Excent Capital Empowers Latin American Traders to Take Control of Their Financial Future
MEXICO CITY, MEXICO / / May 21, 2025 / Excent Capital, a multi-regulated global broker and multi-asset trading platform, is reinforcing its commitment to online trading in Latin America by expanding operations and support across the region. With offices in Mexico City, São Paulo, London, and Seychelles, the company is uniquely positioned to serve the needs of Latin American retail investors seeking smarter, more secure trading solutions.
"We see a wave of independent traders across Latin America who are eager to access the markets with confidence," said Wilfredo Rodriguez, COO of Excent Capital. "Our mission is to provide them with the tools, insights, and security they need to take control of their financial future."
Whether you're just starting out or looking to sharpen your strategy, Excent Capital offers everything you need to trade smarter, faster, and with confidence.
Technology That Puts You in Control
At Excent Capital, innovation is integral to the client experience. Their proprietary trading platform is designed to adapt and evolve, offering traders a continuously optimized, faster, and more personalized interface.
With integrated real-time AI insights from Acuity, users gain access to market signals, economic calendars, trade ideas, and live news-delivering timely data to support informed, strategic decision-making at all times.
Trade With Confidence and Peace of Mind
When it comes to financial assets, trust is essential. Excent Capital operates under strict international standards, ensuring that client funds remain secure. The firm is regulated, compliant, and fully committed to capital protection - enabling investors to operate with confidence and security.
Freedom to Trade Anytime, Anywhere
Modern investors require seamless, real-time access to the markets. Excent Capital delivers 24/7 trading access across all devices desktop, tablet, or mobile. Monitor portfolios, identify opportunities, and execute trades anytime, anywhere. Full control remains in the hands of the investor.
More Ways to Win in Every Market
Markets fluctuate-and with Excent Capital, traders can position themselves to take advantage of both upward and downward trends. Through long and short trading capabilities, the platform enables greater strategic flexibility and expanded market opportunities.
A Partner Who Grows With You
At Excent Capital, trading is not only about performance metrics-it's also about building lasting client relationships. To support long-term growth, the firm provides multilingual customer assistance in Spanish, Portuguese, and English, ensuring that professional guidance is readily available when needed.
Your Opportunity Starts Now
Latin America is experiencing significant financial growth, creating new opportunities for investors. With Excent Capital, you gain access to the tools, insights, and support needed to participate in this growth and manage your financial future with confidence.
Join thousands of traders across Latin America and explore your full potential with Excent Capital. Create your free account today.
Company Information
Organization: Excent CapitalContact Person Name: Ryccielli OngarattoCompany Role: Marketing ManagerWebsite: https://excent.capital/Email: support@excent.capital
SOURCE: Excent Capital
View the original press release on ACCESS Newswire
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Business of Fashion
2 hours ago
- Business of Fashion
Delphine Arnault Confirms Jonathan Anderson's Dior Takeover
ROME — Delphine Arnault is buoyant as she explains the logic behind one of LVMH's highest-stakes designer appointments in years: former Loewe creative director Jonathan Anderson will succeed Maria Grazia Chiuri at Christian Dior, putting the women's and men's sides of the group's second-biggest fashion label — and French national treasure — under a single creative director for the first time since Monsieur Dior himself. We are having breakfast in Rome, where the next day Chiuri staged what would prove to be her final runway spectacular for Dior, but Arnault's mind is already sharply focused on reviving the fortunes of a brand that quadrupled revenue from €2.2 billion ($2.5 billion) in 2017 to €9 billion in 2023, according to estimates from HSBC, before being hit hard by a sharp slowdown in luxury demand. Delphine, the eldest child of LVMH chairman Bernard Arnault and Dior's chief executive, has been schooled in the luxury business for more than 20 years. Right from her early days working at Dior, where she spent 12 years before moving to LVMH stablemate Louis Vuitton for a decade-long stint as executive vice president overseeing product-related activities, she has taken a particular interest in cultivating relationships with creative talents in the industry. In 2014, she founded the LVMH Prize, which has become the industry's most prestigious award for emerging designers. When she first met Jonathan Anderson in a small apartment he had rented near the Gare du Nord in Paris about thirteen years ago, she was struck by his