Aaron Sigmond—or as he prefers to be called “Sig”—is an American author, editor, and publisher. He is internationally recognised for his work on luxury heritage brands and, more importantly, cigars. His latest book, CIGARS: A Biography, builds on decades of experience and previous landmark titles in the field.

In this post, I’ll introduce you to Sig’s fascinating background, share how I first came across his work, and present an exclusive interview that dives into the making of his new book and his reflections on the world of cigars.

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About Sig

Sig has over 30 years of experience in the cigar industry. He began his career in 1991 as part of the management team at the Beverly Hills Davidoff of Geneva West Coast flagship store and The Keep, a private cigar club located above the boutique.

In 1994, Sig co-founded SMOKE magazine, the world’s second cigar glossy publication after Cigar Aficionado, in partnership with Lockwood Publications. He remained involved with SMOKE through its tenth anniversary in 2005.

He later founded The Cigar Report, a cigar-lifestyle periodical in partnership with Doubledown Media, a once high-flying New York-based media company that folded during the 2008 financial crisis. 

He also served as contributing cigar editor and advisor for Playboy magazine—this collaboration led to his first book, PLAYBOY: The Book of Cigars.

In 2019, he published The Impossible Collection of Cigars with luxury publisher Assouline. The book became a bestseller and is now in its seventh printing.

In 2022, Assouline released two further titles by Sig: ARTURO FUENTE: Since 1912, launched at an exclusive event in Dubai.

And… the limited-edition ARTURO FUENTE: From Dream to Dynasty.

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His Latest Project: CIGARS: A Biography

Now, Sig is at the centre of another extraordinary project. Teaming up with acclaimed photographer Ian Spanier, he has released his latest work: CIGARS: A Biography. More than just a book, it’s a sweeping, visually stunning chronicle tracing the cigar’s journey from its ancient origins to present day.

In the UK, whispers of the project began in October 2024 after he had been spotted earlier that year visiting some of London’s finest cigar shops and sampling lounges. By March 2025, the project launched in the United Kingdom as a private edition through Edmundos, a boutique cigar shop in Fulham, London. This was soon followed by a wider release by Tor Imports, the exclusive UK distributor, which made the book widely available at cigar retailers across the country.

I’ve had the privilege of previewing the book, and let me say—it’s wonderful, and there is a lot covered!

How I first came across Sig and his work

My interest in cigars deepened significantly during the 2020–2021 COVID-19 pandemic and the many lockdowns associated with it. With time on my hands and a growing curiosity, I set myself a personal cigar challenge: to smoke my way through the A-to-Z directory at the back of The Cigar Companion (1997)—I do love a good cigar book! Authored by Anwar Bati in collaboration with the late, great Simon Chase, the directory featured a mix of well-established cigar names and long-forgotten brands.

One entry that particularly stood out to me was a cigar brand called Bances. After failing to find it, I shared my search on social media. To my surprise, I received a message from Sig himself, who confirmed that the cigar had been discontinued. This initial exchange marked the beginning of an ongoing connection, and I’d like to think friendship.

In the months that followed, I delved deeper into his work, beginning with PLAYBOY: The Book of Cigars, which I managed to track down and purchase. Our conversations continued, often around the debate between Cuban and non-Cuban cigars.

Later, I was graciously invited to attend the UK launch of ARTURO FUENTE: From 1912 at Maison Assouline and James J Fox. The event brought together members of the cigar community and featured the sampling of champagne cocktails, premium cigars, and a talk by Sig and Carlos “Carlito” Fuente, moderated by Tom Chamberlin of The Rake.

I also had the opportunity to meet Sig in person and get my copy of PLAYBOY: The Book of Cigars signed.

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The interview

Sig has been busy promoting the book, and he graciously agreed to an interview for the blog 🙏. Here’s our conversation:

You’ve written several highly regarded books, including The Playboy Book of Cigars, The Impossible Collection of Cigars, and more recently Arturo Fuente: Since 1912. What initially inspired you to start writing about cigars, and how did that passion develop?

I have been writing professionally since 1991, and on the subject of cigars since 1994. At the risk of sounding immodest, still, I’ve created two cigar periodicals (SMOKE magazine and The Cigar Report) and published five books on cigars—with a sixth forthcoming. So, after 30 plus years it’s just a part of who I am. I like cigars and I am a writer.

Following in the footsteps of Zino Davidoff—who authored The Connoisseur’s Book of the Cigar—were there any particular authors or works that influenced your own style or approach to cigar writing?

