Christian Dior came here to draw, to find inspiration, to work or to rest. He came here to carry out fittings and presented his collections here. Christian Dior’s salon carries his memory within its walls, it is the privileged witness to both the grand hours and the little anecdotes that have forged the House of Dior’s history. Peter Marino, the designer of Dior boutiques around the world, has conducted the restoration of the legendary salon. Today he revives the spirit of Christian Dior in the most intimate space at number 30 Avenue Montaigne.

The desk at which he worked, the armchair in which he sat, the chandelier and the lights that illuminated his space, the family photos that he contemplated and other objects that he touched every day. In this salon today, we rediscover the couturier’s historic environment. But Christian Dior’s presence can be felt here on a wider scale, with the wall of drawings and oil paintings by Christian Bérard, a close friend of the couturier, who collected the artist’s works, with the 18th-century furniture, the golden age of French art de vivre that Christian Dior sought to restore, featuring Versailles and its symbolism in all his creations. There are contemporary works as well, a low table by Claude Lalanne or the pedestal tables by Philippe Hiquily, which remind us that the couturier had the same passion for the avant-gardes of his day as he did for classical art, and that long before opening his couture house Monsieur ran an art gallery, exhibiting Braque, Dalí or Picasso. It is as though Christian Dior had continued to furnish and decorate his salon, continually enriching his collections without ever forsaking his tastes.

With this restoration, Christian Dior’s salon pays homage to the man and to the room he loved, bringing the House of Dior’s founding legend back to life, weaving ties between past and present.

“And so it was in 1946 that I took over 30 Avenue Montaigne. The charming mansion was made up of several rooms and salons that were elegant enough to serve as the location for a couture house.” – Christian Dior

“Hidden by the gray satin curtain separating me from the salon, I listen to my dresses come alive for the first time, for it’s only at the moment they’re worn that they really begin to exist.” – Christian Dior

Privileged to be at such a historical location, we introduce through our lens  the Spring- Summer ready to wear collection through a photo shoot at Mr Dior’s Salon

Striped coat with shorts and top underneath, belt, “Dioroscope” necklace and earrings.

All by Dior

Sweater with veil dress, belt, “Dioroscope” necklace, shoes, “Be Dior” Bag.

All by Dior

Jacket with top under, pants, belt, “Dioroscope” necklace, “Diorama” Bag, shoes.

All by Dior

Organza striped dress with shorts and top underneath, “Dioroscope” necklace and earrings, shoes.

All by Dior

Striped pleated Parka with Pleated Dress, pants, belt, “Dioroscope” necklace, shoes.

All by Dior

Sweater with shorts, “Dior Garden” Collar.

All by Dior

Organza dress with jacket, “Dioroscope” necklace and earrings, shoes.

All by Dior

Organza striped dress with sweater, “Dioroscope” necklace and earrings, shoes.

All by Dior

Photograher : Jeremy Zaessinger

Photo Assist : Matthieu Boutignon / Christophe Schumacher

Stylist : Amine Jreissati

Model : Jordan Van Der Vyver at Elite

Make-up :  Megumi Zlatoff at Agence Saint Germain

Hair : Mickael Jauneau at Aurelien Paris

Starring supermodel Karolina Kurkova, this campaign is called ‘Dress from the feet up’, with the social hashtag #JustaddSole.

The campaign focuses on and supports the shoe category, making NET-A-PORTER the global destination for shoes and allowing them to be known for the best edit of shoes to wear whenever, wherever and whatever your style.

“Everyone knows that I dress from the feet up. It is always about the shoes, and then I work it out from there. I’m a high-heel girl but after moving to New York a year ago, I started wearing flats. At the moment I’m in love with my Gucci loafers; they’re my little obsessions.” – Sarah Rutson, Vice President of Global Buying, NET-A-PORTER.

Bulgari appoints the supermodel/actress for its Handbag and Eyewear Collections

Bulgari is proud to announce the beautiful and talented Rosie Huntington-Whiteley, actress and model, as Bulgari’s new Ambassador for its handbag and eyewear collections.

The new appointment coincides with the presentation of Bulgari’s Fall/Winter 2016 Accessories Collection. As the exquisite culmination of Bulgari’s Italian craftsmanship, SERPENTI and BVLGARI BVLGARI Accessories are emboldened by the charismatic soul of the jeweller and both capture the audacious spirit of the brand. Combining versatile colour palettes inspired by precious gemstones, the Collection is handcrafted of the luxurious materials for which the Maison is renowned.

Featured within the new collection is a stunning limited-edition Serpenti Bejewelled handbag, inspired by an exquisite Bulgari necklace of rare gemstones. The renowned High Jewellery piece belongs to the Bulgari Heritage Collection: today it has been re-interpreted into a magnificent handbag accessory. An obvious choice to accessorise a woman as stylish and beautiful as Rosie Huntington-Whiteley.

The Los Angeles-based British talent first came to the world’s attention when she was just 16 years old. Standing out for her extraordinary features, natural poise and magnetic beauty, she soon thereafter was modelling for prestigious fashion campaigns, and strutting the runways for major fashion houses across the world.

Often referred to one of the world’s most beautiful women, the style icon has recently added another string to her bow as a talented actress. Following Huntington-Whiteley’s debut in the blockbuster Transformers: Dark of the Moon last year, she enthralled as the tragic Splendid Angharad in Mad Max: Fury Road – now in the running for Best Picture at this year’s Oscars.

“To be named the new Accessories Ambassador for Bulgari – it is an incredible honour,” enthused Huntington-Whiteley. “I love the rich heritage of the Maison and its unwavering commitment to Italian craftsmanship and history. Whether I’m wearing one of their stunning watches, a pair of gorgeous earrings, or one of their beautifully made handbags, I feel as if they add a touch of glamour and elegance to whatever outfit I’m wearing. I am thrilled to be associated with a brand as inspiring as Bulgari.”

CHANEL is pleased to announce the re-opening of its boutique at Kingdom Mall, in Riyadh. Like all CHANEL boutiques throughout the world, this new boutique was designed by Peter Marino who has re-interpreted the House’s unique aesthetics and codes, expressing the timeless modernity and elegance that characterize CHANEL.

The single floor boutique – spread over 280 square metres – showcases the CHANEL universe and all of Karl Lagerfeld’s latest creations – Ready-to-Wear, handbags, shoes and accessories – as well as a selection of watches.

Drawing inspiration from Mademoiselle Chanel’s Parisian apartment on 31, rue Cambon, the boutique combines intimacy and elegance into each of the defined rooms. Contrasting materials of soft gold metal as well as white and deep coral stone set the backdrop against the luxurious rich textures of handmade wall finishes, woven wool carpets – reflective of the region’s heritage – and iconic tweed furnishings that together blend the architectural with the artisanal.

Upon entering the boutique through the spacious entrance, clients are invited to explore two rooms dedicated to accessories featuring seasonal handbags, small leather goods, costume jewellery, scarves and glasses, displayed on shelves or delicately staged in small showcases. Continuing further, the generously sized shoe “salon” introduces the season’s shoe collections where plethora of colours and materials are explored in styles from ballerinas to slippers, pumps to loafers.

Located at the center of the boutique, a room devoted to watches proposes an edited selection of timeless pieces from the House, from J12 to the Première, comprising the latest collection Première.Boy de CHANEL.

Finally, an intimate and warm atmosphere can be found in the Ready-to-Wear “salons”, presenting the latest collections by Karl Lagerfeld for CHANEL. Here, clients are invited to linger on the welcoming sofa beautifully illuminated by a crystal chandelier and table lamps by Goossens.

Continuing the brand’s longstanding commitment and support of the arts, various artists such as Peter Dayton, Nancy Lorenz and Ingrid Donat were commissioned to create site-specific artworks and furniture that reflect the modernity of a constantly moving brand.

Designed as the ultimate showcase for CHANEL’s creativity, the exceptional setting of this revisited boutique provides an unforgettable experience and invitation to enter the world of the House, right in the heart of Riyadh.

Launched in Paris in 2005, Messika is a young diamond brand backed by age-old expertise, conceived by innovative jewelry designer Valérie Messika, daughter of renowned diamond dealer André Messika. From its first collection, this dynamic brand has made waves in the world of fine jewelry.

Valérie Messika has been a creative force in forging a new language for diamond jewelry, one of the first to push its boundaries toward a younger, edgy look, with a touch of tribal, punk, and ethnic influences. The jewels that take shape in the designer’s imagination and in the skilled hands of her artisans are exuberant and revolutionary yet underpinned with a reverence for her diamond legacy and driven by her profound passion for the gem.

Delicate yet strong, confident, and feminine, Messika designs possess volume and movement, sensual fluidity, and ergonomic comfort, blending couture and urban street style, high tech and handcraft, with the exquisite nobility of the diamond, for an attitude of casual glamour and a look of modern luxury. Celebrating its tenth anniversary, Messika has evolved toward a new level of finesse, featuring even more exceptional and ravishing diamonds in its one-of-a-kind creations.

Jewelry historian Vivienne Becker is an award-winning journalist and author of several books on the history of jewelry design. Based in London, Becker is a contributing editor to Financial Times’s How to Spend It magazine, writes for newspapers and magazines around the world, and lectures and broadcasts on her subject. She organized and wrote the catalog for the first major exhibition of the jewelry of René Lalique, and curated Jewels of Fantasy, a traveling exhibition of twentieth-century costume jewelry. Becker’s previous books for Assouline include De Beers Jewellery (2011), The Impossible Collection of Jewelry (2012), and Sevan Biçakçi (2014).

Messika is available for purchase at ASSOULINE boutiques worldwide and through www.assouline.com

Text by Vivienne Becker | 6 x 8½ in. – 15.5 x 21 cm | 80 pages | 45 illustrations | hardcover with jacket | ISBN: 9781614285274 | Approx. AED 100 | also available in French

CHRISTIAN DIOR  COUTURE 

The Dior woman explores another way of constructing fashion and asserts herself by wearing clothes in a new way. Volumes are freestyle, the Bar jacket changes appearance depending on whether it is worn closed or loose; the shoulder is sensual, bare. She is femininity in motion, and every movement conveys confidence.

Symbols and charms, chance and superstition define the collection’s world. They are worn embroidered on clothing, as a good luck charm or affixed to a necklace. Here is the bestiary beloved of Monsieur Dior, as well as his good luck tokens, for the designer was a superstitious man with absolute faith in his lucky star.

Knits stitched like lace, lily-of-the-valley embroidery assembled in such a way that it seems to transform into a panther motif, unexpected contrasts of texture and cut: behind the modernity of this collection’s new attitude lies all the virtuosity of the savoir-faire that lives inside the Maison’s Haute Couture and embroidery ateliers.

SCHIAPARELLI HAUTE COUTURE 

Bertrand Guyon’s second couture collection focused on food and the table. He explained it was partly in response to the Paris terrorist attacks of last November that he was meditating on the subject. “It’s a return to things that are essential, the pleasure of having friends at home,” he said. But also, Elsa Schiaparelli quoted in her autobiography, Shocking Life:“Eating well gives a spectacular joy to life and contributes immensely to goodwill and happy companionship. It is of great importance to the morale.”

Lightness and transparency renew the verticality of the Schiaparelli style. Shocking pink silk cigaline stretches in cartridge pleating and plissé soleil. A breeze of hemp fringes echoes raw linen braiding. The sensuality of natural materials caressing the skin uncovers the underlying tension typical of the Schiaparelli allure. Gold-painted porcelain embroidery is crocheted in silk yarns. Savoir-faire and sensibility meld in rare concoctions. Multicoloured nappa leather is appliquéd and inserted to reveal a lavish dinner table. A biker jacket shows a poetic sun in shafts of wheat and raffia. And the designer’s famously scandalous lobster-print dress for Wallis Simpson was reimagined by Guyon as beaded embroidery on the bib front of a gown.

Jewellery is reinvented as an amuse-bouche: hearts pierced with shrimp, winged padlocks mounted with broken eggshells or iris’ elixir. T-bar pumps with 3D printed peas-in-a-pod heels feature a deconstructed face on the front. A wicker picnic basket is transformed into a Stamp clutch stamped with Elsa’s profile in enamel becoming a real Gala dinner invitation.

ATELIER VERSACE 

There was an undertone of athletic couture and a focus on curves of a woman’s body. The body was seen as a projection to achieve personal goals rather than an emphasis on man-catching sexuality. The soundtrack pointed us towards this direction, with a narrative by musician Violet, speaking out about “feminine strength to overcome obstacles.”

White-on-white ergonomic lines were traced over rounded jackets and parkas, intersected by yellow or orange straps like harnesses. A white jumpsuit had an open and draped back, a harness of hand-embroidered micro paillettes holding the body. Panels of silicon gel gives the mood of performance, with dresses caged by cutouts, or draped dresses held and controlled by silicone bands.

Velvet backed by leather was cut by water jet for strict cages of great softness for draped dresses, with hand-embroidered crystals that trace the body. Hand-crocheted pieces were linked together by flocked chains and ropes of Swarovski crystal, as if the laces of a trainer. Bands of flat sequins suddenly bursted apart on a sleeveless dress as if shockwaves running across the body.

Transparent ergonomically embroidered bodies gave energy with different tones of black to a nearly sheer dress. Gowns and tuxedos were as if exploded, then held together with extravagant knots of Swarovski ropes. Donatella Versace said:“I believe women can be powerful and achieve their dreams while also having great elegance and beauty. This is a collection for all women who walk their own path.”

