The luxury hotel Giardino Mountain, in the Engadine mountains, combines a characterful design, a high level of service, and a laid-back ambience, creating a place where you can recharge your batteries in summer, and enjoy cosy comfort in winter. Located near to St Moritz in the centre of Champfèr, the hotel has an indoor pool and spa, making it the perfect place to unwind after a day on the mountains, to enjoy true alpine style with flair.

Rooms

The 78 rooms and suites have an alpine charm, making them the perfect retreat after a day on the slopes.  Most of the rooms and suites have terraces or balconies with a view of the breath-taking Upper Engadine mountain landscape. In the bathroom, you will find a selection of body care products by dipiù Spa by Giardino, for the ultimate in luxury.

Food & Drink

The three restaurants in the hotel seduce with culinary surprises from Mediterranean delicacies with an Asian influence, and regional specialties from the Engadine, in a rustic ambience to the art of star-cuisine. At Stüva you can try the traditional local specialities cooked by Markus Rose, in the cosy, wooden clad restaurant. Awarded two Michelin stars, talented chef Rolf Fliegauf is resident at The Ecco St. Moritz restaurant, which is renowned for its characterful blend of virtuosity and purity in taste. The clever combination of natural and seasonal flavours and ingredients makes Ecco an unmissable experience. Alternatively, Hide & Seek provides a modern cuisine, with Asian, Middle-Eastern, and Western influences.

Spa

The Giardino Mountain Spa leaves no wellness wish unfulfilled. The fresh and unusual architecture of the spa area invites you to come and enjoy some relaxation and well-being. There are eight light and harmonious treatment rooms, including a ‘couples’ suite with whirlpool bath, steam sauna, resting area and two treatment beds. All products are by dipiù Cosmetics, which rely on strictly natural active ingredients, such as hand-picked grapes, precious oils, selected blossom, and herbal essences. The spa also has various saunas and rest zones, an indoor pool, jacuzzi, and an Aveda hair salon. All of which are just the remedy after a long day on the mountains.

The Modern Emotions of Fragrance

Laurent Boillot joined Guerlain in 2002 as Deputy Managing Director in charge of Marketing, then three years later he was appointed Managing Director in charge of International Marketing and Guerlain’s Swiss Subsidiary. In October 2007 Boillot was appointed President and CEO of Guerlain, and since January 2014 he also took on the role of Executive VP of Make Up For Ever and President and CEO of a new LVMH cosmetics venture, Cha Ling. With a background in marketing and development, Boillot began his career in 1988 at the Havas Advertising Group, after graduating from the ESC French Business School in Rouen. In 1990 he joined the Unilever Group, working within the Elida Fabergé division, where he held increasingly senior roles within the marketing division, followed by a senior marketing position at Haircare, before joining Guerlain.

Here Laurent Boillot shares with us his plans for standalone Guerlain beauty boutiques, and the reasons behind the appointment of Angelina Jolie, who rather than simply fronting a new scent, has acted as a muse and source of inspiration for the luxury French fragrance house’s master perfumer Thierry Wasser.

Guerlain is a Maison that is deeply rooted in its French heritage. Many are aware that Angelina Jolie’s mother is French, but what would you say to those, the French press for example, who may question why you have chosen a muse that is not French herself?

Yes, our muse’s mother is French, and we feel that is already a strong connection. You are right, we will probably get a lot of people saying this, but it is not a problem for us, we feel at ease with what we have done. When faced with a question of this nature, I always say that of course we always strive to do better, but we are proud of what we’ve done as far as Guerlain’s concerned. So people might love it or people might say ‘why her?’ and we will live with it.

Having said that, with everyone we meet we tell the story of our muse’s connection to the brand. The story, which is not only that she has a French mother, is that she has a personal Guerlain story herself, which is just as important. There is nothing more moving than when she was telling me about the Guerlain powder that belonged to her mother. I have been with Guerlain for 15 years and I have my own personal Guerlain story, everyone has their own personal Guerlain story. Whenever someone is telling you theirs, you can see in their eyes there is something very profound, there is a strong emotional link. She has that and she gave that to us. That’s a very strong license for her to be able say ‘mon Guerlain’ because sincerity is part of what she wants to portray and that is true for us as well. When I was with my team and we came up with the name for the fragrance, it was not just some marketing gimmick. I said that she had come back to us and said: ‘I have chosen Guerlain,’ and we wanted to make this the manifesto. So, it was all very natural for us.

As you say, you have been with the brand for 15 years, you have made over 1,100 fragrances so far and have travelled to many places around the world. What is next for you and Guerlain after this huge project, and what do you still want to achieve?

If you go to 392 Rue Saint Honoré in Paris, you will find our boutique that opened nine months ago, and it is totally dedicated to fragrance and fragrance only. I’m not saying that cosmetics are not important, I just think that sometimes it’s better to exclude all other elements in order to glorify one precious thing. The boutique is a total tribute to fragrance, with 111 fragrances there. The feedback we have had is very good. When you look at this boutique you look at Guerlain’s future. The dream is that in 15 years from now we will have 120-150 concept boutiques like this all around the world. I am saying this because it is part of our story to be a retailer and not only a creator. I’m not saying we want to retract our product from Sephora as this is the reality of business, but that is the dream that is 15 years away.

As far as our muse is concerned, perhaps we can prepare for another dream after this one. I think it’s fair for us to say we have so many nice stories in different countries of people who know the perfumes of Guerlain and at the moment it’s an elite group. We could go larger and say that every woman and man of the world should have access to Guerlain, perhaps they won’t become customers but they should know who we are. Also, when I put on my competitor hat, I find it hard that we are leaving room for other niche brands to pretend that they are the Guerlain of the modern time. So, in that regard, we just want to take our seat back.

It is clear that you have produced an exquisitely emotional campaign so that you can tackle the senses of people before the propaganda and clutter of this over-crowded market get in the way. Do you think that people have lost their direction by focusing too much on the commercial and glamorous side if the business, instead of the true luxury, which concentrates on touching the emotions?

Your analysis is so right, and the temptation is to just follow the rules of the retailer or your neighbour because people say ‘they’ve done that, so this is what we should do.’ However, I really hope this project will be a success. Not just for the sake of getting more money for investment to expand, but so that we are able to say we can do things differently and we can touch people by being strongly emotional. What we’re trying to present is that the whole story of the project is about emotion, and it is without the intermediary people that give advice because they are smart or concerned with making trends. It really is the product of the output of our encounters and a few people that are passionate.

Even the photo we have chosen highlights this. I have been told before that ‘you will never make a successful campaign with a lady with no face.’ I have received feedback that the image is not ‘obvious’ enough or ‘not recognisable’ enough, and maybe with this image it is not so obvious who it is. But we are saying that everything we do does not have to go by the rules. Perhaps people will not recognise her, but our aim is not just to share that photo. We are sharing the fragrance, we are sharing the work we have done with this lady, and the story behind it all. So we decided that whatever the comments are, this is the photo we are proud to choose.

How do you describe luxury today?

At Guerlain, we have a view of two worlds, one is to create desire and one is to create a link and meaning. We have this strong motto which is in the name of beauty, and we have so much belief in the link we create with our customers. As long as there are still stories of Guerlain, we will be in good shape and will translate the next generations as a good company. Sometimes it’s like reading a book, some you throw in the garbage and some you keep and say to your friends and kids ‘you should read this one.’

I can feel your warmth and passion towards what you are saying and I can feel your honesty. Can you share with the readers how you would describe the world of Guerlain?

In many ways, I could speak forever because it’s something so important to us. There is the legacy of five generations, the retail concepts and of course the perfume. But throughout everything there is a strong feeling that is all about giving more than we receive. This company always thinks about this concept; ‘what am I giving? Am I giving more in quantity and quality to the next generation?’ That is what we are doing with the fragrance boutique, it is a project charged with emotion. There is a term in business strategy, ‘brand equity,’ and sometimes people just don’t get it and they miss the point. They think about things in terms of dollars and not in emotional value. If we could value the emotional power of the brand instead, that’s exactly the equity I hope Guerlain is building and developing for the future.

How would you describe your presence in the Middle East as Guerlain? What are your objectives in the near future, and how are you going to penetrate this market and educate the readers and potential customers?

This is a region that is so passionate about fragrance and emotional relationships and friendships, so we are actually so close to the mindset of these countries. Right now, we are known by some, but our strength is more in the cosmetics area. However, we have had good results recently on fragrances when Thierry Wasser, Guerlain’s Master Perfumer, developed Ambre Eternel and Santal Royal. Our great success with this shows that when we go to these regions we really listen and take great care to get things right, these fragrances took five years to develop.

Referring back to the concept of the boutiques, we also want to open boutiques in the Middle East. It’s fine that we are in Sephora, or department stores in the region, but we also want to be able to communicate the full emotion of the brand here as well. I remember I was with a hat designer once and he said ‘my dream is that everyone wears my hat in the street. I’m not doing something to receive a prize, I just want the people to wear my hats.’ We want women to wear our fragrance, many women in fact, whether that’s ‘mon Guerlain’ or one of the others. As well as our focus on emotion, we are super competitors as well. If we weren’t competitors, we wouldn’t be here 190 years since we began.

You strive to touch the five senses with Guerlain and always try to inspire emotion, so when you roll out the boutiques it is going to allow a new generation to interact with the brand on a closer level. As one of the gate-keepers of the legacy of Guerlain, tell us a message you would like to pass to this new generation.

They must give themselves more to the generation after them, things are going to become more and more about emotional equity. There is also something fascinating we are experiencing in the digital world we are living in, and we can see this clearly with what’s happening in the world of make-up.

