LAdV x GORDON GU: The Alchemy of Art

Rolf von Bueren the founder of LAdV and Gu Hailong the founder of GORDON GU

A DIFFERENT CHINA

When one looks at China today, it is not the same country it was ten years ago. At present there are perhaps 10–13% millionaires within the population who can afford nearly anything. The rest have a stable, good income, but they are not sitting on large financial reserves. The present government is trying to increase that 10% of millionaires to 30–40% by cutting out the extremes. Import duties on foreign designers, which once stood at around 60% of the gross value, have been reduced to roughly 30%. Anything of extreme value from foreign design has been reduced in order to reach the lesser income level and make foreign designer products more accessible to a larger audience.

In the past, Chinese society was structured in very defined sections. There was the scholar class — those who had both the taste and the means to acquire high-end luxury objects. Everything, including our own creations, was naturally tailored towards that section. But that structure no longer holds in the same way and has changed and we have to change with it. Today the market is different. The Chinese have great taste, but that taste has now spread into classes that previously had no access due to financial imbalance. It is a far more even playing field.

LAdV x GORDON GU Design Collection At The LAdV Gallery

The luxury market in China no longer concerns itself with whether you come from a rural village or a political dynasty. If you can afford the product, you are part of the audience. Money is no longer attached to background; it is attached to the individual. This differs from countries such as India, where family name, caste, or regional origin often still influence social standing regardless of wealth.

Many customers in China today have little historical reference to draw upon. They are not necessarily anchored to inherited cultural frameworks. They believe the advertiser; they believe in the beauty of what they see. If a guest or a friend sees a piece and says “wow, this is beautiful” — that reaction reinforces the acquisition. If their circle approves, they buy more.

Frosted and Fiery Imperial Dragon

Sunfire Imperial Dragon

Spiritual White Mist Fu-Lu-Shou Trinity

This collection with Gordon Gu is therefore not simply about material or appearance. It is an effort to penetrate the Chinese market in a different way. The aim is to trim the price down in order to reach a wider audience — to introduce high-value items by costing them down so as to attract the 85% of the market who cannot afford to pay the very large sums. The 15% who can afford anything will continue to buy the big names. They are not concerned about price; they wish to show affluence and purchase large brands as a symbol of status. That segment will always exist.

For Lotus Arts de Vivre, around 70% of our turnover comes from very expensive items. We are trying to expand the remaining 30% of accessible items to perhaps 40–50%. The average price of these pieces is significantly lower than a single object we might sell for 10 or 20 million. We are attempting to create a counterbalance to the very expensive clients we entertain. Those relationships, however loyal, are brittle. These clients are constantly bombarded by communications, courted by major houses, invited to fashion shows in Milan, grand openings of flagship boutiques. I recently visited one of our faithful customers who owns many of our works, a person of excellent taste. But we cannot only focus on existing customers and forget to attract new customers and diversify. We can adapt many things, but never the quality, style, and craftsmanship that define Lotus Arts de Vivre. That remains absolute.

The idea is to replace everyday used products with better-designed, more attractive, yet functional objects to hook customers to our brand. In this way, customers begin with a small purchase and grow with us according to their financial possibilities, gradually building a more substantial relationship with the brand.

Frosted Liana Candle Holder

GORDON GU

I admire Gordon Gu because he has taken over a very large company and recognises the need for change. His English is not particularly fluent, yet the way he has established himself within his tea plantation — with houses and rooms that are absolutely breathtaking and out of this world — is just fabulous.

There is a natural tendency in him to produce items with a high level of class, but within the possibilities available. At present he primarily uses a material he calls glacier crystal. Once the launch has taken place, we will see the reception. If the response is positive, I am sure that he will develop different products using different raw materials at different price ranges. Expansion will depend on perception.

Gu Hailong and Rolf von Bueren: A Dialogue of Masters

His business model differs from ours. We feel the pulse of the market directly because we deal with customers every day and maintain deep interaction with them. He supplies to retailers and dealers; his connection is more indirect. His annual turnover averages around two billion US dollars – he is a very successful businessman. Within his city his influence is tremendous, although in proportion to the size of China one must view that scale realistically. Nevertheless, he is an influential man.

