Fintech PR
Redefining and Developing New Opportunities for Luxury Marketing: XIAOHONGSHU and VOGUE Business Host China Digital Excellence Summit in Paris
PARIS, March 15, 2024 /PRNewswire/ — China’s leading social media and lifestyle platform XIAOHONGSHU x VOGUE Business host the China Digital Excellence Summit and Gala Dinner during Paris Fashion Week 2024, on March 4th and 5th. The event, a nexus for aesthetic appreciation, cultural exchange, and creative inspiration, convened in Paris, uniting industry frontrunners from luxury, fashion, beauty, and cosmetics, etc. with digital marketing and advertising experts. Together, they delved into the nuances of digital engagement strategies for luxury brands targeting the Chinese market. The discussions centered on formulating effective digital strategies for luxury brands in the Chinese market, drawing on XIAOHONGSHU’s unique platform that combines a content-rich community ecosystem with a democratized access to fashion. The event aimed to equip international luxury brands with fresh insights for engaging the Chinese market.
Luxury products resonate with timeless aesthetic narratives, with their splendor transcending the gaps of time to craft classics even as trends change over time. China has consistently served as an essential growth engine and strategic market for the luxury sector. According to data from Bain & Company, mainland Chinese luxury consumers are forecasted to account for 35-40% of the world’s total by 2030, with the mainland’s market share expanding to 24-26%.
In today’s dynamic market landscape, the profiles and purchasing behaviors of Chinese luxury consumers are evolving. The youth demographic is emerging as a significant force in the luxury market, utilizing high-end products as mediums for self-expression and individuality. At the same time, trends within the wider consumer base are evolving alongside shifts in their socio-economic profiles, prompting a push towards increased specialization and diversification. The emergence of these new trends heralds an increasing number of possibilities as well as challenges. To harness the vast opportunities presented by the expanding Chinese market, global luxury brands are pivoting towards digital transformation and prioritizing their online marketing strategies. XIAOHONGSHU boasts capabilities in forecasting fashion trends, providing insights into consumer preferences, fostering emotional connections with consumers, developing localization strategies, and driving digital innovation. These advantages have positioned XIAOHONGSHU as the platform of choice for brands aiming to engage with the Chinese market and unlock new opportunities for growth.
The summit was attended by an array of sector trailblazers from XIAOHONGSHU, including Xuanshuang, General Manager of the Luxury, Fashion & Beauty Division; Qingchen, Head of Luxury; and Menghan, Head of Fashion Content. Joining them were Lauren Indvik, Editor-in-Chief and Head of the International Section at VOGUE Business; Adrian Corsin, Managing Director of couture house Mugler; Kenneth Kralick, VP of E-Business at Moët Hennessy; Alison Bringé, Chief Marketing Officer at Launchmetrics; Emilie Bénéteau, Global Influence Marketing, Social Media & PR Director at ba&sh; and Rahul Titus, Global Head of Influence at Ogilvy Group. Senior executives from leading international groups —among them, Kering, Richemont, LVMH, Lanvin, and Puig—as well as from prestigious independent brands including CHANEL, AMI Paris, and Christian Louboutin, were in attendance. In addition, over 100 global brand executives and industry marketing experts gathered to discuss China’s digital creative marketing trends, and share perspectives, sparking new fashion inspirations.
The summit commenced with a keynote interview featuring VOGUE Business’ Paris correspondent Laure Guilbault and Mugler’s managing director Adrian Corsin. During the interview, Adrian shared insights into the company’s strategy for the Chinese market and highlighted the critical role of social media platforms and the novel approach he deployed in acquainting Chinese consumers with the brand’s iconic designs.
The event brought together fashion luminaries, Anusha Couttigane, Head of Consulting at VOGUE Business, Kenneth Kralick from Moët Hennessy and Emilie Bénéteau from ba&sh, who discussed strategies for conveying brand narratives and establishing brand values through partnerships with Chinese artists. They also explored ways to leverage Chinese social media platforms to attract and appeal to a younger consumer base.
Yiling Pan, Associate Editorial Director at VOGUE Business in China, joined Menghan, Alison Bringé, and Rahul Titus in a discussion on the evolution of China’s social media landscape and the impact of the influencer economy on luxury marketing. Their conversation unpacked the significant role of content creators and key opinion leaders (KOLs), with a particular emphasis on the social media and influencer marketing ecosystem in China. Menghan spotlighted the wealth of user-generated content (UGC) on XIAOHONGSHU, which has turned the platform into a bastion of diverse, high-caliber, and authentic narratives, positioning it as an international fashion platform with a unique Chinese perspective. She further explained that in this context, both content creators and celebrities have the potential to emerge as influential purchasers who engage with users through their content on the platform. And she further highlighted how both influencers and celebrities are becoming pivotal in engaging with audiences and driving brand conversions through compelling content and targeted live streams.