There is one lady who is very well known, she is followed by 20 million people who are all rushing to see what she is doing. I think the more digital you are, the more real you need to be. I can see that when those digital ladies come into our place and see who we are in the flesh and blood, they can see we are making something very special. So Guerlain is going to ensure our heart is beating strongly no matter what the technology. We will use technology and we won’t deny it, but we will always associate it with real women.

What would you like to tell our readers when they read this conversation in our coming issue?

Please choose your Guerlain, whatever that Guerlain is to you. Create your own Guerlain story.

What can we expect from the future? You have offered baby ranges on some of your lines before and Angelina Jolie is a very well known for being a mother. Can we expect a ‘mon bebe Guerlain?’

I would say a dreamer should always dream one dream in advance. Once you have reached one dream it can cause a depression afterwards as you think ‘what now?’ Perhaps that’s just my personality but you think ‘ok you’ve got the dream, you need to go for one more.’ Right now, we are living the dream. But I’m really hoping that, with this lady, we can go beyond that fragrance. I cannot say more, but there is definitely something to dream of there.

By Lara Mansour Sawaya

Dolce & Gabbana isn’t a regular brand, it’s a cool brand that lives in the moment. And like most cool brands they are not afraid to embrace the celebrity brood, tapping influencers of the Millennial variety, using them to reach out even further to their consumers.

Clients no longer buy a dress, but they buy into an experience, and the brand is well aware, tackling it in every way, both working with a younger generation of influencers, and creating a lifestyle with their collection. Choosing the Italian Tropic as their inspiration, an area that does not formally exist but it is an imaginary line that marks the territory which stretches from Naples to include Sicily, Dolce & Gabbana have shaped an identity for the collection, rather than pieces that are influenced by seasonal rules or codes.

The collection features all the symbols that are part of our daily life but that also belong to the Italian Tropic, food, religion, colours, flowers, family, ice creams, and pizza, all of which are often linked to the common imaginary of Italy. There are embroidered ‘hotel’ slippers, folkloristic crowns, LED shoes, pizza heels, drum bags, and pyjamas with ice cream prints, all created with a splash of irony. There are also classic pieces which have been reinvented, such as lace tailleurs jackets which are placed on top of the D&G logo t-shirts which are looking to be the sell-out favourites.

Here we sit down with the design duo, to learn about their playful, sensual Italian aesthetic, how the Millennials are making an impact on the future of the brand, and what are expected to be the cult pieces from their Tropico Italiano Spring Summer collection.

Tell us about the Millennials and the involvement they have in the brand?

We try to follow the evolution of the world and the fashion industry, and what is making an influence, because fashions are not just fashion alone, they reflect the way in which the world is moving. Today, with the new power of the iPhone and social media, the world of communication has completely changed, and this is an area that we should capitalise on. About five or six years ago, we made the decision to start hosting bloggers at our fashion shows, because they provided another point of view and another story, and we are surprised about how in the last year this generation has dominated. By working with Millennials, it allows us to understand how they talk to the world and discover how the world of fashion for the younger generation has evolved, as they are incredibly educated in this realm, and are all smart, intelligent, young individuals.

How do you choose your millennials?

I just know, because they are famous, or I speak to friends and they recommend. It isn’t about how many followers they have, we take that into account, together with their influence and style. A combination, it is about the quality of their followers and their interaction with them. It is all about what is best for the brand, the balance about the fashion, image and what you want to convey to the people. So, we also have different people with a different point of view for each different country.

Is it all about attracting a younger crowd of customers?

Yes, this certainly is a factor, especially because a new energy from a younger generation is refreshing for the brand. The Millennials are able to talk directly with the audience, whereas we have a filter, so they really do communicate directly with the customer.

How do you feel these influencers have changed the future of the fashion industry?

We like to live in the moment and concentrate on that, and the changes they have made now which we are already embracing, as you can never predict what will happen in the future.

What is it about the Mediterranean that inspires you?

The Mediterranean is a big inspiration for us because it is a strategic part of the world. Sisley is in the middle, so in the past if you wanted to take control of the Mediterranean then Sisley is a strategic point. It is so full of history, life, and memories, which is a great inspiration to us.

Tell us about the story behind Tropico Italiano?

We don’t have any Tropic in Italy, but we would love to, so we invented it in this collection. This part of Italy from Naples to Sisley is the tropical destination of the country, because people travel from outside to take a holiday, making it our Tropic. We have then taken all of our Italian traditions, and mixed them up to use in a fun way, such as the dancing, the pizza and pasta, the flowers and dancing.

You chose not to adhere to the seasonal rules for this collection, why was that?

The actual pieces in the collection are not the most important part, that is the style and mood. We always say that if you want to buy Dolce & Gabbana you can buy into the brand, but if you want to be Dolce & Gabbana then you can find pieces in a flea market that will give you the look of a Dolce woman, without the cost. What we design is the spirit that is at the heart of every collection.

Tell us about the light up accessories?

Italiano makes you think of lights, pizzerias, enjoyment, and restaurants, and all of these places are full of fun and excitement. They are glittering and sparkling, which is reflected through the light up accessories.

What do you predict will be sell-out items from the Tropico Italiano collection?

The pasta print or the real fake t-shirts, everyone will want to buy one of them.

By Eliza Scarborough

Meet the 15 Celebrity Millennials in the Front Row at Dolce & Gabbana’s Spring Show

The Dolce & Gabbana Millennials took to Milan to sit front row for the debut of the Tropico Italiano Spring Summer women’s 2017 collection. Designers Domenico Dolce and Stefano Gabbana put a fresh spin on the standard star-studded front row, filling it instead with a throng of cool teens and 20-somethings, the new generation of influencers. Among these were celebrity offspring, rising stars, fashion darlings and digitally-inclined influencers. It was an It crowd if ever there was one, and not a single person over the age of 30.

1. Thylane Blondeau

966k Instagram Followers

The French 15-year-old model began her career as a child model, sparking controversy due to sexualisation of children in advertising and the media, with her appearance in the Vogue Paris supplement, Vogue Enfants.

2. Dylan Jagger Lee

82.5k Instagram Followers

The 19-year-old son of Tommy Lee and Pamela Anderson is just one of the celebrity children taking over modelling these days. His first fashion editorial was published in Nylon’s May 2016 issue.

3. Brandon Thomas Lee

54.7k Instagram Followers

Brother to Dylan, 20-year-old is another working model. He was also seated front row at Dolce & Gabbana’s men’s show in Milan earlier in the year.

4. Sonia Ben Ammar

273k Instagram Followers

A 17-year-old French model, actress, singer and Brooklyn Beckham’s ex-girlfriend. She also went on to star in the campaign for this collection.

5. Isabel Getty

1700 Instagram Followers

With a last name like Getty, it’s clear that this 22-year-old heiress isn’t your average NYU student. Her Instagram boasts envious trips around the globe and major #tbts, like one of her mum, Pia Getty, posing with Andy Warhol.

6. Talita von Furstenberg

79.3k Instagram Followers

The 17-year-old granddaughter of Diane von Furstenberg, and cousin to Getty, is also a model. This socialite already has had editorials in Teen Vogue and Tatler.

7. Rafferty Law

25.2k Instagram Followers

The 19-year-old son of Jude Law and Sadie Frost is another model and walked Dolce & Gabbana’s men’s show in Milan. He is also a budding musician.

8. Zara Larsson

2.5m Instagram Followers

The 18-year-old Swedish singer and songwriter was recently nominated for ‘Best New Artist’ at the 2016 MTV Video Music Awards. She has also been having an entertaining feud with Chris Brown on Twitter.

9. Luka Sabbat

346k Instagram Followers

The New York Times dubbed Sabbat an ‘18-year-old fashion influencer’. The native New Yorker modelled in Kanye’s first Yeezy presentation and has an envious crew of BFFs, including Virgil Abloh, Kanye, Jaden Smith, Zoë Kravitz and more.

10. Zoey Deutch

707k Instagram Followers

The 21-year-old actress, and daughter of director Howard Deutch and actress Lea Thompson, is known for her lead role on CW’s ‘Ringer’. She has other big roles in her upcoming movies ‘Why Him?’ with James Franco and the biopic ‘Rebel in the Rye’ with Nicholas Hoult.

11. Sarah Snyder

1.1m Instagram Followers

The 21-year-old is a rising model, Instagram star and girlfriend to Jaden Smith. She recently got Smith’s initials inked on her left thigh, by one of fashion people’s favourite tattoo artists, Jon Boy.

12. Lucky Blue Smith

2.8m Instagram Followers

The 18-year-old model hails from one of modelling industry’s most influential families and one of the most stylish set of siblings, which explains why the platinum blonde, blue-eyed guy is considered the ‘It’ male model of the moment.

13. Pyper America Smith

720.5k Instagram Followers

A 19-year-old model and older sister to Lucky. The brother-and-sister duo are usually photographed together for fashion editorials and ads, but she managed to snag a Kipling campaign with her two older sisters for spring 2016.

14. Daisy Clementine Smith

289.7k Instagram Followers

Another Smith sibling and model who just turned 21. She fronted Forever 21’s summer 2016 campaign with her younger sister, Pyper.

15. Starlie Cheyenne Smith

108k Instagram Followers

The oldest of the Smith family siblings at 23 years old, and a model. All four make up pop band The Atomics. Starlie is lead vocals and rhythm guitar, while Pyper plays bass, Daisy is lead guitar and Lucky is on drums.

We explore some of the exquisite pieces from the SS17 Haute Couture collections.