creativity and clarity of vision. Shortly thereafter, in 2013, the group took a minority stake in his fledgling JW Anderson label and appointed him creative director of the Spanish leather goods brand Loewe, founded in 1846. Loewe had a rich heritage in craft, but had failed to gain commercial traction under LVMH's ownership following its acquisition in 1996. Anderson transformed Loewe from a sleepy heritage brand without a clear fashion vision into one of the luxury industry's most desirable, culturally relevant labels. Building everything around his personal obsession with craft, which became the defining purpose for the brand, he established a consistent brand framework, created with longtime collaborators M/M Paris, that seemed to elevate and amplify whatever he put inside. The Puzzle bag, launched in 2015, became an instant brand icon, leveraging Loewe's deep expertise in leather goods manufacturing. He established the Loewe Foundation Craft Prize in 2016 to celebrate and support contemporary craft. And his Loewe fashion shows became one of the highlights of Paris Fashion Week, pushing forward his creativity while showcasing his talent for curating artists, celebrities and other cultural figures. During Anderson's eleven-year tenure, Loewe's estimated annual revenues grew from around €200 million to more than €1.5 billion, according to market sources. Mission accomplished. But to retain an energetic and ambitious designer like Anderson, Arnault knew she needed to give him a new challenge. In April, Mr. Arnault, in response to a question at LVMH's annual shareholders meeting, unexpectedly confirmed one of fashion's worst-kept secrets: that Anderson would be taking on the creative leadership of Dior's men's collections. Anderson was already in the process of assembling a team and preparing for his Dior Homme debut on June 27 during the Paris menswear shows. Dior will skip the Haute Couture shows in July, meaning we won't get a glimpse of Anderson's vision for womenswear until Oct 1, during what is shaping up to be a historic and hyper-competitive fashion month which will also feature designer debuts at Chanel and Gucci, as well as at Balenciaga, Loewe, Bottega Veneta, Versace and Jil Sander, as a number of top brands recast their creative leadership to help bolster sales in a difficult luxury market 'Having worked within the LVMH group for over a decade, I'm deeply grateful for the trust and support Bernard Arnault and Delphine Arnault have given me over the years, allowing me to develop my voice as both a designer and a leader,' told BoF in a brief written statement. 'Their decision to appoint me as creative director of Dior is the ultimate expression of that trust, and I'm incredibly humbled and honoured by this opportunity.' 'Jonathan Anderson is one of the greatest creative talents of his generation. His incomparable artistic signature will be a crucial asset in writing the next chapter of the history of the House of Dior,' added Bernard Arnault. No doubt. But Anderson surely has his work cut out for him. In revenue terms, Dior is about four times the size of Loewe so his new job comes with a significant increase in scale and responsibility. Anderson will go from designing nine collections per year at Loewe to 10 collections per year at Dior, including, for his first time, two haute couture collections. His sprawling remit for Dior will come on top of his responsibilities at JW Anderson, where he will continue to design six collections per year, according to the brand's chief executive, Jenny Galimberti. While there will be no JW Anderson shows in 2025, the brand will be hosting a number of events and presentations, and will reveal a new go-to-market strategy in July focused on local craft and making. Then there's also the ongoing JW Anderson collaboration with Uniqlo, which is another two collections per year. That's a total of 18 collections per year, meaning Anderson is set to become the industry's most prolific, multi-tasking designer since Karl Lagerfeld. What's more, Anderson is joining Dior at a challenging moment. Sales at LVMH's fashion and leather goods group, which houses Louis Vuitton and Dior, were down 5 percent in the first quarter of 2025, missing analyst expectations. While LVMH does not break out performance by brand, chief financial officer Cécile Cabanis said in the company's most recent earnings call that Dior performed 'slightly below' the division average. Bernstein analyst Luca Solca estimates that sales at Dior were down mid- to low- teens in Q1 2025, a significant deceleration after years of unprecedented expansion. Like its main rival Chanel, Dior is contending with a value-for-money issue after implementing some of the industry's most aggressive price hikes. Between 2020 and 2023, Chanel's prices rose 59 percent on average, while Dior raised prices by an average of 51 percent, according to analysis by Bernstein. Some customers seem to have rejected the price increases and become tired of the ubiquity of luxury fashion, and are focusing more of their spend on travel, hospitality and fine jewellery. Can