Nigeria’s business mogul and third richest man, who cemented his return to Forbes’ African Billionaires List this year since dropping off it in 2015, says he owes his $1.6 billion net worth to being a disruptor – and to being stubborn.
The inside of Abdulsamad Rabiu’s office, on the corner of Churchgate Street, in Victoria Island’s commercial district in the heart of Lagos that is notorious for chaotic, rambunctious traffic, is marked by a serious lack of clutter.
The expansive room is tastefully decorated in cream and black hues. Rabiu’s desk is organized in a manner that seems as though everything is exactly where it should be; completely spotless and devoid of any distractions that will hinder the 58-year-old founder of BUA Group from managing his vast empire, a conglomerate spread across southern and northern Nigeria.
A firm believer in strategy, the cement and sugar tycoon boosted his fortunes by a whopping $650 million this year when he merged Kalambaina Cement, a subsidiary company of his BUA Cement, with the publicly traded Cement Company of Northern Nigeria (CCNN), where he was a controlling shareholder.
That calculated move has made him the third richest man in Africa’s largest economy, with a staggering net worth of $1.6 billion, according to the latest Forbes African Billionaires List, which he dropped out of.
“Nigerian cement mogul Abdulsamad Rabiu, who runs and owns the BUA Group, returns to the list for the first time since 2015. He merged his Kalambaina Cement firm into publicly-traded Cement Company of Northern Nigeria, which he controlled, in late 2018. Rabiu now owns 97% of the list entity,” Forbes reported.
He says his fall from the coveted list was due to the devaluation of the Naira, which meant that the exchange rate went from N190 against the dollar, to N300.
“That was the main reason I dropped off the rich list. Also, most of our other assets were not being considered because once you are not listed, it becomes more challenging to get an accurate valuation.
“Our assets, in the cement industry alone, are worth more than $2 billion, but that is because Obu Cement [Plant], which is our biggest cement plant, is not listed,” Rabiu says.
His return to the billionaire boys’ club is due to five years of strategic expansion and a much more stable Nigerian economy. However, it is about more than just numbers for Rabiu.
“It is a good feeling to be on the rich list, the most important thing is not about how much money you make, but the impact you make. Touching people’s lives is more important because money is a number. What you need in terms of your day-to-day is not that much.”
One of the secret ingredients to his tremendous success is that Rabiu is a firm believer in delegation.
His phone purrs only occasionally, but this is also because his plants run with clockwork precision in an environment that is chaotic at the best of times.
He has a calm and soft-spoken demeanour, a trait which is, quite frankly, unconventional for someone who has fought his way through hell and high water in business.
“I am quiet but I am very stubborn. If I want something I go for it and if I don’t want it, no matter how much I’m pushed, I don’t do it. If somebody is stubborn, sometimes it’s seen as arrogant but I don’t think I am an arrogant person,” Rabiu says.
It is also immediately clear that he is not a man who rushes into things. He would rather move methodically, with clarity and precision, a skill he picked up in the early days learning the ropes from his industrialist father. Case in point is how he built his empire brick-by-brick from the early days as an importer.
“In 1988, I started my own business and founded BUA International Ltd. At the time, the in-thing was importation of rice, sugar, fertilizer, agriculture etc. So the challenge was that, if there was scarcity of any product, everybody would now go and import the same thing. This pushes the price up and everybody will say the price of fertilizer has doubled, so everyone would now go and import fertilizer and within a short time, the product would now come down to half price and everyone would lose money,” Rabiu says.
He decided to break the mould and instead adopted a value-added approach. He focused on bringing in raw materials to process it locally.
“We started with oil in Kano. We were processing crude palm oil to refine it. We were also getting peanuts from Kano and then crushing and processing, and that was a good business at the time because it was adding value and people were not used to adding value to anything at all. They were importing everything.”
In 2000, BUA acquired Nigeria Oil Mills, which was a peanut processing company in Kano. In 2005, he set up the BUA Flour Mills factory in Lagos. Rabiu saw very early on that he had to be distinctive in a sea of importers who simply followed the trend.
It is this measured philosophy of value that has allowed BUA Group to innovate and expand capacity to about 2 million tons of cement per annum with its new merger. Rabiu says with the consolidation, BUA Group has a market valuation of about $800 million. A far cry from the company’s humble beginnings.
Returning to Kano as a newly-minted graduate with a degree in economics from Capital University in Columbus, Ohio, in the United States, a lot had changed while Rabiu was away.