IMAGE: GEORGES HOBEIKA

LEFT IMAGE:  ELIE SAAB

RIGHT IMAGE:  JEAN PAUL GAULTIER

LEFT IMAGE: ARMANI PRIVÉ

RIGHT IMAGE: TONY WARD

LEFT IMAGE: VALENTINO

RIGHT IMAGE: CHRISTIAN DIOR

LEFT IMAGE: SCHIAPARELLI

RIGHT IMAGE: CHANEL

LEFT IMAGE:GEORGES HOBEIKA

RIGHT IMAGE: ASHI STUDIO

Photographer : Jeremy Zaessinger

Stylist : Amine Jreissati

Make-up Artist : Corinne Gues at B-Agency

Hair stylist : Yusuke Taniguchi at B-Agency

Model : Lera at Next Models

The venerable purveyor of classic Italian goods has created a collection of wardrobe staples, trimmed in python, and made from butter soft leather and suede.

Shirt, Leather pants, Wave bag in python skin. All Tod’s

LEFT IMAGE: Black jeans, Cotton shirt, Leather jacket, Calf Leather backpack, Sunglasses. All Tod’s

RIGHT IMAGE:  Leather shirt, Leather skinny pants, Micro Wave bag, Shoulder strap bag with dots, Raffia sneakers. All Tod’s

LEFT IMAGE:  Leather short dress, Double T Gommini. All Tod’s

RIGHT IMAGE: (LEFT TO RIGHT)

Iconic look suede and python, Python belt, High heel sandals in python leather

Black jeans, Cotton shirt, Leather jacket, Wave Bag trolley. All Tod’s

LEFT TO RIGHT:

White shirt, Silk foulard, Suede tattoo biker jacket, Tattoo jeans, Double T Tattoo

Black jeans, Cotton shirt, Leather jacket, Formal moccasin with elastic.  All Tod’s

LEFT IMAGE: Green cotton suit, Cotton shirt, Gommino sneaker, Weekend bag with pebbles on the side. All Tod’s

RIGHT IMAGE:  Leather trench, 3 colours bauletto with charms, Slippers with tassels in contrast. All Tod’s

LEFT IMAGE:  (LEFT TO RIGHT)

Suede suit with python details, Cotton shirt, Flat leather sandals

Leather jacket, Cotton shirt, Cotton pants, Formal moccasin with tassels, Leather document holder. All Tod’s

RIGHT IMAGE:  Leather shirt, Leather skinny pants, Double T Tracolla, Sunglasses with leather stitching. All Tod’s

Photographer : Lezli and Rose

Fashion Director : Eliza Scarborough

Hair and Make-up : Britta Dicke at Carol Hayes

Models : Andrea and Charlie at Nevs

Location : Torre di Palme, Italy

Diversity, Beauty, and a Love of Music; Riccardo Tisci on the role of models, and talent in his eyes.

A designer’s influence extends beyond the clothes he sends down the runway, with the casting of the models who showcase the collection being one of the most effective strategies of creating and conveying the image of the brand. The recently departed creative director of Givenchy, Riccardo Tisci, notably launched the careers of household names like, Joan Smalls, Lara Stone, and Natasha Poly. Deeply involved in the casting process, Tisci filled his catwalk with faces who have more to offer than attractiveness alone, with his modern approach to the idea of a runway line-up.

Before Tisci left his twelve-year tenure at Givenchy, he exclusively spoke to us about the casting decisions he made, and how they shaped the image of the fashion house.

How have you built such a strong identity for Givenchy?

What we have tried to do here at Givenchy over the years is build a strong identity. Elements that would make you recognise Givenchy between thousands of other brands. It’s been a tricky operation of always mixing DNA codes of the house and elements from my world. The metallic elements, the black obsession, the street silhouettes, the ever presence of lace. Those are signs of where our two worlds meet, the original Givenchy and the new. The street and the Couture. We live in this tension here at Givenchy. Between something that is very elevated and aristocratic and something that is very urban and democratic, trying to make that our strength in everything we do.

How do you mix couture with street style?

Givenchy is very successful because it’s easy to wear. The power of Givenchy is that you can dress young, urban, and mature women at the same time, and this is the same for men’s. Also, the street edge was important to us at Givenchy, simply because it was a big part of who I am as a person, it’s part of my own DNA, and what I have given to Givenchy is that paradox, that lasting tension between Haute Couture and Street style. We have built our identity with that contrast in mind as a starting point, so we take it to a merchandising level. We make sure every season that there is luxury clothes but also pieces that are more affordable and real. I want people to have access to Givenchy, to be a part of the Givenchy world. That is the power of Givenchy today. It’s almost like a tribe.

As a designer, what do you feel the role of a model is?

For me, models mean a lot because they’re not just presenting my collection; they’re really giving it life. I’m deeply bound to that idea. I’ve always been doing casting and I’m constantly looking for new models. It is not that I want to find a girl or boy, then have them become the model of the season and drop them. I’m building relationships which last for years and years. I have my family and gang, which we carry on season after season.

You’ve street cast entire shows before. What are the challenges and benefits of working with non-models?

I don’t like men and women looking like robots, and this is why I’m doing the casting by myself. I wanted to make a real casting, and I don’t like to exclude people. For that, I keep my eyes open to anyone I see who could fit the Givenchy universe. Of course, it is harder to work with real life persons who lack the model experience, but it always makes it so much more magical, because it is anchored in reality. The models at Givenchy relate to the people watching them, they are representative of today’s society.

To you what is talent, and what do you look for?

I wanted to catch the most fascinating people I met throughout my life. They are beautiful, and friends that I respect, but the most important thing to me is that they have something to say, to express.

Do you play music during the casting?

Yes, I love music, and am obsessed with it! I choose any kind of music, everything that is giving me an emotion. It’s the only moment where people, young generations especially, but even older generations, can relax, let themselves go, meet people, and meet love. This is why I love music.

Do you feel that your choices of casting have influenced the diversity of models in general in the fashion industry?

I think we’re all the same, and beauty is something that doesn’t have culture, religion, or colour. I opened my second couture show with nine black girls, some of them I’d discovered, and some of them were established like Naomi Campbell or Liya Kebede. I did it in a very naive way and, in retrospect, a very honest way. I remember all the magazines talking about the casting, and that surprised me. People make such a big deal about using black girls in your casts, but it shouldn’t be a big deal, it should be normal. Your cast should have everything that is related to your world and your aesthetic. It doesn’t matter what a person’s skin colour is, what their gender or sexuality is, you should represent beauty, beauty is beauty.

In your eyes, what is beauty?

A really good model has got a personality. It’s about beauty, of course, like a classic kind of beauty, but that isn’t the only factor. A girl can have an unusual personality or a strange beauty, and for me, you see it and feel it in the moment you meet the girl. You know, at the end of the day, a show is not just made out of the clothes, it’s made out of emotion, and I’m very touched by intelligence and beauty.

By Eliza Scarborough

Wrap your wrist with the kind of simple elegance you can sport every day, everywhere.

Dior Chiffre Rouge C05, Automatic Movement

Sweater, Dior Homme

Left: (Top to Bottom)

Franck Muller Gravity,

Dior Chiffre Rouge, Automatic Movement,

Louis Vuitton Tambour navy small second

Right: (Top to Bottom)

Louis Vuitton Tambour in black GMT

Franck Muller Gravity

Bulgari Octo

Piaget Polo S Chrono

Jacket, Pal Zileri

Chanel J12 Matte Black GMT steel and high-tech ceramic

Jacket, Pal Zileri

Top row:

Chanel J12 Black Ceramic and Yellow Gold Automatic Midsize

Bottom row:

Chanel J12 Black Ceramic Chronograph

Louis Vuitton Tambour Graphite Chronograph GMT

Jacket, Pal Zileri

Panerai Luminor Marina Carbotech

Sweater, Dior Homme

Fashion Director : Eliza Scarborough

Photographer : Henry Pascual 

Identical twins are rare in the gemstone world, as miniscule imperfections and inconsistencies give even the purest of stones a distinctive fingerprint of their own, making Graff’s Eternal Twins even more exceptional. The 50.23-carat, D colour, flawless emerald-cut diamonds have been cut from a 269-carat rough diamond sourced from the Lucara Karowe mine in Botswana. They are suspended from a waterfall of various cuts of exceptional diamonds, to create the show stopping earrings.

As we focus on women empowerment, here we look at a generation of momagers, who are pushing their family forward to new heights of success.

These women have made it their mission to focus on the role of managing their children’s stardom, and it is becoming more like a full-time job with their whole family involved, and a brand to be made.

By Eliza Scarborough

There are so many exciting new accessories being launched for SS17; we’ve selected our top picks of the covetable items on the horizon to keep you in the know and to add to your wish-list for the season.

Christian Louboutin debuts ShoePeaks clutch

Christian Louboutin’s Spring/Summer 2017 collection marks the auspicious debut of one of the designer’s most visually captivating works to date, the ShoePeaks clutch. Born under the influence of Christian’s fetishistic 2007 collaboration with visionary David Lynch, ShoePeaks takes its name from Lynch’s 90’s cult TV series ‘Twin Peaks.’

Dolce & Gabbana’s Lucia Bag

Of all the accessories in the Dolce & Gabbana SS17 collection, the Lucia Bag is the indisputable star. The sophisticated, elegant style with refined details features a unique metal clasp that is entirely covered in the typical leather of the trunks from the past. Accompanied by a distinctive python or calf leather shoulder strap, the Lucia bag comes in various sizes for different uses.

Pop and Suki launch their accessories range

With their saccharine pink bags, key rings and charm necklaces, the two English It girls are putting their love of fashion to the test in launching a collection of accessories made entirely in L.A.

Carolina Herrera – Limited Edition fragrance

To commemorate the 35th anniversary of House of Herrera, the original formulation of Carolina Herrera New York fragrance, which was launched in 1988, has been reworked. The reinterpreted version of the perfume comes in a limited edition developed as a tribute to Carolina Herrera and her trajectory in the fashion world.