Anderson do for Dior what he did for Loewe? There's no doubt it's a mammoth job. But Arnault contends that his unique blend of creativity and cultural intelligence, his proven ability to design commercially successful luxury products and his experience in leading and inspiring creative teams makes him the obvious choice to write Dior's next chapter. The Logic Behind the Appointment Imran Amed: I think what everyone's really interested in understanding is the thinking behind your decision. When you're picking a designer for a brand as important as Dior and you decide on someone like Jonathan, what thinking goes into that? Why is he the right choice? Delphine Arnault: Jonathan was the obvious choice. I think he's the most talented designer of his generation. I remember going to see his collection in Paris, near Gare du Nord in this little flat on the fourth floor with no elevator. I rang at the door, and there he was. That was maybe 13 or 14 years ago. I'd never heard of him before, but even then, at maybe 24 years old, he was incredibly sharp — very talkative, super smart, and full of ideas. He's still like that today. What he's done at Loewe is remarkable. He may only be 40 years old, but for his age he brings a lot of experience. Dior is a very big house, and he'll have big teams to manage. We have the best ateliers, both in haute couture and ready-to-wear, and he's going to have to work with very large teams. That requires real skill. At Loewe, the team isn't as large, but he's proved he knows how to build and manage teams, how to bring people together, and how to choose the right collaborators. It's a gift. It's not the same to manage a small team at a small brand and arrive at a place where you have to manage a lot of people. We've talked a lot. I think I haven't missed a Loewe show — maybe one — but you know, I've been following his path for a long time. I love finding new talents, and I was a big supporter of his talent early on. My father was also involved in the choice of Jonathan, of course. He's been also following his work and seeing him often throughout the years. Jonathan is also very loyal. He stayed 11 years at Loewe, even though I'm sure that he had many [other] propositions. For all these reasons he's the perfect choice for Dior. IA: So, how and when will we start to see Jonathan's vision for Dior come to life? DA: Jonathan already started — he began working on men's in February. Even though we didn't announce it formally, my father mentioned it at the assemblée générale in April — that it had started back in February. Everyone's very excited, and there's a new energy in the men's teams. You can feel his vision. You know him too — he's someone with a very clear vision. He's passionate about Dior. I don't want to speak for him, but from his side, Dior was always close to his heart. When I spoke to him about what he might do after Loewe, Dior was the house he connected with most deeply. In many ways, he shares similarities with Monsieur Dior, who loved art — he was a gallerist. Jonathan is also passionate about art and has done many collaborations with artists throughout his career. He also loves gardening and flowers, like Monsieur Dior. And he's quite superstitious too — Monsieur Dior was as well. The day we signed the contract, Jonathan actually signed at 2:00 a.m. because he didn't like the date, so he waited for it to change to the next day. IA: Aha, he wanted a contract date that he thought was more auspicious! What about shows? DA: He's going to have many shows — it's a big rhythm. His first presentation of the women's vision will be the ready-to-wear show on October 1st in Paris. Then of course, there will be the haute couture show in January. But his first official show for Dior is only a few weeks away. It will be on June 27th, where he'll unveil his first men's collection — so that's also very exciting. One Designer, 'One Dior' IA: You mentioned the men's show, which is interesting because this is the first time at Dior that there will be a single designer doing men's and women's. It's always been two separate designers. This is the first time you're bringing it under one designer. It's a really big job. DA: It's the first time since Monsieur Dior himself, because he did a little menswear — ties, etcetera. So yes, it's the first time since Christian Dior. Of course, it's a big role, but for our maison, I believe it brings more consistency — in the product and in the communication. It's a good thing to have more coherence, and to have one designer, one vision for the house. It is a lot of work, I can see that. He will have many shows and a lot of collections to work on. But he has an amazing team. We truly have ateliers that are exceptional — the best in the world. He's going to work closely with them. IA: The 'One Dior' strategy is something that you've been working on for some time. Not only to achieve alignment between the men's and women's fashion collections, but also alignment with Dior beauty. Can you explain 'One Dior' and why it is important for you as CEO? DA: I think that the consumer doesn't know that