XIAOHONGSHU’s head of luxury Qingchen captivated attendees with her presentation, “Embracing the Future of Luxury Marketing with XIAOHONGSHU.” Qingchen outlined effective marketing strategies for luxury brands, emphasizing XIAOHONGSHU’s pivotal role in connecting with China’s affluent consumer base. She underscored the platform’s dedication to meeting the emotional demands of Chinese shoppers and swaying their purchasing choices. By showcasing diverse fashion scenarios, facilitating genuine content engagement, and provoking fashion forward thinking that’s deeply influenced by lifestyle trends, XIAOHONGSHU champions the concept that anything can entice consumer interest. With a consumer-centric approach at its core, and incorporating partnerships with influencers, digital event marketing, and omnichannel strategies, XIAOHONGSHU has crafted an all-encompassing approach to elevate luxury brands into the digital age of marketing.
Navigating Current Trends and Captivating Audiences
In today’s fast-paced digital landscape, the flux of novel offerings renders consumer attention a coveted yet elusive asset, challenging brands to not only capture but retain consumer interest. The quest to make a memorable impact on Chinese consumers and forge meaningful connections presents a formidable hurdle for luxury labels.
XIAOHONGSHU, a pioneering force in fashion and lifestyle trends, boasts an impressive network of over 80 million content creators, with UGC accounting for 90% of its offerings. This authentic, wide-ranging, and exceptional content, coupled with XIAOHONGSHU’s distinctive “content seeding” approach, allows the platform to probe into consumer psyches and initiate movements that define trends. Serving as a critical touchpoint for engagement, XIAOHONGSHU empowers luxury brands to tap into emerging trends and buzzworthy topics, facilitating a deeper understanding of target demographics. This, in turn, equips brands with a wealth of insights for nuanced content-driven marketing strategies.
In a groundbreaking collaboration with VOGUE Business, XIAOHONGSHU unveiled the 2024 Luxury Product Trends White Paper & Crowd Inspiration Illustration, spotlighting groundbreaking luxury marketing case studies and crystallizing two dominant trends shaping China’s luxury sector: fully holistic localization efforts and “contrary to consensus” cross-border marketing programs. The strategy of holistic localization encapsulates luxury brands’ strategies to immerse themselves within the Chinese cultural narrative, fostering profound connections and cultural resonance with local audiences through genuine engagement and inventive marketing strategies. The “contrary to consensus” approach redefines cross-border marketing by forging unconventional partnerships, ensuring standout first impressions, and captivating the younger demographic amidst intensifying global competition.
Leveraging a vast pool of UGC across the multitude of scenarios available on the XIAOHONGSHU platform while tapping into the latest fashion and style directions from luxury brands, the collaboration delivers an insightful forecast into 2024’s luxury fashion trends. Highlighting “practicality,” “functionality,” and “multi-scenario” as the upcoming year’s trend cornerstones, the white paper offers a forward-looking perspective on the evolving landscape of apparel, handbags, footwear, timepieces, and jewelry, guiding industry stakeholders through the next wave of luxury fashion creations.
Creating Major Brand Events, Transmitting Brand Values
XIAOHONGSHU’s vibrant community of 300 million monthly active users, half of whom are the coveted post-95s generation from China’s metropolitan centers, has become a cornerstone for luxury brand strategies aiming to connect with affluent, style-conscious consumers yearning for elevated lifestyles. This demographic alignment has positioned XIAOHONGSHU as a critical platform for luxury communication and target audience engagement, leveraging its “product seeding” approach and a robust ecosystem of content creators to drive strategic brand initiatives. The platform’s capacity to host significant brand events has increasingly made it a focal point for luxury labels looking to amplify their market presence.
Notably, XIAOHONGSHU facilitated GUCCI’s pivot to a digital format for its 2024 early spring collection, offering an exclusive cloud-based front row experience that bridged pre-show anticipation with immersive live viewing and post-event engagement, significantly boosting GUCCI’s visibility. Similarly, Chaumet harnessed the platform to launch “TIARA DREAM”, an immersive experience centered around its iconic tiaras, featuring innovative try-on tech and influencer collaborations that magnified the event’s reach and user engagement through organic content sharing.