Tory Burch’s new Gemini Link handbag

Tory Burch’s now-signature handbag, titled Gemini Link, represents the significance of the number two in Tory’s life, she’s a Gemini, has twins, and celebrates life’s dualities. For the new season it has been reimagined in a new campaign created by two entrepreneurial women, starring Kate Bosworth, and shot by Margaret Zhang.

Gucci Broche Bag

The Gucci Broche bag was introduced in the Spring Summer 2017 collection, and features the fox head detail, which is one of the strongest symbols of the season. The bag is available in a variety of colours and has a shiny gold chain shoulder strap, and even a bamboo top handle with some styles.

When Louis Vuitton opened his House in 1854, he described himself as an ‘emballeur de modes’, a craftsman excelling in the art of packing, clothing of course, but also treasures, memories, and experiences. As time went by, beyond the trunks that gave the brand its luxurious reputation, the House created a symphony of desirable objects, for example the Pateki, a delightful brainteaser crafted from a piece of wood, created by Gaston Louis Vuitton, the founder’s grandson.

In 2017, the House will open a fresh chapter dedicated to these little pleasures, extending its elegant touch and craftsmanship to a series of practical objects that include notepads, pencils, and stamps. This lineup is part of the brand’s ‘Gifting’ campaign which also presents interesting items from monogram leather, canvas storage boxes and pencil containers, to teddy bears and yo-yos.

The Joy of Writing

At Louis Vuitton, the journey of writing has always been celebrated through the sensuality of trunks owned by writer-explorers and all the essentials for producing great works. The House continues to pursue the pleasures of writing with a series of accessories, such as penholders, graphite pencils, noble desk pads, decorative bookmarks, and leather stamp pads. The Monogram canvas makes a noteworthy appearance, also present because of its highly resistant and waterproof qualities.

The joy of decorating

The trunk maker Louis Vuitton created a lifestyle that could travel anywhere around the world.  This time around, objects leave the trunk behind and take up permanent residence in the home. From nesting boxes in leather marquetry embellished with a Monogram flower, to Plexiglas or leather picture frames embossed with the House’s initials, and porcelain trays bearing illustrations inspired by the theme of travel in early 20th century travels.

The Joy of Gaming

A playful spirit reigns over the House and for that we can thank the wisdom of Gaston Louis Vuitton, the well-read grandson, collector of many things, and eternally curious man who created his own parlour games and displayed countless wooden toys in the House’s first boutiques. For the gifting collection, there are sets of dice and decks of cards bearing the house logo inside Monogram canvas boxes, yoyos and even a ‘Louis’ teddy bear in leather patchwork.

Adding that extra touch of style to your outfit can be easily achieved with the addition of either a knitted turban for day, or a ruffled alice band for evening.

By Eliza Scarborough

Archaeological excavations cast a new light on Abu Dhabi’s earliest inhabitants

Remarkable discoveries by archaeologists from Abu Dhabi Tourism & Culture Authority (at ancient sites on the island of Marawah and in Baynunah have revealed new information on Abu Dhabi’s earliest inhabitants, evidencing a rich history stretching back over 7,000 years.

Artefacts excavated from a village on the island of Marawah and in Baynunah indicate that during this time, a sophisticated and highly skilled population were able to trade and thrive in challenging conditions and adapt to the changing environment around them.

TCA Archaeologist Abdulla al-Kharbi excavating and recording the 7000 year old house on the island of Marawah.

Marawah Island:

On the island of Marawah, just off the coast of Abu Dhabi, excavations have revealed one of the earliest stone-built villages in the Arabian Gulf. The new excavations, completed in October last year, focused on one of seven mounds in the village, and revealed a structure with three joining stonebuilt rooms. TCA Abu Dhabi Coastal Heritage archaeologist Abdulla Khalfan Al Kaabi said, “Radiocarbon dating of the deposits show that the village dates back more than 7,500 years to the Neolithic period. This style of architecture is unique for this period and has never been found before in the region.”

Hundreds of artefacts have also allowed archaeologists piece together what life was like for these villagers and inhabitants 7,500 years ago. The ancient people herded sheep and goat, and used stone tools to hunt and butcher other animals like gazelles. The large amounts of fish, dugong, turtle, and dolphin bones show how people had come to understand the sea and use its resources for food and sustenance. The excavation also found very fine, small beads made from shell and a small shark’s tooth, which had been very carefully drilled, which archaeologists believe were probably worn as an adornment.

View of the 7000 year old house on the island of Marawah.

Archaeologists and experts also found during previous excavations at the site a complete and highly decorated ceramic jar, made in Iraq, which gives evidence to the fact that the inhabitants of Marawah also used the sea for trade. This jar was transported more than a thousand kilometres and is early evidence for the beginnings of long-distance maritime trade in the Arabian Gulf.

Marawah inhabitants enjoyed a climate that had more rainfall than exists today. Around 6,000 years ago, however, the situation changed and the area became very arid. Following the abandonment of the village, some of the rooms were used for burial purposes. Two skeletons were found, each in a crouched position with the head facing towards the east. Ahmed Abdalla Elhag Elfaki, archaeologist at TCA Abu Dhabi, commented, “This form of burial is typical of other known Late Stone Age burials, such as those known from Jebel Buhais in Sharjah”. Efforts to examine the skeletal remains by experts are underway to determine more information about their age and health.

Baynunah

View of the remains of 6500 year hunted camels on the surface of the site of Baynunah

The new excavations at Baynunah, about 130 kilometers south-west of Abu Dhabi, revealed a different side of ancient life in the Emirate. The desert surface of this site is littered with white fragments of ancient wild camel bones. These are the remains of wild camels that were hunted and killed 6,500 years ago. Research has shown that people lured the animals into the soft, wet ground at Baynunah, where these camels would lose their footing, and eventually become trapped.

“Hunting these large wild animals must have been a serious challenge, so slowing them down gave the hunters their best opportunity to kill and harvest more camels,” added Elfaki. “The discovery of a flint arrowhead inside the rib cage of one of the wild camels shows the tools used for hunting the animals and how they were hunted”.

6500 year old flint used for hunting wild camels at Baynunah.

Baynunah has provided the earliest evidence from anywhere in the Middle East for the mass killing of wild camels. By hunting these animals, people would have also understood more about the wild camel’s natural habits. This information was important for domesticating camels much later. It is no coincidence, perhaps, that evidence from other scientific research is now pointing to South Eastern Arabia as the location of initial camel domestication.

The meat from these camels was an important source of food for people at a time when other resources were becoming scarce.  A major hunt would have produced enough food for a community and sharing this meat would have strengthened social bonds. Other sites, such as Al Sufouh in Dubai, have revealed evidence for the continuation of this style of camel hunting into the Bronze Age.

Experts working at Baynunah are now conducting research that will allow them to discover more about the biology of wild camels, now that near-complete skeletons are found on the site. This is particularly significant since wild camels became extinct hundreds, if not thousands of years ago, and very little documentation and research is available about them today.

Benefit Brow Translator: Brows speak louder than words

To many of us, the main purpose of our eyebrows is to keep sweat out of our eyes, but Benefit decided to look further than this, and partnered with scientists to come up with a tool that analyses your brows to tell your emotions. This new research shows how brows are the key to decoding emotions and the most expressive part of your face. Eyebrows are the ultimate truth tellers. Not only do they play a vital role in your beauty routine, but they also play an important role in body language, revealing your immediate evaluations, unspoken requests, and even reveal your true emotions. Here we identify the emotions, together with a step by step guide for how to create them.

Happy

A happy brow is a relaxed, neutral brow, riding calmly over eyes with slightly tightened lower lids and radiating laugh lines out of each side.

How to create –

When filling in your brows, measure from the outer portion of the nose, across the centre of the eye and that will show you where your brow is naturally the highest. Simply take a micro-lining pencil like Precisely, My Brow pencil and begin making a few strokes slightly above that natural hair line, adding height to the arch.

Seductive

It begins with relaxed brows, and a slight knowing smile. Then, when the moment is right, a subtly raised brow.

How to create –

Ka-brow! is a cream-gel that helps create smooth lines along the perimeter of the brow which is key when creating this look. Highlighting underneath the brow is also a must, so try Highbrow Glow, to open up the eye.

Sassy

Slightly furrowed just above the nose, its effect is given an extra dose of attitude with a provocatively arched eyebrow.

How to create –

To fake a bit more off a furrowed look, simply bring the brows closer together. Chances are there will be a lack of hair so a combination of wax and powder, like Brow zings, works best when you’re trying to create a shape that’s not quite there. Just remember to create a gentle fade by blending the product through the entire brow. 

Confident

Confidence is the absence of anger or distress, so the brows ride neither high nor low and don’t scrunch together. They are calm and neutral, framing eyes.

How to create –

To give your brows a confidence boost you need to enhance their natural shape, so grooming is key. Then use Goof Proof Brow Pencil to help create a wash of colour across the brow without looking too harsh. 

Indifference

Both the eyebrows and eyelids may be lowered slightly, the nose may be wrinkled, and the lips tightened sideways.

How to create –

If you don’t want your brows to give away your secrets, lock them on with 24-hour setting and shaping gel, HR Brow Setter. Once you shape and fill your brows, simply sweep the wand through the hair to set them.

Sad

The eyebrows produce the signature move in a sad face, they’re brought together above the nose, but lowered at the sides and raised up in the middle, sending ripples up the forehead.

How to create –

When filling in your brows you’ll want to bring the front portion slightly closer together by moving it inward a few millimetres as well as slightly lower. Using a few flicks of Precisely my brow

Pencil, start at the base and work upward towards the hairline, also extending at the sides.