The country was being run by a military leader and there were severe shortages in foreign exchange which made the business of importation extremely difficult. Following his new ethos of adding value to the production line, Rabiu set his eyes on the sugar business by establishing the 2,000 metric ton (MT) per day capacity plant in Lagos which is the second largest refinery in West Africa, after the Dangote Sugar Refinery.
But the BUA story isn’t without its share of trials and tribulations. The fight began in the early years of business, when the Nigerian government introduced the backward integration policy in the sugar business.
“This is where you were allowed to import raw sugar and process into refined sugar and you must have a sugar refinery facility. So, if you have the facility for a sugar refinery, you were able to import sugar and pay a duty of 5% to 10%, while everybody else was importing refined sugar and paying 50% duty,” Rabiu says.
At the time, it was only the Dangote Group that had the refinery facility, so Rabiu decided the lack of saturation made sugar a viable business to go into.
The government’s backward integration policy is a well-known competitive strategy which allows an organization to control more of its supply chain in order to bring down the costs.
It means that a company is allowed to purchase or internally produce segments of its supply chain. This is done to ensure the supply, along with securing bargaining, leverage on vendors.
To take advantage of backward integration, a company needed to have its sugar refinery at the ports in order to import raw materials in bulk, which made having a terminal at the port a prerequisite.
“At that time, everything was owned by [the] Nigerian Ports Authority (NPA), so you had to go and lease land from them, together with the storage. This was a huge capital investment, and to make matters worse, there was no land at the time because everything was taken.”
Luckily, Rabiu was able to find a company that had a facility that was not being utilized.
“We paid a lot of money to that company, got all the designs, bought all the equipment, we were about to start the company, then the lease was revoked and we could not go there. This was during the [Olusegun] Obasanjo regime. Most of our money had been spent on getting the land and equipment and they revoked the lease and gave it to somebody else. It took us a year and almost $50 million in cost before we were able to start all over again,” he says.
Incidentally, that site was given to Rabiu by his father. Once they took off, the business worked out so well that they were able to recoup their money within a very short period of time. The sugar venture was a cash cow.
The company was able to reap huge margins due to the difference in duties for imports of raw sugar, and, yet again, Rabiu found validation in his strategic approach to business.
Even in those early days, his penchant for success was apparent. The sugar refinery is still operating at capacity and Rabiu is in the process of commissioning another refinery at Port Harcourt in Nigeria. They say the apple does not fall far from the tree, and this is true for Rabiu.
His father, Isyaku Rabiu, was a renowned businessman, who also made his fortune in trade decades after Nigeria’s independence.
His wealth grew significantly until the 1983 coup which toppled the government and led to the arrests of President Shehu Shagari and his close allies, including Isyaku, leaving his business empire in a precarious state.
But where his father lost his footing in trade, Rabiu was destined to find his in cement. Opportunity came knocking in 2007 when the price of cement was so high that the Nigerian government decided to introduce yet another backward integration in the cement industry.
The idea was simple. You could only import cement into Nigeria, if you had a cement factory. At the time, there were only two multinational organizations in the country with the capacity to build their own cement plant.
Local companies like the Dangote Group and Flour Mills of Nigeria were the only two other companies that had signed contracts to build cement factories in Nigeria.
“Nobody else was allowed. So President [Umaru Musa] Yar’Adua was alarmed that the prices of cement was going up every day and he called for a meeting when the price was $300 per ton. He said it was too much, so what do we do? He was briefed on the reason nobody else could bring cement into Nigeria and told that there was a policy in place that only those building factories could import cement into Nigeria, and we did not have enough capacity in terms of manufacturing to meet Nigerian demand.”
There were only three or four cement plants in Nigeria at the time producing about 4 million MT per annum against what the country needed – almost 10 million MT.
The president ruled that the existing backward integration policy could not be continued and established a committee who came up with the idea that the policy should allow companies outside manufacturers who were building plants, in order to bring prices down.
“So they selected six companies to be able to import cement and we were chosen as one of the six companies,” Rabiu says.
But there was a big challenge.
“How do you import a million tons in a year or even 100,000 tons a month in bags? That will be like five or six cargos a month, to be able to take the bags out and transport them all over the country, so nobody could actually do it.
“The other guys had terminals, which means they were discharging the cement in bulk and taking it to their warehouses and bagging them in the warehouses and they had been in the business for a long time,” Rabiu says.
In order to reap the rewards in the lucrative cement industry, all the new six companies who had been granted licenses needed to secure terminals at the port. But the barriers to entry were significantly high.