 CHANEL HAUTE COUTURE 

It was an atmosphere of calm and serenity at the Grand Palais where the Chanel spring/summer 2016 haute couture collection was held.  It was quite the opposite to Karl Lagerfeld’s last show that replicated a hectic busy airport. Now the setting was a lush green lawn, a minimalist garden with water lily ponds, a slatted wood pavilion and blue skies.

The models meandered through this islet of greenery with hair coiled into chignons and cork platform two-tone shoes on their feet. Around their waists they had a smartphone pouch to match their outfit. “The starting point for this collection was the silhouette,” declared Lagerfeld. Playing with inverted volumes, he focused on short tweed jackets with oval sleeves, worn with long pencil skirts, or fitted jackets coupled with full skirts or flared culottes. With every passing look, the delicacy of the materials were illustrated on blouses, skirts and ethereal dresses. Chiffon was deftly worked into flat, “drum”, “peacock” or “January” pleats, while lamé organza was twisted into regular pleats.

The dreamy wedding look was a tufted hoodie, dress, and train that was made from wild cotton. For evening, flecks of gold were blended into the suiting. There was an incredible jacket and skirt made completely of gold and black geometric paillettes. For evening, strapless dresses or trousers with a train were complimented by painted capes with rhinestones, wide-cut boleros or embroidered jackets, and there were satin charmeuse dresses, backless or with a plunging décolleté. The ode to nature continued with a dress whose sleeves are embroidered with feathered bees, a countrified dress embroidered with little flowers and a sheath dress embroidered with wooden birds.

Finally, the bride appeared dressed in a dreamy geometric lace strapless dress embroidered with bursts of chiffon, leather, wood shavings, beads and rhinestones. She was kept warm by a hooded jacket with a train, all made from wild cotton.

GIORGIO ARMANI PRIVE 

This season could be named the “mauve” season, as this shade was seen at many shows. It was the fundamental hue at the Giorgio Armani Prive ss16. The graceful collection seemingly defied gravity because of the weightless silks and delicate organzas that faded naturally to mauve.

Delicate jackets were adorned with ruffles, a leitmotif of the collection. Flounces emerged from shorts under jackets giving the illusion of constant movement or they emphasised dynamic cuts and volumes in a contemporary play of opposites. The organza vest, slightly pushed away from the body suggested momentum and freedom. It was as if the sea was stirred by the wind, wave-like embroideries appeared on skirts, trousers and tops. Even hairdos were sculpted waves.

There were transparent shorts and flounce-cuffed trousers, a range of camisoles and bustiers in experimental shapes, silk gauze and tulle tops, silk jacquard outfits, jacquard organza pieces, zip-front jackets, all in the same palette with Swarovski crystals adorned on most things. Armani only deviated from the mauve colour scheme when he added slick black sequins on a trapeze top and showcased a finale black dress.

RALPH & RUSSO HAUTE COUTURE 

Building on delicate femininity, decadent elegance and masterful craftsmanship, Ralph & Russo’s new collection heralds spring and a refreshing promise of youth. All was dreamlike and weightless.  Billowing crêpe capes, airy bell sleeves and clouds of gazar sashayed down the catwalk. Tender ribbons of organza in powdery shades were pin-tucked into geometric waves, cascading over mighty corolla trains – light as butterfly wings.

Erogenous is the waist; a defined line with abundant volumes unfurled. Peplums, architectural and graphic, brought a modern definition to the quintessential hourglass of the 1950s, with corseted bustiers that created pin-up glamour; and sharpening silhouettes beneath sheer, diaphanous robes really stood out. Full-skirts with waspy waists and layering of materials exaggerated hourglass curves.  Padding around the hips formed a caricature curvaceous body shape.

Shoulders were aphrodisiacs gracefully bared by graphic and precise cut-outs in fluid kimonos. They were enveloped by infinitely fragile feather boleros. Organza petal appliqué glistened with crystal dewdrops amidst three-dimensional silk threadwork. Micro-paillettes underlayers shimmered through geometric cut-outs, recalling the iridescence of natural grey pearls. And crystal drops shower column dresses sparkled.

There were hand-painted peonies and tulips in sapphire, blush pink and lavender grey that flowed like wild grass in a continuous ink line with multiple densities, evoking Chinese ancestral calligraphy. Bold strokes that at times were encrusted like jewels, and at other times diffused like the summer mist.

High-low hemlines, off-the-shoulder floaty dresses and tops with fluted sleeves were prevalent. Ostrich feathers, spiderwebs of Chantilly lace in dreamcatcher dresses trickled over the body and spun to the floor. The collection had regal demeanour with a douceur de vivre in a sublimely subtle blend of tradition and modernity.

ZUHAIR MURAD HAUTE COUTURE

Zuhair Murad’s latest collection was inspired by the period of Elizabeth I. The designer said: “I love the possibilities of corsets. You could say I wanted to put women in a gilded cage.” He focused on stately silhouettes. Muses gilded in sun-kissed cages. Panniers galore in jaunty horsehair walked in a flowering of artfully rounded volumes suggestive of virtuoso birdcages: structured curves of crinolines, basques and whalebone forming ethereal cage bars and dazzling, delicate openwork.

A cascade of 3-D floral embroideries (each petal sewn on individually) gracefully poured over dresses short and long. We adored a series of sexy, bouffant mini-dresses, über-chic tulip skirts, and architectural, show-stopping eveningwear with glamorous red-carpet trains.

Charming arbours and bowers of bliss formed a blaze of ornament; embroidery flourished over decorative metal that all loosely enfolded revealing a silhouette wreathed in gracious shades of rosewood and raw silk, lavender and celadon, glittering ash, crystal white, or vibrant vermillion.

A revelry of plunging backs and necklines, in spellbound asymmetry, amplified by abundance. Transparency exposed the beguiling enchantment of tulle, organza, silk gazar, crêpe de soie, lace, brocade, guipure and silk chiffon. And the grand finale was a breathtaking bridal gown. A regal vision with a 13-foot train and matching veil. Murad takes wedding attire seriously. His ateliers turn out five or six gowns per month.

VALENTINO HAUTE COUTURE 

Maria Grazia Chiuri and Pierpaolo Picciolo have created a haute couture spring/summer 2016 collection of exotic early-20th-century Venetian-pagan romanticism. It celebrated femininity, the body and romantic tales and fantasy with barefoot nymphs with gold metal serpents writhing in their tresses.

The designers created a collection with a lyrical touch that live beyond the syncopated rhythms of fashion. The body, which is no longer the object but the subject, as a source of formal research, creates a subtle and individual beauty. The woman is the protagonist of the narration. Free in her gestures and in her thoughts. Barefoot, in order to find an earthly contact, which is the most realistic and personal form of inner balance.

Demure, floor-length dresses sparkle in transparency. There were also a few plunging Grecian neckline dresses. What really stood out was the fabric that made each dress a paradox of age-old hand-wrought elaborateness and youthful simplicity. A plethora of velvet pleated, knotted and woven dresses came to light in rich burgundy, burnt sienna and dark mossy green.

There are tattered touches on velvets, pleats exclusively handmade as if ready to melt away, patchwork composed of opulent weaving, animals and hand-painted volutes. The tactile richness derives from a collaboration with the textile archive Fortuny. Purified orientalism becomes precious Byzantine or explicit japonisme in kimono style coats, in carps and dragon patterns painted on long robes. The shapes are fluid, consistencies are impalpable: overlapping tunics, pleated velvet delphos, column dresses with intangible consistency. Lightness suggests movement, barely fixed by embroideries which overlap with patchwork and pleats. A patina made of a human and touching imperfection pervades all, in a harmony of delicate colours that thicken in tones of green, red, all the way to black. The ethereal image is spangled with statement jewellery by Alessandro Gaggio and Harumi Klossowski.

ELIE SAAB HAUTE COUTURE 

Elie Saab’s new collection was inspired by the ethereal beauty and majestic wonders of India. Focusing on the turn-of-the-last-century when Englishwomen were on a trip to the subcontinent. The programme for the show read: “India is her backdrop and her inspiration for a new blend of formalism and ease, opulence and elementary lines.”

At the start there were adorned Wellies and studded creepers, lace-up combat boots, mini backpacks, and sturdy-looking belt bags—all in metallic leather. An echo of Edwardian silhouettes and Indian-inspired pieces took the front seat.

Edwardian-style high-neck dresses, a cropped jacket with a Nehru collar and softly tailored pants trailing a split train, beaded capelet gowns, thigh-length frocks with a sari-like sash thrown over one shoulder (in silver, ivory and rich blue) and a dazzling Indian wedding dress finished off the show spectacularly.

JEAN PAUL GAULTIER HAUTE COUTURE 

Back in the late ’70s and ’80s there was once a famous nightclub in Paris called Le Palace. It was where you would find characters like Grace Jones and Yves Saint Laurent – where fashion, music and underground culture intersected in a mythical blend.

The story goes that fans of, musician, Grace Jones once ripped off all her clothes from her at this venue. She then had to wrap herself in a scarf handed over to her by the famous designer Yves Saint Laurent just before she took to the stage to perform. It was the heyday of raw, artisanal club culture where people cared more about what they heard and what they danced to rather than what they wore or how was watching them.

This was the inspiration for Jean Paul Gaultier’s haute couture spring/summer 2016. Models gave each other a confident, carefree stare and they jetted past each other, hitting high-fives in the air, sipping on champagne and smoking nonchalantly. The atmosphere was intoxicating and, once the ’80s-inspired couture clothing sashayed down the catwalk, we stepped right into the vision that Jean Paul Gaultier had successfully created.

There was a men’s smoking jacket sashed at the waist with a silk braid and tassels, a tuxedo of white marabou feathers worn with fishnets, a one-shoulder lace-edged cape covered in crystals, striped sequin robes, pinstripes, bleached denim, power suits, a sequin dress, an evening dress with a jean jacket and oriental inspirations on prints and dresses.

GIVENCHY HAUTE COUTURE

Riccardo Tisci made 12 glamorous womenswear pieces. It’s quite unheard of to have such a small collection for a couture show however he’s made it work. Long floor length dresses draped over shoulders; some had cut-out panels that flashed skin, and others were worn with glittery evening capes. But they all ooze elegance and sophistication.

The alluring, provocative clothes literally sparkled with crystal details on tulle.  Patchworks of snakeskin and velvet merge with lace and leather. But Tisci’s showpieces wasn’t just about long dresses. He also got it so right with shimmering outerwear; a standout black cloak, over an elegant black dress, with lace, metallic studded details and patched leather. It was a romantic, enticing and strong piece to say the least.

RAMI AL ALI HAUTE COUTURE 

Al Ali highlighted two opposing cultures from different eras to provide a synthesis of historical form, technique and art. Taking inspiration from the iconic decorative Moorish artistry and manipulating the historic accents with masquerade inspired silhouettes, creating a juxtaposition of the two contrasting periods. Volume is key as layers of satin and brocade fabrics are formed together to create exaggerated tulles adding drama and mystery to the collection.

Embracing the masquerade essence, structured elements allowed the female silhouette to be showcased, befitting the Rami Al Ali’s signature feminine aesthetic. Tulip skirts are architecturally designed with a nod to the 1960s, whilst time-honoured techniques are incorporated to modernise the classic embroidery, which is seen throughout the collection. Floor length gowns are artfully cascaded in luxurious brocades and two-tone satins, effortlessly finished with gazar and gold lames.

Revealing a modern colour palette of shades of gold, taupe, coral and royal blue, resulting an overall freshness to the collection. Rami Al Ali’s unveiling couture collection exhibits how unique craftsmanship and historical inspiration can be combined through the art of couture.

GEORGES HOBEIKA HAUTE COUTURE 

Georges Hobeika couture collection for spring/summer 2016 is a glowing tribute to nature’s gift of regeneration, spreading its message of beauty across cultures and beyond borders. Floral patterns, bright embroideries, bouquets of sparkling crystals, delicately coloured sheaves, droplets of shiny pearls, plumes of glittering feathers and matte and glossy berries are highlighted, while all evolving into modern cuts of aerial and elegant dresses.

A honeycomb pattern of laser-cut lace or structured tulle reflects the savoir faire of the finest couture workshops, transcending the nobility of a long, evanescent figure. Flowing capes and trains exalt the absolute femininity of sculptural sheath dresses. The petals of a skirt compliment a trouser suit with the playfulness of a blooming bouquet. Works of authentic craftsmanship: accessories bring forth the feel of the countryside, while still incorporating an essence of glamour through shimmering and brilliantly enamelled jewels.

Subtly, the colour palette gains momentum in dialogue with gorgeous fabrics. Pink tulle covers almond green muslin in a mysterious veil; a purple gradient warms the shimmer of ice-blue; a cameo of peaches, apricots, tangerines and melons blends into a fruity and delicious chromatic symphony. Silk crepe, ziberline, lace and organza sumptuously translate a message of hope and the hidden secret behind this spring thistle flowering.

