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supporting you


04 Stronger together Graphius and Schaubroeck join forces

16 A changing of the guard 08 In a different light Franco-Belgian connection

More than what Hollywood made of her


A brief history Breaking through the glass ceiling

22 Sincere


Eddy Van Gestel feels at home in Africa

33 Holy mountain

Around the Kailash with Olivier Föllmi

Bookscatalogues & to win Many of the books featured in this magazine can be won! Don’t delay and browse to for a chance to win numerous books, magazines, catalogues, vouchers and tickets!

42 Conglomerate No less than 70 exclusive brands


Frighteningly popular Arisen from the dead

Cover photo: © Milton H. Greene

PUBLICATION INFORMATION: Members of the Graphius Group: Geers Offset, Sintjoris, New Goff, Druk In De Weer, De Duurzame Drukker, 12-10-15 14:48 Deckers Snoeck, Boone-Roosens, Etiglia, Dereume Printing, Stevens Print, GuidoMaes.Printingdeluxe.*****, Schaubroeck Publisher in charge: Denis Geers, Eekhoutdriesstraat 67, 9041 Ghent, Belgium. Editor-in-chief: Thomas Dewitte. Editorial board: Sarah Claes, Sven De Potter, Magali De Reu, Geert De Weyer, Thomas Dewitte. Design: Philip De Bels. Subscriptions: Free subscriptions can be obtained via Graphius, Eekhoutdriesstraat 67, 9041 Ghent, Belgium Tel. +32 (0)9 218 08 41.,

BW The Walking Dead 01 SC v2.indd 37

Printed with vegetable-based organic ink on a Heidelberg XL 106 10-colour press with a 250 LPI hybrid screen. Cover: Ensocoat 2S New 300g. Interior: FocusArt Naturel 135g. Split cover: MultiDesign Original 150g. Blistered in starch-based biodegradable foil.


the difference is

in the detail DE ZWEETVOETENMAN (THE MAN WITH THE SWEATY FEET) Lemniscaat You can’t be put in prison for having sweaty feet, but you can be fined for it! Annet Huizing breathes life into our legal system through a series of anecdotes that are enthralling, funny and sometimes even surreal. With its many pull-out pages brimming with infographics and the illustrations by Margot Westerman, this book proves that the legal system is not, by definition, boring. After reading it, your bright young teenager will be able to minutely explain the difference between civil, criminal and administrative law – and know whether or not you are permitted to steal back your own bicycle!

DONNA HAY: BASICS TO BRILLIANCE Uitgeverij Unieboek | Het Spectrum A relief print that fills the entire cover (embossed, indeed, but not “conventional” embossed laminate), finished with foil printing and spot UV varnishing: printing techniques to provoke gasps of admiration. After all, Donna Hay has given many tried-and-tested basic recipes some decidedly interesting twists, too. The popular Australian celebrity, whose television show Fast, Fresh, Simple made her world-famous, is no run-of-the-mill cook. No, Donna is a genuine food stylist who links her low-threshold recipes to tasteful photography. A feast for the taste buds as well as the eyes!


SERGE ANTON: FACES Lannoo Serge Anton adores materials. He likes bronze, wood and iron, but, above all, he loves the skin of older people. Each of these portraits by this Brussels photographer conveys a unique life story, told without words: personal histories that can be read in his subjects’ compelling gazes and the deep lines engraved in their faces. This is the first time that Anton has brought together his collection of full-colour printed black & white photos in a book. His love of materials is expressed in his choice of cover: printed on linen and perfected with carefully considered print foil.



Glénat Michel Sarran, Géraldine Pellé, Anne-Emmanuelle Thion

Urban China Michel Sarran travels the world and brings with him … sixteen Wuxia is a genre in Chinese fiction that glorifies the adventures

recipes. This two Michelin-starred chef from Toulouse serves

of martial arts heroes in ancient China. You could call wuxia

his complex, generous and elegant cuisine in clear wording, in

the book version of the Kung Fu film, but with more swords and

a sauce of serene top-class photography and s­ easoned with

less hand-to-hand combat. Comic strip author Li Zhiqing trans-

an arsenal of tours de force with regard to printing techniques.

lated this fantastic trilogy by novelist Jin Yong, who is generally

We hope that the covers glued onto the fly leaves (which are

­considered one of the absolute masters of wuxia, into a number

in turn sewed onto the interior), the blind embossed stamp, the

of larger-than-life comic books. In line with Oriental tradition, this

pages tipped in coloured ink all around, the open spine and the

epic work must be read in Chinese fashion: from right to left.

publicity wrapper will all be to your taste!



A sound liaison

Stronger together. Graphius and Schaubroeck, two family-run printing firms with an outstanding reputation and ditto track record decided to join forces this September. Schaubroeck joined Graphius, contributing more packaging activities to the group in addition to substantial expertise in printing for government bodies. The merger between Drukkerij Schaubroeck and Graphius is one that exceeds the sum of parts. Schaubroeck is a significant player in the field of digital and packaging print work, a segment on which Graphius has not focused as extensively. That is, until now: with Schaubroeck on board, the group will be expanding

its activities substantially. Team leader Dirk Clauwaert, head of certification and prevention Willy Peeters and director Ciska De Muyter joined Graphius CEO Denis Geers in a round-table discussion at the firm’s own site in Nazareth. A discussion that looks at the past, the present and the future.


“Schaubroeck’s client base will still be able to place their orders with their regular contacts, also for commercial print work.” Denis Geers

DIRK C LA UWA ER T: “When I started here 37 years ago, only 5% of our print work was intended for the consumer market. The rest was all for government bodies, with an emphasis on municipalities, PCSWs, ministries and the EEC. Schaubroeck was a ’printer for the public administration sector’.” WILLY P EET ER S: “When the municipalities merged in 1977 we entered a transitional period. We lost approximately twothirds of our client base. Schaubroeck had to reinvent itself and decided to specialise in printing for the consumer market. This is also one of the factors that triggered our current focus on packaging and digital print work.” DENIS G EER S: “With regard to business operations, the histories of Schaubroeck and Graphius are congruent: they are

both locally anchored family businesses that have developed within the course of several decades into industrial players, but each in its own specialist area. One of the differences with Graphius’ prior acquisitions is that the Schaubroeck group is also engaged in activities other than print work for government bodies: personnel management and IT. For the sake of clarity, we have not taken over the latter activities. A great advantage for Drukkerij Schaubroeck lies in the complementarity of client base and products. For Graphius this means that we will be making products here in Nazareth that we are unable to make in Ghent or Brussels due to a lack of technical equipment. This is an acquisition concluded with a view to broadening our base.”


Ciska De Muyter

Willy Peeters

Aside from the digital print work, packaging activities able to benefit from being able to rely on the ­equipment and and traditional print work that represent the largest por- skills available at Schaubroeck for specialist work. Another tion of its production, important factor to take Schaubroeck facilitates into consideration is that numerous other services Schaubroeck’s client base for ­cities and municipaliwill still be able to place ties. During election peritheir orders with their ods, for example, municregular contacts, also for ipal councils can apply to commercial print work. In Schaubroeck for furnishthis respect, nothing will Ciska De Muyter ing their election offices, change.” organising the allocation of polling cards and voter registration cards and even to order mayor’s sashes. These activities Print work for the food industry will be integrated within Graphius, which will raise the level P E E T E R S : “At present, Schaubroeck has only a limited number of international clients, but thanks to Graphius’ extensive of service. client base this will change. I believe that we can expand the CLAUWAER T: “We will need to make optimum use of our packaging side of the story as addressed by Dirk. This is a infrastructure. Where you previously needed only one ­pallet strongly regulated segment within printing operations, and of paper for paper print work, you will now need a much why Schaubroeck is BRC-IoP certified and permitted to print for greater volume for printing cardboard. In terms of logistics, the food industry. The certification has its roots in an initiative this will mean much more loading and unloading.” taken by a number of UK retailers who wanted to gain more GEERS: “Looking at it from a commercial perspective, this joint control over their suppliers. Nowadays, it is a global standard.” venture is a step in the right direction because it will allow us to C I S K A DE M U Y T E R : “One of the reasons why the production focus on clearly delineated activities for each site. Schaubroeck facilities in Nazareth are retained is because BRC certification will have better-performing machinery at its ­ disposal for is site-specific. Graphius would only be able to obtain this cercommercial print work. Graphius, on the other hand, will be tificate if it were to substantially upgrade its infrastructure.”

“We have established a good rapport with one another. Our collaboration is running smoothly.”


