Today, Elie Saab Junior heads up the Elie Saab Group as CEO, overseeing the running of the company from a business perspective.

We met Elie Junior in Paris ahead of the Spring/Summer 2023 Haute Couture show and it was clear that he has a strong vision for the company which comprises the heritage and DNA of the brand as well as what he believes the next generation of clients are looking for. Over the past few years, he has, alongside his father, been implementing a plan of restructuring within the company, taking the brand further to create an entire Elie Saab lifestyle that will captivate its consumers. Here we find out more about the future of the Elie Saab Group.

On a Group level, what is the vision and positioning of Elie Saab today and what’s the objective that you are working on for 2023?

For the past few years, we have been working on reorganizing the infrastructure of the group, preparing for the next phase of growth. In 2019, we initiated an action plan to secure the sustainability of the business as an independent company. We implemented that restructuring plan by end of 2020 and that has been constantly revisited to reach our status. Amid the pandemic, at a time when there was no visibility on how the world would turn out or how the business would pick up, we created a solid platform for a big comeback and we managed to set the records straight. Today I confidently say that 2022 was a lucrative year for Elie Saab when it comes to top-line or profitability, confirming that the plan we developed is on point and we are properly following the right track. From this, we can keep building towards our strategy granting positive results. It is a laborious effort, self-financed and strategically focused.

Elie Saab Junior. Photographer: Carl Halal

Did you have to compromise by closing certain boutiques around the world to make sure you focused on the repositioning or relaunching of others?

I would say we optimized our retail footprint differently. In 2019 we had ten boutiques around the world located in five countries. Our aim was to extend our presence geographically in key markets by dropping out five locations to focus on our flagships in these markets while cutting down some operating expenses and improving the use of our resources within the organisation. Building on our strategy in 2022, we opened in five new markets, ending the equation with ten locations in ten markets to diversify the demographic and geographic expansion. We live in a turbulent world so it’s important to balance this. We have projected by 2024, around five new doors in different markets, with a focus on The United States and Europe, this will increase the global footprint and reach of Elie Saab, and at the same time, allow us to push our new product offering. Our mission is dedicated to positioning ourselves as a luxury lifestyle brand. Elie Saab is a brand that has a lot to offer. We have all the components to present to a wider audience a luxurious lifestyle offering. Today there is a demand for Elie Saab Maison around the world which was proven by the market. As a business unit, it has grown by thirty-five per cent yearly since we launched.

Elie Saab Maison

Tell us about the Elie Saab Maison segment and where is it today.

Today, Elie Saab Maison has gained an important position in the marketplace and represents a strong pillar in the Elie Saab World. This new segment was developed and launched during the pandemic in Milan, a sceptical timing when the global situation was drastically unstable. But slowly as the world started opening again, we witnessed a lot of demand from distributors around the world as well as from private clients and developers. And by 2021, the demand grew bigger, and the projects have taken another proportion! This evolution has positioned Elie Saab Maison as key player in the branded furniture segment. The main showrooms are located in Milan, Beirut, Paris, Dubai and Qatar. Our main hub remains in Milan as it is the capital of design. The product is made in Italy under the driving team of Elie Saab Maison operating in Milan.

Elie Saab Maison

How challenging is it for you to maintain a coherent message and performance across the group and not drift from the DNA of the brand?

The formula is simple: positioning and product offering. From this point, you can derive many things – your marketing strategy, your distribution strategy etc. – while reflecting the DNA of the brand. And this is crucial in our approach with all parties or business stakeholders we deal with. And from there on, anything that does not fit this purpose will not see the light. We are very keen on protecting the DNA of the brand with the right balance and sense of perfection.

How would you describe Elie Saab Maison today?

A sophisticated luxury and high craftsmanship, carrying our style and aesthetics. It takes time to build this, yet it is executed in a refined and discreet way. We are working on building an identity for this entity that will gain its own place in the furniture world and reflect the brand’s essence.

Elie Saab Maison

What are the challenges you face today?