there's a CEO of fashion and a CEO of beauty. For the consumer, Dior is one brand. Whether you see a makeup ad, a perfume ad, or a fashion ad — it's all Dior. So I think the 'One Dior' strategy is very important. That's also why we have Olivier [Bialobos], who's in charge of 'One Dior' and ensuring coherence across the communications. But if I go back to the fashion side of Dior, I think it's going to bring a lot of coherence — in the products, in the communications, in the windows. It's a lot of work. We still need to see what he's going to create, but I think he wants to bring more coherence across the collections. It's very interesting to see what he's drawn to, what interests him in the history of the brand, and to see how he'll bring those codes back into modernity. From what I've already seen on men's, it's very impressive what he's doing. Obviously, we have a lot of icons that he's really passionate about. He loves the Lady Dior [handbag], for example. He's been spending a lot of time in the archives — not just looking at what Christian Dior created, but also what all the other designers have contributed. It's not only about ready-to-wear or haute couture, but also shoes, with Roger Vivier. IA: Would you give him the opportunity to reinterpret some of these icons? When you say he's really interested in the Lady Dior, is there an opportunity for him to put his own twist on them? DA: Yes, as you know, we've always given our designers — our artistic directors — a lot of freedom in terms of creativity. It's really one of the key traits of LVMH: to give a lot of liberty and trust to our artistic directors. I'm excited to see what his full vision is going to be, because he only started a couple of months ago. I think the whole company is excited. And also the clients. Closing the Maria Grazia Chapter IA: I want to talk about clients in a minute, but before we do that — this moment clearly closes a chapter for Dior with Maria Grazia. And on reflection, it's been a pretty remarkable chapter. The business has grown substantially under her leadership. It was also the first time a woman designed for Dior. As a woman CEO, with the two of you leading the growth of this business, what do you think Maria Grazia's legacy is at Dior — and what did it mean to have a woman designing for this brand? DA: I really [want to] thank Maria Grazia so much. She impresses me every day. She's very strong, very passionate, and has such a clear vision. She developed the collections at Dior in a way that was truly remarkable, as you said. She put women at the centre of her work. For the first time, women had a voice, and also the women artists. I remember her first show. I was sitting next to Jennifer Lawrence and she already had the J'Adior shoes and the jeans and the t-shirt and the bar jacket that was with an easier fit. And you know, when you see things for the first time — because at the time I was working at Vuitton — it takes a minute, like hearing a song for the first time that you know you're going to love. And I remember thinking, 'Wow, this is so cool.' It was such a new way to present Dior. She continued to develop that with a very clear idea of what she wanted to do, empowering women, empowering women artists, empowering women photographers. She's really done so much for her house. She really has a vision. I really admire her and really loved working with her. She's super inspiring. IA: What changes now? Because once again, it's a man designing the women's collection. Maria Grazia had a real connection with women — and with a very strong, diverse female customer base. How do you make sure that connection is preserved? DA: Maria Grazia created a beautiful body of work and did so much for women. And Jonathan designs both womenswear and menswear. He also has many women in his team. As you know, when you have a studio, you have designers across all categories — bags, ready-to-wear, haute couture, shoes — and each category often has its own dedicated designers. It's a collective effort. There are also many women who inspire him. And yes, of course, it will be different — but I think that's what's interesting. And it's also my responsibility, as CEO, to know when it's time for change — and to make that change happen. IA: It took some time for all of this to be revealed ... the news had been circulating in the industry for a while — there was a lot of speculation that these changes were happening. Why did you decide to announce things in stages? Why did it take so long? DA: It's a good question. Well, we talked a lot with Maria Grazia, and we thought that it would be great for her last show to take place in Rome, her hometown. I think for her, it means a lot personally. She wanted it to be something joyful and so we agreed that we would announce that she decided to leave after her show in Rome — and not before. So out of respect for her, we decided to do that. That's why it took a little bit of time. What Luxury Customers Want IA: The luxury industry is experiencing a sharp downturn, as luxury customers' preferences are changing. From your perspective, how are