Dirk Clauwaert

Denis Geers

P EETER S: “To be permitted to do print work for the food

centralise this in future by relocating these activities from Ghent and Brussels to Nazareth. In concrete terms, this means that nine people will have to “move” from Nazareth to Ghent, and one from Ghent to Nazareth. With regard to our machinery nothing will change. At the beginning of 2018 we will start optimising the division of activities, and in the second half of the year we will start looking into investment possibilities.” DE M U Y T E R : “Generally speaking, we can already say that we have established a good rapport with one another and that our collaboration is running smoothly. Graphius is always willing to assist us if we have a ­question, and vice versa. I have noted a great deal of flexibility, also with regard to our machinery: if we have a breakdown ­somewhere, a back-up is made available almost immediately.” GE E R S : “The biggest advantage is that the organisational structure at Schaubroeck has been of a high standard for quite some time. The company has been ISO-9000 ­certified for many years and has a sound organisational chart. The companies are a perfect match. Neither will the acquisition result in a culture shock for the Schaubroeck staff. Their corporate culture ties in seamlessly with that of Graphius. I even believe that they apply all the ­standards and ­directives even more strictly than we do”, he concludes with a smile. 

industry you must be able to comply with numerous conditions. The inks and other basic raw materials must be s­ uitable for application in the food industry. Cleaning agents must also comply with stringent regulations. The presses must work with special oils and lubricants, and without any alcohol. Additionally, the production environment must be adapted. Light bulbs in a production area must be shatter-proof, for example. All in all, very strict regulations apply.” CLAUWA ER T: “These regulations are necessary. You are, after all, printing for food products. Every risk of contamination must absolutely be avoided.” P EETER S: “We will, for example, never put a proof sheet into production twice: as soon as it has been touched by human hands it is no longer usable. A pallet of paper that has ­accidentally been tipped over and falls on the ground must be thrown away. Schaubroeck is high risk-certified: our packaging is allowed to come into direct contact with the product. I think we can be proud of the fact that, ever since we obtained the relevant certification, we have always been able to attain the highest A category.”

Perfect match GEERS: “These packaging activities are a perfect comple-

ment to our current activities. We currently have a small cardboard and digital department at Graphius. We aim to


photo book


seen through Milton’s eyes Los Angeles, 1953 - photographer Milton H. Greene meets world-famous star Marilyn Monroe at a photo shoot for Look Magazine. “But you’re just a boy!” she exclaimed when she first met the youthfullooking photographer – earlier, she had regarded his work with the greatest admiration – to which he replied: “And you’re just a girl!” The prelude to a deep friendship that would last many years.

Marilyn Monroe: a name that still fascinates people all over the world, even after many years. A name that instantly calls to mind images of a beautiful blonde diva with red lipstick, a sultry gaze and a sexy voice. An almost inexplicable, magnetic attraction and a source of inspiration for everyone with an interest in film, music and pop culture. But the image we instantly associate with her: was that the real Marilyn? Or was that merely one facet of her personality, the one she showed most frequently, the one people wanted to see? Color Photography’s Wonderboy Milton Greene immediately noticed the intelligence and ­sensitivity hidden behind the persona she had created for herself.

and to show the world the other Marilyn. A plan for the future, in which Milton Greene would play an important part. When Milton met the world-famous star for the first time, he immediately noticed that she was far more than what Hollywood had made of her. Joshua, the late Milton Greene’s son recalls: “My father saw how she was able to reveal a different facet of her ­personality in practically every photograph he took. He believed that – with the support of the right people – she would be able to achieve her goal. She wanted to be taken seriously as an actress, have a greater say in her work, take up professional challenges and become successful in other types of roles. My father and his lawyer scrutinised her contract and advised her to leave Hollywood behind, move to New York and initiate court ­proceedings against the film studio. After ten months, she ­succeeded in breaking her contract with 20th Century Fox.”

Marilyn became a world-famous star thanks to the sex kitten persona she created: an image that she had had more than enough of by the time she reached the age of 28. She wanted to play different roles, greater appreciation and better pay,



A little later, she and Greene started their own production company: Marilyn Monroe Productions. “They considered this partnership a unique opportunity. Marilyn would gain more control over her career and Milton would be given an opportunity to work as a film producer and director. Together, they dared to take this giant leap.” They made two films together: Bus Stop (1956) and The Prince and the Showgirl (1957).

My ­memories of her were mainly of being tickled, playing with pillows, sliding from the banisters and taking a bubble bath.” In New York, she found new inspiration. She took acting and dancing lessons, and befriended Marlon Brando and Frank Sinatra. Together with Milton, she frequented jazz clubs where she admired the talent of musicians like Miles Davis, Dizzy Gillespie and Ella Fitzgerald. After New York, she would return to Connecticut to rest, basking in the warm family life and beautiful nature. She would read, go on walks, do household chores – everything you would not expect from a VIP. The difference between Marilyn the movie star and Marilyn the house guest could not have been greater according to Joshua: “Marilyn Monroe was clearly a persona created by Norma Jean. Although she had had her name changed officially, this blonde, sexy and flirtatious woman was a sort of caricature of the real woman.” It is the real woman, however, that Milton allowed to shimmer through in the numerous photographs he had taken of Marilyn throughout the course of many years. Because that is what he did: not only for Marilyn but for every celebrity posing in front of his camera: Elizabeth Taylor,

Milton and Marilyn had an instant rapport and quickly became close friends. Both had a strong belief in each other’s talents, and knew they would be able to rely on one another, both professionally and personally. The Greene family received her with open arms in peaceful Connecticut as well as busy New York and Marilyn found the support she needed. She lived with them for around four years. “My father created a safe haven for her. The lifestyle he offered was exactly what she needed at that moment: from the scintillating jazz scene in New York to the cosy, stable family life in the Connecticut countryside”, explains Joshua. “At that time, I was only a toddler (cf. photo) and had no idea of how famous she was. To me, she was just a friend of my parents who would babysit me from time to time.



Grace Kelly, Audrey Hepburn, Marlene Dietrich, to name a few. “Milton was extremely confident in his capabilities as a photographer. He knew the procedure. He had to reach a certain level of intimacy to obtain the trust he needed from his model. Then, with a few instructions in a relaxed atmosphere, he would be able to capture the very essence of that person on film”, continues Joshua. The apple doesn’t fall far from the tree: Joshua also developed a love for photography and went on to a successful photography career of his own. Milton died in 1985, aware of the historical value of his photographs, but believing that his original film had succumbed to the ravages of time. In the mid-1990s, after many years of research, Joshua founded The Archives LLC and embarked on the initial goal of restoring and maintaining his father’s collection of 300,000 photographs. Since then, Joshua has grown into an expert in digital restoration and storage techniques for photography. Released in 1994, Milton’s Marilyn was the first book illustrating many of the unseen and unpublished pictures. That book was also a partial autobiography, telling the story of Marilyn from the Greene’s friends and family’s point of view. “This new book (The Essential Marilyn Monroe) is a high-end, fine photography art book. The focus is only on the pictures and celebrates Milton’s photography and Marilyn as his muse. The images selected ranged from personal, spontaneous candids to casual sittings in his daylight studio in Connecticut, on location and in a formal photo studio.” In more than 280 photographs he presents a portrait of this iconic beauty and her various personalities. “I wanted to show my father’s talent and select those photographs that I was certain the world wanted to see. I was actually more interested in the emotional value. This is why I did not refrain from including photographs that were not, technically speaking, completely perfect. I have portrayed his work as I believe that Milton would have have done today, given the technology that is now available.” In various sittings, we see Marilyn with a dreamy, innocent gaze, looking sexy and mysterious, or self-assured and with a smile lighting up her face: the Marilyn that Milton knew.

Graphius recently printed The Essential Marilyn Monroe: Milton H. Greene, 50 sessions for ACC Publishing Group Group. Browse to page 1 for an opportunity to win this beautiful homage to Marilyn and Milton.


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professional journal

Custom corporate information AVBS, the Belgian Nurserymen and Growers Federation, has acted as the primary association to protect the interests of the ornamental plant and greenery industry since the 1950s. Willy De Geest, editor-in-chief of Sierteelt & Groenvoorziening, the professional journal for this sector, explains AVBS’ approach and the goals they aim to achieve. “We represent Belgian growers and traders of ornamental plants in the Belgian Farmers’ Union”, explains De Geest. “Our sector is continually facing new challenges, opportunities and problems. We lobby for the professional interests of the growers and traders affiliated with us each and every day, and provide them with the necessary footholds, at both corporate and sector level. That covers quite a lot of aspects: business economics, social and tax services, information, crop safety, cultivation technology, export and so forth.