For luxury brands, XIAOHONGSHU has transcended its role as a marketing platform to become a key player in product launches and brand storytelling. Seasonal gifting moments, particularly, offer a strategic opportunity for brands to deepen consumer relationships through culturally resonant campaigns and optimally position their latest products. Notably, during the Spring Festival, illustrious names like Loewe unveiled their 2024 Year of the Dragon limited collections, with the 2024 Jade series paying homage to the revered art of Chinese jade carving, complete with collaborations with master jade carvers to design and produce a limited-edition assortment of handcrafted jade pendants. This move sparked fervent conversations on XIAOHONGSHU, with users eagerly dissecting the Loewe Jade series. Such discussions delve deeper into the ethos of luxury brands, aiding in the broader dissemination of their foundational values within the Chinese market and enhancing the perceived value of luxury brands.
Omni-Channel Strategies: Transforming Luxury Brand Engagement
In today’s market, the trajectory for luxury brands aiming to solidify their footprint in China heavily relies on their expertise in digital marketing. Navigating between the reverence for traditional retail and the dynamism of new media, these brands are mastering omni-channel strategies to sync with the digital-first lifestyle of contemporary luxury shoppers.
XIAOHONGSHU is playing a crucial role in enabling luxury brands to expand their reach, offering a platform where personalized content and services meet consumers at every touchpoint, around the clock. The platform excels in narrating brand heritage, spotlighting design sophistication, and amplifying the allure of luxury labels. Furthermore, XIAOHONGSHU provides a bridge for brands keen on translating their ethos and experiential offerings into real-world interactions. Through strategic online engagement, brands invite their audiences to immerse in the tangible world of luxury, facilitating a fluid journey from digital discovery to physical brand experiences. This approach not only redefines brand stewardship but also propels business innovation in the luxury sector.
XIAOHONGSHU has developed an innovative Key Opinion Sales (KOS) ecosystem, positioning itself as a vital platform for luxury brands to expand their consumer outreach. With an extensive network of over 100,000 corporate guide accounts and a rich library with nearly 2 million pieces of content, XIAOHONGSHU effectively merges the intrinsic appeal of luxury goods with the expansive reach of digital marketing through the KOS ecosystem. The approach enables direct engagement between brands’ physical stores and their online presence, offering tailored communication and services that enrich the consumer experience and address the geographical limitations of traditional luxury retail outlets. The KOS system significantly enhances customer acquisition, accelerates the purchasing process, and deepens the connection between brands and their clientele, ultimately fostering greater brand loyalty and recognition.
Additionally, XIAOHONGSHU’s mini-programs, a concept recently rolled out on the platform, have become a versatile tool for luxury brands, functioning as a dynamic interface between high-end labels and discerning consumers. Prestigious houses like Dior and Vacheron Constantin have already harnessed the potential of these mini-programs, leveraging their capabilities for brand storytelling, conversion, and engagement. The mini-programs facilitate an immersive exploration of brand values, fostering a deeper connection with consumers through targeted content and interactive experiences. At the same time, their integrated e-commerce features expedite the journey from discovery to purchase, ensuring a seamless transactional experience for the luxury shopper.
XIAOHONGSHU is increasingly recognized by luxury brands as a crucial gateway to understanding the complex emotional landscape of Chinese consumers. The platform offers an unparalleled blend of user diversity, authentic storytelling, effective communication, and powerful engagement strategies. As a trend-setter in fashion, XIAOHONGSHU provides luxury marketers with deep insights into consumer behavior, enabling them to tailor their strategies to meet the nuanced needs of their target audience, convey the essence of their brand, and expand their reach. Through XIAOHONGSHU, luxury brands are well-positioned to revolutionize their marketing strategies. By harnessing the unique features of the platform, they can bolster their major marketing campaigns, reinforcing and amplifying their brand influence.
As we move further into 2024, the luxury industry continues to embody the dreams of a refined existence. XIAOHONGSHU is poised to remain a key player in the industry’s growth, bridging the gap between luxury brands and consumers, navigating future challenges, and advancing toward new frontiers of luxury engagement.
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Fintech PR
Exceptional Performance for Ureteral Stents: ICP DAS-BMP Reveals Latest TPU Materials at CMEF 2025
HSINCHU, March 25, 2025 /PRNewswire/ — ICP DAS-BMP (Biomedical Polymers), a committed Taiwan-based manufacturer and supplier of medical-grade TPU (thermoplastic polyurethane), is excited to announce its participation in CMEF (China International Medical Equipment Fair), held from April 8-11, 2025, at the National Exhibition and Convention Center, Shanghai.