Rabiu decided on a disruptive approach. “So I now came up with the idea of the floating terminal. It is like a factory on a vessel, so it moves. It is a big ship with a terminal in the ship. It was an idea I read about a long time ago and I decided to be innovative.”
He approached the only terminal at the time that was free in Greece and agreed on a price.
Fearing the size of the competition, Rabiu knew he needed to get protection for his business, if he stood a chance of competing favorably in the new venture.
“I knew that we had tough competition from the people who had factories and they were not happy with the government giving us the license because they were making so much money they did not want anyone to come into the business.
“So they were doing everything to frustrate it [the process]. I knew that there would be a problem. So before I bought my vessel, I came to Nigeria and sought an appointment to meet the president who granted me an audience and I explained everything to him.”
Rabiu made an impassioned plea to President Yar’Adua — he knew he could drive down the price of cement from $300 per bag to $150 if he had his own terminal.
However, building the terminal would take more than a year to complete, during which time cement prices would continue to rise, which would be detrimental to the Nigerian economy.
A floating terminal meant that the timeline of going to market was significantly reduced but more importantly, without the blessing from the president, the other giants in the industry would muscle him out of the game.
Once approval from the president was secured, Rabiu purchased his floating terminal and was ready to reap in the millions of dollars awaiting him in bags of cement.
It was logistically impossible for Rabiu to set up shop in Lagos. These circumstances pushed him to explore other means through which he could realize his goal. He approached Port Harcourt and this move proved to be fortuitous for him because all the eastern markets were coming to the port as there was nothing in the east.
However, not everything was ideal as he was allowed only one week in a month after which point he had to leave the port, making it difficult to offload his cement.
Rabiu was faced with more hurdles but eventually, was forced to consult the highest authority in the country to explain the barriers he encountered.
It was only after an order from the president that the impediments to Rabiu’s business stopped and, with that, came the growth of the BUA Group, to become one of the leading conglomerates in West Africa. As the monopolists gradually loosened their grips on the cement industry, Rabiu used the opportunity to build capacity. The company has five plants now.
“That experience strengthened my resolve because it was not easy. I never thought I was going to quit. If you don’t fight back or if you are weak, you will never survive. You have to understand that this is not personal but business and you have to keep fighting. When they see that you are fighting and not giving up then they let go because most of these things are illegal anyway,” says Rabiu.
BUA Group steadily expanded to cover new ground. With the new merger, Rabiu has seen an opportunity outside Nigeria’s borders. The demand between Sokoto and Niger through to Burkina Faso is estimated to be about 4 million MT of cement per annum.
Coupled with the fact that these countries are landlocked, there is a need to import all their clinker, the raw material needed for making cement.
His new merger with CCNN will create the second largest cement company on the Nigerian bourse after African mammoth, Dangote Cement.
Rabiu believes in Nigeria’s ability to produce its own products without relying on imports from other countries and in so doing, create tens of thousands of jobs for the Nigerian economy.
As the avenues to expand in Nigeria get limited, BUA Group has consistently sought to broaden its reach to new territories.
The fighting days are long gone and BUA under the aegis of its bold leader is ready to conquer new turf in Africa.
Kanye West’s Second Coming: Inside The Billion-Dollar Yeezy Empire
You know when Kanye West is coming. His matte-black Lamborghini SUV rumbles up his gated driveway on the outskirts of Los Angeles like an earthquake, and when he steps out, in a white T-shirt and dark sweats, the obsessiveness kicks in immediately.
First, there’s the house: The lushly landscaped exterior of the property he shares with his wife, Kim Kardashian West, and their four children (North, Saint, Chicago and Psalm) serves as stark contrast to the unadorned alabaster walls within. Nearly every surface is a monastic shade of white. The floors are made of a special Belgian plaster; if scuffed, the delicate material can be repaired only by a crew flown in from Europe. “The house was all him,” Kardashian West later tells me. “I’ve never seen anyone that pays such attention to detail.”
As I step into the foyer, a handler asks me to wrap my black-and-gray Air Jordan high-tops in little cloth booties. To my left is West’s library, its shelves stacked with the likes of Alexander McQueen: Savage Beauty and Takashi Murakami: Lineage of Eccentrics. He fiddles with the positioning of a few books that seem off-kilter. Settling into an armchair opposite me, he surveys his interviewer closely. “The first shoe I remember sketching was the Jordan One that you’re wearing right now,” says West, 42. “God does have a way of lining things up.”