In brief: everything today’s gardening contractor or professional grower of ornamental plants or trees, needs. We consult with a broad range of official organisations and research institutes for this purpose and even go so far as to organise demonstrations and protest marches,” he continues. “Aside from this, AVBS joins in the decision-making process within the organisational structure set out by the Flemish Centre for Marketing for Agriculture and Fishing about various aspects associated with promotion on behalf of the entire sector.”


Industry-specific information is very important in this. All members of the AVBS receive the professional journal Sierteelt & Groenvoorziening twice a month. “We have been publishing the magazine once every two weeks via Graphius, our partner since 1957”, says the editor-in-chief with a satisfied nod. “The frequency may seem high, but our branch of industry is subject to frequent and rapid changes. Our job is to monitor relevance, efficiency and the correctness of the information.”

to read where and whenever they want, or simply hang on to it”, he says. “Online information can be so fleeting. Plus, you have to learn to find your way around all those messages that appear in your inbox day after day. What’s more, some of our articles are so technical that reading them on your laptop just isn’t convenient.” The feedback and response received with regard to the magazine reveal a high level of satisfaction. “As long as memberships continue to be renewed and there is interaction in response to what we publish, among others, we know that we are an important link in the chain.”

“Our magazine was the first to roll off the presses at the former Geers Offset printing house, and thanks to the continuously high level of professionalism and our good collaboration we still take our print work there.”

Sierteelt& Groenvoorziening


Halfmaandelijks vakblad • 15 december 2017 • Jaargang 61 • Afgiftekantoor Gent x • P912063

AVBS believes that ‘traditional’ print work is still effective, but that efficiently incorporating new communication media into it is a good idea. “It goes without saying that AVBS joined in the digital revolution”, confirms De Geest. “We started using a digital line of communication with Geers Offset for sending copy in the 1980s, making us a successful test case for the printing house. Still, a magazine offers its readers greater flexibility: they can take it along with them

AVBS was the first magazine printed by the former Geers Offset printing company and Aanpassing mestwetgeving containervelden

Loonaanpassing op 1 januari 2018

still rolls off the Graphius

Pot-in-pot teeltsysteem boomkwekerij

presses today. SG21_Cover.indd 1


13-12-17 18:13


Looking to the future © Hervé Véronèse Centre Pompidou

Surrounded by the hustle and bustle of Paris and the pleasant ambience of the Beaubourg quarter, a colourful building, turned inside-out as it were, immediately catches your eye from afar: Centre Pompidou. A museum of renown since 1977, built after an idea proposed by former French President George Pompidou and designed by the architects Richard Rogers and Renzo Piano. In this Valhalla for modern and contemporary art, works by Kandinsky, Picasso, Miró en Matisse are on display side-by-side with new conceptual art and a stunning collection of historic photographs. 16

Linked to Centre Pompidou and immediately adjacent to the imposing building you will find Editions Centre Pompidou, a publishing house which maintains the same high standard of quality as the ­cultural institution itself. You will find a vast array of its lavish products at the Librairie Flammarion, a bookshop located in the building, as Nicolas Roche well as at the book stands on almost every floor: exhibition ­catalogues and albums, anthologies on artists and art movements, books on the creation of art, and much, much more. These are works that every art lover would like to see in his bookshelves: editions compiled not only with a genuine love for art, but also with an eye for detail and attention to the historic background. We interviewed Editions Centre Pompidou to discover how these works came into being.

amount of energy into every edition with the goal of achieving splendid results that only get better and more beautiful: this is a tradition at Centre Pompidou that I continued. I genuinely enjoy complicated work like this”, explains Roche. Are there certain editions that you take more pride in than others? “I like photography very much, so these books – often published in collaboration with Graphius – are among my personal favourites. In  addition I will never forget the Cy Twombly catalogue; not only because of the amount of work, but above all because of the success this book brought us: it was translated all over the world.”

Claire de Cointet

Continuity and intuition Halfway through November Claire de Cointet – the publishing house’s former head of the editorial department – will be taking over the baton from Nicolas Roche. Roche was given the opportunity to become director of the Bureau International de l’Edition Française (BIEF), the agency responsible for the international promotion of French books. “I am convinced that Claire will be able to perpetuate the tradition perfectly. We are both of the opinion that Centre Pompidou should create catalogues that appeal to a broad public, without becoming too simple in terms of content. Accessible yet academically founded, so that you will also retain your specialist audience”, clarifies Roche.

An interview with the resigning director Nicolas Roche and his successor Claire de Cointet about the importance of high-quality print work in a digital world and the challenges they will both be facing in their new positions.

Turning your passion into your profession

Nicolas Roche was appointed director of Editions Centre Pompidou in 2009. At that time, he had over 20 years’ experience in the publishing world: “I worked for publishing houses in other disciplines, such as children’s literature, textbooks, fiction and non-fiction before Claire de Cointet feels confident about her new job. “I have been coming here. What fasworking in the illuscinated me about worktrated books industry ing at Editions Centre for more than fifteen Pompidou most was the years, two of which were subject matter of the spent at this publishing publications at: modern house. This position is a Nicolas Roche and contemporary art. wonderful opportunity Over the years, I have learned a great deal about these subjects, and for me”, explains de Cointet. “The beauty of books, art, of all small to my great delight. This passion was a great help to me in my job”, things … these are things I genuinely love. Every detail – including says Roche with clear enthusiasm. the technical aspects – of a publication hold an infinite fascination for me. When you take a book in your hand, it is the product of an Working at Centre Pompidou for eight years, with dozens of publica- entire industry. This is something of which people are not sufficiently tions about art exhibitions and movements … doesn’t that become aware”, continues de Cointet. “She is completely right about this”, monotonous? “Absolutely not. Every edition is unique. With every affirms Roche. “What you must not forget is that publishing books new publication, you set the same high standards for yourself, the like these is not like a machine that drops a specific number of peas staff and the printing house with regard to the originality and quality into every container. Every publication requires a unique approach. of both the graphics and the contents. Of course, you must not lose The human influence is significant, in every detail. That is what is so sight of the commercial and financial aspects either. Putting an equal beautiful about the whole process.”

“We chose Graphius because of fast responses, equipment and the attention that they pay to quality.”


How will the new director approach her new position? “I will endeavour above all to safeguard continuity, with the same spark that Nicolas has. Certain aspects of the organisation are already running perfectly smoothly, so I do not want to tamper with them. Of course, you will contribute your personal point of view to every element of a project, which gives every choice a certain degree of subjectivity. Still, I follow my intuition and believe in an open dialogue with the staff, the curator and the printing house, as well as the artist to achieve the best results. I believe I will derive great satisfaction from this.”

c­ ollections, but we do have some liberty. Of course, we cannot simply do whatever we want. We have budgetary constraints, for example. But we do work independently, in a certain sense.”

“Vive la Belgique !” Our decision to collaborate with Graphius, which is not a French printing house, was a conscious choice. A detailed overview of the requirements for a specific edition are proposed in a procurement file to our permanent partners in the graphics industry. “We have a pool of printing houses – leading players in their own country – that satisfy our requirements, one of which is Graphius. We specifically chose Graphius because of the company’s fast response, its equipment and the attention that they, together with us, pay to quality. This means that the staff at Graphius collaborate perfectly with us on all fronts. And, of course we just love the Belgians, just ask any Frenchman”, says Roche with a smile.

Independent yet integrated Centre Pompidou publishes a catalogue and an album (a more concise, less expensive version of the catalogue) for each exhibition. “With regard to the content, we take the target audience into consideration: art critics, students, researchers or ’just’ art lovers. This will be my greatest challenge: to convince our authors of the importance of writing easily accessible copy. Specialists are not good authors by definition. I want the information to be fascinating for specialised readers yet understandable for laypeople”, explains de Cointet. “Our publications for children do not enter into the details so much, but are mainly focused on the creation of art. How does a work of art come into being? How do you experience art through all your senses?”

The end of an era in sight? Digitalisation and automation have had a significant impact on numerous sectors, including the publishing industry. What are Centre Pompidou’s thoughts on the position of print work within a world that is becoming increasingly digital? “It goes without saying that we are noticing the impact of digitisation and are keeping a close eye on its development. However, I believe that the possibility of books or even paper disappearing is an illusion. If you take a look around at the major book fairs, such as the one in Frankfurt, you will quickly notice that ‘the book’

Do you choose the subject yourselves? “Our publications are closely entwined with the events at Centre Pompidou and the museum’s


© Hervé Véronèse Centre Pompidou

is still alive and kicking”, says Roche with conviction. “Of course, there are publishing houses that have suffered from this development, ­particularly those specialising in literature and those in the USA, the digitisation of literary works is not subject to copyright fees. However, the sector specialised in books about the fine arts is not as hard hit.”

as applications, offer added value, each at their own level. I expect people to become more selective in what they want, whether in digital or paper format. If everything is offered exclusively digitally, you will be faced with an excess of information and lose sight of the complete picture. Books remain useful even to the youngest generation, who is growing up with tablets. After all, isn’t it much more pleasant to read a book with your child than to look at a tablet?”