First and foremost, I shudder at the mere notion of being mentioned in the same query as the august Zino Davidoff. Still, to answer: Living my life in and around cigars, starting in my university years to the present day, has been extraordinary and unexpected. In his seminal work, The Connoisseur’s Book of the Cigar, Zino Davidoff wrote, “The cigar has been my life. … I owe it everything.” That’s an exaggeration in my case, though not by much. Certainly, my life would have taken a vastly different path without cigars.

Your latest release, CIGARS: A Biography, was recently released. How does this book differ from your previous titles, and what new story or perspective are you aiming to share that hasn’t been explored before?

CIGARS: A Biography is completely different from any of my previous cigar titles—it is a highly personal work, though not in the way some might think. This a biography on cigars, though there are autobiographical anecdotes. By personal I mean it was a project I’ve wanted to do for many years.  PLAYBOY: The Book of Cigars is perhaps the closest of my previous books to which it can be compared, but given PLAYBOY was not just my freshman cigar book effort—but first book ever—it truly pales in comparison with CIGARS. 

CIGARS is the culmination of 40 years of being both in and around cigars, the cigar trade, and cigar media. That alone makes it unique. And me, old-ish. It is truly a passion project. Not just of mine, but also for photographer Ian Spanier and book designer Liliana Guia—my partners on the project.  Books—specifically a book such as CIGARS: A Biography—are a collaborative art form.  

But CIGARS is inimitable in great part because it is three books in one. It is part history book (section one); part photographic monograph with images shot by Ian and a smattering of archival images, with some written essay scattered about (section two); and part travelogue and luxury reference book (section three). They add up to a comprehensive survey of cigars that also lightly weaves in the narrative tapestry of my own years as a recognised cigar enthusiast. It’s also long. The first limited deluxe edition (2,500 copies worldwide), which came out in May in the U.S. and June in the U.K., is 416 pages; the slightly more expansive first trade edition, out in October (in the U.S.; December in the UK), is 424 pages.

Your books are praised not only for their compelling stories but also for their stunning photography, captivating illustrations, and bold graphic design. Could you share more about your approach to these elements in your latest book? How involved are you in guiding the creative direction, and why do you believe the visual aspect is so essential to your storytelling?

My personal aesthetic approach started in my early magazine days, and while it has evolved over the many years it remains pronounced and clean. Fortunately, I am a huge fan of the in-house design styles of the publishers I work with regularly—it all comes together.

All my books—irrespective of the publisher—are in essence readable objects d’art. So, photography, as well as vintage images and archival ephemera are key design elements—truly essential. And I have a deep personal passion for graphic arts and illustration on the whole. Then there is an appreciation for the art of printing itself.

Ian and I have collaborated on four of my five cigar titles thus far—all except Impossible Collection. Liliana is one of my most cherished friends and is my longtime business partner, going on 20 years. Having an award-winning photographer and designer on your side is an asset to be sure.

How involved you ask? If you ask Liliana, I am too much so!  I would say I am deeply and intricately immersed in all the books that carry my name. CIGARS was next level though. I had a very, very clear vision of what the book would look like before the first page was even designed. It never wavered and Liliana brought it all to life—my words, Ian’s photos, the archival materials, the illustrations we commissioned just for the book.

While working on CIGARS: A Biography, what was one of the most surprising or eye-opening discoveries you made—something that even with your extensive experience caught you off guard?

There were too many. You’ll just have to read the full book. 

Part of the book focuses on London’s cigar culture. What inspired you to highlight our city’s unique role in the global cigar community?

I have been an adjunct part of the London cigar scene since 1985. So, there is great affection, as well as are kindred spirits, well, friends, there. I think it is safe to say that for now at least, London remains the undisputed epicenter of traditional/classic cigar culture. Again, this is something I write about extensively in CIGARS.

Could you share some personal memories from your visits to London’s cigar shops and lounges over the years? When was your first visit, and how have you seen the city’s cigar scene evolve since then?

I’ve watched firsthand in real time the London cigar scene evolve over the past 40 years—since July 1985. That is when Edward [Sahakian] and Desmond [Sautter] patiently and kindly started my cigar tutorials. Some years later, the great Simon Chase added to my English Market and Cuban cigar acumen. It’s been an honor to be so embraced by a city that I have never lived full-time.  

Having witnessed and influenced many changes in cigar journalism over the years, how do you view today’s media landscape—especially in light of increasing global regulations? Where do you see the future of cigar writing heading?

