The shift to a global economy based on reusing, repairing, and recycling—instead of making things, using them, and then throwing them away—is gaining traction as a sustainable investing theme.
Today, only 8.6% of the global economy is circular as the world consumes 100 billion tons of materials a year, according to Circle Economy, an Amsterdam-based global impact group.
Closing the loop on how goods are produced and consumed can address the problems created by depleting the Earth’s resources, in addition to the problems of pollution and climate change. According to the U.K.’s Ellen MacArthur Foundation, 45% of global greenhouse-gas emissions are generated by the creation and use of products and food, while the rest is generated by the use of energy.
Rising environmental challenges such as drought, fires, and flooding, in addition to changing consumer preferences and government regulation, are driving companies big and small to break away from a reliance on finite resources and to seek other solutions, says Jessica Matthews, head of sustainable investing at J.P. Morgan Private Bank.
That means, “by 2030, the circular economy could yield up to US$4.5 trillion in economic benefits globally,” she says. The benefits? “Saving 92 million tons of textiles in landfills, 1.3 billion tons of food waste, and 45 trillion gallons of water wasted through food production every year,” she says.
This multi-trillion dollar opportunity is leading growth-oriented, as well as sustainability-minded, investors to pay attention to this growing theme, as the push to create a circular economy drives innovation and new business models.
“Companies are innovating to tackle the challenge,” Matthews says. “That’s why it’s a growth story.”
The private bank currently has about US$12.5 billion in client assets invested in sustainable strategies across 100 funds on its platform, Matthews says. The assets are in all kinds of vehicles, from exchange-traded funds to private equity—and represent a range of investing approaches.
Matthews recently spoke with Penta about the potential for investing in the circular economy today.
The Business Case
What makes the circular economy an investing opportunity is that companies stand to profit more by reusing, refurbishing, and repairing products rather than sourcing virgin materials to make them, Matthews says.
Circular practices already are being used by clothing companies as well as technology and manufacturing companies, the Ellen MacArthur Foundation said in a September report titled “Financing the Circular Economy.”
In 2019, the resale market for fashion, including companies such as the RealReal, grew 25 times faster than the broader retail sector, while Philips, a Dutch conglomerate, reported 13% of revenues resulting from its circular practices.
In addition to major companies that are reforming how they make things—such as Unilever’s pledge to cut its use of virgin plastics in half by 2025—small companies are sprouting up to facilitate the shift, the report said.
Examples include RePack, based in Helsinki, which makes reusable, returnable packaging for products bought online, and Algramo, a Chilean startup, which allows consumers to refill cleaning products made by companies such as Procter & Gamble and Nestlé.
The move away from plastics for packaging is expected to create a US$700 million demand for corrugated cardboard in Europe and the U.S., the foundation said.
Investing Opportunities
According to the Ellen MacArthur Foundation there are 10 public stock funds globally focused on the circular economy, either in full or in part, including BlackRock’s BGF Circular Economy Fund, the Geneva-based Decalia Asset Management’s Decalia Circular Economy fund, and BNP Paribas’s Easy ECPI Circular Economy Leaders UCITS ETF.
There were also at least 10 corporate bonds issued globally with the assistance of major investment banks such as Goldman Sachs, HSBC, and Morgan Stanley, with proceeds either in full or in part dedicated to circular practices, the foundation said. Issuers include Alphabet’s US$5.75 billion sustainability bond (with a circular economy component), Daiken Corp.’s JPY5 billion (US$46 million) bond, and Owens Corning’s US$450 million bond.
Private market equity, debt, and venture capital funds are also on the rise—there were 30 funds as of the first half of last year, up from three in 2016, the foundation said.
At J.P. Morgan, Matthews is evaluating the available public mutual funds and is looking to bring one on its platform. Since many of the companies involved in the circular economy today are in niche businesses, “you have to be careful about how limiting you are in your universe,” she says.
Public funds focused broadly on companies with the best environmental, social, and governance practices also buy stocks of corporations on the leading edge of the circular economy, even if these companies—such as Unilever, Adidas, and Nike —don’t represent a distinct circular economy story.
J.P. Morgan is also looking at private markets. Similarly, the bank has found more opportunities to invest in the circular economy through funds that look at sustainability broadly, Matthews says. For instance, the bank has invested with a private venture firm focused on sustainability and climate solutions that has invested in a company working to create cold-pack packaging with less Styrofoam.
“Where [the circular economy] becomes more widely adopted and seen is in being favoured in broader sustainability portfolios,” Matthews says, adding that ESG managers doing fundamental research today will find themselves looking at some of the trends around circular, because “they are still underappreciated by the market.”
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Sky-high pricey artworks may not be flying off the auction block right now, but the art market is actually doing just fine.
That’s a key takeaway from a 190-plus page report written by Art Economics founder Clare McAndrew and published Thursday morning by Art Basel and UBS. The results were based on a survey of more than 3,600 collectors with US$1 million in investable assets located in 14 markets around the world.
That the art market is doing relatively well is backed by several data points from the survey that show collectors are buying plenty of art—just at lower prices—and that they are making more purchases through galleries and art fairs versus auction houses.