How can you explain that? Is it because of the target audience? “Well, I believe that people buy our books for their beauty and their rich ­content, illustrations and finish. As we have since become an While Claire de Cointet will be taking up her new challenge at Editions ­authority in this field, consumers know that a lot of time, effort and Centre Pompidou, Nicholas Roche will be promoting French editions close ­ collaboration with the internationally. This will, after artist and curator are an intrinall, be his job at BIEF: anchorsic part of each edition. Our ing the French book even more books are also memories of a firmly in the international visit to an exhibition, they look ­market. “As the director of BIEF, attractive in a bookcase and I will help French publishing Claire de Cointet people enjoy showing them to houses gaining international their friends and family members. These are all aspects that simply do acclaim for their works through exchange programmes, book fairs not apply to an application”, says Roche. So, is this a reason to avoid and studies of every specific market. Of course, a lot of French literathe digital evolution? “Certainly not. The digital natives are still not ture has already been distributed worldwide. We have our stars like the majority, so there will still need to be many changes. But people Victor Hugo, Albert Camus or Jean-Paul Sartre, but in addition to these will always keep buying books; I am convinced of this.” authors there are numerous fields in which we supply an equally high standard of quality and innovation. It is not without reason that French De Cointet adds: “It is imperative that both media will continue to is the second-most translated language in the world.” The future of the exist side-by-side in the next decade to come. Paper editions, as well printed book is, at any rate, guaranteed! 

“Isn’t it much more pleasant to read a book with your child than to look at a tablet?”



exclusive print work

Innovative eccentric

Komono pulled out all the stops for the opening of its flagship store in Brussels with an omnichannel guerilla campaign. The spectacular print work caused quite a stir, and will be doing just that in Tokyo soon as well. Komono is renowned for its trendy yet affordable watches and glasses. The Belgian brand has conquered the entire world since it was founded by Raf Maes and Anton Janssens in 2009.

the XXL newspapers announcing the event: “Print work like this catches your eye immediately: photographs were made on several occasions of people reading the newspaper outside on the street”, recounts Van Hulle. “Social media have given it lots of attention.”

Filip Van Hulle, COO of the accessory retailer, describes Komono as an innovative eccentric that likes to approach things in an entirely new way. “We regularly put new collections and products on the market, which we then launch with catchy promotional campaigns. Omnichannel communication plays an indispensable role in this, considering that we aim to be present where our target audience is – whether online or off. We want to be able to continually arouse the interest of our public.”

In a campaign like this, the quality of the print work is a crucial element. “As a brand, we are strongly driven by the visual aspect”, confirms Van Hulle. “Visual language is one of our strongest marketing tools, so we want to really push our limits on this. This is precisely why we have been collaborating with our partner GuidoMaes, one of the printers in the Graphius group, for so many years. And not without success: the campaign results were so strong that we will be using this guerilla campaign again to announce our shop in Tokyo!”

Remarkable campaign A prime example of this is the latest Komono campaign, as part of the opening of its flagship store. One of the key gimmicks is the sturdy A5-format invitation card printed with a reflecting field, like a mirror, in which the recipient can see his or herself. Another is

Graphius prints the invitations, XXL newspapers and other exclusive print work for Komono.




Letting go of supremacy As soon the plane doors opened, Eddy van Gestel knew he felt at home in Africa. In 2009, he sold his publishing house and safari company so he could fully commit to his two great loves: the continent of Africa and photography. He originally started out as a nature photographer but has now become a champion of feminine beauty.

When he was a child, Eddy Van Gestel would look forward to his family’s annual trip to the seaside. It wasn’t the parasols and sandcastles that excited him, but the White Fathers’ ­exhibition on missionaries. The young Eddy was fascinated by the objects they sold and could listen for hours to stories of Stanley and Livingstone. When, in 1986, he saw the Sydney Pollack classic Out of Africa, he became completely enamoured with Africa: “That film was brilliant both in terms of cinematography and content. The nature shots still stand up to scrutiny today. The moment I stepped outside of the theatre, I knew that I had to go there as soon as possible. I just had to.”

stand still. And I loved that about it. I didn’t want my Africa to change. The rest of the world was evolving full tilt but then I would visit Africa and it was like I’d travelled back in time. However, six, seven years ago I suddenly noticed that my beloved continent was starting to undergo s­ erious changes.” He explains this phenomenon from a global perspective: “The world left behind a difficult colonial past in Africa. The colonising countries have long wrestled with a guilty conscience due to the mess they left behind. To the extent that it was almost seen as distasteful to start a venture there. However, this view began to change once China started to take an interest in the continent due to its oil, iron ore, minerals and food. Since then, things have been changing rapidly. The economic growth in the Sub-Sahara is headed towards 10%. A new generation of Africans are rising up and proving that the economic growth is sustainable in the long term.”

Rapidly changing continent Africa became Eddy’s second home. Literally. Because the photo­grapher lives in Africa, mainly Kenya, 6 months out of every year. “For a long time I thought that Africa would never change. However long I spent away from Africa, time seemed to


Girl power? More like brainpower!

earns a net salary of 1,650 euros per month! For Kenyan standards, that is a huge amount as the average Kenyan earns around 4 euros a day. Because of this women are becoming much more self ­confident. But at the same time they are incredibly frustrated because of the dismissive attitude the rest of the world has towards dark-skinned beauty. The white woman is still the beauty ideal of many African women. There are black women who bleach their skin, ­causing severe damage. And they do the strangest things to get their hair straight. Supermodel Ajuma Nasenyana, who I have had the ­honour of working with, is thankfully rejecting these standards. Her ­message is: ‘Your dark skin and kinky hair is beautiful. Be proud of where you’re from. Don’t see it as a disadvantage.’”

The economic changes are undoubtedly closely linked to various social developments. Physical abilities used to be at the core of society, but now the photographer notices that women are taking on a more prominent position in society: “The importance of brainpower is increasing and that benefits women in Africa. Why? Firstly, because they take their studies much more seriously than their male peers. Secondly, because women often receive positive discrimination in the education system to help improve their position. They have extra motivation to study.” “Companies recruiting are more likely to choose women. Not just because they often have better diplomas but also because they are more reliable because they are thinking long term. The men are becoming noticeably nervous because they see that their female ­colleagues are gaining better positions and higher salaries. In a city like Nairobi, the catch-up efforts made by women are clear to see. Over time, the big social inequalities will be ironed out.”

“Strong women” “That’s what I want to say with Perla Nera. I want to show the beauty of African women in an artistic way, without erotic connotations. That’s not as easy as it sounds, because the way someone looks at the camera is the difference between whether something looks ‘cheap’ or ‘artistic’. I would even go so far as to say that over time I have become a master at avoiding making things look lewd and expressing power and strength instead.”

“Last week I had a photoshoot with a young, 24-year-old woman who had studied pharmacy. She works at a private hospital and


“The large amount of nudity in the book is partially a symbol for casting off the colonial past. The women posing are making a conscious choice. It’s a statement of liberation. I hope that the nudity in my book will inspire African women to be less shy about their bodies, without taking it too far. Nudity should add to the aesthetics, no more, no less. It should be classy.”

one of them because they have had nothing handed to them. You see that in the way they look at the camera. That look and the power that exudes is something that white ­models don’t have. They’re also incredibly graceful. When a black woman dances the sensuality is ­palpable. It shows that they are lacking absolutely nothing on the beauty front compared to other races. On the contrary, I think that African women have something special. They can be incredibly beautiful, but the way they look at the camera, they way the move, makes them appear stronger.”

“The nudity in the book is a symbol for casting off the colonial past.”

The art that Eddy aims to create arises out of sincere admiration. He describes the women in his portraits as “strong women, every


Michelle Obama

series of photos that tell a story about a white woman and a black Masai warrior. “Only 8% of the world population is white, and yet we think that the world belongs to us. I wanted to portray this arrogance.”

Unfortunately, not everyone shares this view. During our conversation, the photographer referred ­several times to an incident that touched a nerve for him and countless African women. “A few days after Donald Trump was elected, a white woman in some backwoods town (Clay, West Virginia) posted a message on Facebook saying: ‘It will be so refreshing to have a classy, beautiful, dignified First Lady back in the White House. I’m tired of seeing a [sic] Ape in heels.’ The female mayor of the town replied saying: ‘You just made my day.’ That idea that anyone would call Michelle Obama an ape in heels … I’m lost for words. And what she said is just not true! If any woman to recently walk inside the White House has been stylish, then it’s Michelle Obama. Don’t underestimate the impact of such a hateful comment on African women. Because if the First Lady of the United States is called an ape in heels, then what are they?”