He is also a very adventurous spirit. Wherever we take him, he is willing to explore. In Mongolia, for example, he initially did not wish to come to the camp, but once there he enjoyed every moment of it. He has an interesting way of looking at things.

The Chinese are very direct in business. There is little emotion involved. They do not focus on the past, on history or sentiment; they focus on the present and on what is useful now. If a relationship no longer serves a purpose, it is set aside. In China, business is rarely driven by sentiment; it is driven by what works in the present moment.

Glacial Frosted Leaf and Carved Teak Leaf Bowl Collection

Suncrest Peacock Bowl with Turquoise Eyes

ADAPTATION AND REALITY

The venue for the launch was not chosen for symbolic reasons. When we operate outside Thailand — whether in India, Hong Kong, or China — we respect local recommendations. Local fashion, taste, and thinking must be included in our products. We still believe in the power of restricted access. When we find partners and organisers who truly understand our vision, we work together to create exclusive experiences. By being selective about where and how we show our work, we ensure that while we are becoming more accessible to the new generation of collectors, the experience remains intimate, special, and deeply personal.

Internally, we require restructuring and cost reduction. Last year’s loss was substantial. We love the business, the product, the craft, and the process so much that we have tolerated losses, but the time has come when we cannot continue doing so. We must obtain better prices and improve margins; losses of this scale are not sustainable.

At the same time, I believe there is a Golden Age coming for Lotus Arts de Vivre. Our value, exclusivity, and unique attention to craft and nature will stand apart from the mass production of Louis Vuitton, Dior, and other brands. If we can make our designs more profitable, that is the key to growth. We need a distinguished pricing model. Our turnover is based on knowledge and appreciation of craft; we cannot continue absorbing losses.

Snowy Bulldog Stool

Morning Mist and Silver-Lit Vase with Iguana 

Ascent of the Dragon Floor Lamp 

China is an extraordinary market. Whoever can crack that market will be occupied for the next one or two years without time for others. We must believe in Gordon Gu. He is not attached to Lotus, but he has observed our success in the West and is attempting to expand that success into China.

Whether products made for China will be profitable and well received — and equally for India — remains to be seen. This will be a very important year. If the reaction in China is strong, a large part of our production may focus there. India is more complex. We work with two jewellers there; it is a difficult market to enter. There used to be a tax-free agreement which was misused and is now discontinued. We do create many Indian-inspired products, and we love to create them. Thailand itself is culturally perhaps 40% India and 60% China, and much of the East is Chinese-oriented in terms of business and production. India is vast and has been greatly shaped by European influences due to decades of colonialism which still hold impact on financial habits and the variety of styles and creations one finds in India. India can become a hugely significant market, but it requires long-term commitment. At present, we sell products in India with a very limited margin because we don’t want to ask too much on top.

There is immense individuality in the world. In India, many people think beyond national boundaries and understand China and Japan; they have international taste. But each market demands its own approach.

Iceglow Swan Lake Bowl

The Gordon Gu co-design is a step in the right direction — it is, in every sense, a journey with our products. This year, we need to see whether we can actually make the pieces for China work: will they be profitable, and will they be well received by the market? It is always a challenge to transfer all the methods and traditions of our craft into a new market without losing the essence of what makes Lotus Arts de Vivre unique. Every process, every attention to detail, has to be respected, even when adapting to a different audience. At the same time, we aim to increase the level of accessibility to a larger audience without compromising on the quality and craftsmanship that defines Lotus Arts de Vivre.

This will be a very important year. We will be watching the reaction in China very carefully, assessing whether the designs, the materials, the presentation, and the overall approach resonate. If the response is positive, it is likely that a substantial portion of our production will then be focused on China. The opportunity is enormous, but it requires patience, precision, and the discipline to maintain our standards even while scaling for a new market.

It is a test not just of the products, but of our ability to extend our craft, to transfer knowledge, and to engage a new audience without compromise. This launch will show us whether the direction we have taken with Gordon Gu is viable, whether it can create traction in China, and whether the collaboration can form the basis of future expansion.