The spotlight of this year’s exhibit will be the ARP-93A-B20 WHITE L and ARP-95A-B20 WHITE L, specifically engineered for ureteral stents. These innovative TPU materials meet ISO 10993 standards for biocompatibility, ensuring safety during implantation. They offer exceptional stability in thermal-setting processes with no migration issues, maintaining product reliability. With 15 available colors commonly used in medical devices, they offer versatile design possibilities for manufacturers.
Complementing this highlight are other groundbreaking TPU solutions. The Arothane™ ARP-W-G series, contained with 40-60% Tungsten, provides excellent radiopacity for thin-walled medical devices and reliable performance for guidewire coatings. Additionally, the Arothane™ ARP-B20 and Durathane™ ALC-B40, enhanced with Barium Sulfate, deliver certified safety for extended implantation.
To meet the demands of a wider range of applications, ICP DAS-BMP also focuses on both softer and harder TPU materials. The Engineering Arothane™ TPU (EARP series), with hardness above 70D, features a high glass transition temperature and exceptional light transmission, making it an ideal choice for high-strength, high-modulus applications such as Luer-Lock connectors. Meanwhile, the soft ARP series, with hardness below 70A, provides enhanced flexibility and adaptability for diverse medical applications, further expanding ICP DAS-BMP’s comprehensive TPU portfolio.
Visit the ICP DAS-BMP team at Hall 8.1, Booth M49, to explore these advancements and discover tailored TPU solutions designed to elevate healthcare innovations.
About ICP DAS-BMP
ICP DAS-BMP, a leading TPU manufacturer and supplier based in Taiwan, is ISO 13485 certified and operates specialized laboratories focused on quality management. Leveraging over thirty years of industrial automation expertise from its parent company ICP DAS, ICP DAS-BMP employs smart factory practices to enhance product quality and expedite delivery times. The company is committed to responsive after-sales support and flexible solutions, even for small order quantities, ensuring customer satisfaction and fostering long-term partnerships.
For more information, please visit: https://bmp.icpdas.com
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Fintech PR
Madame Rachida Dati, French Minister of Culture, has granted official recognition to thierry Ehrmann’s Abode of Chaos as a ‘total work of art’, the global headquarters of Artprice by Artmarket.
PARIS, March 24, 2025 /PRNewswire/ — La Demeure du Chaos (“The Abode of Chaos” – dixit the New York Times) was conceived in 1999 as “a mirror of our world” by thierry Ehrmann. Besides his many business accomplishments, his certified biography in Who’s Who In France describes Ehrmann as a ‘visual artist since 1980’. https://imgpublic.artprice.com/img/wp/sites/11/2025/02/2025-Biographie_de_Thierry_Ehrmann-Who-s-Who-In-France.pdf
The Abode of Chaos is managed by a contemporary art museum baptised “Organe” and located in the village of Saint-Romain-Au-Mont-d’Or just outside Lyon, France.
This unique open-air museum spans 7,555m² and features a one-of-a-kind museum trail set in the heart of nature. Open to the public free of charge, it was conceived as a total work of art, ensuring accessibility and inclusion for all audiences, in line with the vision of its founder and creator, thierry Ehrmann. It is classified by the Prefecture as an ERP open-air museum. Since its opening in 2006, the Contemporary Art Museum has received 2.5 million visitors free of charge, 25% of whom are from outside France.
In 25 years, the Abode of Chaos has been the subject of nearly 3,600 written and audiovisual press reports from 72 countries. Its activities are followed around the world by more than 10.9 million subscribers on its social media accounts and it counts 720,000 signatories to the petition for its preservation and recognition by France’s public authorities.
The Abode of Chaos has three imposing buildings dating back to 1630 that have been completely re-sculpted in an alchemical transmutation that gave birth to nearly 7,200 distinct works of art created by thierry Ehrmann. Each work has its original name, its original medium and its original shape. There are 4,500 laser-sculpted steel artworks, some weighing several hundred tons. There are also portraits, paintings, street artworks, mural engravings, installations, digital artworks created with AI, works of land art and an all-encompassing electronic system, which together constitute a ‘total work of art’:
https://ftp1.serveur.com/abodeofchaos_singular_architecture.pdf
“Dear Sir,
For several years you have been practicing a proteiform artistic activity alongside your energetic development of Artprice, the company you founded.
Not long ago, you drew the attention of one of my predecessors and my ministerial services (DRAC and DGCA) to the complex situation surrounding the product of your artistic activity: the Abode of Chaos.