This led to another photo, showing a different perspective. In the portrait, a black women embraces a white man who has his head on her shoulder. “This photo says it all, ” says the photographer proudly. “We white people are letting go of our supremacy. She’s saying: ‘Come into my arms, I know you feel bad, I’ll comfort you.’ It’s another way of looking at things.”

“If the First Lady of the USA is called an ape in heels, then what are they?”

“We need to learn to live in a world in which we as white people must, at the very least, question this supremacy. It will only help us move forwards. We are evolving into a mixed world, whether we like it or not. So please let go of these stupid prejudices. We need to learn to cooperate with each other in business, to start partnerships. It would be great if we could bring more students from Africa here to show them how we organise our society so they can implement that in their countries in a way that works there.”

In his recent work, Eddy Van Gestel has dared to push back against this racism. He says himself that this Facebook post inspired him to add a touch of provocativeness to his book. Perla Nera includes a



and Africa has one major thing going for it − it’s still seen as an authentic place.”

Another noticeable theme in Eddy Van Gestel’s work is the use of contrasting backdrops. Some women are photographed against a background of crumbling walls and doors with flaking paint and others are photographed in a luxurious swimming pool wearing expensive clothes next to a neatly combed, almost domesticated, lion. He is now planning to expand on this somewhat surreal approach. “My next project will be called Anachronisms. I’ll photograph African people – not just women, necessarily – in portraits with typically western elements. In the Omo Valley in Ethiopia, for example, I’m going to photograph women with lip plates while they listen to music wearing flashy headphones. I want to make our world prematurely clash with theirs. Another book will be called She, and will be the follow-up to Perla Nera.”

“Young Africans with access to the internet and smartphones now see that the rest of the world is light years ahead. They see what’s for sale and how they could potentially live their lives. You can be happy or sad about that but it’s the reality of what’s happening. You can’t blame people for wanting to improve their standards of living. Will that go hand in hand with a loss of authentic culture? Definitely. If you want to see the Africa of today, you should hurry up. In 10 to 15 years, part of that authenticity will be gone.”

Authentic Africa The 53-year-old photographer uses old, traditional, medium-format analogue cameras, scans the negatives and makes large-scale prints of up to 2.5 m in height. He sells the photos in his gallery in Antwerp where he encounters some surprising reactions. “Aside from aesthetics, the fact that they’re shot in Africa proved to be a real draw. I never thought about it beforehand, but we live in a world in which barely anything is still real. We long for authenticity

Eddy van Gestel’s sensitive, top-class photography was transformed into a book by Graphius. Look on pg. 1 to find out how you can win a copy of Perla Nera.




French gastronomy

with flair

A creative spirit often needs a strong, forward-thinking business partner. Knowing this, French three-star chef Yannick Alléno relies on Florence Cane. As discreet as she is flamboyant, she is the mastermind behind the group that bears his name. While he is reinventing French sauces and raising his culinary art to such a formidable level that he is considered a visionary, she manages their joint enterprise – which includes a magazine of its own. Together, they run sixteen restaurants in all, on three continents. Yannick Alléno and Florence Cane established the Groupe Yannick Alléno in 2008 to realise their creative dreams and spread a certain art de vivre around the globe. When they started with the Group and Yuzu, its supporting company, their first idea was to open new restaurants together. Two years after, their plans had been extended and the Laymon publishing company was founded. One of the items Laymon publishes is YAM (short for Yannick Alléno Magazine), a culinary magazine for chefs and lovers of haute cuisine. “At a given point, we realised that many young chefs have poor access to knowledge and expertise. Of course, there are numerous valuable, impressive books by Yannick Alléno on the market, but these are simply beyond the financial means of a starting chef. Our answer: a two-monthly specialised magazine in a smart lay-out for the price of two packets of cigarettes”, explains Florence. Initially, YAM was all about the three-star chef himself. Each edition featured thirty of his recipes. The work of other prominent chefs in haute cuisine were presented only briefly in the magazine. “After some time, we thought it an opportune moment to cede the floor to other top-class chefs and to showcase their recipes and explain their techniques. YAM has become Le magazine des chefs ever since”, clarifies Florence. Nowadays, YAM is also available in a both digital and Englishlanguage version. It goes without saying that Yannick Alléno is kept fully informed of all the decisions made by the editorial team, even if he does not appear in the relevant article. “We see or speak to one another © Stéphane de Bourgies

every day, so we can easily seek his approval. His input is always welcome, of course.” This close collaboration demands mutual trust. Considering the many activities undertaken by Groupe Yannick Alléno you have to be able to demonstrate the necessary versatility and flexibility. “I try not to bother him with material constraints, so that he has the creative freedom he needs. As manager, I – together with my team – am constantly juggling all the topics related to our enterprises, and that at international level. We develop and manage the restaurants, while he invests his energy and personality in them”, confirms Florence. Similar to the world-class chef himself, YAM aims to be ground-breaking and everything but traditional. A powerful graphic representation and pertinent information are a key part of this. Florence explains: “YAM has an identity all of its own. We dig deeper and seek beyond the trends of a particular year or season. Additionally, we continually question ourselves and involve our community of YAMoureux in the dialogue. Only by adopting an approach like this can we continue to grow.”

Amaze your guests with your very own haute cuisine, based on the inspirational recipes of Yannick Alléno and other top-class chefs. Look on pg. 1 for instructions for winning a set of YAM magazines!




New culture Two hundred years after it was founded, Ghent University is preparing for a toast: to its illustrious history, the appointment of a new rector and the publication of a reference work written in a well-written, narrative style. An interview with author Gita Deneckere, Professor of History.

The social role of Ghent University has an impact on not only its student body, but on the entire ­population of the city. Did you opt for a narrative style of writing with the intention of making this book accessible to non-academic audiences? As a dedicated historian, it has always been my goal to reach an audience broader than only the select group of my fellow academics. The only way to appeal to the broader ­public is by telling stories; not by writing dry academic jargon that can only be understood by specialists. This book has enabled me to fully develop my passion for writing. More than ever before, I was able to liberate myself from the constraints imposed by academia and try my hand at writing in a narrative style. I hope that our students will also read the book, so that they will be able to discover how their own discipline is embedded in our society. By learning more about the context in which the University has grown you can link a microscopic study to the broader social framework, look beyond only the small domain in which, as a result of increasing ­specialisation, science is often imprisoned.

We are once again effectively Iedereen UGent (translation: ’Everyone is Ghent University’, ed.) What are the primary issues facing the new co-rectors? Following the Second World War, there was a strong focus on democratisation at both university and political level, with a view to persuading students other than those from the ranks of the elite to opt for a university education. This role formerly played by the university as a vehicle for emancipation has been virtually erased. This is due to successive budgetary cuts, higher admission fees, transitions in policy, and so forth. On the one hand, you see that the population of our lecture halls remains primarily white, while on the other hand you see that ethnic minorities – which comprise 30% of Ghent’s youth – can barely find their way to the university. This is not so much a question of cultural differences, but a democratic deficit. There is a great deal of recruitment work ahead. In my opinion, the increasing Anglification of our universities is linked to this democratic deficit. History has shown how the Dutchification of Ghent University attracted an increasing number of students who were not part of the French-speaking elite. The battle for Dutchification was a battle for democratisation. What we see today is that the university is making an effort to attract more international students, and precisely in a period that the democratisation aspect is ebbing away. People are no longer thinking of the recruitment possibilities in their own country, in their own city. Additionally, no consideration is given to the social implications of this transition to English (as the academic lingua franca, ed.) It raises the threshold for people

Were the difficulties in appointing a new rector detrimental to this anniversary year? These difficulties have unfortunately cast a shadow. Many people expressed themselves negatively about Ghent University during the election period. But now that the excitement surrounding the ­celebration of Iedereen UGent has subsided, peace and quiet have been restored. It kindled so much enthusiasm that tensions simply melted away and everyone is now able to act courteously towards one another.


who have not grown up in a privileged environment where proficiency in multiple foreign languages is self-evident.

women, but there is a need for a new culture for which I believe the foundations were laid in the past four years. Anne De Paepe succeeded, for example, in spectacularly feminising the governing bodies by going much further than the gender proportion set out by decree.