By Eliza Scarborough

Make fashion your own by redesigning wardrobe staples with these services…

1) Bespoke Backpacks

Over the past few seasons, we’ve seen backpacks become even more on trend. Although every big name brand out there has given its own spin on the style, everyone knows that the most exclusive iteration is a bespoke one. So, we suggest you try out Piquadro’s Sartoria service. You can choose from a wide variety of colours and hardware across the flap, front pocket, shoulder pads and handle. The bag will then be handcrafted in Italy, complete with a unique serial number and your name stamped inside. piquadro.com

2) Ray Ban’s Remixed

Iconic sunglass manufacturers Ray Ban are offering an online service where you can tweak the template of specific styles to your requirements. Inject your personality into your favourite frame with a few style alterations. Choose between the Wayfarer, Aviator, Eliza, Justin, Cockpit or the Clubmaster. Then alter the frame temple, lense type, and the colour and texture of the frame. You then have the choice between gradient, mirror or polarised lenses. Finally, engrave the arms and personalise the case. remix.ray-ban.com

3) Individual Accessories

Dubai based brand Velsvoir, offers a variety of accessories, including bow ties, cummerbunds, neckties and pocket squares. Bespoke versions of these four accessories are available and will give a touch of individualism to your outfit. The bow tie is our favourite, you can change everything from the colour and fabric, to the prints and patterns, and even the dimensions. velsvoir.com

Back to the 70s

As we delve back into the 70s even the most outré looks from this decade are somewhat retro and charming. Pussy bow blouses and backless mink-lined loafers walked the runway at Gucci, while leathers and shearling weren’t just confined to outerwear at Valentino. Although some elements ought to be overlooked, the flare trouser being one style that should remain in the archives, others have lasted the test of time and should be revisited.

Colour Palette

Shades of brown can range from luxurious camel, to soft tan and deep cinnamon. There is no need to see this as a muddy tone. Instead make sure you keep your shades of coffee and taupe sharp by pairing them with contrasting hues of blue chambray and stark white. Otherwise try a dapper check in these colourways.

Eyewear

The sun kissed decade of the seventies was not without stylish eyewear and this is where bigger is better. Tortoiseshell and gold styles from Cutler & Gross, Persol and Tom Ford are the perfect addition to add just a touch of 70s to your look.

Shearling

Shearling is making quite a comeback, from bombers to overcoats. Marlon Brando vibe biker styles were everywhere from cream and olive leathers at Coach to black suede at Bottega Veneta, proving the humble shearling collar has come a long way from its Second World War beginnings.

By Eliza Scarborough

By Eliza Scarborough

How to master black tie

A black tie dress code means an important event and so extra effort is to be made in your dressing. Although it is a style of uniform, subtle alterations can be made to personalise your look.

Mix with the 21st century

To achieve that tricky balance between modernity and Hollywood’s golden era try soft tailoring and a sporty timepiece. George Clooney nails this look, with a classic single breasted suit, a satin shawl collar and an Omega watch.

Stand out in white

Make a statement with a well-designed ivory jacket but pair with traditional pieces leaving the attention to fall on the tuxedo. Take a tip from Oscar nominee Benedict Cumberbatch and choose contrasting black accessories and sleek glossy loafers. The slightly matte finish of leather can come off a little drab against smart eveningwear.

Go navy

Wear midnight blue like Bond. In a low light it gives a richness which you just can’t get with black, so in the right conditions this will look ultra sophisticated. Like Daniel Craig try a jacket with black lapels and team with black trousers and a crisp white shirt.

Add personality

Retain the essence of your character by looking like yourself whether you are dressed in black tie or jeans. Aside from a great suit, let your personality shine through with accessories as actor Jared Leto shows. Try a hand tied bow tie in a simple polka dot or a pocket square that coordinates with your outfit.

Revisit velvet

A velvet dinner jacket is making a comeback. It has that smoking jacket feel which gives it a vintage look. This tuxedo jacket should be teamed with a pair of black trousers, never velvet head to toe. Eddie Redmayne dresses in black Gucci for the Golden Globes, but try jewel tones of claret, emerald and midnight blue.

Xavier de Royère is a man who knows the luxury sector inside out. Before taking the role of chief executive for Paris based Maison Corthay in 2010, he was senior vice president of Loewe. Previous to that he ran luxury goods group LVMH’s UK business as country manager, where he was instrumental in bringing brands such as Louis Vuitton, Christian Dior and Chanel to Selfridges.

Here we talk to the man who is at the helm of the men’s luxury footwear brand, with the eponymous shoe designer himself, and discuss innovation, camel leather and superheroes.

Will the identity and values of a label deeply rooted in bespoke and tradition be able to cohabit with a business model in the luxury industry? What is the strategy to retain this heritage?

At Corthay we consider that the bespoke heritage and identity should be a beacon for the future, not something tying us to the past. Somehow this could be summed up by the slogan, ‘Traditional values. Innovative ideas.’ This means that the strengths of bespoke are ever-present in our service. Exceptional quality of the product, attention to detail and listening to our customer. However, we are also able to project ourselves towards new horizons. Our ambition is to continue to explore new ideas, together with surprising our customers.

Being a small brand that started as a bespoke atelier, how important is it to maintain a limited production as your exposure rises?

Limited production is part of the game in any bespoke or low production business. Mainly due to the shortage of talents and time it takes to train new experts.

Look at the example of Pagani cars. They probably produce 20 cars per year and are content crafting the most incredible automobiles. All unique, all personalised. Do they want to become Ferrari? Probably not… Our bespoke business is small. It may grow, but it will stay small to ensure that the right level of attention is always dedicated to each shoe. No need to hurry, just be the best.

You have been with Maison Corthay since 2010. What were your thoughts on the brand before joining and what objectives are you still aiming to achieve?

I always admired the brand’s creativity and ability to stay the course and be loyal to its ambitions. As a team, we wish to continue in the footsteps of what was created in 1990. Incredibly wellmade, comfortable, colourful, sometimes irreverent shoes for passionate people.

We would like to be recognised by our customers, staff and suppliers as an inspiring and truthful company.

As a young brand, what are the key elements that contribute to the success of your company?

I feel that having a strong foundation is always a positive. Being small and young means we are able to decide, innovate and create fast. All of which is key in today’s market.

What is your most successful market and product in terms of sales?

Our most successful product is the Arca, the story of a star. Marketwise, we are lucky to have really balanced sales between Europe, the US, Asia, and the Middle-East. Together with our latest creation which we are very proud of, Johannesburg.

Which Maison Corthay shoes and accessories are your personal favourites and why?

I am huge fan of the Wilfrid in Aubergine. Very comfortable, slightly rock-and-roll, and incredibly versatile. I also enjoy using the camel skin range of small leather goods. Camel is such a soft and feel-some material.

The superhero small leather goods collection has recently launched. What superpowers do you contribute to the brand?

I would probably draw inspiration from great sports coaches who are able to win trophies thanks to their leadership and team-building skills.

What are your goals to achieve for 2016?

From a professional point of view, I wish that Corthay’s star continues to shine and inspire our fans and customers. From a personal point of view, more of two very precious things, time and health!

By Eliza Scarborough

Inside a CEO’s Wardrobe

How would you define your style?

Relaxed Parisian style, which means chic and elegant when required.

What is on your wardrobe wish list for 2016?

The next item on my wish list is definitely a pair of the ‘Duke’ which we recently launched, and also the ‘Wilfrid’ which is my favourite model in our collections. I have an unconditional love for bimaterial shoes, especially suede and calf. On another note, I would like a new overnight travel bag. It would be both stylish and adapted to my busy schedule, and is something we are working on now!

Tell us about the must haves in your wardrobe?

Shoes are always a style signifier as they finish the silhouette. You can get away with a pair of jeans and a cool pair of shoes. You cannot cut it with a great pair of jeans and lousy footwear.

So my wardrobe would be a mix of white shirts, turtlenecks, suits and denim. All with a pair of Corthay shoes, to look good and feel good.

Who is your style icon and why?

I would not need to look very far, as Francois Pourcher, the Corthay Communications Director, is a very cool and well-dressed man. He knows how to work the room with his impeccable taste. Never a total-look and always on cue.

Otherwise it would be entrepreneur Gianni Agnelli, with his cool cars and impeccable taste. What decade best describes your style and why?

I am comfortable with my own style, which I would not link to any particular era. I prefer to mix and match and make the most of the different decades.

The last time we checked, executives are renowned for being both cautious and reserved, they aren’t well known for their wit or eloquence. And we don’t recall them discussing openly about their passion for vintage cars or perhaps citing Steve McQueen as an icon. But there is one CEO, who is all of the above and more. His name is Georges Kern. He is jovial, passionate about his field, and has a sparkle in his eye as he talks fashion and Audrey Hepburn.

The stylishly suited German, who sits in front of us today, took to the helm of Richemont owned IWC Schaffhausen at the age of 36. Making him the youngest chief executive of any brand within the luxury conglomerate’s portfolio at that time.

He was faced with a tough task, turning a small, 146-year-old watch house into a competitive global name. This has been met with commercial success. Kern has since been responsible for the Baume & Mercier brand and, in October 2010, he took over as CEO of Roger Dubuis.

Alongside his corporate objectives, Kern is also committed to charitable causes, for example through his position on the Board of Trustees of the Laureus Sport for Good Foundation, which helps young people overcome their social problems through sports.

This man is as focused as he is successful, meeting us today in Dubai during the Dubai International Film Festival, following a flight itinerary and meetings that span across the world.

What are you wearing on your wrist right now?

I’m wearing a Portofino hand-wound, eight days, power reserve in white gold, with a grey slate dial. It’s the flagship piece of the Portofino family and a beautiful watch. The timepiece features the famous  wrist strap, an exclusive hand-made leather watch strap made by high-end shoe manufacturer Santoni. These bracelet straps are made in the same way as the brand’s shoes, and are hand painted.

Georges Kern with Dev Patel at DIFF

Apart from your watch, which other accessories convey your personality and style, and how?

Shoes are very important. A great pair of shoes, belt and a watch will make all the difference, even when teamed with a t-shirt or jeans. A pochette is also a key accessory of choice, it adds that little bit of zest and style.

Aside from premium watches, what other collector’s items interest you?

I have a passion for cars, whether they are vintage or modern. I guess that is a man’s thing, as most men love both cars and watches. Although vintage cars are a real investment, this is a market which is booming. All of the cars of the 60s, whether they are English, Italian or German are just amazing, and very inspiring to me.

IWC clearly has a passion for cinema and film. What is the message from IWC behind supporting young talent in the film industry?

There are two things. The first aspect is that watch making is a form of storytelling and a movie is about telling beautiful stories to make you dream, which is what we, at IWC, do. No one is applying a mechanical watch solely to time, it is a dream about something you aspire to, it is a story. So this gives a parallel between our brand and Hollywood, in general terms.

Secondly, when we support film festivals like DIFF, as we also do in London, Zurich and Beijing, we go beyond the red carpet, supporting young talents. It’s not about the money we provide for these new films, as of course we can’t finance an entire film. But instead about providing a platform. This is the ultimate prize as it opens doors to producers and directors, who will in turn collaborate with them on their film.

How does this inspire IWC as a brand?

It is about a dream, aspiration, and getting away from our daily lives. We love the emotions which are transported by films, and sometimes we even make reference to movies in our timepieces. For example the Top Gun product, the name is great and inspiring.

IWC was originally a men’s watch brand. How has the woman’s collection been perceived and what is your strategy to keep growing in the ladies’ market?

In the recent history we were concentrating only on men’s watches and clearly positioned ourselves as that. Last year we launched the midsize, which has a diameter of 37 mm and is aimed at ladies. It has been a tremendous success, beyond all of our hopes, and now represents a huge and substantial proportion of our turnover. It is a beautiful, elegant product, featuring the stylish Santoni leather strap, so is ideal for everyday use. Consequently, we plan to launch many more midsize ranges in the future, with three more midsize lines already in the pipeline.

If a man or woman were going to invest in just one watch, which piece would you suggest and why?

I would recommend the classic of the classic, which is the Portuguese watch. It has existed since the 1930s and is one of the very rare mythical designs and products in the watch industry. In fashion you have a couple of mythical and institutional brands and items, and in the watch industry the Portuguese is one of these institutional products.

How do you feel about the juxtaposition of rubber straps on luxury watches?

We have rubber straps on diving watches and also on the Portuguese Yacht Club. It is all about the quality and execution of design. The strap shouldn’t be cheap, and should both smell good and feel nice on the skin. You can do everything, it’s just the question of how you do it, and we always strive to offer the best quality.

How do you choose your friends of the brand? Do they ever influence the design process?

Many of our friends of the brand came about through chance and luck. We never had a list of people who we wanted to work with, and at the start we didn’t have the money to fund celebrity collaborations. Instead, we followed who was already wearing our watches. This gave us the knowledge that they were a fan of the brand and had an affinity with the timepieces. Now we are one of the largest brands in the world and can approach celebrities like Cate Blanchett and Kevin Spacey. We may get calls every second day from agents requesting that their client is part of the IWC family, however today our approach is more rational. Their image and the movies they are working on must fit with the brand.

Regarding the influence, it is more the direction and forecast of sales that they provide. Famous faces in general terms, tend to be people who have everything and can afford anything but have a very distinctive taste. So thanks to their discerning eye, when they see a collection they have the talent to identify a watch which will be a success, and we will make our orders for production depending on this insight.

Your watches bring together many impressive functions and displays. Which is your favourite complication, or combination of complications?

We are extremely well known for, and a market leader in the world for perpetual calendars. Our perpetual calendar displays the date, day, month, year, decade and century, as well as a single or double moon phase display. It is even programmed until the year 2499 when I will be dead! The perpetual calendar shows our competence as a brand, and whether you prefer a digital or analogue display, I would definitely recommend this complication, as we are technically the leaders in this field.

Inside a CEO’s Wardrobe

How would you define your style?

Sports chic

Tell us about the must haves in your wardrobe?

I have a very large wardrobe, my wife often complains that it is larger than hers! I love shoes and have plenty of different pairs in a range of colours. Many of these are Santoni, the shoe brand we collaborate with on our leather watch straps. I also like to wear a jacket, whether it is paired with jeans or leisurewear, this is a wardrobe staple for me.