West’s precision turned him into one of the world’s most popular musicians. “He went and executed it to another level,” says DJ Khaled, who has spent time with West in the studio and joins him on this year’s Celebrity 100 list of the world’s highest-paid entertainers. But as with Michael Jordan in the 1990s, the key to West’s wealth stems from sneakers. His Yeezy shoe line, which he launched with Nike in 2009 and then brought to Adidas in 2013, has the 34-year-old Jordan empire in its sights, in terms of both cultural clout and commercial prowess. The Jordan line does approximately $3 billion in annual sales; West’s upstart is expected to top $1.5 billion in 2019 and growing.
As with the floor and the booties and the book positions, West fixates over sneaker details; he idolizes Steve Jobs, preferring a limited, carefully chosen number of products with an endless array of colorways. The iPod in West’s world: the ubiquitous, chunky-bottomed Yeezy Boost 350s, which come in dozens of varieties of the same shoe and account for the bulk of Yeezy’s sales. “I am a product guy at my core,” West says. “To make products that make people feel an immense amount of joy and solve issues and problems in their life, that’s the problem-solving that I love to do.”
The obsessiveness is unrelenting. When Forbes shot West for a possible cover, he insisted on wearing a black hoodie. Urged to return the next day to try again, West obliged—wearing the same hoodie. He’s been known to edit albums days after they’ve already been released. And when he didn’t feel I was properly absorbing the religious influence on his business (coming from the guy who calls himself Yeezus and is working on an album tentatively titled Yandhi), he called my editor impromptu on a Saturday evening to hammer the point some more.
Whatever, it’s working. Mostly because of the shoes, Forbes pegs his pretax income at $150 million over the past 12 months; his team insists the number is even higher, partly due to his Yeezy apparel. In any case, it’s by far the best stretch of his career, good for No. 3 on our Celebrity 100 list.
Rewind to three years ago, when West claimed to be $53 million in debt, just before canceling the back of a lucrative arena tour and checking into a Los Angeles hospital for over a week with symptoms of sleep deprivation and temporary psychosis. West credits his turnaround to religious beliefs (“being in service to Christ, the radical obedience”)—and, on occasion, to being bipolar. Call him creative, call him chaotic—just don’t call him crazy. Like some entrepreneurs with conditions like ADHD and Asperger’s, he sees his diagnosis not as a hindrance but as a “superpower” that unlocks his imagination.
“ ‘Crazy’ is a word that’s not gonna be used loosely in the future,” West says. “Understand that this is actually a condition that people can end up in, be born into, driven into and go in and out. And there’s a lot of people that have been called that ‘C’ word that have ended up on this cover.”
West’s design obsession dates back as far as his passion for music. Born in Atlanta and raised in Chicago, he often got in trouble as a middle schooler for sketching sneakers in class. When West’s mother, a college professor, took him to see the Japanese cyberpunk flick Akira, he found inspiration in the film’s shapes and color palettes; he also remembers his father, a former Black Panther, taking him to auto shows, where he became obsessed with the Lamborghini Countach. “There’s a little bit of Lamborghini in everything I do,” West says. “Yeezy is the Lamborghini of shoes.”
Meticulousness served West in his music career, which took off when he caught on as a producer for Jay-Z’s Roc-A-Fella Records after dropping out of college. He masterminded the sonic skeleton of Jay-Z’s seminal 2001 album, The Blueprint. When West launched as a solo artist two and a half years later, he designed something genre-bending, his early work peppered with Marvin Gaye and Daft Punk samples; West recorded with Coldplay and toured with U2. In contrast to the snarling materialism put forth by the dominant rappers of the day, West presented a more vulnerable sort of protagonist, with three albums featuring higher-education themes. Gone were tales of drug dealing and street skirmishes; in their place were reflections on dental surgery, racial injustice and working at the Gap, punctuated by a witty swagger.
His fame gave him a chance to return to his first love: sneakers. In 2007, he created a shoe for the Japanese apparel company A Bathing Ape, complete with a teddy bear logo that appeared on some of his early covers. (Find one of those shoes today and you’ll net several thousand dollars.) It was a start, and he cultivated a cadre of fashion-industry friends like Hedi Slimane, who has served as creative director at Dior Homme and Yves Saint Laurent. “You’re going to do something really strong in shoes,” West remembers the designer telling him. That sort of encouragement gave West the confidence to whip out a notepad when he found himself on a plane with Nike CEO Mark Parker shortly thereafter. Says West: “When he saw me sketch, he said, ‘This guy’s interesting, let’s do a shoe with him.’ ”
Yeezy was born (a shortening of the “Kanyeezy” nickname Jay-Z gave him in the intro to a 2003 song). West says Parker put him in the room with Air Jordan designer Tinker Hatfield, and by mid-2008, West was rocking prototypes of his own Air Yeezy high-top onstage, with the genuine article arriving in 2009. Hip-hop has connected with footwear almost since the genre was born, from Run-D.M.C.’s Adidas shell toes in the mid-1980s to Jay-Z and 50 Cent’s Reeboks two decades later. West was the first to do it at Nike on the level of an NBA superstar.