Angry

Brows are pulled down over the eyes and compressed together over the nose in a furrowed, corrugated crumple, punctuating wide open eyes.

How to create –

Start by creating a line along the base of the brow to straighten out the arches. Instead of following your natural taper, simply use your orbital bone as a guide. Then use Ka – brow! to start filling in the brow by brushing the formula upwards through the hair. 

As Burj Khalifa celebrates the 50th anniversary of the launch of James Bond franchise with an array of dazzling exhibitions and experiences, including Scaramanga’s Golden Gun from The Man with the Golden Gun, Daniel Craig’s wardrobe from Casino Royale, and the Spectre Aston Martin DB10, it seems fitting to look at the world of James Bond and his timeless style, which made its debut in Dr No.

Over the past decades, the world’s most famous secret agent has consistently been one of the most stylish fictional characters on screen. Here we go back to the beginning, where it all started, and understand how Dr. No established the hallmarks of the franchise, together with looking at the brands which have been key to his elegant style in recent films.

Fashion

James Bond is a man who has created his own style, one that’s outside fashion, which is why he always looks timeless. Key to this elegance is choosing classics, paring things back, and keeping things simple. From Sean Connery’s Anthony Sinclair suits, worn by the Scotsman for every Bond film from Dr. No, to Diamonds Are Forever, to Pierce Brosnan’s appearances in Brioni, Bond has always been defined by his tailoring. But while tradition-steeped British and Italian tailoring houses have outfitted 007 for the bulk of his career, 2008’s reboot of the brand, Quantum of Solace, saw Tom Ford take the reins, and he hasn’t put a foot wrong. For Spectre, the American designer raised the bar once again with some superbly sharp suiting, most notably putting Bond in his first off-white evening jacket since Sean Connery wore one in Goldfinger.

Cars

The Aston Martin DB5, encapsulates what Bond and cars is about, and has become one of the most famous cars in the world thanks to Oscar-winning special effects expert John Stears, who created the deadly silver-birch DB5 for use by James Bond in Goldfinger. The DB5 model subsequently starred in Thunderball, GoldenEye, Tomorrow Never Dies, Skyfall, and with a left-hand drive and Bahamian number plates in Casino Royale. It is seen again in Spectre, firstly in Q’s underground workshop in various stages of rebuild, and at the film’s ending, fully rebuilt, with Bond driving away with it. Bond films did the most with cars, they made them platforms for spectacular things, for gadgets and action.

Soundtrack

James Bond movie theme songs are the cinematic equivalents of paperback book-series covers, they suggest familiarity and course with the promise of a compelling new adventure. Bond’s first big screen adventure, 1962’s, Dr. No had no precedent to follow, and therefore no need for a title theme tune that would come to define the franchise, instead opting for a gentle calypso medley. By the time the franchise’s third film was released two years later, Shirley Bassey roared Goldfinger over the credits. Each Bond gets the themes he deserves, from the smooth and impenetrable tunes of the Connery era to the radio-ready offerings from the Daniel Craig years, as muscular and wounded as his iteration of the legendary spy.

Leading Lady 

Honey Rider is the first Bond girl and still the most notorious after she emerged from the sea, wearing probably the most famous swimwear in cinema. Compared to her successors, Honey is actually a little underpowered, and doesn’t appear until halfway through the film, although remains as one of the most iconic of Bond’s ladies.

By Eliza Scarborough

We live in a generation where inspirational women fight for gender equality and strive for excellence. Many with compelling stories to tell, and the courage to succeed, embracing their femininity to break down barriers that have in the past stood in the way. They are in turn empowering the next generation of women to follow in their successful footsteps, with the same level of steadfast resilience. With that in mind, we have honoured those who have had a positive impact on others, from supermodels and entrepreneurs to political advisors and artists, all of whom have achieved amazing things.

An ultra-rare 342-carat diamond provides the stones for the most precious jewellery set ever produced by Chopard

Caroline Scheufele

A brief history

The discovery of The Queen of Kalahari, this exceptional 342-carat stone of perfect colour and absolute purity, has given rise to a set of 23 diamonds – The Garden of Kalahari – of which five weigh over 20 carats. Drawing upon the virtuosity cultivated in the field of artistic craft that has forged Chopard’s reputation, six fabulous pieces of jewellery have emerged from the High Jewellery workshops of the Maison.

As a pioneer of sustainable development in jewellery, co-president Caroline Scheufele actively encouraged the Karowe mine to join the growing number of Chopard’s suppliers, to engage with Eco-Age’s independent Green Carpet Challenge validation criteria, which mirrors best international practices in environmental and social justice.   

Discovery of a treasure 

‘I immediately sensed that this was an incredibly rare gem of exceptional beauty and purity,’ says Caroline Scheufele when recalling her first encounter with the diamond she named The Queen of Kalahari. It was at the heart of the deposit mined in Karowe, Botswana, that this exceptional stone was found. Born of the volcanic rock known as kimberlite, formed at high temperatures and pressures across endless ages, this diamond enshrines a sense of permanence and the strength of the ties that bind human beings to the earth.

342 carats, an eloquent figure testifying to an extremely rare size for a diamond of such absolute purity and perfect colour. The Queen of Kalahari combines D colour, with grade F clarity.

‘The energy and emotional charge emanating from this gem are truly incomparable,’ enthuses Caroline Scheufele, who immediately travelled to the open-air Karowe mine to admire this diamond discovered a year ago. It was love at first sight. Since then, she has personally supervised each stage in its development, like a lucky star guiding it towards its luminous interpretations and thereby giving rise to the most prestigious jewellery ever to emerge from the Chopard High Jewellery workshops.

The Garden of Kalahari

A natural-born visionary, Caroline Scheufele is the creative soul of the Maison Chopard. Around these five stones, she has built a daring and dancing network of poetic and metaphorical symbols. Through her eyes, the radiant 50-carat brilliant cut becomes a sunflower, the 26-carat heart shape a delicate pansy, and the 25-carat pear shape a majestic banana blossom. As for the perfect 20-carat cushion cut, it indulges in a gentle tête-à-tête with the flaming poppy, while the 21-carat emerald cut floats idly alongside a water lily. These five diamonds are the masterworks among the 23 diamonds composing The Garden of Kalahari – the set of diamonds cut from The Queen of Kalahari. It is around these stones that an extraordinary collection of six jewellery models has been dreamed up.

The jewels born from the Garden of Kalahari

The Garden of Kalahari necklace testifies to the ingenuity and the playful spirit governing Chopard design. This model is playfully interpreted in four variations, the first of which is a gorgeous and supremely modern choker to be worn alone. An entirely invisible mechanism means it can be detached in the centre and adorned with an exquisite flower to form a more sophisticated version. And for festive evenings, this flower itself serves to attach three majestically beautiful pendants, since they are adorned with the three biggest diamonds in The Garden of Kalahari, the 50-carat brilliant-cut, 26-carat heart-shaped and 25-carat pear-shaped gems.  Each of these precious ‘attachments’ can be worn alone or together, culminating in the perfect necklace with all three at once.

And because Chopard loves to combine beauty with fanciful touches, two of these pendants – the heart-shaped and pear-shaped diamonds, can be worn attached to the earrings, thus creating a spectacular set matching the necklace, adorned (or not) with the flower and the brilliant-cut diamond. The earrings can also be worn without the heart and pear shaped diamonds, for a more discreet version.

This collection is further enriched by a cuff bracelet adorned with two emerald-cut diamonds, two rings of which one bears the 20-carat cushion-cut diamond, and of course an astonishing secret watch that is as delicate by nature as it was to create.

 Alithia Spuri-Zampetti, Paule Ka’s new creative director, talks about her inspirations, designs and hopes for the brand.

The best words to describe Alithia Spuri-Zampetti are enthusiastic, smart, curious, and observant. Since the founder of Paule Ka, Serge Cajfinger, departed in 2015, 32-year-old Spuri-Zampetti took over as creative director. The French fashion house has embodied contemporary Parisian elegance and quirky femininity throughout its time, and Spuri-Zampetti’s elegance, knowledge, traditional yet modern approach, and youthful stance seems to be exactly what the 30-year-old brand needed.

Born in San Diego and raised in Rome, Spuri-Zampetti moved to London to study fashion at Central Saint Martin School of London, where she graduated. She also worked as an intern with designers Gareth Pugh, Peter Jensen, Hussein Chalayan and Alexander McQueen. Later she worked for Bottega Veneta, Valentino and Lanvin, under Alber Elbaz. The Italian-American designer was in charge of Lanvin’s women’s ready-to-wear collection for the past six years. Her journey in design has been a tough one, yet she has learned from the best. She mentioned, ‘I respect the people that gave me a hard time, it is like parenting and now I understand what they meant.’

Now at Paule Ka, the young designer is ready to inject her creative, fresh style with the essence of the famous brand. She is now making up a brand-new lexicon for Paule Ka while reinterpreting the iconic little black dress or the trapeze skirt, with the help of the in-house ateliers. Following a subtle palette of sophisticated shades, she plays every day with the house’s materials and colour codes. Suggesting new volumes out of sensual pleats and off-the-wall details, bold accessories, and couture trompe-l’oeil, she keeps having in mind today’s women, with their desires and their needs. From a perfect pair of trousers to a spectacular evening gown, here is an urban, contemporary, and joyful wardrobe, thoughtfully designed for day and night.

How do you feel about your new position?

It’s very exciting. It was always been my dream to lead a brand and make my own decisions.

Was is easy to connect with the brand?