Originally an old farm in the Monts du Lyonnais, you made the property your personal residence as well as the headquarters of your company Artprice. At the same time, you developed a multi-faceted and abundant artistic project on the entire site, part of which has National Historical Monument protection, called “La Demeure du Chaos” (Abode of Chaos). This project, which integrates the architecture of the existing building as well as its surroundings, while preserving and respecting the remains of an old Protestant cemetery, is a total work of art, in perpetual evolution. It’s primary artistic objective is to reflect the historical and societal convulsions at the end of the 20th century and the promises and uncertainties of our 21st century. The work is both indoors and outdoors, integrating public and private spaces, notably those dedicated to the daily activities of your company.
Its integrated contemporary art museum offers a hallucinatory and fascinating promenade through the recesses of human memory via portraits of the prominent personalities of our modern era, as well as key quotes, sculptures and architectural extensions that modify the existing buildings. Repurposed car and plane wrecks also play a key role, alongside contemporary ‘factories’ installed in the park.
I would like to inform you that my ministerial department officially recognizes the value of this unique work, which I understand is in perpetual motion and will only stop evolving when you are no longer.“
According to Madame Dati, thierry Ehrmann’s work, “is in line with great ‘total works of art’ like Postman Cheval’s Ideal Palace and the Cyclops in Milly la Forêt…
By this letter I wish to inform you that the Ministry of Culture recognizes the artistic value of the work already created and encourages you to continue it.”
Recognition by public authorities constitutes the highest point in the process of protecting the artworks of the Abode of Chaos and, with regard to the law, it is the principal factor that triggers the work’s inclusion in the History of Art and its preservation for posterity. The different protection measures constitute a subsidiary factor, while the Minister offers a range of legal solutions to allow the transmission of the Abode of Chaos to future generations:
“I also hope that a dialogue can be initiated with State Services and in particular with the Regional Prefecture and the Regional Office of Cultural Affairs (DRAC), in both directions.
The first concerns allowing greater access to the Abode by extending the openings hours that you already practise.
The second concerns implementing the right conditions to ensure the sustainability, conservation and accessibility of the Abode to future generations. I will also ask my services, both central and decentralized, to collaborate with your teams to examine the various legal frameworks that could be used to allow the perennity and transmission of the Abode to future generations: endowment fund, a protected foundation, or a foundation recognized as being of public utility, or any other suitable device.”
With great emotion, upon reading this letter, thierry Ehrmann – founder of Artprice, historian and visual sculptor – cannot help but reflect on the extensive study he dedicated to the sculptor Constantin Brancusi:
“Exactly a century ago, the U.S. High Court (Brancusi/USA) redefined the cognitive value of a work of art through a landmark trial involving Constantin Brancusi’s The Bird in Space. Today, after 25 years of legal struggle, France, through its Minister of Culture, Madame Rachida Dati, has officially recognized the value of my work, defining it as unique through my artistic creation embodied in The Abode of Chaos and its total work of art. Furthermore, it acknowledges that my work is in constant evolution and encourages me to continue, while supporting its dissemination, conservation, and sustainability. This moment forms a true ‘mise en abîme‘, linking Brancusi’s The Bird and his portrait painted in my studio at the heart of The Abode of Chaos. It represents both my Great Alchemical Work and my 45 years of artistic creation. I receive this recognition with deep gratitude towards the Minister of Culture, her team, and all my long-standing supporters, as we mark the 25th anniversary of the Abode of Chaos. Today, France, through the voice of its Minister of Culture, is writing a new chapter in the history of art.”
The process of recognition and legal protection of the Abode of Chaos relies on in part, on the creation of an in-depth bilingual architectural study titled “The Abode of Chaos: Gesamtkunstwerk & Singular Architecture”. This study is now freely accessible to the public at:
https://ftp1.serveur.com/abodeofchaos_singular_architecture.pdf
The brief description provided in this press release is not exhaustive. The reader is encouraged to consult the typescript for a comprehensive reading of the referenced works.
The study examines the Abode of Chaos from a historical, archaeological, sociological, artistic, architectural and scientific points of view, with the help of international experts, distinguished professors, and multidisciplinary researchers.
This Study constituted the core requests led by Sandra Béchiche – Director of thierry Ehrmann’s office, in charge of international relations and heritage conservation, for legal protection addressed to the French Ministry of Culture, and more specifically to the General Director of the General Department of Artistic Creation (DGCA) in the person of Christopher Miles, as well as to Marc Drouet, Regional Director of Cultural Affairs Auvergne-Rhône-Alpes (DRAC AURA).