To which extent have you, as a figurehead of gender history and equality, allowed yourself to write this book from a feminist perspective? Ghent University genuinely played a pioneering role in the field of gender emancipation and gender rights at different moments and in different fields. I am alluding particularly to the new ideas that were launched about birth control in the 1960s. It is partly thanks to the professors at Ghent University that we were able to speak more openly about sexuality, and also about female sexuality. Also, the liberalisation and decriminalisation of abortion was a major topic for discussion at the University. The same app lies to the rights of homosexuals and breaking the taboo around gender changes. These are all elements that are clearly substantiated in my chapter on ’Gender and Sexuality’. Of course, the ability to look at the development of this theme over the course of 200 years and link it to the history of the University, where still only a small percentage of women are able to break through the glass ceiling, is bound to unleash a discussion. As a female professor, this is an issue that I am prompted to repeatedly bring to the attention of the governing bodies.

Which glass ceiling must urgently be broken? If you look at the number of female students and PhD candidates, the disproportion between male and female in the professorial body is still far too large. The further you rise up the hierarchical ladder the clearer this becomes. It is a misconception that men and women must be treated equally. It is exactly because of this equal treatment that women fail to reach their highest potential: it is precisely because they bear children, and frequently in the crucial transition period that leads from post-doctoral researcher to a permanent position. If you were to look at publication files only in quantitative terms – which in itself is not the best way to recruit people, regardless of the gender issue – it is clear that the number of female researchers who ’drop out’ is abnormally large.

Uit de ivoren toren: 200 jaar Universiteit Gent (translation: Out of the ivory tower: 200

Is the University still a bastion of male supremacy today? As the first female rector, Anne De Paepe has not had an easy time, but she has certainly set a turnaround in the university’s governing culture in motion. Her appointment as a rector has always been of more than symbolic value alone. It has become clear that a change is needed. This can only be brought about through a shift in positions of power. Of course, this doesn’t mean that these should be held exclusively by

Years of Ghent University, ed.) is an edition of Tijdsbeeld & Pièce Montée and was printed by Graphius. Win a copy by participating in our contest and delve into the history of Ghent University.


Head in the clouds Mount Kailash is to several religions what Mecca is to Islam. Photographer Olivier Föllmi, who has always fostered a keen interest in the Himalayas, went in search of the essence of this mystic place: “A passage around Mount Kailash: this is leaving to die, and accepting that you will be reborn a changed person.”

33 33



Considered by many to be the centre of the world, a giant ­mountain in the Himalayas is the wellspring of the greatest rivers of Asia: from here, one river flows in each of the four cardinal directions, ­effectively dividing the earth into four sections.

108 times (a holy number in both Hinduism and Buddhism). It goes without saying that not everyone is able to observe this guideline, but many faithful wish to complete this pilgrimage at least once in their lifetime.

It is also an enchanting place of pilgrimage. The name Kailash means ’crystal’ in Hindi, and the Tibetans call the mountain ’precious jewel of snow’. To the Hindus, Tibetan Buddhists, Bön and followers of Jainism, Mount Kailash is a holy place. This is where Shiva lives, the God who makes the world and understands it by dancing. Pilgrims come here to cleanse their inner beings by walking around the mountain in a circle: nobody is allowed to ascend to the 6,714-metre peak of this holy mountain. The ’kora’ (derived from the Latin circum ambulatio, a walk around something) is 52 kilometres long, which is completed by some pilgrims by bowing, kneeling, lying full-length on the ground, rising to the knees, praying, and then crawling to where his/her hands touched the ground while lying prostrate. This process is then repeated in succession. It is said that full enlightenment will come to those who have completed the entire c­ ircumambulation

Franco-Swiss photographer Olivier Föllmi had to be patient for 40 years due to political, budgetary, climatological and planning constraints, but he was finally able to live his dream. Föllmi ascended to the clouds, accompanied by his good friend Jean-Marie Hullot, one of the driving forces behind Steve Jobs’ Apple and one of the geniuses credited with the original idea for the iPhone. The acclaimed photographer captured the spiritual ground in photographs, and its soul in portraits. “I try to portray the intensity of a shared moment. And this intensity starts where the awareness of time dissolves. The intenser the moment; the less important time appears to be. This is why my photographs are timeless. If you are standing on top of a mountain, in harmony with nature, your perception of space is adjusted by the immensity of nature. Only then will you understand the frailty of mankind.”





Pèlerinage au Tibet, autour du Mont Kailash

Birmanie, la terre d’or

“On this journey, which led us to the holy mountain, we became a simple link in the eternal chain of pilgrims who have walked, since time immemorial, the desolate and dangerous paths of a world where high mountains and wilderness alternate with the infinite space of the Tibetan plateau.” - Lama Anagarika Govinda


Entre ciel et steppe, la Mongolie de Gengis Khan Graphius has printed photo books about Tibet, Birma and Mongolia for Editions Hozhoni. Our readers can enter a contest to win the entire series on pg. 1.

news PREPARED FOR THE ELECTIONS Graphius is currently engaged in the development of an online shop tailored to the needs of local government bodies in close collaborating with Schaubroeck, the group’s latest acquisition. With the Belgian provincial, municipal and district elections of Sunday 14 October 2018 on the horizon, local and municipal government bodies will be able to order all their print work online here, as well as many other products ranging from pencil sharpeners and Mayors’ sashes to voting booths.

EXCLUSIVE PRINT WORK, ALSO AVAILABLE ONLINE Another project in the digital pipeline is the creation of an online shop for exclusive print work. We cannot reveal too much information about it right now, except for the fact that we aim to contribute significant added value, for both the market and our prospective users. To be continued …

ELECTRIC CHARGE POINTS At the end of 2016 the world vehicle fleet counted more than two million electric cars. This number is growing rapidly, to the extent that the majority of all cars are anticipated to be electrically-powered by 2040. Graphius likes to think ahead and has installed a charge point for electric vehicles, with a maximum load capacity of 2 x 22 kW, and therefore suitable for two cars to be charged simultaneously. It is Graphius’ longterm ambition to drastically reduce its CO2 emission, including that of its vehicle fleet. Through the installation of this electric charge point, we aim to stimulate the use of more sustainable modes of transport, for both our customers and our employees.

HVAC CLIMATE CONTROL We recently had HVAC systems installed at our printing and bookbinding businesses in Ghent and Beersel. HVAC is the abbreviation for “heating, ventilation and air conditioning”, and is therefore a climate control system. The heat pump is equipped with a sensor that detects whether or not air must be drawn into the building from outside to adjust the climatological conditions. Additionally, this outside air is filtered before being distributed along a system of ducts. This system is also able to heat or cool the air inside a building by sending it across the water pump. The installation of HVAC systems is intended to improve the ergonomics and comfort of our employees.




What Louis Vuitton, Moët & Chandon and Hennessy: these three have formed the LVMH Group since 1987, a conglomerate representing at least 70 exclusive luxury brands and that promotes its great love for classical and contemporary art through the Fondation Louis Vuitton. The Fondation Louis Vuitton comprises the private art collection of Louis Vuitton CEO Bernard Arnault and that of the entire LVMH Group, and is housed in a splendid building designed by renowned architect Frank Géhry. The museum drew half a million visitors in the first six months after its opening and expanded its collection in October 2017 with the addition of two hundred works from the Museum of Modern Art (MoMa).

“Our business model is based on a long-term vision that builds on the heritage of our Houses”, explains Arnault. “Savoir-faire, creativity excellence and creativity: this combination is the driving force behind LVMH.” It clearly illustrates LVMH’s philosophy today: its feet firmly anchored in a solid past but with its gaze trained on the horizon – a determining factor in shaping the company.

The Foundation’s atmosphere is suffused with grandeur, luxury and class, completely in line with the LVMH Group’s image: grand luxury. Although the museum is accessible to the ­general public, the works of art it contains – similarly to most of the products by Louis Vuitton, Moët & Chandon and Hennessy  – can only be afforded by the happy few. Nevertheless, those who can, are able to immerse themselves in an unprecedented offering of wines and spirits, fashion and leather goods, perfume and ­cosmetics, watches and ­jewellery and ­distribution. A few brands? Glenmorangie, Veuve Clicquot, Krug, Chaumet, TAG Heuer, Donna Karan, Fendi, Givenchy, Guerlain, Kenzo Parfums, Royal Van Lent Shipyard and more.

After all, LVMH is much more than only a collection of luxury brands, albeit an impressive one. The Group is also profoundly dedicated to safeguarding and restoring cultural heritage; not only in France, but all over the world. Additionally, LVMH supports young artists through scholarships and grants. Arnault has made it his personal mission to enable as many people as possible to be introduced to the most significant exponents of art history. Besides its interest in promoting art and culture, the Group has set a number of climate goals for itself through its LIFE programme: LVMH aims to reduce its CO2 emission by 25%, to work with only most environmentally-friendly resources possible in at least 70% of its production processes, and to reduce its water and energy consumption by at least 10% by the year 2020.