As a Group, we are one of the few brands that remains independent, and it is not an easy quest to sustain in this competitive marketplace with the big giants of the industry. So of course, this brings a lot of challenges, but we embrace them in a positive way with the main drive being our independence and ownership. So far, this has given us the leeway to improve and progress by breaking some of the traditional rules of doing things by taking prompt decisions at the right time. This is one of the operational strengths that we have and something I would like to maintain for a while.

We have seen several recent openings in the Middle East in all sectors of the business – tell us about Elie Saab in the region and what’s in the pipeline.

First, the main strategy-driven development plan is to increase the Elie Saab footprint globally. During the restructuring phase, the idea was to focus on the region with the highest brand equity. Maintaining stores in the key capitals of the world while looking for tactical opportunities. At that time, we didn’t have clear visibility mainly due to the global crisis. Post-COVID however, we encountered great opportunities on the market with unexpected potential locations, we then took the step forward to expand and enter Abu Dhabi, Qatar, Milan, Riyadh, St Barts and St Tropez at the right time and today we strongly believe that they are valuables assets in our portfolio.

Elie Saab boutique Abu Dhabi

The Middle East is definitely one of the markets where we want to consolidate our presence because of the importance of the brand and the equity there. Seeing the development in the region today makes us so proud and we’re so happy to be part of that wave and put in place the operation of the brand in this area with the new generation, which is in fact my generation. In any case, Elie Saab’s strong presence in the region is a natural and organic practice. Today, our mission to drive the expansion is a priority for us. Owning full operation in Dubai, we extended our development into Abu Dhabi and opened at the Galleria Al Maryah Island followed by Qatar in Katara Island where we present the whole universe of the brand. Recently in KSA in VIA Riyadh a new and promising Mall, and we are very excited about that. So, we went from having one location in the Middle East to four, which is an important increase in such a short period.

At the same time, in Europe, we opened a new store in Milan. It’s a key capital and a good addition to our ecosystem along with Paris and London. We also increased our presence from an operational standpoint, opening new headquarters in Switzerland where we house the business development, the commercial operations, a distribution hub and a main warehouse for Ready to Wear. We also opened stores in St Tropez and St Bart, our first seasonal locations that we intend to develop on.

Do you believe in pop-up stores?

I definitely believe in pop-us, but it is important to have the time, resources and the right plan for these models. Our current strategy is to focus more on seasonal locations that will remain permanently.

Elie Saab boutique Abu Dhabi

What about the presence of Elie Saab in Asia, is this something you are looking at?

We are studying the market carefully, and understanding the dynamics but at the same time, we still have a lot of opportunities to develop the brand in the regions where we are already in. Having the presence of Elie Saab in Asia is something that we’re looking at very seriously, but in due time.

Today, you are the group CEO, tell us how it came about and how it functions today.

As far back as I can remember, I always had the vision and ambition to see the business grow. It was a no-brainer for me to be part of the organisation from day one and of course, I grew within. I witnessed the ups and downs and today, in my role and my responsibility, I am heading towards fulfilling and completing the vision of my father, while opening new perspectives and driving the business forward. What Mr Saab has created over 40 years has built a legacy that aims to maintain its growth and expansion around the world and this mission as much as it may seem easy to lead, it makes it harder in some ways.

What would you like to achieve that you haven’t achieved yet?

Well, I don’t believe I have achieved anything yet! There is still a lot more to go, if I were to identify my target, we are still climbing up the cliff and there is so much more to do. Slowly but surely, we will get there.

Elie Saab boutique Abu Dhabi

What is your personal motto?

To keep the drive, I cannot follow one motto because we face challenges every day and you must have a certain mindset to adapt. But I would say “never give up”, “always keep aspiring towards perfection” and “don’t let anything bring you down” are key mottos. Any challenge that you face should be looked at as a learning curve. The challenges will never stop no matter what you achieve so if you overcome them with poise and insight it will help move into the next phase. That’s how we manage to get through tough times, and this is what I learnt from my father; as many challenges as I’ve faced, he came across much more in forty years!

What is a lesson you have learned from your father that you will pass on to your own children?