What is on your wardrobe wish list for 2016?

It would have to be anything from Tom Ford, as I always love what he is doing. Together with the new Dunhill collection, which has a great British style.

Who is your style icon and why?

Tom Ford. He wears the IWC brand and I know him personally. I think he is a genius.

What decade best describes your style and why?

I admire the style of a couple of icons from earlier decades. Steve McQueen was so relaxed, cool and tasteful, he just exuded style in the 70s. From another era, Audrey Hepburn was super cute and very innovative. She was an elegant woman and although she never seemed to be outspoken, she was still very different with her style.

by Eliza Scarborough

In a rare and candid interview, Swiss born ‘Master of Complications’ Franck Muller talks to us about his inspirations, watchmaking, and his most treasured designs.

With a family history that includes a mother of Italian descent and a Swiss father, Franck Muller was raised in a multicultural environment and inherited both creative talent and rigorous exactitude. From a very early age he developed a growing interest for all mechanical devices. Beginning by restoring watches, he was described by some as a technical prodigy. Muller then became responsible for handling watches from the collection of Patek Philippe, before devoting himself to the creation of one-ofa- kind timepieces. In 1983, after months of research and dedication, Franck Muller presented his first wristwatches, designing his own tourbillon wristwatch. Muller recognised very early on that the Tourbillon was an important scientific invention, and created, for the first time ever, a Tourbillon visible from the front. Something which very few watchmakers are capable of creating to this day.

The House of Franck Muller opened in 1991, and his ultra complicated timepieces instantly became famous in Europe and the United States. They were favoured by the likes of Elton John, who famously commissioned a Franck Muller watch for each guest at his star strewn Hollywood birthday party.

Today, the brand has grown from a boutique product to one of the most renowned watchmaking houses in the world. The association of an original design with a complex traditional mechanism, together with Muller’s razor sharp commercial acumen, gives the Franck Muller collections a harmony that has charmed the entire world ever since its incredible inception.

How did your journey begin in watchmaking?

Everything began when I was 6 years old. My father gave me a watch with ‘Unbreakable’ written on the back. It was like magic to me! From this day, I knew that my fate was to design timepieces.

What are the key moments that determined your path in the industry?

When I joined the Geneva School of Watch Making, to study watchmaking, I was absorbed by lessons and learning, and always got the highest marks. When I graduated, Patek Philippe asked me to work for them and restore classic watches. At the beginning of my career, I also used to work for private collectors. Following this experience, I immediately had the desire to manufacture my own watches. I have always been fascinated by complicated mechanical watches and my desire was to create my own pieces. In 1984, I presented the first tourbillon at the front of a wristwatch, which has since been adopted by all watchmakers.

Proud to be Emirati Limited Edition Collection

Tell us about your most treasured designs and do you have some anecdotes from their creation that you can share with us?

At the start of the 90’s, I designed a completely new watch-case. All the research was based on the discovery of a single spherical point at which the three axes of the watch’s curves had to meet. The three curves of the ‘Cintrée Curvex’ watch are in perfect balance. The most sophisticated machines are needed to produce it, as not only the watch case, but also the back, dial, hands and glass have to be curved.

I find all my inspiration and creativity in my everyday life. One of the most emblematic Franck Muller watches is the ‘Crazy Hours’. This piece was born while I was holidaying in Mauritius. During my stay in a prestigious hotel there, I had to follow many rules. I compared those rules to life. Every day we have to follow lots of rules and time is the rhythm of those rules. Therefore, I decided to create a watch with no rules, and the ‘Crazy Hours’ was born.

What is your definition of ‘luxury’?

Time is luxury.

Which watch are you wearing right now?

Do you alternate watches for different occasions or days? I am currently wearing a ‘Giga Tourbillon’ with black diamonds. This piece is actually one of my favourites. Through it’s skeleton body, you can admire it’s huge heart beating. The ‘Giga Tourbillon’ features the largest tourbillon in the world, and the entirety of the watch is manufactured by the watchmakers of Genthood. This piece is not only a watch, it is a masterpiece that claims it’s both powerful and pioneering character through its body. Depending on my mood, and also the day, I pick either a complicated watch or a classic one.

Franck Muller Boutique, Dubai Mall

Has technology been a strong factor in these developments?

Thanks to our industrial virtualisation, we have the freedom to create new and avantgarde pieces, allowing us to be reactive and offer customers bespoke products. The Franck Muller group chose a selection of locations closely linked to the history of watchmaking, and we are forever committed to maintain our know-how, in order to bring together all the professions required for the creation of a timepiece. This independence of production enables the Franck Muller group to push the barriers of watchmaking even further, with an innovative spirit and great technique, whilst fully respecting the Swiss watchmaking tradition.

Where do you look to for inspiration for your unique designs?

My everyday life is my inspiration. I love creating pieces that remind me of my own past experiences. Almost all the Franck Muller watches have a story and are a source of emotion for their owner. Perhaps, I can even get inspiration from this interview!

How do you incorporate trends into haute horology when there is a far longer timeline to produce each piece?

We are always in tune with our customers’ needs and desires, and we always try to surprise them with new and innovative pieces which reflect the brand’s values and savoir-faire. Thanks to our independence of production, we have the freedom to produce unique models and be reactive, together with offering customers shorter time frames and better quality.

You have just opened your flagship boutique in Dubai. Has the design of this store been tailored for the region?

The boutique is designed to be the ‘House of Franck Muller’ and no matter which boutique the customer visits, he or she will definitely be greeted with a familiarity and welcoming warmth, reflecting the philosophy that each boutique is the ‘home’ of Franck Muller. Every customer who walks in, is a friend. Our boutiques are the reflection of the brand, we display not only watches, but also a story and a know-how. However, some aspects of our Dubai boutique were indeed adapted to the Middle East taste.

Are you satisfied with the performance of the brand in the Middle-East?

The Middle East region and Dubai are very strong markets and the boutique displays the most beautiful Franck Muller pieces in the region. So far, we are very confident with the performance of the brand in the country. This flagship store in Dubai gathers the best of Franck Muller, and promises to be a reference in the field of fine watchmaking. We are particularly happy with our recent presentation of the ‘Proud to be Emirati’  collection. The pieces embody the history of  the UAE, through the symbolism on the dial.

What can we see for the future of Franck Muller?

In September, we introduced the first Franck Muller yacht, created in collaboration with the Italian Sea Group. It is the first time a watchmaking brand has worked together with a yachting company to create a new generation of yachts. The yacht has been presented with a new line of watches, the Yachting collection, which have been directly inspired by the boat itself. Our plans for the medium to long term, are to keep developing this new project, whilst always creating unique and complicated pieces.

What are your goals for the brand for 2016?

To continue developing the brand overseas, together with travelling to attain inspiration for new and unique designs. We are also constructing two more buildings at Watchland to keep up with the ever increasing demand. These buildings are the reflection of the brand know-how and quest for perfection.

By Eliza Scarborough

Inside a CEO’s Wardrobe

What is on your wardrobe wish list for 2016?

I am keen on leather items. I would like a new pair of crocodile shoes.

Tell us about the must haves in your wardrobe?

My wardrobe is full of tailored shirts. I especially like fancy shirts and I have lots of them with flowers. I am sure you can already see that I never wear a tie, it’s far too formal for me.

Who is your style icon and why?

Rather than an icon, I love any designs related to Art Deco. Everywhere I travel, I try to explore antique shops for these.

What decade best describes your style and why?

I love life and I adapt to all the decades, with all of their creations.

What is your vision for Dior Homme as a brand ?

Dior Homme is the ultimate men’s luxury brand. It rhymes with modernity and heritage, optimism and excellence, sartorialism and fashion. It’s a brand whose strength comes from innovation and creativity.

How hard is it to balance the brand’s heritage and future through designs?

I wouldn’t put it as hard. It’s challenging and yet rewarding. My ongoing work has always been to put Dior Homme in a modern perspective. Heritage is a source of excellence and sometimes inspiration. Still, one has to work on this heritage, using it as a code of luxury. Then, as any code, it’s only interesting if you twist it and cross it with other references. Crossing the codes of the Establishment is almost a punk attitude!

Speaking of design, what are the design codes of Dior Homme?

Dior Homme is rich in several design codes. My ambition is to expand these codes which often rhyme with wardrobe icons of the bourgeoisie. These very icons are not limited to a few sartorial pieces, like the suit or the tuxedo. It has expanded to new universes, like streetwear and outerwear, from sneakers to backpacks or parkas, transformed into luxury pieces.

You’ve been with Dior Homme for almost 9 years. How do you define the high-end luxury direction in menswear?

I’ve always pursued one goal, that is to give men tools and means to express their individuality. I don’t believe in fashion dictators nor in clones. I believe in the strength of individuals. High end luxury is all about oneself.

How much are you influenced by Mr. Dior as a person?

As you know Monsieur Dior never designed menswear. Still, his love of arts, his own elegance, defined by the French bourgeoisie codes, his personality, his passion for flowers or lucky charms, are like landmarks in the fields of my inspiration. Yet, as any source of inspiration, I never take it literally. On the contrary, the very values Monsieur Dior put at the core of the House, innovation and creativity, oblige me to reinvent them and to enchant them with modernity.

What do you think the luxury menswear market still lacks?

Optimism. And probably a certain sense of irony.

Tell us more about the design process for a Dior Homme look from the sketching phase up to the final at the atelier.

Creation is an ongoing process. As creative director, I find inspiration in life, in arts and in talks with friends. My ambition is then to transform it. Working with our in-house atelier, with my studio, stimulating a dialogue between craftsmen and creative people in my team, are keys to success.

Your latest SS16 collection had a lot of vibrant colours, somehow like weekend and street wear styles. Tell us more about this collection and its inspiration.

For summer 2016, I wanted optimism. And that comes with colours. Still, these colours are chosen carefully. They express codes, but the very codes they stand for are twisted. For years now, I’ve been crossing universes with streetwear meeting sartorialism to invent a new luxury. And so in the collection, orange, for example, would echo the lining of the iconic bomber jacket but would become sartorial when used on a light jacket. As for yellow, coming from the sailors universe, it’s used on a ostrich coat, the ultimate luxury. Parkas would be treated as the most exclusive pieces in red leather and sweat pants would be associated with an Argyle motive. It’s all about freedom.

How are you with Social media? And how do you think it has shaped the face of today’s fashion.

Social media comes with a sense of urge that echoes very much the speed of fashion and the age we are living in. As such, it’s a very stimulating creative sting. And as anyone, I use social networks, follow me on Instagram!

By Lara Mansour Sawaya

How heavy is the legacy of the name you are carrying today, reflecting a brand with around 100 years of heritage?

Zegna has a history of luxury and excellence that spans more than 100 years, which is most certainly an important part of our brand’s success. Whatever we do today will have an impact on the future, and yet it must also enhance what we have received as a legacy.

Our appreciation for art, nature and communities has been a strong part of the Zegna DNA since the very beginning, as are innovation and a certain “globalisation” in the sourcing of raw materials from all over the world. I once commented on how strongly I believe in culture as part of our legacy. Thanks to culture, there is innovation, and thanks to innovation, there is employment, progress and growth. I am convinced that culture can contribute to strengthening economic growth and, for what concerns my company, reinforcing the image and the power of “Made in Italy” around the world. This is part of the legacy that I believe we will be remembered for 100 years from now.

Being in a family business, what can you tell us about the pros and cons of it?

Well, as a family business we have a certain agility in decision-making and can quickly take action when starting new things or changing something. As we tend to know what and how others think, and have been working together for a long time, we don’t need a lot of time to make the necessary arrangements once we’ve decided on a course of action. Another advantage of being a family business is that everyone shares the importance of protecting our history and understands the fact that the traditions, techniques and capabilities we possess are precious assets.

On the other hand, there are also some risks that come with a family business, such as the occasional stubbornness, or the risk of straying from the vertical integration model. The fact that the Ermenegildo Zegna Group cultivates many important projects, including activities such as Fondazione Zegna and the Ermenegildo Zegna Founder’s Scholarship, there is the opportunity for each of us to spearhead what most interests us. These initiatives are an important part of helping Zegna remain flexible and open while strengthening the family business.

What do you think defines luxury for men today? And how do you see the future of luxury menswear?

I would say that uniqueness and authenticity are fundamental aspects of luxury today. Luxury is something that is conducive to inner wellbeing, regardless of its intrinsic value, and that enables someone to connect with the world with increased freedom and authority. On the other hand, if I consider my own life, I would need to define true luxury as time: the time that one can dedicate to himself and that is increasingly difficult to find.

Who is the Zegna man?

The Zegna man is self-confident and knows what he wants from life. Self-confidence is the essential characteristic that modern times require from us. Without such confidence, without believing in himself, it’s not possible for a man to stand up to the choices he makes, or to deal with the opportunities and issues presented in his daily life. It’s important to remember that our customers don’t just buy a suit, they buy a brand and what it stands for. They appreciate the quality of our offerings, but perhaps more importantly, they identify with our DNA and values. This goes beyond the mere aesthetics of choosing a wardrobe. In choosing our brand they are also sharing our attention to the social and environmental conditions in which our products are produced.

We are gradually approaching a younger generation of customers by diversifying our offering. An example of this is the Ermenegildo Zegna Couture collection, designed by Stefano Pilati, which offers a modern uniform for what we call the “New Leadership Generation.” These are self-confident yet unpretentious men who are ethical, respectful of the planet and of people, and who are also elegant and style conscious.