It’s also backed by the perception of a “robust art market feeling,” which was evident at Art Basel Paris last week, says Matthew Newton, art advisory specialist with UBS Family Office Solutions in New York.
“It was busy and the galleries were doing well,” Newton says, noting that several dealers offered top-tier works—“the kind of stuff you only bring out to share if you have a decent amount of confidence.”
That optimism is reflected in the survey results, which found 91% of respondents were optimistic about the global art market in the next six months. That’s up from the 77% who expressed optimism at the end of last year.
Moreover, the median expenditure on fine art, decorative art and antiques, and other collectibles in the first half by those surveyed was US$25,555. If that level is maintained for the second half, it would “reflect a stable annual level of spending,” the report said. It would also exceed meet or exceed the median level of spending for the past two years.
The changes in collector behaviour noted in the report—including a decline in average spending, and buying through more diverse channels—“are likely to contribute to the ongoing shift in focus away from the narrow high-end of sales that has dominated in previous years, potentially expanding the market’s base and encouraging growth in more affordable art segments, which could provide greater stability in future,” McAndrew said in a statement.
One reason the art market may appear from the outside to be teetering is the performance of the major auction houses has been pretty dismal since last year. Aggregate sales for the first half of the year at Christie’s, Sotheby’s, Phillips, and Bonhams, reached only US$4.7 billion in the first half, down from US$6.3 billion in the first half a year ago and US$7.4 billion in the same period in 2022, the report said.
Meanwhile, the number of “fully published” sales in the first half reached 951 at the four auction houses, up from 896 in the same period last year and 811 in 2022. Considering the lower overall results in sales value, the figures imply an increase in transactions of lower-priced works.
“They’re basically just working harder for less,” Newton says.
One reason the auction houses are having difficulties is many sellers have been unwilling to part with high-value works out of concern they won’t get the kind of prices they would have at the art market’s recent highs coming out of the pandemic in 2021 and 2022. “You really only get one chance to sell it,” he says.
Also, counterintuitively, art collectors who have benefited from strength in the stock market and the greater economy may be “feeling a positive wealth effect right now,” so they don’t need to sell, Newton says. “They can wait until those ‘animal spirits’ pick back up,” referring to human emotions that can drive the market.
That collectors are focusing on art at more modest price points right now is also evident in data from the Association of Professional Art Advisors that was included in the report. According to APAA survey data of its advisors, if sales they facilitated in the first half continue at the same pace, the total number of works sold this year will be 23% more than 2023.
Most of the works purchased so far were bought for less than US$100,000, with the most common price point between US$25,000 and US$50,000.
The advisors surveyed also said that 80% of the US$500 million in transactions they conducted in the first half of this year involved buying art rather than selling it. If this pattern holds, the proportion of art bought vs. sold will be 17% more than last year and the value of those transactions will be 10% more.
“This suggests that these advisors are much more active in building collections than editing or dismantling them,” the report said.
The collectors surveyed spend most of their art dollars with dealers. Although the percentage of their spending through this channel dipped to 49% in the first half from 52% in all of last year, spending at art fairs (made largely through gallery booths) increased to 11% in the first half from 9% last year.
Collectors also bought slightly more art directly from artists (9% in the first half vs. 7% last year), and they bought more art privately (7% vs. 6%). The percentage spent at auction houses declined to 20% from 23%.
The data also showed a shift in buying trends, as 88% of those polled said they bought art from a new gallery in the past two years, and 52% bought works by new and emerging artists in 2023 and this year.
The latter data point is interesting, since works by many of these artists fall into the ultra contemporary category, where art soared to multiples of original purchase prices in a speculative frenzy from 2021-22. That bubble has burst, but the best of those artists are showing staying power, Newton says.
“You’re seeing that kind of diversion between what’s most interesting and will maintain its value over time, versus maybe what’s a little bit less interesting
and might have had speculative buying behind it,” he says.
Collectors appear better prepared to uncover the best artists, as more of those surveyed are doing background research or are seeking advice before they buy. Less than 1% of those surveyed said they buy on impulse, down from 10% a year earlier, the report said.
Not all collectors are alike so the Art Basel-UBS report goes into considerable detail breaking down preferences and actions by individuals according to the regions where they live and their age range, for instance. The lion’s share of spending on art today is by Gen X, for instance—those who are roughly 45-60 years old.
Despite a predominately optimistic view of the market, of those surveyed only 43% plan to buy more art in the next 12 months, down from more than 50% in the previous two years, the report said. Buyers in mainland China were an exception, with 70% saying they plan to buy.
Overall, more than half of all collectors surveyed across age groups and regions plan to sell, a reversal from past years. That data point could foretell a coming buyer’s market, the report said, or it “could be indicative of more hopeful forecasts on pricing or the perception that there could be better opportunities for sales in some segments in the near future than there are at present.”
In the U.S., where 48% of collectors plan to buy, Newton says he’s seeing a lot of interest in art from wealth management clients.
“They’re looking for ideas. They’re looking for names of artists that can be compelling and have staying power,” Newton says. “That’s definitely happening from an optimistic standpoint.”
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Just 55 minutes from Sydney, make this your creative getaway located in the majestic Hawkesbury region.