Says analyst John Kernan of investment bank Cowen, “What he’s done in footwear has been truly transcendent.”
At the same time that West’s business interests were shifting, he began changing too. His mother died in a 2007 cosmetic procedure gone wrong; the following year, he split with his fiancée Alexis Phifer. On his album, 808s and Heartbreak, he ditched rap for heavily autotuned singing.
Then came the bizarre. He hopped onstage to interrupt Taylor Swift’s 2009 acceptance speech for Best Female Video at the MTV VMA ceremony, insisting that Beyoncé should have won the award instead; the episode generated such an intense backlash that he cancelled his planned arena tour with Lady Gaga and moved to Italy to intern for Fendi. When he returned from his European sojourn, his previous praise for the Creator was superseded by an insistence on his own holiness, particularly his 2013 album Yeezus, where he declared flatly, “I am a god.”
West kicked off 2016 by unleashing flurries of Tweets, asserting that he was $53 million in debt before asking Mark Zuckerberg for $1 billion to help fund his creative ideas. Then he embarked on his most ambitious tour yet—one that featured him holding forth atop a platform that looked like something out of Close Encounters of the Third Kind, hovering about a dozen feet above the crowd. West’s rants grew more and more unusual as the tour continued. In one performance, he suggested Jay-Z might be trying to have him assassinated. The year ended with West hospitalized after the tour cancelation. His first appearance after? A pilgrimage to Trump Tower, where he posed with the president-elect (and turned off a lot of his core audience).
His career, however, has proved antic-proof. And he has channeled his intensity profitably, particularly when it comes to sneakers. As sales blossomed at Nike, particularly after the Air Yeezy II release in 2012, West felt that the company was treating him like just another celebrity dabbler. “It was the first shoe to have the same level of impact as an Air Jordan, and I wanted to do more,” West says. “And at that time Nike refused to give celebrities royalties on their shoes.” (Nike declined to comment for this story; two other sources familiar with the arrangement also say he wasn’t being paid royalties.)
West, however, had always insisted on maintaining ownership of his brand. And when Adidas executives caught wind of West’s dissatisfaction, they invited him to Germany. With the help of Scooter Braun, who started a stint comanaging West around the same time, they created what appears to be an unprecedented deal: a 15% royalty on wholesale, according to sources familiar with the deal, plus a marketing fee. For comparison, Michael Jordan is thought to get royalties closer to 5%, though he doesn’t own his brand.
In 2015, West debuted his first “Yeezy Season,” a showcase for his clothing and sneakers. The next year he leveraged his new album to create a launch party for both sneakers and song, at a sold-out Madison Square Garden. His biggest breakthrough: the 350. Marrying his eye for design with Adidas’ Boost technology, which purports to efficiently return energy to runners, West turned trainers into high fashion and made low-top sneakers cool again. The 350’s aggressive stance, leaning forward as if to challenge any foe to a footrace, suddenly had scores of people willing to cough up $200 for a pair of running shoes. Adidas has never released Yeezy’s numbers, but in 2016 West let it slip that his sneakers were selling out surprise 40,000-pair drops in minutes.
His wife—West and Kardashian married in Florence in 2014—gets an assist here, opening up West to her family’s hundreds of millions of social media followers (they routinely sport his Yeezy shoes and apparel).
The partnership works both ways. Kardashian West seeks out her husband’s opinion on all of her projects, from the Kim Kardashian: Hollywood mobile game to her recent shapewear line. When she brought him mockups for the latter, West wasn’t impressed. He sat down and drafted a new logo before personally redesigning the packaging. In any case, West’s advice isn’t limited to the creative side. “He’s just taught me as a person to never compromise and to really take ownership,” says Kardashian West, who ranks No. 26 on The Celebrity 100. “Before, I was really the opposite. I would throw my name on anything.”
Given their hectic schedules, Kardashian West and West often trade ideas at what he calls “bedtime true-crime story meetings,” where she watches police procedurals while he shows her mockups.
