

Olivier Mellerio MELLERIO dits MELLER

Patrick Frey PIERRE FRE Y

Dominique Hériard Dubreuil COGNAC RÉMY MARTIN

Stanislas de Quercize VAN CLEEF & ARPEL S

The Board, the executive body of the Comité Colbert, meets twice a year.

THE COMITÉ COLBERT IN 2011

Chairperson of the Board: Françoise MontenayPresident and CEO: Elisabeth Ponsolle des PortesEditor in chief: Valérie Sandoz Editor: Laurence SalmonTranslation: Alice ParteGraphic Design: Gilles Huot, HDL DesignPrint by Estimprim on eco-friendly ECF, FSC certified

Photos credits: Julio Piatti © Comité Colbert pp. 1, 8, 9, 31. Vincent

Leroux©Comité Colbert pp. 4, 5, 6, 7. Sylvain Riffe Stern pp. 14, 15.

Stéphane Cardinale©People Avenue pp. 12, 13. DR ©Comité Colbert

p. 13. ©Herend, ©Leica Camera AG, ©Montblanc, ©Moser Archive, p. 17.

Houssam Mchaiemch©Comité Colbert 2011 pp. 20, 21. George

Zouein©Louis Vuitton p. 22. G. Bzrek ©ambassade de France au Liban

p. 21. DR pp. 23, 26. © Bonpoint p. 32, © Les Arts Décoratifs p. 32..

2 bis, rue de la Baume75008 Paris

Tél. + 33 1 53 89 07 60Fax. + 33 1 53 89 07 61www.comitecolbert.com

BACCARAT 1764 • BERLUTI 1895 • BERNARDAUD 1863 • CHAMPAGNE BOLLINGER 1829

CARTIER 1847

CELINE 1945 • CHANEL 1912 • PARFUMS CHANEL 1924 • CHÂTEAU CHEVAL BLANC 1832

CHÂTEAU LAFITE-ROTHSCHILD 1855 • CHÂTEAU D’YQUEM 1593 • CHLOÉ 1952

CHRISTIAN DIOR COUTURE 1947 • PARFUMS CHRISTIAN DIOR 1948 • CHRISTIAN LIAIGRE 1985

CHRISTOFLE 1830 • D. PORTHAULT 1924 • DALLOYAU 1682 • DELISLE 1895

DIANE DE SELLIERS EDITEUR 1992 • ERCUIS 1867 • ERES 1968 • FAÏENCERIES DE GIEN 1821

FLAMMARION BEAUX LIVRES 1875 • EDITIONS DE PARFUMS FREDERIC MALLE 2000

GEORGE V 1928 • GIVENCHY 1952 • PARFUMS GIVENCHY 1957 • GUERLAIN 1828 • HÉDIARD 1854

HERMÈS 1837 • PARFUMS HERMÈS 1948 • HÔTEL LE BRISTOL 1924 • HÔTEL DU PALAIS 1893

HÔTEL PLAZA ATHÉNÉE 1911 • HÔTEL RITZ 1898 • JEAN PATOU PARIS 1925

JEANNE LANVIN 1889 • JOHN LOBB 1899 • CHAMPAGNE KRUG 1843 • LACOSTE 1933

LANCÔME 1935 • LE MEURICE 1835 • LENÔTRE 1957 • LEONARD 1943 • LONGCHAMP 1948

LORENZ BÄUMER JOAILLIER 1992 • LOUIS VUITTON 1854 • LA MAISON DU CHOCOLAT 1977

MARTELL 1715 • MELLERIO dits MELLER 1613 • OUSTAU DE BAUMANIÈRE 1945

CHAMPAGNE PERRIER-JOUËT 1811 • PIERRE BALMAIN 1945 • PIERRE FREY 1935

PIERRE HARDY 1999 • PIERRE HERMÉ PARIS 1996 • POTEL ET CHABOT 1820

PUIFORCAT 1820 • COGNAC RÉMY MARTIN 1724 • ROBERT HAVILAND & C. PARLON 1924

ROCHAS 1925 • SAINT-LOUIS 1586 • S.T. DUPONT 1872 • TAILLEVENT 1946

VAN CLEEF & ARPELS 1906 • CHAMPAGNE VEUVE CLICQUOT PONSARDIN 1772

YVES DELORME 1845 • YVES SAINT LAURENT 1962 • YVES SAINT LAURENT PARFUMS 1962

Membres Associés : ACADÉMIE DE FRANCE À ROME - VILLA MÉDICIS 1666 • AIR FRANCE 1933

LES ARTS DÉCORATIFS 1882 • CHÂTEAU DE VERSAILLES 1661• COMÉDIE-FRANÇAISE

LA DEMEURE HISTORIQUE 1924 • MOBILIER NATIONAL - GOBELINS, BEAUVAIS, SAVONNERIE 1662

L A M O N N A I E D E P A R I S 8 6 4 • M U S É E D U L O U V R E 1793

OPÉRA NATIONAL DE PARIS 1669 • CERCLE DE L'ORCHESTRE NATIONAL DE FRANCE 1925

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BONPOINT 1975 • BOUCHERON 1858 • BREGUET 1775 • BUSSIÈRE 1924 • CARON 1904 •

S È V R E S - C I T É D E L A C É R A M I Q U E 1 7 3 8 • L A S O R B O N N E

Membres Européens : HEREND 1826 • LEICA 1865 • MONTBLANC 1906 • M O S E R 1857

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