These initiatives began in December 2019 in order to obtain recognition from the public authorities of thierry Ehrmann’s total work of art, and to ensure its sustainability and a peaceful resolution to the 25-year legal dispute initiated by the Commune of Saint-Romain-Au-Mont-d’Or, based on town planning law in the face of artistic creation. This dispute was initially protected by the Malraux laws and later by the law of July 7, 2016, concerning freedom of creation, architecture, and heritage. thierry Ehrmann contributed to this through the legal debate he initiated on the status of the artist in France and the freedom of artistic creation.
The surveys, plans, sections, illustrations, orthophotographs for the complete digitization of the 7200 artworks connected to the buildings, outbuildings and surrounding walls over 7,555 m² (generating a digital heritage of 1.2 Terra-Bytes [1 pixel IPTC/GPS DMS = 1mm]) was carried out in 18 months by Philippe Barthélémy, founder of ICONEM (which has done extensive work of the Bamiyan cliffs, Palmyra site etc.) as well as TT Géomètres Experts Group and its 3D Lab. This work was based on the European Commission’s standards for the digitization and online accessibility of cultural material and digital preservation (2011/711/EU).
The study and the complete digitization of the Abode of Chaos was overseen by martyr heritage specialists led by Dr. Nicolas Detry, a specialized Heritage Architect. N. Detry wrote the main corpus of the section on “Formativity of the Abode of Chaos” with reference to the work of Luigi Pareyson. Raphaëlle Rivière, historian of art & architecture and archaeologist, studied the Total Work of Art (Gesamtkunstwerk) and the Singular Architecture that is the Abode of Chaos / Demeure du Chaos with Nicolas Detry. They were both also the curators of the exhibition “The Abode of Chaos: History of a Sustainable Heritage from the 17th Century to the Present Day” in 2022.
Finally, from a purely pedagogical perspective, the notion ‘total work of art’ (from the German Gesamtkunstwerk) that Madame Rachida Dati, Minister of Culture, has officially recognized in the Abode of Chaos, is an aesthetic concept originating from German romanticism and appearing in the 19th century in Europe. A ‘total work of art’ is characterized by the simultaneous use of numerous artistic mediums and disciplines, and by the symbolic, philosophical or metaphysical significance it holds. Such projects are born from a desire to reflect the interconnectedness of all elements of existence.
thierry Ehrmann opens the doors of the total artwork La Demeure du Chaos to Loïc Ballet & Sébastien Chabal for the TV program En vadrouille on March 9, 2025 (France 3 Auvergne-Rhône-Alpes, France Télévisions group, LB Production):
https://www.youtube.com/watch?v=nF_W2e4NeCc
thierry Ehrmann’s Abode of Chaos is regularly cited by art historians as the artistic continuity of the Merzbau, a monumental spatial assemblage, the culmination of the ‘total work of art’ that the artist Kurt Schwitters worked on in his studio and home in Hanover as of 1923.
At the same time, a number of other studies were conducted, notably on the conservation and restoration of the corpus of works at La Demeure du Chaos. The eminent specialist, Simona Sajeva, a civil engineer and international specialist in the conservation-restoration of historic buildings, and President of the International Scientific Committee on Mural Paintings of ICOMOS (International Council of Monuments and Sites) played a key role in these studies.
La Demeure du Chaos is regularly included in international nominations for selections such as the Watch List of the World Monument Fund proposed by the DIVA (Documentation Interpretation and VAlorization of Heritage) research laboratory of Liège University in Belgium. The DIVA specializes in conservation sciences for art and architecture under the direction of Claudine Houbart, professor, architect, art historian, and specialist in the conservation of monuments and sites. She is also a Doctor in engineering sciences, and President of the Doctoral School at the FNRS (Scientific Research Fund) dedicated to building arts and urban planning, and a member of the ICOMOS International Scientific Committee on the theory and philosophy of conservation.
This nomination benefited from prestigious sponsorships including the support of Giovanni Carbonara (1942-2023) – professor, architect and Director Emeritus of the School of Specialization of Architectural Heritage and Landscape at the University of Rome, “La Sapienza“, and Special Advisor to UNESCO – and Pierre Hallot – Doctor of Philosophy and Geospatial Information Sciences, professor at Liège University, member of ICOMOS, expert and Belgian Representative of the CIPA (International Committee of Architectural Photogrammetry – Heritage Documentation).
In addition, La Demeure du Chaos has been subject to restoration after thierry Ehrmann reluctantly agreed to the destruction of part of his works to comply with requests from the public authorities. This work was conducted by specialists in listed monuments, including the company Comte (Vinci Group), which, among other projects, has restored the Primatiale Saint Jean in Lyon on several occasions, a UNESCO World Heritage site.