My experiences have led me here. I think that my style has similarities with all the brands I have worked for, like Valentino, Bottega Veneta, and Lanvin. I developed a taste for luxurious fabrics, femininity, and beautiful design, but I am always thinking of the woman that wears the clothes and not necessarily the costume.

Today, if I had to create my own brand this is what I would do. I would design for real life women that have needs. I’m a girl so I understand and I feel I can make a difference, because I think about a woman and several events she has to go to. Paule Ka has a heritage, a brand history, and it’s something I can work on and develop. The story is not well known, but the brand has been here for 30 years and this is something I can talk about.

The contemporary positioning of Paule Ka interested me too. It’s easy to work in luxury and create beautiful things and not to worry about how much things cost because there are people who will spend money for luxury, but I want to consider the rest of the population. If I didn’t have access to fashion and I was a lawyer, for instance, with a similar salary, where would I buy things to wear for an event, or the office, or for a nice trip? I wouldn’t want to go to Zara for luxury. Paule Ka is a brand that relates to so many women with good taste, and yet it is not very expensive for a designer brand.

How do you describe your style?

My style is driven by two things, women’s needs and my passion for fabrics. I work in Italy with shoe factories in Como that make our textiles. I’m so passionate about textiles. My style is to take something simple and cut it in this amazing fabric, or to work on the construction of a piece that has a very basic fabric.

Paule Ka launched in 1987, how would you describe it then compared to how it is now?

The style was adapted to that time. It was the end of ‘80s and the start of the ‘90s. The style was fresh and feminine, which was perfect for that time. Girls in the ‘80s wore big shoulders and there was woman power, they needed something more romantic and feminine and that is why it worked back then. Celine created a very masculine look and almost changed fashion in the way in which women looked at daywear.

Now, after 30 years, my job is to ask myself what works today. You must be related to your content, but also remember the brand is a feminine brand.

The clients love ruffles, bows, pinks and little day suits, and you can’t kill this just because the trend is something else. My job is to spot a trend and see what fashion is for women today, then propose something that is within the code of the brand. Germans love masculine silhouettes and this suits their body shape and their lifestyle, they don’t like bright colours. In places like the Middle East, America, China and Japan, there’s such a big opportunity for fresh colours. I think Paule Ka is really modern because it serves all these women.

Who do you think the typical customer is now?

I think in this moment, it is a transition and it’s hard to define who our client is. We have our loyal Paule Ka clients. For these clients, they relate to a modern and fresh style with new fabrics and new ideas. We have a huge opportunity for new clients and new markets. Before, the client was fifty per cent French. Today we have an amazing response in Asia, America and the Middle East. The client is younger. In Instagram, we have such a young following and we have young actresses wearing the brand, but it is definitely evolving, although we don’t want to lose our old clients either.

At Paule Ka we offer a wardrobe for all women with different needs. We have a beautiful white blouse and black trousers that don’t age and are classic pieces. Then there is a dress for a cocktail party that is chic but not overly dressy. At the same time, you have a gown that is perfect for a formal event. I want to build a woman friendly community.

How import is this region for your brand if that is your target client?

What I am discovering is Middle East clients are very open to novelty. Paule Ka is a colourful French brand so it’s perfect for a market that appreciates colour, embellishment, and couture savoir-faire. They also appreciate a brand that has French heritage.

Tell us about the new spring summer collection?

The inspiration was Japan. I went to Japan which is the first country that supported Paule Ka at the beginning. I researched the things I like the most, textiles, architecture, purity of Japan and colour blocking. I take the audience through my journey with Japan. We start with tailoring that is clean and sculptural, the judo influence with wrapping and the fact that it is white, constructed and pure, we also look at pleating, the obi and origami pleats which are about construction and one solid colour. Then this is developed into stripes, an obi with stripes that I found in a vintage market. I thought we should make it sexy so we started darting, inserted bows into the stripes which made it feminine, with a modern twist. Then there is the kimono, I took some flowers from the kimono and started to weave them into our daywear pieces and as a result there are jeans and a jacket with woven gold leaves, creating a brocade feeling.

What is your favourite piece?

My favourite piece is always the first one in the lookbook. It’s this tailored piece that is masculine but attractive to women because we have turned it into something feminine without putting bows on it.

How long did it take to make the collection?

Two months from the conception, fabric selection and sketches to several fittings with the atelier. Then we prepare for the show. We also work on other collections during this time.

What are your hopes for the next few years?

We are growing. At this moment, we are still at the investment part. We create a lot of collections and commercial garments, which is less fun to do but not a problem. We are building slowly. If you compare it to a building, we are only building the foundation. In five years, I’d like to see the building complete with a swimming pool!

Do you have a motto?

Alber Elbaz once told me, ‘When you are a creative director remember one thing, let it go.’ This is what I try to stick to, but sometimes it’s so hard to let go. We are very attached to what we do and we never let go.

By Hershey Pascual

There are a number of things which are harmful to our skin, from UV rays to a bad diet, however pollution tops the list when it comes to those who live in cities. Exposure to daily pollutants increases sebum production, amplifies dehydration, and reduces natural anti-oxidant defences at the skin’s surface. Pollution particles can also be responsible for skin irritations and increased skin sensitivity. The accumulation of pollutant particles on the skin surface can diminish skin’s radiance making it look dull, and the damage in turn, can also lead to ageing and wrinkles on the skin’s surface. Cleansing is crucial as a solution to this potential damage, with evening time being most important to ensure any pollution is removed, and then regular facials to deep-clean the skin, or an enzyme peel at home to dissolve the dead surface layers where any pollution will be trapped are necessary to achieve a clean, clear complexion. Here, we have picked the most effective products available, to help treat and prevent pollution affected skin.

1. Dior One Essential City Defense Toxin Shield
2. Kiehl’s Cilantro and Orange Extract Pollutant Defending Masque
3. Chanel UV Essentiel UV Pollution Daily Defender
4. Dior One Essential Detoxifying Mist Purity Booster
5. Clinique City Block Purifying
6. Foreo Luna Go
7. Foreo Luna Mini 2
8. Clarins BB Anti Pollution Beauty Perfector
9. Clarins BB Skin Detox Fluid
10. Lancôme City Miracle CC Cream Complexion Beautifier
11. Dior One Essential Intense Skin Detoxifying Booster Serum

By: Eliza Scarborough

Photographer: Henry Pascual

BVLGARI: A SYMBOL OF STYLE AND ELEGANCE

This month, a&e took an up-close look at the new season Bvlgari Serpenti Collection.

BVLGARI Serpenti Forever Bag in Galuchat Black and Silver colour

BVLGARI Serpenti Scaglie Viper Bag in Ivy Tourmaline colour smooth calf leather with Black Gems

Left Image:

BVLGARI Serpenti Forever Bag in Orchid Amethyst colour calf leather

BVLGARI Serpenti Reverie Shelley Scarf, 10×140, Silk twill in Orchid Amethyst colour

Right Image:

BVLGARI Serpenti Forever Serpentage Bag in Python Cloud Topaz colour

BVLGARI Serpenti Forever Bag, Scaglie beads in Fire Opal & White Agate colour calf leather

BVLGARI Serpenti Forever Bag, Inlayed Fiore Calf Leather in White Agate & Pink Spinel colour

Left Image:

BVLGARI Serpenti Forever Quilted Bag in Ivy Tourmaline colour smooth calf leather

Right Image:

BVLGARI Serpenti Cocktail Clutch in Pink Spinel colour calf leather

BVLGARI Floralia Scarf, 70×70, Silk twill in Cloud Topaz colour

Fashion Director : Eliza Scarborough

Photographer : Tobi Jenkins

Clever, quick fixes from the industry’s most-trusted experts to elevate your beauty regime. Add these must-try tricks from those in the know, which will help liven your locks, mix up your makeup routine, and freshen your skin.

This spring, Peter Philips, Creative and Image Director for Dior Makeup, presents Colour Gradation to re-enchant the gradient makeup trend, a precise but intuitive technique that celebrates colour in all its splendour. Lips are enhanced with a blend of weightless shades, eyes are illuminated with vivid colour harmonies and the face is brightened with evanescent blushes.

Iridescent Eyes

Colour Gradation in Blue Gradation forms a veil of colour and a wisp of intensity on the lid with a monochromatic blend of shades. By concentrating the darker shades into the socket of the eye, you can create definition, and then bring the pale shade all the way up to the brow for intensity. Dior Addict Lip Glow in Berry on the lips is the perfect shade to finish the look and keep the eyes as the focus.

Left Image:

Rosy Glow

Diorblush & Diorskin Nude Air Colour Gradation go hand-in-hand to achieve a fresh and natural, flawless complexion. Begin by preparing the skin with Diorskin Forever & Ever Wear Primer, Forever Foundation, and Forever Loose Powder, before giving a glow to your complexion by applying Diorblush to the cheekbones.

Right Image:

Sugar Sweet Lips

Inspired by the expertise of makeup artists, Lip Sugar Scrub, was developed to exfoliate and moisturise the lips. Prepare the skin first with Diorskin Forever Foundation, and Diorskin Nude Air Colour Gradation for an illuminated finish, then with a single swipe of Lip Sugar Scrub, deliciously radiant lips are delivered, to boost any lip colour.

Springtime Nails

Spring is on its way, and with it comes the full bloom of sparkling shades of nail colour. Here the nails have been polished with the shade Maybe, an energising peach shade. Complement the nail shade with a wash of Colour Gradation in Coral over the eyes, together with well-groomed brows, using Dior Backstage Pro 3D Brow Styler.

Left Image:

Lip Definition

Embracing this season’s Colour Gradation, Rouge Gradient lipstick lights lips up with a shadow finish together with the art of colour blending. One end is used to apply the lighter shade as a primer, and the other adds a touch of more intense colour to the centre of the lips. Using Dior Backstage Pro Eye Reviver, with a coat of Diorshow Iconic Overcurl Mascara on the lashes, completes the look.