In autumn 1981, (before my time, thank you) Al Goldstein, publisher/pornographer of Screw magazine, launched “Cigar” a rather unassuming 12-page saddle stitched quarterly newsletter. (I was given copies sometime in the 90’s, no idea where they went.) Cigar folded after four or five issues; perhaps its most notable feature were the cigar reviews written by Goldstein’s Upper Eastside New York neighbor, comedian Bill Cosby. (A dubious distinction from today’s vantage point to be sure, but not in the ’80s when Cosby was “America’s Dad”.) Cigar was the first (albeit briefly lived) consumer cigar media endeavor; Goldstein claimed he lost $200,000 (approximately $705,000/£520,000 today) on the venture. That seems greatly exaggerated, but who knows.

A decade later (1992 to be specific) the premiere issue of Cigar Aficionado magazine hit the newsstands. It was the first cigar “glossy”. My magazine, SMOKE, hit newsstands two and half years later. It was the second cigar glossy. The 1990s Cigar Boom was in full force when SMOKE came on the scene. After that it was off to the races. And here we are today. CIGARS: A Biography takes a very in-depth look at this period, in great part because I had a front row seat. 

As for the future, who’s to say?  In 1995, I was the keynote speaker at the National Press Club in Washington DC, where I predicted Cuban cigars would be available in the United States “soon”. Oops. Clearly, my political prognostication skills are lacking. All I can say is cigar media has come a very long way—light years—over the past five decades, cigar and dot-com booms, as well as social media explosion saw to that. Only time will tell what the future holds.

As someone who has played a pivotal role in shaping cigar literature, what advice would you offer to aspiring cigar writers hoping to leave their own mark?

As I often say, “The worst vice is advice.” Cliché, but apropos.  The media landscape is so vastly different today than when I started. Read Bright Lights, Big City by McInerney, or Graydon Carter’s memoire When the Going Was Good: An Editor’s Adventures During the Last Golden Age of Magazines, you will get a sense of the media world I came up in and around, which is nothing like it is today. 

My readers are always intrigued by personal cigar collections. Which cigars have stood the test of time for you—ones you find yourself returning to repeatedly? And what are you currently enjoying? 

I am at the age where I am rather brand specific—from toothpaste (Marvis Smokers Whitening Mint) and ketchup (Heinz) to polo shirts (Lacoste original L.12.12)—and that goes for cigars. I will try any cigar once, but I regularly smoke Arturo Fuente (OpusX and Don Carlos), Davidoff (though less often these days, they remain in a transitional post-Henke and Eladio period, however the Davidoff Winston Churchill The Artist and Davidoff Escurio 10th Anniversary were both quite good—the Escurio surprisingly so. The Year of the Snake was okay, not my favourite Davidoff zodiac release). 

As for Havanas … Irrespective of my fondness for Dominican cigars and contrary to what some might believe from some of my writings and social media comments, I stand by the fact that a great Cuban cigar is just that, though I’ve found “great” Havanas far fewer and further between post-pandemic.

Dependability—consistency of quality construction, blend continuity, and production excellence—are the hallmarks of a great cigar, and often all too absent in present-day Cubans. The objective fact is that the Dominican Republic and Nicaragua eclipse Cuba these days in those many regards. But then there is the subjective flavour profile preference … So, when the mood for a Havana strikes, I tend to enjoy old school picks such as Juan Lopez Seleccion No. 1 and No. 2 and H. Upmann Connoisseur No. 1—all three can always be found in my humidor. I am a sucker for just about any Bolivar. I enjoyed the Punch Punch 48 and Por Larrañaga Picadores, the first few years they were out. To note: None of these are Cohiba or Trinidad (though the Cabildos Edición Limitada was truly spectacular). You’ll often hear me say, “Smoke the cigar, not the band.” And I stand by that. Firmly.

Finally, what’s next for you? Are there any upcoming projects, travels, or new books that we should be looking out for?

There are always new projects in development, you’ll just have to wait and see. 

And that’s a wrap, thanks so much for your time, Sig! 🙏

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Where to buy

CIGARS: A Biography is available for around £150 at premium retailers including Davidoff of London, James J Fox, and other top cigar specialists. A private edition is also available exclusively through Edmundos.

The first trade edition in the UK will be released on 4th December 2025 available on Amazon.

I, for one, hope Sig returns to the UK soon to share more of his stories—perhaps at another book signing. 

And finally, keep an eye out for his mysterious sixth cigar book—it’s already in the works!

For more information about Sig, visit his official website: https://sigculture.com/