Keeping your head on your shoulders. I think that is the biggest lesson I’ve seen throughout my life and assimilated quite well. It may not be easy to understand and assess for the new generation, who can be easily carried away by moments of success.  I have seen this in real-time and my father has been a great example and mentor. Seeing him grow through his career to the point he’s at today, without changing one bit, is something that marked us all deeply and strongly. It is one of the many lessons I’ve learnt from my father, but I do believe it is a genuine message for generations to come.

There are very few fashion houses in the world today that can still claim true legitimacy, standing true to their DNA and at the same time, remain an independent entity, let alone a brand whose roots belong in the Middle East, a region that has for so long been underrepresented in the global luxury industry. But Mr Elie Saab has been the one to break those barriers.

Born in Beirut, Lebanon, Mr Elie Saab grew up dreaming of making clothes and he began to teach himself how to sew from the age of ten, dressing his sister in clothes he would make from scraps of material found in his mother’s closet. In 1982 at the age of just 18, Mr Saab launched his own fashion label in Beirut. He had blended western style with his Middle Eastern influences to create bridal couture gowns which soon caught the attention of the high society women in the local community. Mr Saab’s designs focused on making exquisite pieces from the most luxurious of fabrics. He used lace, detailed embroidery, pearls, crystals, and silk threads to create by hand, gowns that would be fit for royalty. Saab continued to harbour a strong following in Lebanon, a country that remains at his heart, but he always dreamt of taking his brand further beyond the Middle East, something that had rarely been done by an Arab designer before.

While his Lebanese heritage and culture remain until today at the heart of everything he does, Saab made it his mission to position the brand at an international level. He set his sights on Italy where he became the first non-Italian designer to be a member of the National Chamber of Italian fashion, and in 1997, he showed his first collection outside Lebanon in Rome. In 1998 he started his ready-to-wear and accessories lines and hosted a fashion show in Monaco which saw Princess Stéphanie of Monaco in attendance. As word started to spread across Europe of Mr Saab’s exquisite designs, demand began to come in from a new consumer base who were mesmerised by his dazzling gowns.

In 2002, Mr Saab was invited to dress American actress Halle Berry for her red carpet appearance at the Academy Awards. Berry won the award for Best Actress that year and of course, all eyes were on what she was wearing to accept the award. This captured the attention of the world and as a result, the brand’s profile grew in The United States, the first Lebanese fashion house to do so at such a scale. In 2003 Saab was invited by The Chambre Syndicale de la Haute Couture to become a member, and he showed his first haute couture collection in Paris in July 2003. He subsequently presented his first Ready-to-Wear collection in the French capital for the Spring/Summer 2006 season.

Mr Elie Saab. Photographer: Carl Halal

With his fashion line firmly positioned and going from strength to strength, the brand signed a 10-year licensing agreement with Beauté Prestige International for fragrances and cosmetics in 2010 with the House’s first fragrance “Le Parfum” launching in 2011, beginning a new chapter that would see the brand add additional verticals aside of its haute couture universe. Over the next few years, Mr Saab would open stores across the globe, from New York to Paris, to London to Beirut as well as being stocked at over 150 retailers worldwide.

In 2019, the House diversified further with the launch of Elie Saab Maison, a line of home furnishings that brings the DNA of the fashion house into the lifestyle section as well as a development into real estate through a partnership with Emaar. But as a creative mastermind and expert couturier, Saab’s strength lies in designing and the creation process and that is the legacy he wants to preserve. In 2012, Elie Saab Junior joined the company as Brand Director and today, he oversees the company as Group CEO, with a focus on diversifying the house’s verticals and expanding with an approach that remains true to the heart of the brand.

A&E Feb2023 Cover

The brand has seen great success across the years, showing Haute Couture collections each season in Paris, as well as developing a ready-to-wear line, fragrances, accessories and most recently, the addition of made-to-measure couture menswear. Not following trends as such, but ensuring his gowns are both timeless and relevant. Mr Elie Saab has become a true leader in the industry and an inspiration to all those that follow.