Right Image:

Defined Eyes

By using the palest shade from the Colour Gradation palette in Blue Gradation, you can bring out the sparkle of your eyes. Simply apply to the inner corners and then along the lash line, for a glimpse of colour. Frame the look by taming brows with Dior Backstage Pro 3D Brow Styler, and coating lashes in Diorshow Iconic Overcurl Mascara.

Fashion Director : Eliza Scarborough

Photographer : Lezli & Rose

Hair and Make-up : Ian McIntosh

Model : Maddy at Premier

Born in Ireland, raised in South Africa and now living in London, designer Catherine Deane designs take cultural references from her nomadic lifestyle and her passion for long forgotten craft techniques. Traditional techniques with a modernist twist of simplicity, form the foundation of Catherine’s work and are fuelled by the constant search for new methods from around the world that can be incorporated into the designs. All of these elements combine to create one of a kind pieces that have garnered a celebrity following, including Beyoncé, Lana del Rey and Pippa Middleton. Deane’s goddess gowns, made from sumptuous and luxurious European fabrics, are opulently embellished with leather, silk, tulle and beading. They may appear simple, yet they are intricately detailed at the same time.

What inspired you to become a designer and launch Catherine Deane?

From a young age, I loved to make beautiful things. I started knitting and embroidery with my grannies in South Africa where I grew up, and then graduated to a sewing machine when I was about 12 years old. My mother taught me how to sew, and I loved it! I would experiment with different fabrics and shapes, and by the time I finished school, I was sure that I wanted to study fashion, and pursue this as a career. I had a clothing business in South Africa for three years, which was a lot of fun, and I learned a valuable foundation in business, design, and manufacturing, following two years working for a start-up luxury label in London, designing collections, taking manufacturing off-shore to Asia and selling at international trade shows. Basically, I threw myself in at the deep-end in both instances, but learned enough to give me the confidence to set up my own label again, in London in 2005.

What would you say is the DNA of the brand?

Classic, romantic, and feminine, with a little edge.

You began your label as a purely ready to wear brand, what made you move into bridal designs?

I have been tinkering around making wedding dresses since the beginning of my career in fashion, including my sister’s wedding dress and a few private commissions. When I started the label in 2005, it was not with the intention of creating wedding gowns, but clearly there were better plans on the horizon for me! I began creating some of my ready-to-wear gowns in oyster and cream colours, by request from some of my middle eastern customers who wanted to buy my gowns in pale colours, and then then the bridal industry started knocking on the door. It was not until 2010 that the category really took off when I started to supply BHLDN, an American clothing retailer that specialises in bridal wear. Six years on, and we have opened our own bridal retail channels, including a showroom in London & New York, e-commerce for the UK, Ireland, and European markets, together with over 60 bridal stockists worldwide. I absolutely love creating in this category, especially as it is such an honour to be part of dressing women on such a significant day in their lives, a day so full of love and happiness.

How do you feel your brand has evolved over the years?

The product has not changed that much, rather it has taken time for me to find the right fit in terms of retailers, customers, and product offerings. My role is as both creative and commercial director, which I believe gives me a unique viewpoint on how best to navigate the brand.

What has been your biggest achievement?

Creating a company that is operated in a style of gentle feminine leadership. Where our culture, values and teamwork are at the forefront of all we do.

What drives and motivates you to design each new collection?

I really love what I do, I am a natural seeker. I love creating beauty and I love to make people happy. I think we are in an important time where women can be more expressive and empowered than ever before. I simply want my dresses to support the goddess in all of us.

Do you have a favourite moment in the process?

The element of surprise. I like to work three dimensionally on the mannequin so that I can observe the evolution of the dress. I am open to the mystery of how that particular design will unfold, and I like to let the fabric move in its own direction, or the embroidery to sculpt and frame the feminine form as it chooses to.

Lace is a fabric you use extensively in your designs, what is your trick to give the traditional fabric a contemporary feel?

I have had a love affair with lace from a very young age when I started making my own dresses. There is something so sensual and feminine about lace. There is the fact that it is partially sheer, a little naughty, yet it can also be made to look rather ladylike. Lace is so versatile and expressive as a medium for me and I will never get tired of working with it. In design, as in life, I am constantly looking at duality and balance, and I so enjoy exploring this medium while bringing in a little bit of edge, hard meeting soft, light meeting dark, masculine meeting feminine. It’s a dualistic universe after all.

Is there one dress that is a favourite, or you are particularly proud of?

That would be like choosing a favourite child!

What are your bestsellers?

There are certain gowns that our brides just adore, like the Laverne gown, with her soft silk tulle body and beautiful lace back detail, and our bridal separates collection has also become extremely popular in the past year.

How would you describe your own personal style?

To dress in a way that makes me feel comfortable, feminine, and free. I always default to classic shapes with a little edge.

What is your failsafe outfit?

A little black dress.

Do you go for heels or flats?

Barefoot is my preference!

What can we expect from the next chapter of Catherine Deane?

A global bridal and occasion wear e-commerce platform, that can bring our dresses to all our beautiful customers within 3 days, instead of the usual 6 months’ wait in the bridal world.

By Eliza Scarborough

If there is one piece worthy of investment each season, it must be your handbag, which will get more wear and use then any of your everyday items. As we see the return of the ‘it’ bag, as an object whose allure never fades, we look to these great classical pieces that embody timeless elegance and are the ultimate everyday accessory.

Valentino Rosso Rockstud

Chanel Flapbag

Left Image:

Saint Laurent Classic Medium Kate Satchel

Right Image:

Anya Hindmarch Egg Bathurst Satchel

Mulberry Chester

Mulberry Small Clifton

Left Image:

Celine Trifold Clutch

Right Image:

Gucci Broche

Fashion Director : Eliza Scarborough

Photographer : Henry Pascual

The Geneva jeweller celebrates love by sharing its most beautiful, bold and passionate creations.

de GRISOGONO invites you to discover delicious pleasures. Like a gaze that comes to rest on a neck, drawn to the shimmer of gold and the sparkle of stones that appear to trace gentle caresses across the skin. A touch seduced by bountiful proportions and elegant shapes. Through a subtle play on light and shade, de GRISOGONO’s sensual and entrancing creations highlight feminine curves and naturally catch the eye.

Sensory Opulence

GRAPPOLI

A spellbinding, mesmerising emerald green jewellery watch set with mobile briolettes.

Lady Timepiece in white gold 18k with black rhodium treatment on claws set with de 70 briolettes-cut emeralds – 52 CT (approx.), 994 brilliant-cut emeralds – 13.5 Ct (approx.), with a quartz movement and a galuchat strap.

ONE-OF-A-KIND HIGH JEWELLERY MODELS

Fascinating stories of gems and passion, for an amorous declaration.

Ring in white gold set with 1 emerald-cut white diamond of 7.23 Ct, 1 emerald-cut white diamond of 7.59 Ct, 80 emeralds of 0.90 Ct and 524 white diamonds of 6.24 Ct.

Earrings in white gold set with 1 oval-cut white diamond of 5.38 Ct, 1 emerald-cut white diamond of 5.19 Ct, 1 emerald-cut white diamond of 10.05 Ct, 1 emerald-cut white diamond of 10.04 Ct, 2 emerald marquise of 2.65 Ct, 98 emeralds of 0.43 Ct and 462 white diamonds of 2.01 Ct.

Earrings in white gold and titanium set with 1 oval-cut white diamond of 5.02 Ct, 1 oval-cut white diamond of 5.01 Ct, 2 round-cut emeralds of 1.57 Ct, 576 emeralds of 3.56 Ct and 1730 white diamonds of 51.00 Ct.

An anthem to roundness

CONCHIGLIETTA

Precious droplets crafted from daintily nestled stones.

Earrings and ring in pink gold and titanium set with white diamonds.

ALLEGRA

A joyful, exquisitely interwoven spiral, symbolising the ties that bind two human beings.

Ring in pink gold set with pastel and fuchsia pink sapphires.

INDIA

A pair of earrings, a bracelet and a ring delicately infused with softly powdered shades of opal, stone of the heart.

Earrings, bracelet and ring in pink gold set with pink opals and white diamonds.

Entrancing Motion

Samsung Gear S2 by de GRISOGONO

The most glamorous smartwatch of them all awaits only your caress to open its heart.

Watch in steel and pink gold set with black and white diamonds with black and white galuchat strap.

VORTICE

A sensual embrace.

Ring in pink gold set with white diamonds.

de GRISOGONO, the jeweller who revels in exalting femininity.

Whilst clean skin and wash-and-go hair were present across the board during the spring summer shows, the beauty trends that did make their mark were brighter and bolder than ever. Lipstick-bright blush was applied to the temples at Kenzo and Chanel, while yellow eyebrows were seen at Gucci. Over at Mary Katrantzou, lips were painted acid-bright orange, pink and red, whilst eyelids at Nina Ricci came in glossy violet, aquamarine and tangerine hues, and bold colour was painted onto the temples rather than the eyes at Max Mara.