The life of Louis

A chunk of history

LVMH is the world’s largest conglomerate with 400 shops worldwide and a turnover of 37.6 billion euros in 2016. Bernard Arnault is not only a man with a vision; he is also a man with a fortune that will make you dizzy. The chief executive officer of LVMH is reputed to be worth at least 64 billion dollars.

Long before they became part of this large conglomerate, Moët & Chandon and Hennessy had already merged into a single company in 1971. And even if the LVMH Group is celebrating its 30th anniversary this year, each of its various brands boasts a lengthy history. Moët & Chandon was established in 1743, Hennessy in 1765 and Louis



Vuitton in 1854 and the oldest brand operating under the wings of LVMH, Château d’Yquem, even dates back as far as 1593. As such, there is considerable craftsmanship beneath one and the same roof.

segment and Moët & Chandon and Hennessy were able to prevent a takeover. Both houses were thus able to retain their own sub-brands.

Historically speaking, Vuitton has always been a purveyor of luxury goods to France’s wealthiest class. It was in the second half of the 19th century that Vuitton himself anticipated on the social changes that have taken place since then. He gained considerable renown for his high-quality steamer trunks and other travel accessories, even far beyond Paris. However, he could not have dreamt that his business would grow into the crown jewel of a worldwide luxury empire.

CEO Bernard Arnault saw ample opportunities for expansion in the 1990s. Anyone who had ever attended a lecture by Arnault could not possibly suspect that such a hard negotiator lurks behind the façade of this affable-looking man. In the world of luxury goods he is known as the ’Napoleon of luxury products’ and ’the wolf in the cashmere coat’. In 1999, one acquisition followed on another, with a collaboration with Prada as the cherry on the cake, bringing LVMH one step closer to acquiring Fendi. Prada bought Fendi, and LVMH acquired Prada. The larger the fish; the more it will eat. And the proof of the pudding is indeed in the eating: in April 2017 LVMH acquired the remaining 25% of shares in Dior, making the conglomerate the largest player on the international luxury goods market today. 

The wolf in the cashmere coat

In 1820, Moët & Chandon was engaged in the “modest” production of 20,000 bottles. This number increased rapidly: only 50 years later production had risen to almost two million. Moët took over several other players in the luxury goods market, such as Mercier, and started making eyes at the acclaimed Parfums Christian Dior in 1970. Of course, Moët took over Dior a little later, with which it embarked on an adventure in a branch of industry that was entirely foreign to it at that point in time.

The LVMH art catalogues were printed by Graphius at the order

With the merger of Louis Vuitton and Moët & Chandon and Hennessy in 1987, Vuitton increased its luxury articles market

of MoMA, in several languages and with various covers.




From Jaipur to Iznik When Simon Ray started working for Spink & Son in 1985, he could never have predicted what his life would be like in 2017. He started at Spink as a porter, climbing the career ladder run by run to Head of the Indian & Islamic Art Department. Decades later, he has become an internationally renowned art dealer with a gallery in London that bears his name, and which he runs together with his two former colleagues. In 1993 Christie’s international auction house took over the Spink Many of these works of art are connected to religious movements, Gallery in London, specialised in Oriental art and British painting. including Islam: a subject that is rather sensitive in our ­turbulent This became the department at which Simon Ray would work for times. However, this has little impact on the trade in fine art, some fifteen years, until Christie’s decided to terminate this part of its according to Edwards: “It is true that some of the items we sell activities in 2001. It was then that Ray – trained in the restoration of are associated with religious worship in one way or another, but British furniture but with ample experience in art dealing – pounced – and our customers see it like this also – these works were also on the opportunity to take created for decorative purover the collection and start poses. The most important his own art gallery across aspect is their value as a the street. His colleagues work of art, their beauty. at the time, Leng Tan and Our collection is removed William Edwards joined from the religious and him. “Finding employment political world. Of course, in the fine arts sector, and you can consider these William Edwards particularly with an emphaworks in light of their edusis on a style or art movement that suits you, is terribly difficult. We cational value: they certainly do teach you about other, fascinating understand all too well how lucky we were”, recounts Edwards. cultures. Still, in this sector this aspect is restricted to an amicable topic for small talk with your customers.” From thirteenth-century Iranian ceramic plates and sixteenth-­ century tiles with calligraphy from the Turkish city of Iznik to gold Wooden and ivory sculptures, colourful ceramics, centuries-old and enamelled jewellery from Jaipur: you will find the most ­beautiful textiles, beautiful jewellery from bygone eras and faraway and valuable pieces from Arab and Asian art at the Simon Ray ­cultures: the collection can be called impressive, to say the least. Gallery. Of course, they are not here solely to be admired: every piece Additionally, it is very much in demand. “Our clientèle is composed on ­display here is also available for sale, even if some of them are primarily of museums and collectors. Approximately 90% come loaned to museums from time to time. from Europe or the United States, but we sell our works as far away

“Our contacts at Graphius understand perfectly what we want and make sure that every aspect reflects our house style.”


as China or Malaysia. Our buyers in the Middle East, the buyers are primarily royal families and national museums”, continues Edwards.

And this result is indeed splendid: on your coffee table, in your bookcase, to show off your good taste or latest purchase to your family and friends. According to Edwards, technology and the rise of online media will not lead to the end of paper catalogue. He concludes, with a smile: “I am certain that we will be producing our printed catalogues for years to come. Clients like to have a physical medium with which to view our works of art.”

To inform interested parties of its current collection, the Simon Ray Gallery publishes a catalogue of its most recent purchases every year, in collaboration with Graphius. “Around seven years ago our graphic designer Peter Keenan brought us into contact with the printing house. He had already collaborated with Graphius on various projects and was delighted with their capabilities”, explains Edwards. Each and every catalogue is a tremendous accomplishment. It takes the gallery four to six months to compile every new edition. Peter Keenan gives his creativity free reign and ensures that the layout is in perfect order. “He is highly talented, has a keen eye for detail, up to the position of the text and the illustrations. Also, our permanent contacts at Graphius understand perfectly what we want and make sure that every aspect reflects our house style. During the course of all these years we developed a relationship based on mutual confidence. The result is a genuine team effort”, confirms Edwards.

Are you a lover of art from faraway places? Or do you like to show off your unique taste? Take part in the contest on pg. 1 and perhaps you will soon find this magnificent catalogue in your post box!



WE EMBODY PRINT At Agfa Graphics, print is part of our DNA. Relying on 150 years of experience, we not only develop sustainable solutions for both offset and inkjet printing, we also open doors to new print markets and applications, including smart packaging, security and industrial printing. The ultimate aim? Creating value, enabling you to grow. 49


comic books

Return of the zombie Fifteen years after the first zombie bite, the Walking Dead series is still at its peak, not only as a comic book series, but also on TV. Its fan base is gigantic. The comic book series is published in more than thirty languages and practically the entire world is glued to the TV screen each week, spellbound. Still, artist Charlie Adlard feels the zombies are “actually of secondary importance”. The undead: yearning for that one bite. And for blood. Their roots can be traced back hundreds of years ago to African and Caribbean folklore, and in contemporary pop culture they have scared us out of our wits through films, literature and comic books. Zombies are supposed to live forever, but in the 1990s they appeared to have been erased from the surface of the earth. Until now.

immensely popular. Then, it collapsed in ruins and now it has made a full-scale comeback. The same applies to zombies. There was even a period in which all famous American superheroes were given a zombie makeover, and made cameo appearances as corpses. Hilarious. Of course, every excuse to create a zombie comic book is good”, he says with a grin.

International breakthrough

The Dutch publishing house Silvester started publishing The Walking Dead in graphic novel format in 2010. However, scriptwriter Robert Kirkman and artist Charlie Adlard have been ­captivating readers with their monthly comic book series in the United States since 2003. The first season appeared on television in 2010, directed by Frank Darabont, who had previously brought Stephen King’s The Mist, The Green Mile and Shawshank Redemption to the silver screen. The series is broadcast in 120 countries and is now in its eighth season. What’s more, even a spin-off series has been launched: Fear The Walking Dead.