The memory of this artistic loss will remain in the martyred heritage thanks to the “Catalogue Raisonné of an Artistic Loss Necessary for Republican Peace” created in 2023, which lists the 450 destroyed works.
Lastly, the dimentions of the “total work of art” of the Abode of Chaos include the global headquarters of Artprice by Artmarket, World Leader in Art Market Information since 1987, listed on the Paris Euronext’s regulated market, as well as Groupe Serveur (Artprice’s principal shareholder) and its legal, scientific, and press agency subsidiaries (since 1985).
The Abode of Chaos is also home to the world’s largest collection of manuscripts, codices and art market sales catalogs kept under exceptionally high security standards. These documents represent the history of the art market from 1700 to the present day, a modern-day ‘Library of Alexandria‘. All the archives belong to Artprice by Artmarket and they have all been scanned annotated and studied by the company’s historians and experts. The company’s underground area also hosts its various data centers, hosting more than 180 data banks of art market information which constitute the global reference for art market professionals all over the world, and for more than 9 million Artprice by Artmarket subscribers. Artprice’s press agency, ArtMarketInsight, distributes Art Market news with its long-standing partner of 27 years, Cision PR Newswire, to 122 countries and in 11 languages.
Of the many descriptions of the Abode of Chaos proposed over the last 25 years, many art historians have used the term ‘total work of art’, while others have described it as a “Black Work of hermetic tradition feeding on the Alchemical Chaos of our tragic and sumptuous 21st century, whose embers were ignited on September 11, 2001“.
Various studies from different parts of the world suggest that the genesis of the Abode of Chaos can be traced back to first Masonic trestle boards by thierry Ehrmann at the National Grand Lodge of France in 1985, referring to the remarkable alchemical work “The Philosophers’ Mansions“ by Fulcanelli.
In addition, over the last twenty-five years, thierry Ehrmann’s Abode of Chaos has regularly been compared to the famous ‘total work of art’ created by “Postman Cheval” with his “Ideal Palace”. Indeed, the reference work on Postman Cheval’s work (published by Postman Cheval’s Ideal Palace in conjunction with the École Nationale Supérieure des Beaux Arts and the Musée de la Poste in 2008) described thierry Ehrmann as The Postman Cheval of the 21st century (section titled “Cheval and his artistic lineage”, page 18). The Postman Cheval lineage is clear and unambiguous, and there exists a cultural tour incorporating visits to the two sites for more than 15 years now.
The Abode of Chaos is also home to more than 1,800 geopolitical, literary, scientific, philosophical, artistic, and historical portraits. The portraits reference personalities involved in 90% of the global news regularly covered by written and audiovisual media around the world, as well as thousands of alchemical engravings.
The international press sees the Abode of Chaos as a “body of distinct works” and as an “essential and unique ‘Factory’” that has a key place in the History of Art as the most significant major work of the beginning of the 21st century (see press review, notably the special issue of the The New York Times and Artpress).
It also exists within the realm of ideas. It has sparked exhibitions, debates, numerous books, short and feature films by renowned directors, theses, research, and reverberations across different continents.
In 2024, the 36th Congress of the International Committee of Art History (CIHA) convened in Lyon. On a global scale, the CIHA Congresses have constituted the most unifying events for the entire community of researchers and professionals in the world of art and heritage since 1873.
thierry Ehrmann, CEO and Founder of Artprice declared: “Considering our strategic mission, it is natural for Artprice and the Organe Museum of Contemporary Art that manages the Abode of Chaos, to sponsor the 36th CIHA Congress as one of its principal patrons, with contributions from all of Artprice’s historians and researchers. We were delighted to welcome delegates to the global headquarters of Artprice by Artmarket in the heart of the Organe Contemporary Art Museum and its Abode of Chaos.”
This extraordinary event for Art History, held every four years, contributed to re-emergence of France, which – according to Artprice’s 30th Annual Art Market Report – is now positioned as the second largest public art market in the world in terms of transaction volumes, just behind the United States. In 2024, Paris generated the 4th largest art auction turnover in the world, surpassing both Beijing & Shanghai.
https://www.artprice.com/artprice-reports/the-art-market-in-2024
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Artmarket and its Artprice department were founded in 1997 by thierry Ehrmann, the company’s CEO. They are controlled by Groupe Serveur (created in 1987). cf. the certified biography from Who’s Who In France©:
Artmarket is a global player in the Art Market with, among other structures, its Artprice department, world leader in the accumulation, management and exploitation of historical and current art market information (the original documentary archives, codex manuscripts, annotated books and auction catalogs acquired over the years) in databanks containing over 30 million indices and auction results, covering more than 865,100 artists.