TOP ROW, LEFT TO RIGHT:

Dior Rosy Glow Healthy Glow Awakening Blush

Nars Dual Intensity Eyeshadow in Deep End

Chanel Joues Contraste in Hyperfresh

Nars Dual Intensity Eyeshadow in Pool Shark

BOTTOM ROW, LEFT TO RIGHT:

Bobbi Brown Luxe Lip Colour in Flame

Chanel Rouge Allure in Independante

Dolce and Gabbana in Provocative

Bobbi Brown Cosmic Peony

Dior Vernis in Maybe

Dior Vernis in Sudden

Dior Vernis in Early

BRUSH UNDERNEATH:

Bobbi Brown Touch up Brush

By: Eliza Scarborough

Photographer: Henry Pascual

The Spring Summer show took place in the future home of the brand’s Place Vendôme flagship. Scheduled to open in 2017, the new store will combine two buildings, spanning the famous square and the Rue Saint-Honoré, with spectacular views from the windows of Napoleon’s Column and the newly renovated Ritz. This mythical place resides in the heart of the Maison Louis Vuitton history as it is two steps from where, in 1854, Louis opened his first store at 4 Rue Neuve des Capucines. Fittingly, this exclusive photoshoot, shot by Patrick Demarchelier, also took place in the raw space of the new Vuitton superstore, for a striking contrast.

The collection itself, which had a subtext of sci-fi, still retained some of the tropes of the previous season, such as the daring cut-outs in particular, made a striking contrast with the backdrop. There were asymmetric draped jersey numbers with the hip and midriff cut-outs, some with 1980s-ish sprinkles of crystals and glitter. These slashed, sinuous, hipslung dresses had a gladiatorial edge, particularly with the finale gowns, which featured rivers of crystal and laser-glued sparkles. Among the elegance, there were sweatshirts, a logo tee or two, and skinny lace pants with matching pelmet skirts.

Photographer: Patrick Demarchelier for Louis Vuitton

Stylist: Elodie David Touboul

Hair: Paul Hanlon

Make up: Path Mc Grath

Chanel’s elaborate runway shows are one of the most anticipated on the fashion calendar, taking journeys to an airport terminal, a French brasserie, Chanel-clad streets amid a protest, a casino, and even the supermarket. This season was no exception, with Karl Lagerfeld setting out to make tech cool, transforming the Grand Palais into the chicest Chanel Data Centre. But this was no nerdy computer lab, from the neat multi-coloured wiring, flashing lights, and rows of circuit boards, to the first models who opened the show dressed as tweed twinset wearing robots, all to the soundtrack of a remix of Donna Summer’s ‘I Feel Love’.

Fashion

Tweed jackets were layered over negligee, as diaphanous underwear was worn as daywear, peeping out from psychedelic prints and technicolour tweed. The classic Chanel bouclé jackets and tweed twinsets were woven to match the wire colours, and bias-cut chiffon dresses were covered with psychedelic-looking electro wave prints.

Accessories

Although models took us back to the ’90s, accessories were very much in the 21st century, with Chanel bags lit up by LED-lights and Matrix-esque sunglasses. Karl gave the bags a major reboot, creating light up styles that relayed sweet greetings, plus flashed the iconic double C logo. And it wouldn’t be Chanel without an array of other covetable accessories, which included colour-coordinated baseball caps that were worn sideways, plenty of single earrings, and statement medallion-like pendants.

Footwear

Comfortable shoes ruled the runway, as Chanel created low, block-heeled pumps with ankle coverings that accompanied each look. When models weren’t wearing the pump-boot hybrids, they were sporting classic Chanel ballet flats.

Front Row

Chanel muse Lily-Rose Depp sat front row beside Usher and two seats down from Courtney Love and her daughter, Frances Bean Cobain. Also sitting front row was the house’s quintessential muse Ines de la Fressange, along with Carla Bruni and Caroline de Maigret, making it three generations of Chanel beauties taking in the collection.

Faces

Given the show’s digital theme, it made sense that the line-up was filled with girls who know a thing or two about the latest technology. Social media–savvy stars such as Taylor Hill and her fellow Angels Jasmine Tookes and Romee Strijd added to the appeal, as did runway favourite and Instagram power user Soo Joo Park. Arizona Muse led the parade of models, following the pair of Chanel clad incognito robots.

‘A ribbon that gives time’ is how La D de Dior Satine was conceived by Victoire de Castellane, inspired by the satin ribbons that have always been used in the Maison’s couture creations.

La D de Dior Satine comes in a new 36mm size, playing with the collection’s favourite masculine and feminine codes. This larger 36mm model highlights the collection’s inspiration of a watch borrowed from a man. The result of Victoire de Castellane’s taste for alternating giant or mini volumes.

These three new versions, fitted with a flexible and shiny Milanese mesh bracelet, is adorned with large dials in pink or white mother-of-pearl. As for the gold and steel version, it is embellished with an elegant yellow gold bezel and crown.

With its precious diamond-set dial, bezel, crown and buckle, La D de Dior Satine 36mm timepiece embodies the spirit of Dior jewellery, bold creativity, combinations of materials and colours and all the know-how of Swiss watchmaking.

Looking for a family-friendly stay or a group party pad? We have handpicked a collection of retreats with to-die-for design and private-home perfection.

Villa Sungai – Bali

Sleeps 10, Bedrooms 5

Far from Bali’s bustling crowds sits Villa Sungai and its romantic little sister, Sungai Gold, two incredibly private and romantic residences that fuse a traditional village experience with five-star luxury to create a bespoke idyll. Combining the pampering service of a hotel with the privacy and freedom of your own home, luxurious Villa Sungai is the stylish way to do Bali. Set in a tranquil country village in the island’s south-west, there is the three-suite main Villa Sungai or its smaller sister the two-bedroom, couple-friendly Sungai Gold, either take just one or both if you are a larger group. Each villa has its own infinity pool, spacious communal areas, airy and elegant interiors with luxurious four-poster beds, and round-the-clock staff. The details are what count though, and Sungai does this in style with free bicycles, GHD hair straighteners, a sunglass-cleaning service, and a chauffeured car on call at all times. Rest, relaxation and a zen outlook are what is on the programme at Villa Sungai as they offer an extensive spa and yoga programme, with a dedicated two-room spa space for massages, body scrubs, and a range of beauty treatments. Further afield, staff can organise village tours, visits to markets, shopping for sarongs and fabrics in local town Kediri or a trip to an elephant park.

Hawksbill – Turks and Caicos

Sleeps 16, Bedrooms 8

Hawksbill is located in the coveted Grace Bay area of Turks and Caicos and is spread across a number of separate buildings and designed as a multigenerational retreat. The grounds feature a swimming pool, hot tub, a fire pit and an extensive stone terrace. There’s also a gym, basketball and a tennis court near the entrance to the property. The main house, which showcases a contemporary Caribbean design and high vaulted ceiling, accommodates an open plan living and dining area and the master suite, with plenty of natural light flooding in through the windows. On the opposite side of the pool is a stand alone suite for ultimate privacy, and behind the main house is an elevated two bedroom guest house with its own kitchen.

The Backstage Loft – Zermatt

Sleeps 10, Bedrooms 5

Gorgeous modern interiors are matched only by stunning mountain views at The Backstage Loft. Fusing the wooden beams of a 700-year-old chalet with the glass walls of a modern mountain lodge, this chalet is a masterful pairing of old and new filled with beautifully designed custom furnishings. There is heated ski and gear storage, an exercise room and private hammam, and even an indoor-outdoor hot tub with views of the Swiss Alps. For evening there is an ingenious dining table that can be lowered for a meal, then raised to make floor space for after-dinner drinks and dancing.

Peaceful Waters -Lake Tahoe

Sleeps 14, Bedrooms 6

Lake Tahoe is a natural wonderland between California and Nevada, and Peaceful Waters is situated right on the lake’s beachfront. Rich textures of wood populate every corner of the home, contributing to the quintessential log cabin feeling. With almost unlimited activity options for any season, you can enjoy water sports and winter sports, bike trails and nightlife. Slip into the outdoor hot tub for a relaxing soak after an energetic day on the mountain, followed by a barbeque around the fire pit. The private boat ramp gives you the option to bring along your boat and explore the lake at your own pace.

Napili Cove – Maui

Sleeps 16, Bedrooms 9

Luxury villa Casa Duquesa is set in 150 acres of elegantly manicured grounds, guaranteeing the utmost privacy. The fully staffed 17th-century Spanish villa in the countryside also has its own private chapel. Aside from sprawling grounds, there’s a lavish pool area set away from the main villa, with an outdoor kitchen, bathroom, lounging terrace and dining area. The villa has been restored to its former opulence, and is equipped with all the modern accoutrements you could possibly need, including space to land a helicopter. Casa Duquesa has generously sized rooms with an array of communal spaces to choose from for socialising and sundowners, meaning you can have some private time away from the group as well.

Per Aquum Desert Palm – Dubai

Sleeps 6, Bedrooms 3

Celebrating everything horse-related, this is a hotel, riding school and polo venue rolled into one. Located on a 160-acre estate, a 30-minute drive from Dubai, it offers guests an opportunity to escape the metropolis without having to venture into the desert. The style of the main retreat is Spanish hacienda meets country club, with a giant statue of a horse’s head in the outer courtyard and an infinity pool. The villa itself is surrounded by a walled garden and is centred around an open-air courtyard with a swimming pool, while the rooftop terrace overlooks the main polo field. There is also a barbecue with a private chef available on request, and in the bathrooms, you’ll find Ren and Eminence Organic toiletries, together with a menu of bath salts.

Tagomago Private Island – Tagomago Island, Ibiza

Sleeps 10, Bedrooms 5

Enjoy both the nightlife and scenery of Ibiza at Tagomago Private Island. Just a short boat ride from the famed beaches and clubs, the island is a private paradise with beautiful rolling hills and panoramic sea views. Fold-back glass doors hung with gauzy white drapes give the open-plan living areas a breezy, relaxed feel, not to mention beautiful sea views. The contemporary five-bedroom villa is ideal for basking in the sun on the terrace and paddling in the saltwater pool during the day, to al fresco barbecues and star gazing in the evening.