they changing? What are luxury customers — particularly women — looking for now? DA: You know, in every industry, you have cycles. And it's in the tougher moments that big innovations or inventions happen. If you take the history of Christian Dior — the New Look was created in 1947, after the war. It was something totally new. So I think that, yes, big inventions often come during these cycles. As for the luxury customer — it's hard to generalise — but I think they're looking for authenticity. Quality is something that's extremely important: quality in the manufacturing, in the products. And also, having products that are iconic. We have a lot of iconic products, like the Bar jacket, the Lady Dior, just to name a few. So yes, everything moves in cycles, and I'm sure new things are going to be invented and created. IA: What is it that Jonathan offers for this critical moment when the industry needs innovation and creativity? DA: You know him very well. He's very in tune with his generation. He's very connected — especially with young people. He speaks to a wide audience. He's passionate about craft, about art — and he's proven that at Loewe. I think he's also going to surprise you, and everyone… and even me, maybe! I can't say too much about what he's going to do, but I think his vision, his passion for craft, and also for leather goods — is going to be something very exciting in the years to come. And you know, when you have a creative change, it always takes a little bit of time to really see the new vision, the new direction for a designer. As I was saying earlier with the first show of Maria Grazia — the T-shirt, the jeans, the Bar jacket — it takes a couple of seasons. You don't necessarily understand it immediately. But when you look back at all her collections, you start to understand it better. IA: One thing that's become a touchpoint for the industry is pricing. There's a lot of pushback from customers now. Brands like Dior have increased their prices a lot over the last few years. Have we reached a limit on that? DA: Yes, I agree with you. The pricing strategy is a big question. I think that prices can be increased if you have an increase in quality as well, an improvement in the product. So if you increase the quality of your product, you can increase the price. Now, there is also some inflation in the cost of materials. The production costs are higher every year. The leather costs more, as well as the metallic accessories. There's always inflation in different parts of the product. It's up to every house to decide what to do as a pricing. For us, I think, increasing pricing should be linked to an increase in quality. And recently we've had some new people come to Dior, to focus on this. We have [Deputy CEO] Pierre-Emmanuel Angeloglou, whom I worked with at Vuitton. He arrived at Dior on April 15. We also have a new industrial director Nicolas Carré who comes from Louis Vuitton, and chief industrial officer Giorgio Striano looking over all the activities. Of course, Jonathan is also going to bring a lot of newness with his creativity. It's hard to speak about his creations, I think he should speak about it, it's going to be better said that way. IA: Earlier, you said all industries have cycles. In your view, is the current issue cyclical, or is there also a structural issue in the way the luxury industry works that needs to be addressed? DA: I'm very optimistic about the future, and about this new direction and vision that Jonathan is bringing — especially in terms of connecting with customers. As I was saying earlier, it's all about the product — but stores are also extremely important. The service, the decoration of the stores — it's all part of the mix. We're opening a store in New York in July, on the corner of Madison and 57th. That's going to be a very big message for the American market. It will be a beautiful store, almost the size of the Avenue Montaigne store. We're also opening a store on Rodeo Drive in September — so this year, in terms of retail, is really the year of the American market for Dior. Having those stores — like Avenue Montaigne, and the new ones in New York and Rodeo Drive — is extremely important for the development of our maison. They give a full vision of the brand: the men's collection, the women's collection, perfume, jewellery, and even some restaurants. It's where you really understand the full Dior universe. And I think the attention to service, the way you're welcomed into the store — is going to be very, very important for us. You know, Dior still has very big potential. The name alone is magical. Jean Cocteau said: 'ce nom magique qui melange Dieu et or' IA: A mix of god and gold? DA: Yes, Dior is a magical name that is known all over the world. We've grown a lot, but there's still a lot more growth potential at Dior. This interview has been edited for length and clarity. Disclosure: LVMH is part of a group of investors who, together, hold a minority interest in The Business of Fashion. All investors have signed shareholders' documentation guaranteeing BoF's complete editorial independence.