Ermenegildo Zegna Couture SS16

I’ve visited recently your store in Milan, with its very special interior design and wide offering of product lines from Z ZEGNA to Couture to Su Misura. Tell us more about each of the Zegna lines today, to whom do they appeal, and what sets them apart?

We believe in innovation and in being pioneers. An example of this is our Su Misura service, which offers clients a completely personalised tailoring experience. We were one of the first brands to launch a made-to-measure service in the Seventies, and a few seasons ago we introduced Su Misura Casual Luxury as a natural evolution of Su Misura.

Thanks to Su Misura Casual Luxury, we have broadened our made-to-measure service to also include a casual wardrobe suitable for any informal occasion, consisting of personalised denim, outerwear and knitwear.

As a result of our investment in retail and direct management, Zegna is now present in over 100 countries around the world with more than 500 brand stores, of which 298 are company owned. In the past years, we have tried to meet the needs of different types of customers by diversifying our offerings and products. In addition to the classic formal Ermenegildo Zegna Couture SS16 suiting, an emblem of elegance and tradition that has become synonymous with our brand over the years, Zegna is also recognised for casual wear.

To attract customers who value fashion and new trends, in 2013 Stefano Pilati was asked to design the Ermenegildo Zegna Couture collection. It’s a collection in which the company’s heritage is combined with soft, modern and sophisticated lines in the search for a unique style. The Spring/Summer 2015 season, on the other hand saw the debut of the new Z ZEGNA, a mix of tailoring and multifunctional sportswear.

All of our collections are complemented by a wide range of textile and leather accessories, as well as licensed products developed with prestigious international brands such as Girard Perregaux for watches and Estée Lauder fragrances.

Tell us about the recent collaboration with Maserati.

We launched a long-term partnership with Maserati in 2013, but even before that, we had already collaborated with the Fiat Group and, in particular, with Maserati. Our partnership with Maserati is a natural fit in that both brands represent the epitome of Italian design and manufacturing excellence worldwide. The first concrete result of the partnership was the creation of an Ermenegildo Zegna Limited Edition Quattroporte in 2014 in honor of the Maserati Centennial. The Maserati flagship automobile was reinterpreted and customised with new colors, materials and trims inspired by Ermenegildo Zegna, and in particular, the interior fabrics were produced by Lanificio Zegna, our historic wool mill in Trivero. There were only 100 of these Limited Edition Quattroporte’s produced, each with their own unique number.

The second step of the partnership has been to become, within 2015, the interior supplier of the Ermenegildo Zegna edition trim package for all the Maserati Quattroporte and Ghibli models.

Created for a luxury bracket of consumers who appreciate fine details, this new trim package has been designed as the ultimate expression of style and exclusivity with a contrasting color scheme that combines precious leather with valuable Zegna fabrics.

I should add that I’m quite pleased with what we are doing with Maserati, as it is one of the car manufacturers with the most allure, tradition and sporting success worldwide. We both have a longstanding industrial tradition and will continue to combine a tailored attention to detail, style and design with cutting-edge technology within the world of luxury automobiles.

We are seeing a lot of fashion brands and in specific luxury fashion ones launching their own lines of unique fragrances. Tell us more about this recent trend, and in specific the Essenze collection you are offering.

Essenze is an exclusive collection of signature fragrances, whereby each is the ultimate expression of one raw material with its own unique provenance. Italian Bergamot from Calabria is the common thread that unites the scents, the newest of which is Acqua di Bergamotto. This latest fragrance is an aromatic water that is fresh and summery, and can be used by both men and women.

Creating excellence with carefully sourced materials is part of Zegna’s history and of our DNA. The Bergamot crop used to craft Essenze comes from a single field planted and harvested for the sole purpose of creating Essenze. Whether creating precious fabrics or extraordinary fragrances, the ability to manage the entire process starting from the raw materials themselves is a privilege that allows us to ensure the highest quality and maximum control at the production level, which is then clearly transferred to the final product.

Zegna probably is one of the very few brands if not the only, that is founding a Scholarship to allow students to study abroad. Tell us more.

Social responsibility has been part of our heritage since the time of my grandfather, Ermenegildo. In line with his teachings and values, Zegna Group is deeply conscious of its public duties and responsibilities and this commitment translates to a continued support to solidarity initiatives in Italy and abroad. The Ermenegildo Zegna Founders Scholarship is an important example of this. We wanted to offer a tangible opportunity for talented students while helping take responsibility for the future of our country. Creating the conditions for a recovery, not just of the economy but of the whole of Italian society, depends both on the global economy, and on a more fundamental level, our ability to offer to talented young men and women a future here in Italy so that their skills can create value. We believe the future of these students falls within the sphere of our generation’s responsibilities, which is why we decided to make a concrete, and I believe, important contribution through the launch of our scholarship program.

Today a lot of brands are infusing art through their business, be it collaborations, communication and more. How would you describe the relation between Zegna and art?

Fashion and art are deeply connected, as both stem from creative concepts and minds able to reinterpret and mould the reality surrounding them. Our interest in the arts started already with my grandfather, Ermenegildo Zegna, who founded the company over 100 years ago and who first understood the role of aesthetics and beauty.

I believe that art in all its forms, from photography to sculpture and from cinema to design, always leaves something positive behind. I am speaking as an amateur and not an expert, but in this way, art is capable of inspiring our minds and our hearts. When we created ZegnArt in 2012, our aim was to foster a series of activities within contemporary art both in Italy and abroad as a natural continuation of the commitment towards the arts that is deeply rooted in my family. ZegnArt represents a “place” where the vital forces of our time can come together, be put on display and become accessible to the public – which is the most important aspect of all. Our objective with ZegnArt, thanks to the inherent collaboration that characterises it, is to help promote a dialog between countries and cultures all over the world. This is why we decided to celebrate a new chapter of ZegnArt in tandem with the opening of EXPO 2015, for example.

From fashion to art to nature as Zegna is a whole wide world, tell us more about Oasi Zegna and your commitment to society.

As I mentioned earlier, environmental responsibility and eco-sustainability have deep roots within the company, and our absolute commitment to quality, respect for the environment and sustainable growth have been an integral part of Zegna’s DNA since the very beginning. In the 1930s my grandfather created one of the earliest Italian industrial examples of environmental and social patronage when he reforested the mountain slopes near Trivero by planting 500,000 pines and hundreds of rhododendrons and hydrangeas. He also established welfare facilities for the local community and constructed what is now known as the “Panoramica Zegna” road.

Oasi Zegna is a protected area spanning 100 km2 that was established in 1993 for the study, protection and development of the eastern Biella Alps. It has now become an “open-air laboratory” focusing on relationships between people, mountain culture and nature. In 2000, we established Fondazione Zegna to manage and promote the philanthropic activities of the Zegna family in support of organisations all over the world that work to improve society and the environment.

Our commitment to environmental and social responsibility extends to our business as well. We actively work to produce the highest quality products with the lowest impact on the environment. Year after year, we pursue continuous research to ensure the highest quality of our products in absolute respect for the environment. Water conservation and the use of hydroelectric power at the historical Lanificio Zegna wool mill is an example of this strategy. Thanks to a fully integrated vertical production model that starts with the sourcing of the finest raw materials, among which is Australian Merino wool derived from the Group’s very own farm, we are able to rigorously control production standards every step of the way.

Then there are social and cultural projects such as ZegnArt and the Ermenegildo Zegna Founders Scholarship that I spoke of earlier. These projects were launched in 2012 and 2014 respectively and seek to bring art, culture and education to the world at large.

The Zegna Trophy is given on a yearly basis to the growers of the best quality wool. Tell us more about this initiative.

To ensure the quality of every Zegna product, the Ermenegildo Zegna Group is directly involved in all aspects of production starting with sourcing and support of the raw materials themselves. Because noble raw materials are the foundation of Zegna’s offer, our continued support of wool growers is an important part of the group’s strategy.

The very first “Ermenegildo Zegna Extrafine Wool Trophy” was established in 1963 to stimulate production of the fine and superfine Merino wool in Australia. It was created in association with the Australian Superfine Woolgrowers Association (ASWGA) at a time in which most wool growers were focusing on large frame, coarser wool, sheep that could guarantee a greater profit margin. Because Zegna believed strongly that there was a future in fine fabrics, and to create such fabrics it was critical to have fine – or better, superfine wool fibers – the trophy program was set up to encourage breeders to produce fine wool and reward their efforts to obtain finer fibers and higher quality.

The competition was held in Tasmania, although it was open to the best and finest Merino fleece produced by any grower in the world, and in the end there were 27 entries from various States of Australia. In fact, the Zegna Trophy, which continues to be the only non-commercial competition of its kind, is awarded to the most outstanding fleeces submitted for judging by an independent panel of experts according to specific criteria set by ASWGA.

Looking back to 1910 and until today, Zegna is by all means a success story. What is a lesson you have learnt from your father that was passed on to you?

Ermenegildo Zegna stands for quality, style and a pioneering vision, values set forth by my grandfather Ermenegildo when he established the company in 1910. As Zegna has grown from a producer of ultra-fine fabrics to a worldwide luxury brand whose offer extends beyond fabrics and menswear to luxury lifestyle accessories, the company retains many of the features that have helped develop its unique identity. These include our passion, commitment to excellence, investment in innovation, and the ability to combine traditional elements in a contemporary fashion. Such characteristics ensure that we are continually able to accommodate our growing customer base, evolving and extending our offer to meet the needs of our loyal customers as well as a new generation of younger clients.

As you can see, we learnt many lessons from my grandfather that were then reinforced by my father. I feel lucky that they left us with such a strong heritage, savoir-faire in craftsmanship, entrepreneurship, ethical values, passion for our work, discipline and the importance of the smallest of details. Our commitment to honoring and upholding these values is rooted in long family tradition and forms one of the pillars of our success.

What is your personal motto?

“Strong families make strong business.”

Since 2006 and with all the objectives that you’ve achieved, what are you looking for next?

One of our primary goals has been to strengthen our market presence by developing our network of directly managed stores and to consolidate our e-commerce channel. We have also been highly focused on presenting our customers and markets with a complete range of products and a globally consistent customer experience and service approach. This includes collaboration with companies such as Maserati and Estée Lauder that enable us to innovate our offering together with partners that share similar values as our own.

With Stefano Pilati as Ermenegildo Zegna Couture Head of Design, we are now recognised for our fashion-forward luxury menswear, and as a result, we are evolving our collections to address the emerging needs of our customers.

Aligned with the evolution of our offering, we are moving towards a 360° approach to the customer that encompasses all aspects of the Zegna World. It’s an Omnichannel approach in which online and offline, retail and e-commerce, local and central, are no longer separate but united to create a unique customer experience. This includes investing in travel retail as an important growth channel, the realisation of exclusive projects in key local markets similar to what we recently did in Japan, and the enrichment of Zegna’s World Pass experience. Such initiatives are concrete evidence of the pioneering vision in products and projects that has been part of our success since the very beginning, and will continue to drive us to pursue excellence and innovation in the years to come.

By Lara Mansour Sawaya

To mark the opening night of the « Volez, Voguez, Voyagez – Louis Vuitton » exhibition at the Grand Palais, Bernard Arnault, Chief Executive Officer of the LVMH Moët Hennessy – Louis Vuitton, and Michael Burke, Chief Executive Officer of Louis Vuitton, greeted Mr. Emmanuel Macron, Minister for the economy, industry and digital affairs.

Public figures from the art world such as Daniel Buren, Bertrand Lavier, Christian de Portzamparc, Xavier Veilhan, Olafur Eliasson, Jean-Michel Othoniel, Gautier Capuçon, Laurent Grasso, Fabrice Hyber, Laurent Korcia and Kader Attia were at their sides to witness the vibrancy of French culture and to celebrate its bright and creative spirit. This gathering was a statement to support the freedom of creation and the French art-de-vivre.

Leather craftsmen, emblematic figures of Louis Vuitton’s heritage and on-going spirit of innovation were also on hand to share their unique and world renowned savoir-faire with the Minister for the economy, industry and digital affairs.

Curated by Olivier Saillard, “Volez, Voguez, Voyagez – Louis Vuitton” retraces Louis Vuitton’s story from 1854 to our present day, through portraits of both its founders and those who are today creating the Louis Vuitton of tomorrow. Articulated around nine chapters and a thematic path conceived and brought to life by Robert Carsen, the exhibition presents objects and documents from both Louis Vuitton and the Palais Galliera, Musée de la Mode de la Ville de Paris’ archives, as well as unprecedented loans from private institutions and personal collections, particularly Gustave Courbet’s Chêne de Flagey which will be displayed for the first time in Paris since its installation at the Courbet museum in 2013.

THE EXHIBITION AT THE GRAND PALAIS

Open from 4^th December 2015 till 21^st February 2016

Salon d’Honneur, Entrée Square Jean Perrin, Avenue du Général Eisenhower, Paris 8^ème 

Monday, Thursday and Sunday from10am till 8pm
Late openings on Wednesday, Friday and Saturday from 10am till 10pm
Closed on Tuesdays except during school holidays

Free entry

Curator: Olivier Saillard

Artistic direction and scenography: Robert Carsen

Nespresso has cast a new leading man to star alongside brand ambassador George Clooney for the latest communication campaign. Playing himself, in the hotly anticipated 10^th episode of the advertising saga, is Jack Black, bringing a new twist to the latest instalment. The new campaign is now online on www.nespresso.com/whatelse.