Artprice Images® allows unlimited access to the largest art market image bank in the world with no less than 181 million digital images of photographs or engraved reproductions of artworks from 1700 to the present day, commented by our art historians.
Artmarket, with its Artprice department, constantly enriches its databases from 7,200 auction houses and continuously publishes art market trends for the main agencies and press titles in the world in 119 countries and 9 languages.
Artmarket.com makes available to its 9.3 million members (members log in) the advertisements posted by its Members, who now constitute the first global Standardized Marketplace® for buying and selling artworks at fixed prices.
There is now a future for the Art Market with Artprice’s Intuitive Artmarket® AI.
Artmarket, with its Artprice department, has twice been awarded the State label “Innovative Company” by the French Public Investment Bank (BPI), which has supported the company in its project to consolidate its position as a global player in the art market.
See our 2024 Global Art Market Annual Report, published in March 2025 by Artprice by Artmarket: https://www.artprice.com/artprice-reports/the-art-market-in-2024
Artprice by Artmarket publishes its 2024 Contemporary Art Market Report: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2024
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whose head office is the famous Museum of Contemporary Art Abode of Chaos dixit The New York Times / La Demeure of Chaos:
https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013
La Demeure du Chaos/Abode of Chaos – Total Work of Art and Singular Architecture.
Confidential bilingual work, now made public: https://ftp1.serveur.com/abodeofchaos_singular_architecture.pdf
- L’Obs – The Museum of the Future: https://youtu.be/29LXBPJrs-o
- https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 (more than 4.1 million subscribers)
- https://vimeo.com/124643720
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View original content:
STOCKHOLM, March 24, 2025 /PRNewswire/ — Between 17 March 2025 and 21 March 2025 EQT AB (LEI code 213800U7P9GOIRKCTB34) (“EQT”) has repurchased in total 524,966 own ordinary shares (ISIN: SE0012853455).
The repurchases form part of the repurchase program of a maximum of 4,931,018 own ordinary shares for a total maximum amount of SEK 2,500,000,000 that EQT announced on 11 March 2025. The repurchase program, which runs between 12 March 2025 and 16 May 2025, is being carried out in accordance with the Market Abuse Regulation (EU) No 596/2014 and the Commission Delegated Regulation (EU) No 2016/1052.
EQT ordinary shares have been repurchased as follows:
|
Date: |
Aggregated volume |
Weighted average |
Aggregated |
|
17 March 2025 |
52,519 |
313.0909 |
16,443,220.98 |
|
18 March 2025 |
130,000 |
317.8652 |
41,322,476.00 |
|
19 March 2025 |
102,447 |
317.6488 |
32,542,166.61 |
|
20 March 2025 |
120,000 |
322.8110 |
38,737,320.00 |
|
21 March 2025 |
120,000 |
320.9931 |
38,519,172.00 |
|
Total accumulated over week 12 |
524,966 |
319.1909 |
167,564,355.59 |
|
Total accumulated during the repurchase program |
869,966 |
315.0811 |
274,109,808.59 |
All acquisitions have been carried out on Nasdaq Stockholm by Skandinaviska Enskilda Banken AB on behalf of EQT.
Following the above acquisitions and as of 21 March 2025, the number of shares in EQT, including EQT’s holding of own shares is set out in the table below.
|
Ordinary shares |
Class C shares1 |
Total |
|
|
Number of issued shares2 |
1,241,510,911 |
496,056 |
1,242,006,967 |
|
Number of shares owned by EQT AB3 |
60,794,157 |
– |
60,794,157 |
|
Number of outstanding shares |
1,180,716,754 |
496,056 |
1,181,212,810 |
|
1) Carry one tenth (1/10) of a vote |
|||
A full breakdown of the transactions is attached to this announcement.
Contact
Olof Svensson, Head of Shareholder Relations, +46 72 989 09 15
EQT Press Office, [email protected], +46 8 506 55 334
This information was brought to you by Cision http://news.cision.com
https://news.cision.com/eqt/r/repurchases-of-shares-by-eqt-ab-during-week-12–2025,c4123319
The following files are available for download:
|
https://mb.cision.com/Main/87/4123319/3341161.pdf |
EQT Transactions 20250317 to 20250321 |
|
EQT AB Group |
View original content:https://www.prnewswire.co.uk/news-releases/repurchases-of-shares-by-eqt-ab-during-week-12-2025-302409560.html
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