Ahead of presenting the Spring/Summer 2023 Haute Couture collection in Paris, we met exclusively with Mr Elie Saab and Elie Saab Junior for two heartful and insightful interviews that would allow the world to understand the balance between guarding the beautiful legacy of this brand while also setting up for future success and appeal to the new generations. We talk to Mr Saab to find out more about the collection and the couture industry, while Elie Junior offers an insight into the brand at a Group level and looks at how diversifying the company’s verticals will offer clients the opportunity to buy into the full Elie Saab lifestyle.

The last time we sat together was before the pandemic, and while that period was a slowdown period for many, how was it for Elie Saab? What can you tell us?

 That period was indeed a very challenging time for everyone, however, we tried to be resilient and positive.  The truth is that we never changed any of our forecasted plans. I believe that in that slowdown moment we gained time in that phase to focus, reflect, and move forward in the right direction. Hence, today everything has its proper base and foundation set.  We are grateful that the industry is on its recovery and always looking forward to better days.

Elie Saab with A&E Founder & Editor-In-Chief Lara Mansour Sawaya. Photographer: Carl Halal

Looking at the industry today, how do you assess it and what challenges do you face as a brand?

The industry is surely a challenging one and obstacles may arise along the way, but this varies from one Maison to another as each has its own strategies, plans and expectations. For us as a brand, we have been very attentive to every step we make and will only do that after a calculated study and thorough research. We never venture into any random decision without being fully certain and aware of the output and results.

Do you still see that the Couture industry revolves around dreams?

It is dreams and they’re translated for sure. And in my opinion, wherever there is a woman, there is Haute Couture. Every woman wants to be unique and stand out, and today Haute couture has its clientele around the world that appreciate this unique and exclusive craftsmanship. There are few fashion houses that managed to sustain this savoir-faire while others just kept it as an image.

For us as Elie Saab, we started with Haute Couture, and it is the core that gives strength to everything we do however we branch out. Haute Couture was and will always remain the soul and DNA of the brand.

Speaking of couture, tell us about the latest collection for this season.

In every collection, we take our clients on a journey to a new place and time. This time we visited Thailand and were inspired by its ceremonial occasions and opulent expressions, so we translated them into looks using many new cuts and forms, exquisite textures, draped embroideries, and braided and elaborate trimmings.

Titled “Golden Dawn” the collection is a celebration of the beauty and style of the country. Each majestic piece is intricate and ornate carefully put together recreating the scenes of natural beauty that can be found in the country. Shimmering rhinestones and crystals weave into the delicate metallic tresses of wispy capes and sumptuous large coats that make elegant statements as they dance to the floor. These regal golden looks create a sense of power and opulence.

Mr Elie Saab and Elie Saab Junior. Photographer: Carl Halal

We also saw last season the Elie Saab man on the podium, tell us more about that and what brought that to life?

To be honest, we have noticed that there has been an appetite and demand for this for quite a while from many of our existing customers. Last season when we revealed the collection, we received great echoes from the press and clients. It followed the same elegance and craftsmanship as the women’s collections, with luxurious embellishments and intricate embroideries, interpreting the DNA of the brand in a new way.

I remember when you told me years ago that you want women to identify an Elie Saab look without any logo or motif. If you were to describe your aesthetic and style in one word, how would you describe an Elie Saab look?

Timeless!

Elie Saab. Photographer: Carl Halal

You were one of the first creative names to put the region on the global map when it comes to fashion. This is success at the core. How hard is it to maintain success?

 To succeed is something, but to guard and sustain being successful is a task on its own. Our industry is not an easy one and it requires a philosophy and a vision, but it also requires the person to know how to feel the market, to be resilient and to know the client’s behaviour to be able to sustain that success.

Speaking of success, your journey is full of great achievements, what is it that you still aim to achieve that you haven’t done yet?

I still have loads to do! There are many ambitions that I have on mind that I still want to achieve.

Looking back on all that was done throughout your journey, are you satisfied?

Satisfied? It is a big word and comes with a big responsibility. What I can tell you is that whenever something revolves around assessing myself, I am very strict.

Elie Saab. Photographer: Carl Halal

Is there anything that you would change in the way you did things?

Life taught me never to look back. Sometimes I recall previous executions and practices and it is only to learn how they can be reapproached. I’ve always been a patient person from the beginning and across the years life confirmed that patience is key and core.