What is most remarkable, says Adlard, is that the genre has suddenly regained popularity all over the world. “I believe that The Walking Dead appears in twenty to thirty different ­languages. It is even popular in Russia and Japan: countries where books normally are not reprinted. And when they do, they choose a zombie comic book: a series in which living corpses try to inflict living humans with the “bite of death”, year after year. Incredible. Whichever way you look at it, we had the support of a broad public. It may have something to do with the Zeitgeist. I think our fans are between the ages of fourteen and seventy, with an emphasis on the twenty to forty-year-olds. One thing I know for sure is that our series is read by lots of women, which is absolutely marvellous considering that the comics industry is dominated by men. That they choose to read horror might be because of the interesting female characters in The Walking Dead. I have an idea that the ladies prefer our approach to the

The popularity of both the TV series and the comic books are astonishing for a genre that many think had slowly fallen into oblivion many years ago. “Everything goes in cycles”, is the ­explanation offered by British cartoonist Charlie Adlard (51), who made this series famous, for the remarkable comeback. “You can compare it to the vampire genre. Fifteen years ago, it was


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traditional way of presenting horror. You can say the same about the TV series, by the way.”

that I was immediately enthralled by the idea of illustrating a zombie series. What ultimately made me decide to take this on was not because of the zombies in the book, but the characters and their psychological development. And, in the end, that is exactly what makes the entire series so interesting. It’s about a group of people who do not share any common interests, but who end up in dire circumstances where they depend on one another for survival. One of them dies soon, another undergoes strong personal development or becomes better acquainted with certain facets of his personality. It’s actually

Dead protagonists Nevertheless, Adlard readily admits to have been completely unprepared for the iconic status achieved by The Walking Dead. “To be honest: at first, zombies weren’t really high on my ’most wanted’ list. On the other hand, I wasn’t against it, either: I actually liked films like Shaun of the Dead and the zombie films by George A. Romero. Still, that doesn’t mean

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quite simple: everyone loves a good zombie, but to tell the truth, their main purpose is just to propel the story forward. It is thanks to their presence that the main characters, the real people, undergo personal development. The zombies are actually only of secondary importance.” Walking Dead starts in a hospital, where sheriff’s deputy Rick Grimes has just woken up out of a coma. When he leaves the hospital and ventures out, he encounters one zombie after another in a city run almost entirely by the living dead. He travels to Atlanta in the hope of meeting up with his family and unexpectedly finds his wife and child, who are travelling through the US with a group of people searching for survivors and a permanent safe place to live. What’s remarkable is that the main characters are not, by definition, the ones who survive. Several key protagonists have already met their deaths. Adlard: “It’s true that the main group is thinned out rather quickly. But that is precisely the strength of the series. Few comics eliminate their main character. Rick is at just as much risk as any one else. I believe that this gives the series that little bit extra that makes the difference.” Adlard says he doesn’t know how or when a series like this will end. “Still, I would want it to end with a bang instead of digressing from the initial set-up just to keep it alive for the sake of its vast popularity.”

Just a few ordinary guys The TV series, which was broadcast for the first time seven years after the comic books first appeared, certainly hasn’t done any harm to its spiritual fathers. “Before the TV series, the comics were sold at comic book shops and were remarkably popular even then. Other than these comics, nobody


really knew our work. The TV series enables us to reach a much broader audience. We think that around ten per cent of this new audience wanted to learn more about the origins of the TV series and started to buy our comic book albums. The TV series, whose plot diverts only slightly from that of the comic book series by introducing new characters or slight alterations to the plot has been an incredible help to us in getting more readers. The high quality of the TV series can probably be attributed to the fact that its creators are genuine fans. Everyone who collaborated on it thought it was brilliant. It may sound like a cliché, or seem like a typical American elevator pitch, but we quickly knew that it was true.” Is he becoming tired of always having to draw zombies being stabbed through their skulls, innards spilling out of their bodies and torn-off limbs? Wouldn’t he like to draw something pleasant every once in a while, like flowers, sunshine or happy people? Not really, says Adlard, smiling. “Drawing The Walking Dead may actually be a lot easier than writing it. All I have to do is draw what is being described. Just don’t think that we, as the creators, are half-crazed and depressed and walk around in rugged leather trench coats. Robert (Kirkman, the scriptwriter, ed.) and I both grew up in small towns, have a wife and kids and go about dressed in ordinary t-shirts. Actually, when I think about it, it is even a little absurd that we – of all people – have become the two blokes currently running the zombie universe,” Adlard concludes, laughing loudly.

Walking Dead is published by Silvester after it rolls off the presses at Graphius. Take part in the contest on pg. 1 to win the two most recent albums.


marketing print work

Number one in vouchers

“Customer experience is essential. Promoting your product at an opportune moment, at the right place and under the ideal circumstances: only then will you be able to reach your specific target audience.” Useful advice from Didier Navette, marketing manager at HighCo Shelf Service. HighCo Shelf Service – part of the European HighCo group, active in seven countries – is specialised in in-store marketing. The company assists brands and retailers with promotional materials, in-store media, merchandising and sampling. Shelf Service distributes samples and discount vouchers, primarily through its sales points and in any case through its existing network, and always using a highly targeted approach: “Imagine that your client sells cleaning agents and wants to promote its products. What we would do in this case would be to give professional housecleaners samples of our products with an accompanying folder to give to the people they work for. If our client were to sell orange juice, for example, we would hand out free bottles of orange juice at bakeries where breakfast goods are sold. This approach lets you achieve results much faster!” Aside from this targeted approach, omnichannel marketing and maximum visibility are also of crucial importance. Navette: “If you want to draw prospective and returning customers to your shop, you have to make sure that you are present everywhere: TV commercials, posters outside on the street, a website, discount vouchers, clear information in your shop, and so on.” These marketing solutions clearly produce successful results, because quite a few big supermarkets like Carrefour, Makro and Delhaize rely on the services and advice provided by Shelf Service. “We provide our clients with a creative briefing for each project. Next, our goal is to create the ideal circumstances for the promotion of the relevant product, in which we even include such aspects as light and scent.”

We take every detail into consideration, including the most suitable quality of paper for vouchers, brochures or posters. A refrigerated or damp environment? Tear-off strips? Stickers? “This is precisely why we like to collaborate with Graphius. You think along with us, every step of the way”, affirms Didier Navette. Shelf Service is also the number one supplier of vouchers in all of Belgium. Additionally, our country is the European champion in making actual use of discount vouchers, according to a study conducted by HighCo. The Belgians cash in between two and three times more discount vouchers than the French. Why is this? “The physical aspect of a discount voucher is still very important. A voucher is money. This is why we usually print our vouchers in the same format as a twenty or fifty-euro banknote”, explains Didier. “What’s remarkable is that the actual price of the product is only of secondary importance. The idea of getting a good deal is more appealing to us than buying a similar product at a lower price without a discount.” 

You may never have given it any thought, but your printing house is present in the supermarket, too! HighCo Shelf Service’s marketing print work is produced by Graphius.


corporate social responsibility

More relevant than ever before

To many people, the Movement Without a Name is synonymous with its monthly aphorisms. However, the organisation is much more than that: “We aim to give the nameless – everyone who is left out or excluded – a voice and to strengthen them so that they can be full-fledged members of our society”, says Director Anniek Gavriilakis. The Movement Without a Name is a social entrepreneur that is funded by the government by 5% and enjoys substantial freedom of choice. “In ­concrete terms, this means that we offer support to projects such as ‘De Sociale Kruidenier’, provide the homeless with assistance, help people make ­decisions in assuming their responsibilities and improving the quality of their lives, and so on. We want to engender social engagement among the greater public and persuade them to embrace solidarity and let go of fear.”

a prison every year: all with the purpose of helping these visitors become better acquainted with the person behind the cliché. This confrontation brings things into a much clearer perspective.”

Donating to the homeless. Do or don’t? This year there was quite a stir about homeless ­people. The ‘Project Axel’ TV programme donated 10,000 euros to the homeless and provided them with assistance to free them from their unfortunate position. “To be honest, I had very mixed feelings about this”, says Gavriilakis. “Is 10,000 euros per capita enough to resolve the homeless issue? This problem is often more deep-rooted than financial concerns. What also irks me is this: for every ten homeless persons selected to participate in the programme, there are ­hundreds of others who are left out. To me, the question that remains is: what is basic social aid and what do the homeless and other deprived persons need? These are the issues that we should be addressing.” 

Fear is a bad adviser In our polarising society people tend to think only in terms of black and white, and with little room for the grey tones in between. The Movement Without a Name has, however, noted a social shift. Gavriilakis: “Fear is causing people to retreat into their shell. Clichés become truths. Not all people in prison are psychopaths; not all ­refugees are freeloaders or terrorists, and so on. As an individual, you can choose to join in that discourse, or do some independent research. This is why we invite our people to slow down and be more tranquil, to listen to their inner selves deeply and with empathy and to give others and society more space. We organise encounters with refugees and with present and former inmates; we take a group of people to visit

Graphius prints annual calendars, calendars with a daily aphorism and monthly aphorisms for the Movement Without a Name. If you would like to support what this organisation does with a donation or by purchasing a gift, visit



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Graphius Magazine n°06 EN  
Graphius Magazine n°06 EN