“I’m just blessed through the grace of God to go from tweeting at Mark Zuckerberg” to ask for money, West says, to where he is today. He can laugh at himself a little now. “People wondered, ‘Why did you tweet at Mark Zuckerberg?’ And I was like, ‘Hey, I heard he was looking for aliens.’ ”
Speaking of aliens, if you really want to see how West’s creative process works, then a visit to the Star Wars planet of Tatooine is necessary. Inspired by Luke Skywalker’s childhood home, West has been working with a team to design prefabricated structures that sport the same austere aesthetic, with the goal of deploying them as low-income housing units. Just after midnight he ushers me into his Lamborghini for an impromptu visit, barreling back down the road with Bach blasting on the sound system. After about 15 minutes, we arrive at a bungalow in the woods.
A team of four is still clattering away on Apple laptops inside, ahead of a meeting the following morning in San Francisco with potential investors. Around them, the walls are plastered with written notes and sketches. West peers over the shoulders of his charges, instructing them to change a font here or brighten a picture there.
“He pushes people to do their best and pushes people even outside of their comfort zone, which really helps people grow,” Kardashian West says, citing West’s relationship with Louis Vuitton designer and Off-White label founder Virgil Abloh.
After a half hour or so, West appears satisfied with the state of the presentation and motions me toward a back door. We stroll out into the chilly, starless night, and I follow him up a dirt path deeper into the woods for several minutes until he stops at a clearing and looks up, wordless. There, with the hazy heft of something enormous and far away, stand a trio of structures that look like the skeletons of wooden spaceships. They’re the physical prototypes of his concept, each oblong and dozens of feet tall, and West leads me inside each one.
He tells me they could be used as living spaces for the homeless, perhaps sunk into the ground with light filtering in through the top. We stand there in silence for several minutes considering the structures before walking back down to his lurking Lamborghini and zooming off into the night.
For a company that makes Lamborghini-inspired sneakers, Yeezy’s headquarters are remarkably nondescript: a blocky blue-and-gray building just off the main drag in Calabasas. It’s not far from where he’s been hosting his recent Sunday Services—gatherings where popular songs are repurposed with Christian themes by gospel choirs and famous guests from Katy Perry to Dave Chappelle.
When I meet up with West after his return from San Francisco, he doesn’t even mention the investor meeting—already fixated on something else enormous out back. In the parking lot behind his office, laid out in concentric circles, is the sum total of West’s creative output at Adidas: a trove of sneaker prototypes baking in the midday sun, variants of his 350s in a rainbow ranging from blood orange to creamy pistachio alongside a few yet-to-be-released gems like the almost triangular Yeezy basketball shoe (which, he adds almost proudly, has yet to be approved by the NBA—echoing the days when the league fined Michael Jordan for wearing his eponymous sneakers because they violated uniform rules).
West scoops up a 1050 Vortex Boot, which debuted in prototype form at Madison Square Garden in 2016. “I just looked at this line right here,” he says, motioning to a thin strip of blue masking tape on the sole. “I’m going to make this part of the boot. The inside of this will be blue. And I just go with the flow.”
There are about 1,000 pairs laid across the lot, it seems, but when I ask West for the exact tally, he seems almost offended at the notion of reducing his creations to numerals. “You can’t calculate love,” he explains. “If you get a surprise cake from your grandmother, and you didn’t know she was in town, do you start asking her about the batter and specifically the frosting?”
“These things are made to bring incalculable joy,” he continues. “So to ask me to somehow translate this to numbers is to ask your grandmother exactly what the recipe of the cake was.”
West claims to not be a “numbers guy,” but he has reached an inflection point where someone in the Yeezy orbit needs to be. His brand built its following through its limited releases and surprise drops, much like Air Jordan. The latter, according to NPD retail analyst Matt Powell, has lost a bit of its cachet in recent years as Nike moved to fill declining volume in other areas of business with its iconic sub-brand. “What makes celebrity products sell so well is scarcity,” he says. “So if they make it too broadly available, I think it crashes the business model.”
Adidas seems to be aware of this. “We are continuing to manage volumes in a very disciplined manner so that for 2019 Yeezy sales will not make up a significant share of Adidas’ overall expected sales growth,” says the company’s chief executive, Kasper Rørsted. “Not because brand heat is decreasing, but because we have a disciplined approach to managing volumes and product lifecycles.”