Elie Saab. Photographer: Carl Halal

What would you advise emerging talents who are aspiring to be designers?

I would tell them that our industry is a tough one and requires a lot of sacrifices, and to stand out they need to work hard, but most importantly they need to find their own signature. They need to listen, observe with fresh eyes, and live the experience.

Image by © Greg Finck for Elie Saab

Looking at the industry today, are there certain names you respect and like?

On a regional level, for sure there are a lot of young men and women designers that are doing a good job and I love their work and I believe that if they remain persistent and work hard and constantly develop themselves, they will achieve great things and take their brands to another level. And in today’s world the presence of social media, allows them to reach a wider audience and target globally.

On a global level, I have immense respect for names like Giorgio Armani, Christian Dior, and Valentino Garavani as those were legends that contributed a lot to this industry, and I believe that there aren’t many today as few are the designers that are designing for their own name. Most of them are working for different fashion houses and most are doing ready-to-wear and not couture.

Image by © Greg Finck for Elie Saab

What was your biggest sacrifice?

Time! If you think about it, we do eight collections a year so every 40 days we present a new collection, hence time becomes the biggest investment. It is very hard for a person like me who is very attentive and fully dedicated to his work not to put all his time in the smallest of details.

What does success mean to you?

Success is something fragile and therefore it requires constant dedication, attention, and maintenance to be able to guard it and sustain it. It is surely a big responsibility therefore we must never take it for granted. Personally, I am always careful in all that I do to guard that success.

The burden of having your brand carrying your name is heavy. How would you like to be remembered? 

I am blessed with the respect and appreciation of many, and I strive to guard this legacy and responsibility.

Elie Saab. Photographer: Carl Halal

Where is Lebanon in your life?

Lebanon is at the core of my heart, and it is my entire life! The more challenging the situation gets there the more persistent I am to stay. I believe in Lebanon, and I pray for better days. That’s my biggest hope.

Image by © Greg Finck for Elie Saab

 What are your last words for your customers and fans in the region?

Today as a part of our Group’s expansion plans, we are closer to our customers in the Middle East, be it Dubai where we have our flagship boutique or the recently opened Abu Dhabi boutique in Galleria mall, as well as our store in Qatar in Doha’s Katara Cultural Village and soon to be in Saudi Arabia in VIA Riyadh.

I hope that we continue being trusted and appreciated by our customers as this is what drives us onwards and upwards.

Hublot is once again pushing the boundaries of watchmaking and design with its newest novelties, as revealed at LVMH Watch Week in Singapore this January.

Headed up by CEO Ricardo Guadalupe Hublot has firmly defined itself as a brand that breaks tradition. Known for its disruptive, surprising approach to watchmaking, the brand is constantly on a quest to try new approaches, and fresh materials and present interesting partnerships, offering more than just a traditional watch, but a bold and audacious lifestyle, that is incredibly attractive to today’s consumer. After a hugely successful year in 2022, sponsoring the FIFA World Cup in Qatar, Hublot is set to start 2023 stronger than ever. We find out more about the latest reveal and what to expect over the next twelve months.

As we start a new year tell us about the vision and objectives for Hublot in 2023.

We recently returned from the 2022 World Cup in Qatar which was an incredible experience, so we ended 2022 in a strong, passionate and dynamic way. Now in 2023, we have to continue with this momentum. It is going to be a year without an event at the level of the world cup but we are doing something different this year. The idea is to talk about the essence of Hublot and what the brand is about and explain our Art of Fusion and how Hublot is a real Manufacture. When you visit our headquarters, you can see our research and development, the work we do on materials, how we produce our own ceramics, how we have teams constructing movements and complications, and we want to share all of this with the world this year. We want to reiterate how Hublot represents the Art of Fusion and how that makes us different from other watch brands. At Hublot we strive to create watches that are different, if our watches were the same as others, why would anyone buy a Hublot? So that’s the message that we want to get across this year.

We are also going to be coming back to some of our art partnerships, we will be presenting a new Sang Bleu, a new Orlinski, and much more under this theme of art. At Hublot art is important not only in our communication but also in the development of our watches. I think we’re the only brand to really take the art of the artist and put it into the watch, so the watch becomes a piece of art itself, building a fusion between the artist and the watch.