Yahoo
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Aussie pipped in playoff by cigar-smoking Spaniard
Miguel Angel Jimenez has won at Wakonda Club for his third PGA Tour Champions victory of the year, beating Australia's Cameron Percy and Soren Kjeldsen with a birdie on the first hole of a playoff. Denmark's Kjeldsen finished with a 63, and Percy shot 67 to match Jimenez at 17-under 199. American Kevin Sutherland was a stroke back after a 68. Jimenez closed with a birdie on the 311-yard, par-4 18th for a two-under 70, then made a four-footer for another birdie on the extra hole. The 61-year-old Spanish star led wire-to-wire, opening with rounds of 63 and 66. Jimenez has 16 career PGA Tour Champions victories since he joined in 2014, also winning in February in Morocco and in March in Newport Beach, California. The winning moment for Miguel Angel Jimenez!It's the 61-year-old's 16th PGA TOUR Champions victory! — PGA TOUR Champions (@ChampionsTour) June 1, 2025 "It was hard," Jimenez said. "People (were) playing very well, as you can see." Jimenez started the final round with a two-shot lead over Victorian Percy. Kjeldsen was lodged seven shots back, but the 50-year-old making his second Champions Tour start fired a bogey-free final round to take the clubhouse lead. Kjeldsen owned a one-shot edge when Jimenez and Percy reached the 18th, a drivable par-4. Jimenez and Percy lined their tee shots to the front of the green, then two-putted for birdie and a three-way playoff. The trio returned to the 18th, but only the Spaniard produced a solid tee shot. While Jimenez drove just short of the green to the right - setting up a good angle to the pin - Kjeldsen sliced his off the cart path to the No.1 tee box on the right and the 51-year-old Percy yanked his underneath a scoreboard to the left. Kjeldsen and Percy scrambled to earn pars, but Jimenez calmly chipped within three feet and drained a straightforward birdie putt. Jimenez's $US300,000 ($A466,500) payday increased his 2025 earnings to $US1.8 million ($A2.8 million) and he celebrated by pulling a cigar out of his bag just off the 18th green. View this post on Instagram A post shared by PGA TOUR Champions (@pgatourchampions) "The cigar tastes amazing," Jimenez said. At least one runner-up, meanwhile, didn't walk away with a bad taste in his mouth. "I played great today, so no regrets," Kjeldsen said. "Miguel is a great champion." With Reuters.
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Priced out of Austin, he bought a one-way ticket out of the US. Now, he lives on a Thai island for a fraction of the cost.