The new Nespresso advert playfully explores the concept of ‘What Else?’, provoking viewers to consider the unparalleled unique qualities that Nespresso offers to make every coffee moment incomparable. ‘What Else?’ encapsulates all of the elements that combine to create the ultimate coffee experience – everything from the unique approach to sustainable coffee, the unparalleled coffee quality through to the unsurpassed deep coffee expertise, stylish boutiques and innovative services and much more.

On the terrace of a stunning Italian villa on Lake Como in Italy, George Clooney is pouring himself a cup of silky smooth Nespresso coffee. Just as the coffee is ready, a hand appears and takes the cup. It is none other than Jack Black who saunters over to an attractive female and promptly attempts to win her affections by trying to use George’s infamous ‘What Else?’ phrase. Oblivious, Jack gets the phrase wrong and George steps in to educate him. Later, Jack experiences a moment of epiphany, as he starts to understand the incomparable difference that Nespresso offers, and as the meaning of ‘What Else?’ dawns on him.

Nespresso’s Chief Customer Officer, Alfonso Gonzalez explains: “We are delighted that Jack Black is featuring in our tenth communication campaign, which focuses on his discovery of the ‘Nespresso difference’, with the guidance of the ever smooth and elegant Clooney. Together Jack and George are a dynamic duo, adding even more fun and humour to this year’s campaign which we think will appeal to Club Members and coffee lovers alike. There are many things we do at Nespresso to create the ultimate coffee experience, and this year we wanted to prompt people to think about what makes Nespresso different and unique to them, which is perfectly summarised in ‘What Else’.

The phrase ‘What Else’ featured in the first ever George Clooney commercial in 2006. Many Hollywood heavyweights have joined George Clooney over the years to continue the saga including John Malkovich, Matt Damon and most recently, Jean Dujardin.

George Clooney commented on set: “What can I say about Jack, it was a tall order but he did quite the job – after a bit of coaching of course. All joking aside, it was such a fun shoot and Jack was a pleasure to work with.”

The latest star, Jack Black commented: “Well a lot of legends have sipped on this coffee… so it was clearly time for me to step up and give the infamous ‘What Else’ line a go. As George said, it was a story of me learning from the master!”

As part of this year’s campaign, Nespresso is inviting fans to share their #WhatElse moments via Nespresso.com or Nespresso’s social channels to be in with a chance of winning [For markets to fill in according to local prizes chosen].

The full TV advertising campaign from Nespresso entitled ‘Epiphany’ featuring George Clooney and Jack Black will debut in [country] beginning on [date]. [For markets to fill in] To view the Nespresso “Epiphany” advert please visit www.nespresso.com/whatelse.

To celebrate the launch of the new Oyster Perpetual Day-Date 40, Chronora Rolex Boutique, Downtown Beirut, is proud to have hosted its first international Rolex exhibition paying tribute to the “presidents’ watch”, the symbol of excellence and prestige introduced by Rolex in 1956.

Leaders and achievers were invited to gather under the trees of the Samir Kassir Garden for a cocktail inaugurating this exclusive “presidential” event. The exhibition continued over three more days, during which Rolex aficionados , were invited, in collaboration with The Agenda Beirut, Executive Magazine and Platform Horizon, to partake in three private workshops for a deeper initiation into the Rolex Day-Date 40.

The Lebanese public was also invited to discover the history of the Day-Date through information panels, presented on an impressive structure inspired by the model’s iconic President bracelet. In addition to 3D animations, stories, archive photographs and an exploded view of the new Day-Date 40’s innovative mechanical movement, several of the new collection’s models were on display.

From delicate pins to oversized bling, the previously maligned brooch has really made a comeback this season. You’ll have seen them glittering on almost every catwalk from Milan to New York, with everyone from Prada to Cartier getting in on the action. It’s a super easy way to add a bit of sparkle to even the most plain of outfits or add it to the other new love of the season, the cape, for a totally on trend look.

by Georgina Wilson-Powell

Perfect in length and size these little strappy numbers will brighten up any outfit.

by Georgina Wilson-Powell

The luxurious fabric is back and making its way into stores this season. But how do you incorporate it into your wardrobe without it being too hot? Easy – it’s what accessories were made for. You’re welcome.

by Georgina Wilson-Powell

Photographer :  Tina Patni

Styling and concept :  Stuart Robertson

Shoes : Swirl Debry

Bag : Lockit

Scarf on bag : Needle Rope Pocket Square

Bag : Tadao PM

Bag : Keepall 45 Bandoulière

Sunglasses : Indice

Bag : Cartable

Shoes : Swirl Ankle Boot

Shoes : Twister Slipon

Blanket : Circle Rope Blanket

A unique retail destination embracing a fantastic memorable, immersive and indulgent in-store environment.

Sculpture-Garden

Chalhoub Group is pleased to announce its new concept store TRYANO set to open in Yas Mall, Abu Dhabi later this year.

‘Tryano’, which was developed by Chalhoub Group will become an anchor store in the new Yas Mall and will cater to the desires of the local customers, in addition to all the tourists visiting the Island or in transit.

Launched in November 2014 by Aldar, Yas Mall will be home to this 20,000 sq metre shopping paradise, which will host the widest variety of beauty, handbags, accessories, and children’s products in the UAE. The space will also house a brand new Parisian restaurant concept called Patisserie des Reves, a spa for women and children, and will include concierge services, personal shopping, valet parking and free delivery within the capital.

Fountain-of-youth

Maze

Beauty-and-bags

Tryano is designed to make shopping entertaining. The core values of the store, ‘Alive’, ‘Entertaining’, ‘Specialised’ and ‘Remarkable’ have been embedded into the store design.

Tryano is being created to be a complete sensorial experience. The overarching theme is one of a beautiful garden: the seasons take centre stage, acting as host to each of the store product categories which are laid over three floors. Set to become a concept store and an iconic retail destination, the innovative interior store design by London based retail architects HMKM promises to be an entertaining environment and a visual surprise, with new to the region display techniques and some world exclusives in terms of retail design.

The Children’s floor will include an interactive, educational and fully supervised play zone making shopping easier for parents. The store will include clothing, shoes, accessories and toys, with a focus on children aged 3-13 years.

Enchanted-circle

The-adventure-garden

Chairoplane

In addition, the ground floor will be dedicated to some of the world’s most exclusive fragrances, skincare and international handbag brands. It will sit alongside some of the region’s exciting new designers – providing an unparalleled retail experience for all.

“We are excited about the opening of Tryano, a new concept store answering once again the demands and expectations of our consumers and filling a gap in the market with choice, width and depth. Since our inception in 1955, we have put the customer at the centre and therefore we decided to create a retail space highlighting our expertise in different categories focusing on customer service and offering our guests an exceptional retail experience.” said Patrick Chalhoub, co-CEO of the Chalhoub Group.

Lake Como is one of the most beautiful and celebrated lakes, if not places, in the world and Grand Hotel Tremezzo, standing proudly on the cusp of the water’s edge is not only an architectural landmark but also an ode to interior design innovation.

Built in the early 1900s, this iconic Grand Hotel has remained at the pinnacle of international tourism for over a century, a magnet for the elite and illustrious travelers during the époque of the classic grand tour of Europe.

Even Greta Garbo referred to Tremezzo in her 1932 film ‘Grand Hotel’ as “that sunny, happy place”. Her preferred room, number 113 has been named in her honour and recently refurbished as part of the overall hotel renovation, taking inspiration from the regal charisma of one of Hollywood’s greatest actresses.

The recent renovation was spearheaded by Italian architectural firm Venelli Kramer under the direction of the owning family, and the three breathtaking swimming pools, the signature T Pizza and T Beach bars, the state-of-the-art T Spa and all the lavish 76 rooms and 14 suites were given an injection of the contemporary whilst managing to maintain the elegant old-world charm that put this iconic hotel on the map.

Lobby

T Bar by day

Lake View Superior Room

Park View Prestige Room

Lake View Prestige Room

The Park

The Sala Musica is a vibrant, confident salon with clashing shades of fuchsia, lime and purple set off by old silk hangings on the walls whereas Salsa Contessa is a stark contradiction with a warm, neutral palette eluding elegant sophistication for guests to dine in.

The beauty of Grand Hotel Tremezzo is that whilst it has added signature touches of contemporary design, it has also managed to stay true to its Art Nouveau heritage in keeping elegant period furnishings and antique pieces from the hotel’s historic collection.

Sala Musica

T Spa panoramic lounge

T Spa Infinity pool

 T Beach

The typical Art Nouveau – or ‘Liberty Style’ as the Italians refer to it – is evident throughout the entire building from the grand windows and archways to the decorative moldings and plush draperies that frame them in rich shades of honey. A perfect example of the transition between the eclectic historic revival style of the 19th century and the modernism of the 20th, but far from feeling like a museum to yesteryear, Grand Hotel Tremezzo is a delightful design masterpiece paying homage to the century’s old charm of the grand tour in an opulent, contemporary way.

Now, unleash your inspiration and capture the majestic beauty of the hotel and its surroundings yourself during your stay, with a three hour painting class in the park alongside a professional artist for 300 Euros per person. Advance booking is required.

L’Escale Fondue & Wine Bar

L’Escale Fondue & Wine Bar veranda

Lara Mansour Sawaya

Editor’s Review

I visit Milan almost every 2 months since years, and I’ve always wanted to go visit Lake Como as it is only  around an hour drive from Milan, never worked till only earlier this october that I managed to do so.

I’ve heard so much about the Grand Hotel Tremezzo and chose it for my quick “me time” getaway after the hectic schedule of fashion weeks and flying almost every week somewhere around the world.

Have I landed in heaven?

What a place!!

I’ll share with you my highlights that made my visit unforgettable.

The welcome and service.  It is not very often that you are welcomed by every member of the management making sure that they put at your disposal all the necessary to make your stay as perfect as possible. Oh! And that is not because I publish a magazine, apparently this is the way they welcome all their guests making sure to make them feel home. The owner herself is almost all the time present at the hotel checking all in her own eyes. A lovely person she is with her warm welcome carrying a legacy that’s been alive since 1910, the year where the hotel was first built and today it is one of the oldest 5 luxury hotels on Lake Como.

The View. “Breathtaking” may be an understatement as it won’t give justice to how beautiful the view is. Indeed the most beautiful location where the Lake meets the Grigne mountains.

The Gardens. It was one of the most beautiful mornings I’ve had since quiet some time, where I went for an early walk through  a beautiful landscape of gardens that they call the “ Panormaic Path”. A 20,000 sq meters path up a hill that  just felt like a stairway to paradise. I must say that living in Dubai makes you somehow miss the morning cold breeze that fills up your lungs with fresh air so I was in a way trying to stock as much as I can of this bliss. Felt like being reborn!

The Spa. Sometimes talking about spas can sound too commercial as most of the spas I visit are really good. In this case it’s worth mentioning that normally wherever I visit, it is always a treatment you choose from a menu and rarely the case where your therapist checks what your body really needs.  Must say at the hotel’s T SPA,  treatments are tailored according to what you need using  the ESPA products, and that is another excellent offering.

People know me for my credible words and feedback, so I highly recommend this place to visit as this a place I would definitely call home away from home!

* For reservations please contact: Grand Hotel Tremezzo Reservation Office Phone +39 0344 42491 / E-mail reservations@grandhoteltremezzo.com

Capturing style is a talent. A talent that Gabrielle Chanel instinctively had more than anyone, detecting what would make all the difference to a silhouette.

In 1957, after she’d already made the little black dress, the tweed braided suit and the quilted handbag – all essentials in women’s wardrobes – Mademoiselle Chanel decided to introduce a new note to a woman’s allure: two-tone shoes. “They are”, she said, “The height of elegance.” As ever her vision was perfectly exact, direct and obvious. This time she took the form of the beige and black slingback shoe, studied it from heel to toe to mingle it in with every look, from morning to night and for every occasion. Once again with this accessory the designer imposed a very real stylistic rupture: up until then shoes had been one colour and had to match the colour of the outfit, Gabrielle Chanel liberated women from the rigid codes of an antiquated elegance.

“The new Cinderella slipper” as the press called it, immediately went global and quickly seduced actresses of the era including Catherine Deneuve, Romy Schneider, Brigitte Bardot, Delphine Seyrig, Jane Fonda and Jeanne Moreau.

This shoe boasts another big advantage, its colours: the beige lengthens the leg while the black toe cap shortens the foot. With a sense of practicality anchored in every one of her creations, Gabrielle Chanel had also decided to use this graphically effective detail to protect the tip of the pump from the wear. As for the slingback, it provided great freedom of movement. Finally the 5cm high square heel was conceived to ensure a comfort that fitted in perfectly with women’s new lifestyles. It’s most likely that the designer drew these features from men’s wear: the two-tone shoe having been around since the 18th century.

At the beginning of the 20th century she often designed sport or leisure shoes in the shape of men’s derbies or oxfords, just like the pair she wears in this famous portrait of her perched on the shoulders of her friend the dancer Serge Lifar. Gabrielle Chanel quickly perfected her creation. With the help of shoemaker Massaro, the slingback was elasticated. Working from this timeless foundation, subtly different coloured versions saw the light of day: beige leather with a toe cap in navy or brown and even gold. “With four pairs of shoes I can travel around the world,” the logic was unstoppable. As seasons went by, the toe cap changed into black satin, silver leather, was rounded or more pointed, finished with a little bow. The heel became squarer in the 1960s and then thinner later on. For a while the slingback was dropped as the shoe enveloped the foot completely; it went from urban elegance to casual sporty in the shape of high top kidskin tennis shoes laced up with a black ribbon in 1966.