And our third focus for this year is sustainability and ecology and the protection of the planet. We begin the year with the Hublot Big Bang Unico SORAI that we are launching here in Singapore. This is related to the protection of the rhinos, and we will be giving back a substantial amount to help protect rhinos through the sales of this watch. We chose rhinos because we believe they are beautiful animals, and they are an endangered species. We will be doing a keynote project connected to this at Watches & Wonders later this year.

Hublot CEO Ricardo Guadalupe ©Andra

Do you still believe in disruption when it comes to your strategies and marketing projects?

Yes, I believe in disruption. For Hublot, it’s important to have this philosophy of being disruptive and I think that all our partnerships are disruptive in some way. Even if we talk about football, yes, it is a popular sport, but it’s disruptive because no other brand had the courage or the will to go into football before we did, and I think Hublot now owns this territory. I think brands are afraid of the negative impact of being involved in such things and that’s why they don’t want to take risks. When we went into boxing with Floyd Mayweather, for example, that was a hugely disruptive approach. So yes, I believe in disruption of course, but it must bring something to the brand.

What challenges do you think the watchmaking industry is navigating today?

In the past, when the Smart Watch first came out it had an impact on the entry price level watches, but I think the watchmaking industry of Switzerland has to offer an added value on its products. Of course, when you add value it’s more expensive, but we see that watches over three or thousand Euros are doing so well. This year is going to be a record year of exportation for the watchmaking industry. In my career of over thirty years, I’ve never seen such high demand for luxury mechanical watches. So, I think the future of the Swiss watch industry is quite good because I believe that the young generation is looking to luxury watches as a way to differentiate themselves from others. The main problem today is the supply, everyone is facing issues of being able to produce more watches to keep up with the demand. Of course, there are still some issues in some parts of the world, China is still under COVID restrictions for example, there is the war in Ukraine, which has stopped us from selling watches in Russia for almost a year, but despite this, I see a lot of positivity as we come into 2023. We never know what can happen, but I think it’s positive.

HUBLOT BIG BANG TOURBILLON AUTOMATIC YELLOW NEON SAXEM

The Dubai Mall flagship is your best-performing boutique in the world – to what do you tribute the success of the brand in the Middle East? 

In Dubai particularly we sell a lot of watches to tourists as well as to local customers. But in Saudi Arabia where we are now also doing great, we are selling purely to locals. I think the Middle Eastern consumer likes to have disruptive products. It is quite a mature consumer base who loves watches and loves luxury products and when you have had many experiences with traditional brands, sometimes you want something different, and I think Hublot is a good solution for this. We also create watches that allow people to differentiate themselves and make them stand out from others. We see that particular watches sell well – the coloured ceramic for example – and these are the watches that make the wearer stand out. We also have a very good split between men and women customers in the Middle East.

What is in the pipeline for Hublot in the Middle East and on a global level in terms of boutiques?

I think we are quite well implemented in the Middle East now, we are still opening one more boutique in Saudi Arabia, so we will have six in total, we just opened a boutique in Doha at Place Vendome which is an incredible flagship. We are adding a new location in Cairo in Egypt. And for the world, we are still expanding our standalone boutiques, we have 130 in the world currently. We are expanding in China and the United States.

HUBLOT BIG BANG INTEGRATED KING GOLD RAINBOW TIME

You are going to be completing eleven years at the helm of the brand this year, what do you still aim to achieve that you haven’t done yet?

It’s a continuous process. I want this brand to become a very integrated Manufacture, where we have all the different know-how in-house and for that, we need to build a big new facility and that is what we have in the plans and is my new big project for the brand.

What is a message you would send to your fans and customers in the Middle East?

We love them and when you have a Hublot watch you are part of a family. We try to keep this spirit even as we grow, this spirit remains.