In other words, he’s not willing to chase sales at the expense of prestige, instead continuing to build buzz with surprise drops. The May release of the glow-in-the-dark 350 v2 sold out immediately, even though it rolled out at 6 a.m. in some countries. In June, customers lined up around blocks in Moscow to get a reflective version of a sneaker that had already debuted in the U.S. There are even more far-out concepts in the works, including a shoe made out of algae that will biodegrade completely over time in landfills—or almost immediately if sprayed with a certain type of bacteria.
Perhaps most impressively, West still owns 100% of Yeezy. This is the reason he became a centimillionaire many times over much earlier in his life than Jordan. Given Yeezy’s success, West should eventually join the NBA legend—alongside sister-in-law Kylie Jenner and mentor Jay-Z—in achieving billionaire status, though the never-modest West would claim he’s there already. And then some. “We’ve yet to see all of the beauty that would be manifested through this partnership,” West says. “We’ve only experienced a small glimmer of light.”
Additional reporting by Monica Mercuri and Natalie Robehmed.
-Zack O’Malley Greenburg; Forbes Staff
Luxury Goods Titan Bernard Arnault Becomes World’s Third $100 Billion Man
One of the world’s ultimate taste-makers, Bernard Arnault entered an ultra-rarefied club this week. As of Thursday June 20, he was worth just over $100 billion, making him one of three people in the world with 12-figure fortunes.
He joins Amazon’s founder Jeff Bezos, worth an estimated $157.5 billion, and Microsoft cofounder Bill Gates, worth an estimated $103.1 billion. Bezos, who first passed $100 billion in 2017, will soon give a slice of that fortune away.
He and his wife, MacKenzie, are in the process of finalizing their divorce. The couple announced in early April that she will receive a quarter of his Amazon stake, currently valued at more than $37 billion. Gates reached $100 billion in April, thanks to strong earnings from Microsoft.
Arnault’s luxury goods group, LVMH Moët Hennessy–Louis Vuitton, has been having a great year. In April, it announced record first quarter sales and profits on top of a strong 2018. Its shares are up more than 40% so far in 2019, boosting Arnault’s fortune by more than $20 billion.With his family, he owns 46% of LVMH and serves as both its chairman and CEO.
The growth comes as high-end buyers around the world continue to pick up luxury goods and spirits, despite fears that demand, particularly in China, would slow down. Thirty-five years after Arnault first got into luxury goods with the purchase of Christian Dior, he continues to refresh LVMH by finding ways to appeal to a new generation of customers while retaining the traditional values and high quality that have defined its brands.
That includes innovative partnerships like the two with Rihanna — Fenty Beauty and Fenty fashion house — as well as recent deals such as the acquisition of Belmond, which operates luxury hotels, trains and even safaris.
“People do not understand that success stems from the cohabitation of two contradictory spirits: the artist’s vision and the logic of worldwide marketing,” Arnault told Forbes in 1997. “It’s a very complex process.”
Forbes first wrote about Arnault in 1991 when he was worth $200 million. He has since been featured several times and has appeared on our cover. He made his debut in our Billionaires ranks in 1997. Some readers may know his story well but it’s one worth retelling.
A native of France’s cold, flat industrial north, Arnault was a star student at France’s prestigious Ecole Polytechnique. The son of a construction tycoon, Arnault spent three years in the U.S. in the early 1980s trying to establish a branch of his family’s real estate business, Ferinel, as a developer of Florida vacation properties.
After three years he returned home. But he learned a valued lesson in America, according to a 1997 Forbes profile on Arnault. Before leaving, he sold his Mediterranean-style home facing Long Island Sound in New Rochelle, N.Y. to American tycoon John Kluge, owner of the mansion next door. Kluge tore it down because it blocked his view.
“It was just incredible!” Arnault told Forbes. “It was a very nice place, but two days after he bought it, he tore my house down! It’s so very…American.” Lesson learned: “When something has to be done,” says Arnault, “do it! In France we are full of good ideas, but we rarely put them into practice.”
He returned back to France ready to make some moves. In 1984, Arnault put up $15 million of his family’s money to rescue bankrupt textile empire Boussac (Lazard put up the rest). Among Boussac’s mixed bag assets was money-losing fashion house Christian Dior.
That became the first of many Arnault acquisitions and the cornerstone of his massive luxury goods empire. Over the years, LVMH snapped up such brands such as Louis Vuitton, Givenchy and Sephora. Today LVMH has nearly $53 billion in sales from 70 brands and 4,590 retail stores.
-Luisa Kroll; Forbes Staff
Hip-Hop’s Next Billionaires: Richest Rappers 2019
Back in 2007, Jay-Z made a bold statement in song about both his lyrical prowess and his future financial fortunes: “I’m already the G.O.A.T.–next stop is the billie.”