Mademoiselle Chanel on the shoulder of her friend Serge Lifar-1937 © Jean Moral

Romy Schneider wearing a CHANEL black dress and two-tone shoes, London 1962 ©RDA

Fall-Winter 1983-84 Ready-to-Wear ad campaign  ©CHANEL – Helmut Newton

Today Karl Lagerfeld’s equally inventive and practical spirit continues to keep this shoe alive. Under his direction the signature two-tone pump made a comeback in 2015 in the shape of a slingback sandal with revised dimensions, still firmly placed upon a square heel. At the Fall-Winter 2015/16 Ready-to-Wear show every single look, from slim-cut leather trousers to tweed dresses, from three-piece suits to evening gowns, was thus well heeled: “The slingback has become the most modern shoe and makes the legs look beautiful” confided the designer. An approach that neatly follows in the footsteps of Gabrielle Chanel who in 1957 said, “We leave in the morning with a beige and black, we lunch with beige and black, we go to a cocktail party with the beige and black. We are dressed from morning to night!”

But just like his illustrious predecessor, Karl Lagerfeld, from his very first Ready-to-Wear collection in 1983, has often had fun playing with the two-tone shoe. From 1986 onwards he hit the pavement with a ballerina.

For Spring-Summer 1994 Ready-to-Wear he presented it in black and white, fastened with an ankle strap. For the Fall-Winter 2005/06 campaign, the colours were inverted and the shoe became black with a white toe cap, worn by Daria Werbowy on the streets of New York and photographed by Karl Lagerfeld.

Breaking yet more codes he then imagined other duos: plum and peacock blue, black and lavender, fuchsia and black, bottle green and black on sandals with rock crystal heels (Fall-Winter 2012/13 Ready-to-Wear). Striding out at the Spring-Summer 2015 Ready-to-Wear show, the models wore strappy derbies in gold leather with a black suede top cap. Beyond colours Karl Lagerfeld also mixes materials by daringly combining PVC with satin for the Spring-Summer 2013 Ready-to-Wear collection, lace with leather on the thigh boots in the Spring-Summer 2013 Haute Couture collection, and tweed with patent leather for the low boots of the Fall-Winter 2009/10 Haute Couture collection.

Playing with trompe-l’oeil, the designer transformed the two-tone into a legging-style thigh boot for the Paris-Bombay Métiers d’art 2011/12 collection, and at the Spring-Summer 2014 Ready-to-Wear show the two-tone shoe had its own integrated socks. Always shaking up conventions, the designer adorned the heel of a pointed pump with a knot and even created two-tone espadrilles in canvas and leather for the 2013/14 Cruise collection. For the Paris-Salzburg Métiers d’art 2014/15, he fashioned a riding boot out of loden and leather.

Almost sixty years after its creation, Chanel’s two-tone shoe has been continuously enriched with new versions, thanks to the unexpected interpretations and constantly renewed creativity of Karl Lagerfeld. As a high heel, a ballerina, a boot, a sneaker and even an espadrille, the two-tone shoe is today, more than ever, a true fashion accessory that combines timeless elegance, comfort and modernity.

2013-14 Cruise collection ©CHANEL

Spring-Summer 2015 Ready-to-Wear collection  ©CHANEL

Paris-Salzburg 2014-15 Métiers d’art collection ©CHANEL

Fall-Winter 2015-16 Ready-to-Wear ad campaign ©CHANEL – KARL LAGERFELD

Tell us about driving at Abu Dhabi – you’ve had a couple of podium finishes there – what’s the track like and what have your experiences there been like in the past?

Abu Dhabi is a great circuit – I’ve been on the podium there three times and it’s a fun, tricky track to drive on that’s got its own unique challenges. Its sectors are made up of two almost completely different sections: fast corners and long straights in Sectors One and Two, and a tight, twisty, slow-speed bit in Sector Three. It really does have everything, and for a driver it’s very satisfying to race there.

Abu Dhabi itself is a great place, and as it’s usually the location for the last race of the season, it’s always great to go there as the atmosphere really builds leading up to the weekend. There’s a huge buzz around the place and it feels like a bit of an ‘end of term’ party, so there’s always lots going on. Having the race at dusk is also a great spectacle, so you can really feel the excitement from the fans all weekend, which makes it very special.

This season, so far, has been a frustrating one for you. How do you cope mentally with a season like this?

It’s true that we’ve experienced a few tough moments so far this season, but also a lot of positives, so it’s important as a team that we focus on those and maintain our motivation throughout the whole season. As a team we are an immensely focused, determined group of people and everyone is working incredibly hard both in Woking and in Sakura, Japan, so as a driver it’s really motivating to see the effort from all involved. We know the potential we have in our package, and although in the short-term we are experiencing some challenging moments, in the longer term we are positive about the future and are hungry to win. We know we have to endure these difficult times now in order to learn as much as we can and build on it for the future.

What do you put the problems down to and how will the team overcome them?

There is no magic one single area that you can pinpoint, Formula 1 is a team sport and there are always a huge amount of variables that have to work in harmony to really hit the sweet spot. The new McLaren-Honda partnership has started in an era of a lot of change in Formula 1 and strict new regulations with regards to the design of the power units. The other manufacturers in the sport have been working on their concepts for the past five or so years, so we were under no illusion at the beginning of the year that we would be starting on the back foot compared to a lot of other teams. Testing is also incredibly limited now than compared to say, five or ten years ago, so a lot of our testing and configuration has had to take place under the spotlight of the world’s media and fans, which is never easy. That said, we know that the only way to win in this sport is to be part of a works team with an engine manufacturer, and Honda is absolutely the best organisation in the world to form such a partnership with, so we’re confident that, given time, we will achieve the success everyone is working so hard for.

How different are the years when you’re on top compared to those where you’re struggling – in the latter is there ever a time where you just don’t want to drive or do you look at every race as an opportunity to put things right?

Every race is a new opportunity. You can’t really look at it any other way and as Formula 1 drivers we have the best job in the world, and every grand prix weekend still feels as exciting as the very first time you stepped in a Formula 1 car. Of course, some weekends are tougher than others, but every session in the car is a chance to push as hard as you can and get the most from the package you have, and when you do there is no more rewarding a feeling.

Can you sum up the life of an F1 driver. It has that overt glamour but the schedule seems a punishing one. What’s the reality?

F1 is a very glamorous sport on TV and as a driver we are extremely fortunate to be in the position we are. Saying that, there’s a lot of hard work, long hours, media and partner commitments, a lot of time spent on planes, jet lag, training, and all the other elements of the job that come with driving 19 grands prix a year, so by the end of the season you definitely look forward to a break but as soon as that break starts you’re desperate to get back behind the wheel. F1 really is the pinnacle of motorsport and only a few ever get to be in the driving seat, so it’s important to appreciate everything that comes with it and acknowledge just how lucky we are.

At this stage do you look at a point beyond racing – and if so where do you see yourself once you’ve retired?

At the moment we have a big challenge ahead of us – there’s huge motivation within the team to keep pushing forward, and the atmosphere is still as positive as ever. I love being part of the McLaren-Honda partnership and I’m not thinking about anything beyond next year at this point. This is my sixteenth year in F1 and I know I won’t be on the grid forever, but F1 has been part of my life for so long that I haven’t really contemplated what I’d do when I hang up my helmet. There’s still lots to work towards before the end of this year and right now that is my main focus.

Tell us about your involvement with TAG Heuer – and which model watch do you wear – do you wear one while racing?

TAG Heuer and McLaren have enjoyed a long and successful relationship and I’ve worked with them on a number of campaigns and activities during my time at McLaren. TAG Heuer is an extremely prestigious company to work with and they share many of the same brand values and rich heritage as McLaren. I’m lucky enough to have quite a few different models in my collection and more recently I’ve been wearing a TAG Heuer Formula 1 chronograph McLaren edition watch, which is a special edition model. I don’t tend to wear one during racing as it’s important to be as light as possible in the car, which sadly means no accessories or add-ons, but I love watches so a TAG Heuer is always part of my outfit whenever I’m not racing.

Carmen Chaplin, Actress, Director, Brand Ambassador  and the face of Jaeger-LeCoultre’s new advertising campaign

Carmen, tell us about your collaboration with Jaeger – LeCoultre and how it all started?

We met when I made a short film where I used one of their watches and we collaborated on a dinner in Los Angeles. I realized that my family owned a Memovox watch that was gifted to my grandfather when he moved to Switzerland. He gave the watch to my father when he was 14 years old and then gave it to my mother as a gift when they got married, as they didn’t have many possessions then. When I told them about the watch they said: “why don’t we do a movie together”?

It was then when my daughter was almost 4 months old and I was really inspired on being a mother, having a great mother and how this watch made it through 3 generations and since Jaeger –Le Coultre is very much about heritage and history, this collaboration made sense.

Speaking about Heritage, how heavy is the legacy weight you carry today being the grand daughter of Charlie Chaplin?

It’s a lovey name to carry.

Carrying such a legacy has its pros and cons.

The challenge and toughest part is living up to that level, which I could never really live up to him. And the positive side is that he made amazing films and he was a genius, so I hope I carry some of his DNA.

What do you and Jaeger- LeCoultre have in common?

We both love Cinema. They restore old films and I love old films.

So we share common grounds. They are a luxury brand that is very classy and there’s always a touch of heritage. So we cross paths.

You focus a lot in your work on youth and messages on looking into the future, what does the future mean to you?

Future can be very daunting! But when u become a parent, a part of you should always look into the future.

People should be more conscious! Nowadays you feel that people are more informed through the Internet where they have a voice. It is somehow empowering.

Time goes by so fast so I tend to live the moment of the present.

How did motherhood shape up your character?

Now am more aware of time, how to spend my time and who to spend my time with.  Before motherhood, I was more passive. Now I don’t like relationships that are not clear. I just set priorities.  Motherhood made me stronger.

When choosing roles, what role do you feel comfortable playing? 

I really enjoy playing somebody very extroverted, someone very different from who I am.

What do you think the film industry is lacking?

The lack of female roles and the way women are being portrayed. Men at 55 can still be having a 25 year old girlfriend, mistress, lady etc.. That is not very evolved. Obviously the way women are portrayed has to be evolved and changed. As a woman, I want to make things more creative. More women directors will be great to have.

What we see today at the cinemas is more of  Sci-fi movies, Sexual movies, and documentaries? Do you consider that the screenwriting industry is getting more challenging and writers are out of content with substance?

I think it’s become so much a business that there is a formula on making millions and not focusing on creative things. We lack the movies we had n the 70’s ! It is not inexistent but just the tendency and drive on being purely money minded.

Would you play a role inspired by the Middle Eastern culture if you were asked to?

Yes for sure. The lives of women there are very interesting as they have a life in public and a life in private. It is very rich.

As a working mom how do you manage time?

When my daughter was born, it was too difficult for me to be away from her.  So I had to set priorities. You always strive to bring a balance but motherhood comes with a price tag however it makes you richer and with more substance.

What is a lesson or value that you learned from your mother?

My mother was an earthy person. She was the ultimate “mama” she was like a tiger with her cubs, so loving and protective.

A value I learned is that no matter what, she always put her children first and my aim is that I want my daughter to feel that she’s always number one.

How would you describe your style?

I love wearing clothes that will enhance me. Don’t like busy things. I like simple classical looks.

Do you have a beauty regime or tip?

The number one beauty tip would be to avoid being stressed as that shows on your face instantly. The best thing would be to wake up early and find a time for your self.

What is your personal motto?

To be present in the moment always!

Interviewed by Lara Mansour Sawaya

Jaeger-LeCoultre supports the world of cinema and celebrates 10 years of sponsorship with the 72nd Venice International Film Festival

a&e was invited to be part of this event and had the pleasure of meeting  Elisa Sednaoui, A model, actress, philanthropist, film director and host of the festival 

A multitalented woman you are, modelling, music, movies and a new mom, how do you balance work and motherhood, and what did motherhood add to you as a person?

I think the most important overall is to try and really listen to what you feel inside, besides what others, or society and tradition tells you. Hearing yourself ends up being the basic condition to be able to listen to the other and create the best environment. It also guides you. It is not always easy to balance work life with being a mother. The most important is try to organize your life so you’re serene and avoid that “overwhelming” feeling. I am grateful that my husband and family are very supportive of me working so we all make it work together trying to have fun. There are a lot of things I’m still eager to learn in my profession so I do my best to juggle it all. It’s not always easy, because I would like to spend all the time with my son and my husband and I feel bad when I am not able to. But I know that part of my duty as a mother is in fact the example of womanhood and marriage we give.  One thing to say is I believe those first years pass very quickly, you know soon he’ll be in school and will be more “busy”, so I’m being even more selective than usual with every activity I decide to take part in, making sure to have enough peaceful time at home.

Firstly after having a child you start to really learn the meaning of selflessness. Putting other’s people needs in front of yours and feeling joy from it. Motherhood has taught me to be more organised with my time and how to plan things in advance (which I truly never really did before). To work harder in the shorter time available. It teaches you to have more empathy and patience. On the other hand it gives you worries which you didn’t know before, and a new sense of guilt at times. But when your child is joyful or learns a new thing, well, that feeling you cannot compare with anything else.

You were born in Egypt, grew up in Italy and have lived in France and New York, how did that build up your style and character.

The variety of cultures I was exposed to growing up gave me the ability to look at life from different perspectives and a strange, intricate sense of belonging. My parents raised me like a Mediterranean Latino Arab, as we say with my husband, who is half brazilian/half Iraqi but grew up mostly in the UK.