The Novelties

The Big Bang Tourbillion Automatic in Neon Yellow Saxem 

Hublot continues its exploration of Saxem, a material often used in satellites and lasers, allowing the Manufacture to obtain translucent colours. The new Neon yellow tone is being used by the watchmaker for the first time and offers a bold, audacious appeal. “The Neon Yellow is the highlight of this watch week in Singapore.” Said Ricardo Guadalupe, Hublot CEO. “Hublot is known for its Art of Fusion and innovation is key for us, so to be disruptive in our products is also very important. We were the first brand to introduce sapphire in 2016 and we have been developing colours for the last six or seven years. We have been working on this luminescent yellow for over three years and we have been able to achieve the colour by adding certain minerals to the raw material to achieve this colour.” The result is a unique material called Saxem. “The result is amazing because it’s a very segmenting watch and that’s what Hublot is known for. Of course, it’s very difficult to produce and we use a tourbillon movement, which is our own movement with a micro-rotor at 12 o’clock, which makes the watch really interesting. It is going to be very limited to just 50 pieces. This is the highlight piece for me and of course, we will have some pieces coming to Dubai Mall.”

The Big Bang Integrated Time Only King Gold Rainbow 

For this watch, the Manufacture has drawn inspiration from its 2022 best-seller, sprinkled with a touch of Haute Joaillerie to create two on-identical twin watches that invite us to play and revel in the art of bejewelled case setting. Featuring 174 rainbow gemstones with a fully-paved case, bezel and bracelet, these pieces are works of art.

Ricardo Guadalupe, Hublot CEO says; “we have been doing rainbow watches for a few years now, but this time we have a watch set with rainbow stones and the result is quite amazing. It comes in 40 and 42mm and it’s a unisex watch.” Both watches feature a black dial, and large skeleton hands and are less than 10mm thick combining the best of watchmaking and high jewellery know-how.

HUBLOT BIG BANG UNICO SORAI

Hublot Big Bang Unico SORAI Time For Rhinos 

This watch is the first of the year to highlight Hublot’s commitment to the planet and sustaining key elements within it. The Big Bang Unico SORAI Time For Rhinos is the continuation of Hublot’s partnership with SORAI (Save Our Rhinos Africa India), which began in 2019. The organisation was founded by international cricket star Kevin Pietersen whose work helps keep rhinos threatened with extinction safe from poachers. “The inspiration for this watch is the colours of the sunset as this is the worst time for poaching as it’s when most rhinos are killed. We wanted to highlight this.” Explains Ricardo Guadalupe. The watch will be limited to 100 pieces and part of the proceeds from the sale of each watch will be donated to the organisation.

HUBLOT CLASSIC FUSION ORIGINAL

Classic Fusion Original 

This year Hublot is bringing back the original Classic Fusion watch of 1980. Both refined and sporty this precious gold case strapped on a simple rubber strap, unthinkable at the time, sent huge shock waves through the world of fine watchmaking. Echoing the original design the new Classic Fusion Original features a rubber strap, polished black lacquered dial and yellow gold signature hands. It is available in yellow gold, titanium and ceramic; the cases are available in 42, 38 and 33mm.

Since Joining FENDI as CEO in 2018 Serge Brunschwig has taken the brand on a constant path of development leading the Italian House through many changes and realignments.

Under his guidance, it has reached many milestones and successes over the past few years. But it hasn’t come without challenges. Dealing first with the death of Karl Lagerfeld in 2019, it was under Brunschwig’s lead that Kim Jones was appointed Artistic Director of Womenswear and Couture collections. He also sought to reinforce the spirit of the FENDI family at the house and introduce Delfina Delettrez Fendi as Creative Director of Jewellery as well as opening up the FENDI factories to the public to share the precious savoir-faire that is at the heart of the brand. And of course, all this while navigating through a global pandemic! In the past year, we have seen FENDI introduce high jewellery to its offering, as well as the impressive celebration of the FENDI Baguette’s 25th anniversary in New York in September. And now, the Middle East is having its FENDI moment as the brand unveils its newly renovated flagship store at The Dubai Mall. This two-story boutique in Fashion Avenue has undergone a huge renovation including a vertical expansion allowing it to double in size. To mark the occasion, the brand hosted a spectacular event in Dubai in front of the iconic Burj Khalifa. During the celebrations, we talked to Serge Brunschwig to find out more about the future of the brand and its place in the Middle East. 