Sure enough, Forbes declared him hip-hop’s first billionaire earlier this month. The news caught the attention of observers around the world—not only due to the breadth of Jay-Z’s financial achievement, but because of what it means for others looking to follow in his footsteps.
“Jay-Z’s entire life is the real blueprint,” says hip-hop pioneer Fab 5 Freddy, longtime host of the show Yo! MTV Raps. “He’s one of the best examples in our lifetime of one who’s truly achieved the American dream and billionaire status.”
Naturally, Jay-Z tops this year’s ranking of hip-hop’s richest stars. Who will be the next billionaire from the rap world? The answer is almost certainly one of the names below.
The 32-year-old Canadian is the youngest on this list by a decade, but he’s quickly gaining ground on hip-hop’s elder statesmen. Drake’s fortune grew 50% over the past year, boosted by holdings ranging from real estate to his Virginia Black whiskey, as well as a lucrative tour and new residency at the XS Nightclub in Las Vegas.
“Every year, we just want to get more prepared and better at touring and better at things that make money,” he told Forbes in 2013 (his average gross has since surged from $500,000 to more than $2 million per stop). “That’s pretty much my objective every year, other than making good music.”
4. Kanye West
A onetime protégé of Jay-Z, the superproducer has been making headlines recently for his Sunday Service, an invitation-only get-together mostly in Southern California that is reportedly frequented by the likes of Courtney Love and Tyler, the Creator. He took the show on the road in April for a Coachella service on Easter Sunday featuring appearances by Chance the Rapper, DMX and a gospel choir—while hawking socks and “holy spirit” sweatshirts. But selling church clothes alone won’t be enough to push West into ten-figure territory.
Despite declaring himself $53 million in debt and beseeching Mark Zuckerberg for $1 billion to fund future creations in 2016, West makes his debut on this list thanks to a another patron: Adidas, which lured West and his Yeezy shoe line from Nike several years ago. Our accounting of West’s wealth is almost entirely predicated on a conservative estimate of that brand’s value. As it continues to scale up, he could one day join his sister-in-law, Kylie Jenner, as a billionaire.
“I started my business career at age 12, delivering newspapers,” Diddy explained two years ago in our centennial issue, where we named him one of the world’s greatest living business minds. “Since then, I’ve always understood that if I give the customers my best and service them differently, whether music, clothing or vodka, I’ll get a return on my hard work.”
The artist formerly known as Puff Daddy dips to No. 3 on this list as industry trends weigh on some of his holdings, including cable network Revolt and clothing line Sean John (though Diddy has sold much of his stake in the latter, he retains a sizeable piece). But Ciroc, the main driver of his fortune, is growing again after case volumes fell from all-time highs in recent years—making the impresario perhaps the most likely candidate to join Jay-Z in the billion-dollar club.
2. Dr. Dre
It’s been five years since Dr. Dre proclaimed himself a billionaire, but Forbes still doesn’t agree with the assessment made in the wake of Apple’s $3 billion 2014 purchase of his Beats By Dr. Dre headphone line. The superproducer owned an estimated 20%-25% of the company at the time; of the $2.6 billion Apple paid upfront in cash, another $295 million was earmarked to cover debt payments, leaving Dre with a little over $500 million.
Even with the vesting of his final slug of Apple stock last summer, Dre hasn’t quite made it into billionaire territory. He has spent heavily over the years on property (he paid $40 million for Tom Brady and Gisele Bundchen’s Los Angeles estate) and charitable donations (along with Beats cofounder Jimmy Iovine, he gave $70 million to start a school at USC). And with his formal involvement at Apple seemingly wrapping up, Dre will likely need to get back on the festival circuit—or start a new company—if he’s to make good on his 2014 declaration.
Though he’s hip-hop’s first billionaire, Jay-Z’s lead on the rest of the pack is even larger if his entire family fortune is taken into consideration: He and wife Beyoncé are now worth a combined $1.4 billion. So much for the notion that music is a dying business.
“To convince artists that you can’t be an artist and make money … was the greatest trick in music that people ever pulled off,” Jay-Z told Forbes in 2010. “I think the people that were making the millions said that.”
In order to compile our ranking of the richest rappers, we use the same procedures employed in the calculation of our annual billionaires list: poring over financial documents, valuing major assets, and consulting with analysts, managers, attorneys and other industry insiders.
Cover photographs: Getty Images (Dr. Dre: AP Images)
-Zack O’Malley Greenburg; Forbes Staff
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