The best part of this “globalized upbringing” is that you can feel at home everywhere and with anyone. You have the ability to adapt to any sort of situation. The “negative” side is sometimes you can feel like you’re always an outsider. You can feel confused on what your true identity is. The key is to understand and to embrace the fact that your uniqueness is what really matters. Life thankfully brings you more and more people like you – this is what I am keen on passing on to my son.

My parents are artists and creative people, and their direction for life was always for the quality of life and the passion and the heart. Choices were never made really for financial or power gain, if that makes sense. That has meant that at times we have struggled.

To be honest, I am so grateful to have experienced “lack of funds” and frustration because I think it has given me a very strong sense of reality and effort and constance. I don’t think anything is owed to me. Things sometimes are given, but mostly they are earned. And this what gave me the push and the empathy to create the Foundation.

I think I bring all of this to style. I am versatile. You’ll see me with jeans and jumper, a black suit, an evening gown, a long kaftan dress. I try to be as comfortable as possible.

You established a charity foundation for children. Can you tell us about this project and how you started it. Did you face any obstacles along the way?

My dream goal is to create a sustainable cultural center which provides daily after school classes to kids between the age of 6 and 16, which focus on the Arts and on culture in the broad sense: painting, photography, acting, music, to how to make garbage your ally instead of a weight, crafts, languages, literacy would be part of it. This center will be run by locals. We currently have trained 10 adults in Luxor, Egypt. They are trained to be creative facilitators in Arabic.

We are starting our first 2 weekly classes in January for a 3 months term. If everything goes well we will add another class for another 3 months term.

Elisa Sednaoui who looked radiant wearing a precious Rendez-Vous Ivy Secret watch from Jaeger-LeCoultre.

I hope to then be able to replicate this model around the world. The necessity to do this type of work is relevant in both the so-called “developed countries” and the “developing countries”, because for different reasons many children, whether they are in “disadvantaged” situations or not, are in need of being exposed to the arts and having access to a space where they express their feelings, and dream big. One of the problems I see for example in the Western world, without having any pretension of being an analyst of any shape, is that children are growing up with the heaviness of the disappointment of the economic crisis which has affected us all in the last years. This pushes them to make “survival” choices which don’t allow the development of their “better” qualities or simply what would make them “happy”.

Also many young people are confused about celebrity, as if that was the only goal to look towards. Celebrity for no reason. One other point is the professional world which is truly changing, also thanks to the global connectivity. We are overwhelmed with possibilities but in many countries there is a detachment between what we are really prepared for in schools and the services that are required today. Have you noticed how we are constantly creating new type of job positions? There is so much potential. We need to be given the tools to make the best of them. The point of the Foundation is not that the kids should be taught only to “be artists”. But, again Art can open their perspectives.

I took the leap to start the Foundation as I was pregnant of my son Jack. I have always had the dream to work in the social field. As a little girl, I didn’t really dream of becoming an actress or a model, I wanted to become a diplomat – a cultural attaché of some sort.  “Talent is equally distributed in the world. It is the opportunities that are not” said Bill Clinton.

With a friend I started writing down the ideas and looked for people to help me, to guide me a little. Some people proved to be more helpful than others, and we are strengthening our production and organizing skill, our policies.. That is the challenging part, deciding what is fair, finding and motivating the people, and discern what the priorities are.

Of course it’s challenging to fundraise as well, in a world that faces so many issues. But we’ve truly been so overwhelmed by the warmth and the reaction of people to the project.

The world is really ready for change!

Rendez-Vous Ivy Secret watch from Jaeger-LeCoultre

Today we live in a time where social media has a massive impact on inspiring youth yet sometimes they are being mislead by the wrong role models, what can you tell them to watch out for as you were in the spotlight since a young age.

Be genuine, be respectful, be kind. Kindess generates kindness. Don’t be over-impressed by celebrities. Always look at the soul and the heart of those you meet on the journey.

We are here in Venice for the film festival, tell us about your passion for this industry, how it started and what are your plans that revolve around it.

What I like about cinema is its ability, with its universal language, its stories, its characters, to seduce us, make us dream and in addition it can help us understand the reasons of extreme behavior; make us discover the fragility and humanity that lurks even in controversial characters with their deep desire, which ultimately unites us, to be seen, loved and respected.

I don’t like the cinema industry at all. I find it quite corrupt. It is so difficult for a film to be seen!

Festivals are fun because you get to spend some time with extremely talented and sometimes lovely people, but otherwise there is a lot of ego, superficiality, and insecurities.

I started working as an actress by curiosity for a new experience. I was modeling  knowing that it wasnt really my ultimate goal. So when an acting agent asking me to do the casting that resulted in my first film, I was just curious. After 6 feature films and many other short projects, I know I enjoy acting, but in small doses. I enjoy more acting since I had a child because I am less scared to make mistakes. I don’t want to act fulltime and I’m not doing auditions all the time. Its always about the project, the role, the people, the moment. I have started working on a project that I would be producing and writing, perhaps directing.  I like to direct short things. I have a special video project coming out soon in collaboration with Vogue Italia and an American brand in which I act in.  I guess that form will always be a constant part of my life somehow.

Who is an actor that you’d love to play a role next to?

Meryl Streep.

What’s your favourite movie and why?

Natural Born Killers by Oliver Stone for the story, the humour, the photography, the music, and the actors.

What do you think the movie industry still lack?

Transparency. Equality. Honesty. Justice.

What’s your favourite watch from the Jaeger-LeCoultre collection of timepieces?

It’s hard to choose, I love them all, the Reverso styles, with simpler leather bracelets, to the most sophisticated ones, with diamonds and incredible detail of work. I have a weakness for the vintage pieces! They are so elegant, minimal but rich.

What do you love most about working with the brand?

It has always been a pleasure to work with its representants, who have shown to be extremely elegant in their approach. I like that the brand is so implicated in supporting the Arts, with the different sponsorships and their gaze towards many different types of sports, the maintenance of monuments, the promotion of culture such as their partnership with the Venice Film Festival.

What are 3 must have items you are getting for your closet this fall?

Rodarte high waist blue jeans, White Altuzarra Knit Long Sleeves, Charlotte Olympia Leopard print trainers shoes or white slow pair with red lip on front .

What is your personal motto?

Treat others the way you’d like to be treated.

Interviewed by Lara Mansour Sawaya

Photographer :  Tina Patni
Styling :  Stuart Robertson
Hair & Make-up :  Katie Cousins
Model :  Lina F @ Bareface

TIFFANY VICTORIA®
MIXED CLUSTER EARRINGS
Tiffany Victoria® mixed cluster earrings in platinum with diamonds.
TIFFANY VICTORIA™ MIXED CLUSTER PENDANT
Tiffany Victoria® mixed cluster pendant in platinum with diamonds.
TIFFANY BOW RING
Tiffany Bow ring in 18k white gold with diamonds.
TIFFANY INFINITY RING
Tiffany Infinity ring in 18k white gold with diamonds.
TIFFANY BOW CUFF
Tiffany Bow cuff in 18k white gold with diamonds.
TIFFANY INFINITY CUFF
Tiffany Infinity cuff in 18k white gold with diamonds.
TIFFANY INFINITY DOUBLE CUFF
Tiffany Infinity double cuff in 18k white gold.

TIFFANY BOW NECKLACE
Tiffany Bow necklace in 18k rose gold with diamonds.
TIFFANY BOW EARRINGS
Tiffany Bow earrings in 18k rose gold with diamonds.
TIFFANY INFINITY DOUBLE CUFF
Tiffany Infinity double cuff in 18k rose gold with diamonds.
TIFFANY BOW CUFF
Tiffany Bow cuff in 18k rose gold with diamonds.
TIFFANY BOW RING
Tiffany Bow ring in 18k rose gold with diamonds.
TIFFANY SOLESTE® BAND RING
Tiffany Soleste® band ring in 18k rose gold with diamonds.
TIFFANY COCKTAIL 2-HAND PAVÉ 22 X 34 MM
Tiffany Cocktail 2-Hand Pavé 21 x 34 mm women’s watch in 18k rose gold.

TIFFANY BOW PENDANT
Tiffany Bow pendant in 18k rose gold with diamonds.
TIFFANY INFINITY ENDLESS NECKLACE
Tiffany Infinity endless necklace in 18k gold.
TIFFANY INFINITY ENDLESS NECKLACE
Tiffany Infinity endless necklace in 18k rose gold.
TIFFANY HOOP EARRINGS
Tiffany hoop earrings in 18k gold with diamonds.
TIFFANY INFINITY CUFF
Tiffany Infinity cuff in 18k gold with diamonds.
TIFFANY INFINITY DOUBLE CUFF
Tiffany Infinity double cuff in 18k gold with diamonds.
TIFFANY INFINITY CUFF
Tiffany Infinity cuff in 18k gold.
TIFFANY BOW BRACELET
Tiffany Bow bracelet in 18k white gold with diamonds.
TIFFANY EAST WEST 2-HAND 42 X 25 MM
Tiffany East West 2-Hand 42 x 25 mm in stainless steel.
TIFFANY INFINITY RING
Tiffany Infinity ring in 18k gold.
TIFFANY INFINITY RING
Tiffany Infinity ring in 18k gold with diamonds.
TIFFANY BOW RING
Tiffany Bow ring in 18k white gold with diamonds.
TIFFANY SOLESTE® BAND RING
Tiffany Soleste® band ring in 18k gold with diamonds.

TIFFANY COCKTAIL 2-HAND PAVÉ 21 X 34 MM
Tiffany Cocktail 2-Hand Pavé 21 x 34 mm women’s watch in 18k white gold.
TIFFANY VICTORIA™ MIXED CLUSTER DROP PENDANT
Tiffany Victoria® mixed cluster drop pendant in platinum with diamonds.
TIFFANY VICTORIA™ MIXED CLUSTER BAND RING
Tiffany Victoria® mixed cluster band ring in platinum with diamonds.
TIFFANY VICTORIA® BOW EARRINGS
Tiffany Victoria® bow earrings in platinum with diamonds.
TIFFANY INFINITY CUFF
Tiffany Infinity cuff in 18k white gold with diamonds.
TIFFANY INFINITY DOUBLE CUFF
Tiffany Infinity double cuff in 18k white gold.
TIFFANY BOW BRACELET
Tiffany Bow bracelet in 18k white gold with diamonds.
TIFFANY INFINITY RING
Tiffany Infinity ring in 18k white gold with diamonds.

TIFFANY VICTORIA™ MIXED CLUSTER DROP EARRINGS
Tiffany Victoria® mixed cluster drop earrings in platinum with diamonds.
TIFFANY VICTORIA™ ALTERNATING BRACELET
Tiffany Victoria® alternating bracelet in platinum with diamonds.
TIFFANY VICTORIA™ MIXED CLUSTER BRACELET
Tiffany Victoria® mixed cluster bracelet in platinum with diamonds.
TIFFANY VICTORIA® BOW BRACELET
Tiffany Victoria® bow bracelet in platinum with diamonds.
TIFFANY VICTORIA® ALTERNATING BRACELET
Tiffany Victoria® alternating bracelet in platinum with diamonds.
TIFFANY SOLITAIRE RING
Platinum square cut diamond solitaire ring.
TIFFANY VICTORIA™
MIXED CLUSTER BAND RING
Tiffany Victoria® mixed cluster band ring in platinum with diamonds.
TONNEAU COCKTAIL WATCH
Tonneau cocktail watch in 18k white gold with diamonds.

TIFFANY BOW EARRINGS
Tiffany Bow earrings in 18k white gold with diamonds.
TIFFANY INFINITY CUFF
Tiffany Infinity cuff in 18k rose gold with diamonds.
Tiffany Infinity cuff in 18k white gold with diamonds.
Tiffany Infinity cuff in 18k gold.
Tiffany Infinity cuff in sterling silver.
TIFFANY COCKTAIL 2-HAND PAVÉ 21 X 34 MM
Tiffany Cocktail 2-Hand Pavé 21 x 34 mm women’s watch in 18k white gold.
TIFFANY BOW CUFF
Tiffany Bow cuff in 18k white gold with diamonds.
TIFFANY INFINITY RING
Tiffany Infinity ring in 18k gold with diamonds.

Teacher on holiday

The new creative of Gucci, Alessandro Michele, who revealed his first collection for the brand last month, has kept on with the 70s retro inspiration. In this cruise collection we see a lot of high buttoned up collars, frills, bold colour combinations such as red and violet or hot pink and dark brown, coat dresses and fur rimmed on eclectic jackets amongst others. We love that the beret hit the runway again, cat eye glasses, laced up ballerinas with poms poms hanging at the tip and tassled shoes. This teacher was either gearing up for a disco holiday or a decided to change her career and enter the world of high fashion.

Alessandro Michele , Creative Director, Gucci

Photographer :  Urivaldo Lopes

Stylist :  Sleiman Dayaa

Hair & Make-up :  Laure Dansou

Model : Visnija Vjetrovic

Moka draped gabardine dress, block heel suede boots, Red Silk and crystal necklace, embroidered cap

Fleurs fils coupes lame dress in terracotta, Pony coat in brown, red crystal silk and crystal necklace, embroidered cap

Python and shearling coat, Satin Mosaic dress in Dark blue, Brown suede block heel boots

Fleurs fils coupes lame dress in Mint, Feuillage fils coupes pants in aubergine. Black silk and crystal necklace, embroidered cap

Flanelle gazar black coat

Black wool cape, double gabardine pants

Fleurs fils coupes lame dress in terracotta. Black silk and crystal necklace, red silk and crystal necklace.

Fleurs fils coupes lame dress in terracotta

LANVIN Sugar Bag in Cherry Lambskin, black silk and crystal necklace