Mike Holp, now 38, left Austin in 2019 due to the high cost of living. He bought a one-way ticket to Asia and eventually settled in Koh Samui, Thailand. Island life is slower and much more affordable; his monthly expenses rarely exceed $1,800. Seven years ago, Mike Holp was riding through the streets of Austin as a food delivery worker, earning between $15 and $20 an hour. He lived just outside downtown in a shared rental with three roommates. Even with a computer science degree, the tough competition made it hard for him to get the tech job he'd hoped for. "Basically, the only thing that I could find to do to pay expenses was to deliver food on my bike," Mike Holp, now 38, a digital creator, told Business Insider. Each day blurred into the next as he worked long hours just to cover rent, only to repeat the same grind the following month. It was a relentless cycle, and the lifestyle started to wear him down. He felt disillusioned, and the rising cost of living wasn't helping his situation. "At that point, I was like 'What am I doing all this for? Just to get by?'" Holp said. His life in Austin didn't feel sustainable, and he knew he had to get out. In 2019, with money saved from delivering food and working real estate photography gigs on the side, Holp bought a one-way ticket to Asia. Finding home in Thailand After a brief stint in Bali and then Singapore, Holp decided to make Thailand his next stop. He spent time living in different parts of Thailand, including Chiang Mai — where he met his now-fiancée, Mary. She was on vacation at that time but was based in both Bangkok and Koh Samui for work. Wanting to be closer to her, Holp decided to move to Samui because he preferred its slower pace over the bustle of the Thai capital. House-hunting was fairly easy: He found their first home on Facebook Marketplace. It was a one-bedroom house located in Lamai, a laid-back area along the southeastern coast of the island. Rent was 9,000 Thai baht a month. After three years in that house, it was time for a change. His fianceé had left her previous job and now works at a school, and they wanted to live close by. They're still in Lamai, but in a bigger one-bedroom property that costs 20,000 Thai baht, or about $600, each month. "It's a modern village-style home. It's on a raised platform, about 12 feet off the ground, so if there's any flooding, we don't have to worry about that," Holp said. Although Holp has learned a little bit of Thai, the good thing about Samui, being a tourist destination, is that many locals can speak and understand basic English, he said. It was also fairly easy for him to connect with new people. "There's a large Facebook group called Koh Samui Expats — they've got about 40,000 people in there," Holp said. "And I'm actually a moderator in that group, so that helps to meet people." Escaping the rat race Holp says his life in Samui is "completely different" from that in Austin. He starts his mornings by dropping off his fiancée at work. After that, it's time for a walk along the beach and a quick workout session at an outdoor gym situated on a tiny islet linked to the Samui mainland by a wooden bridge. Post-workout, it's time for a coffee at a nearby café before he heads home to start work for the day. Apart from creating content for his own social pages, Holp also runs a photography business and a consulting business that helps others relocate to Thailand. "I have a flexible schedule," he said. "It's just a much more carefree, relaxed lifestyle compared to Austin." The fact that he's no longer in the rat race also means he has the time and energy to spend on his hobbies, such as exploring the island on his bike and meeting with friends. The lower cost of living in Thailand helps, he said. "It frees up my time so that I can focus on passion projects like the YouTube channel, and I don't have to worry about just paying rent all the time and stressing out," he said. Holp says he and his fiancée typically spend between 50,000 and 60,000 Thai baht, or about $1,500 and $1,800, a month. "We sometimes cook at home, but the meals are usually very affordable here, so going out to eat is very easy," Holp said. Their weekly grocery run costs about 2,000 Thai baht, and it's also fairly easy to find international brands and products at the larger stores, he said. "Even going to the grocery store, you can get 30 eggs for 5 bucks," he added. Holp estimates a comparable lifestyle for two in Austin would cost about five times as much. A single person needs to earn at least $101,587 annually to live comfortably in Austin, per a 2025 SmartAsset analysis based on data from MIT's Living Wage Calculator. The average rent in Austin was $2,000, per the latest May data from Zillow Rentals. Not missing the lifestyle in the US Holp says he loves the warm weather and the friendliness of the locals. He also feels very safe living in Samui. "I don't even really have to worry about locking the door, whereas back in Austin, I probably have to worry about how somebody might break in and rob me," he said. He hasn't been back to the US in five years, not even to visit. There isn't much that he misses anyway. "There's a big car culture in the US. I do kind of miss driving a car around here. I just use the motorbike for everything since it's really easy to get around the little roads and stuff," he said. "But I can't think of much that I really miss about the US other than my family, obviously, and friends. That's about it," he added.