2022 has been an instrumental and fruitful year at FENDI, what have been the focuses and Add Newmajor milestones for the house? Many reasons to celebrate!

Well, we are still here, and we are still full of projects and a vision for what we want to do moving forward! We have a great team and the FENDI family is at the heart of the brand – Silvia, Delphina, and of course, Kim Jones – working together to craft the future of the brand. So I think that is the most important thing and supporting that, we have an amazing supply chain, in the sense that all of the people surrounding the Creative Directors can translate their vision into real FENDI products. Products which represent our vision and our art. This is all about the people. We have incredibly talented teams in design, crafting, and research, and this allows us to put together the FENDI objects, which are again a master of materials and something so special that only FENDI craftsmen can do. How do we make sure these people continue to exist? They are trained for the future, and we strive to ensure that there is a new generation joining who can fulfil these tasks, and this is the big challenge: making sure that this creative vision is well translated and expressed and if we want to grow, we can grow. 

This is what we have been focusing on in 2022. We had quite a milestone opening two new factories in Italy. We transformed completely the shoe and leather goods factories. It was one of our best-kept secrets and now it has a new home, a new expression, a new size, and a new ambition. To do something like this, not only did need an amazing piece of architecture and landscape, but we prepared something which could accompany the growth of the brand, with the space and the ambience of the craftsmanship. It is attractive in itself to draw the new generation to work on our products which is also key. We need the new generation not only with our customers but also our craftsmen, if we don’t have that there will be no FENDI. 

The doors of the FENDI factories in Italy were opened lately for visitors – tell us about the importance of keeping your craftsmanship in Italy and why you wanted to share this with the world. 

It is key to do this, as in my opinion, we must be transparent. Our customers want to know what they’re buying, who is creating it, how they are creating it, as well as whether it is being done sustainably, what kinds of materials we are using, and so on. So, we wanted to open our doors to share these elements. And secondly, we have to be open to the people that work for us and their families. I want the parents of our craftsmen to be happy that their child is in good hands. we want everyone to say “wow” when they visit, and we want them to be proud. We are against recent trends to shy away from traditional crafts, so we want to promote this and support the artisans of tomorrow. We must excite people to come back home to these jobs and that’s why we have to open our factory. 

The 25th anniversary of the Baguette was also a key moment, especially with the collaboration with Tiffany, in your opinion, what are the prerequisites to keep an icon surviving?

Firstly, it must be good! And it must capture the audience, it has to bring something in the first place. Secondly, you have to take care of it by continuing to make it fresh. One aspect of FENDI which helps a lot on that is the master of materials and the ability to express those icons each season in a totally different way. We also have the ability to invent new materials and crafts, which allows us to reinvent our icons in a naturally creative way. Then I would say from time to time, why not also make sure the function of that icon is still right for the needs of today? All icons don’t stay the same, they are all evolving. Even the most famous in the market, if you look at their first version and the way it is today, it will be very different. Sometimes we may not notice that it is evolving, but it is evolving. We did this for Peekaboo when we created the Peekaboo ISeeU – this was still a Peekaboo but it was constructed in a different way. And the Baguette also has a different construction with different volumes and a new way of wearing it. With the Baguette, you can still buy the original style but there is also the style of 2022 which has been a great success because it was adapting the Baguette to the needs of today. 

As one of the few Fashion houses that still has the family at the heart of the brand, how do you retain and guard the DNA, family, and traditions, but balance it with keeping up with what’s happening in the industry and sustaining relevancy?

I think it is always about the product and this is absolutely the job of our designers. As a CEO I can understand what they are doing and try to explain it, but they would nevertheless explain it better than I can. It’s about how you create something for today, which uses the techniques and the same methods of the brand in a relevant way. How do you always present a new version of the same thing? The repetition is there, but there is also the presentation and adaptation of our products for the customer of tomorrow. That’s what all the successful brands are doing: they are bringing this heritage and techniques from the past and expressing it which today looks fresh. 

We’ve recently seen a collaboration also with Karim Benzema as the ambassador for Fendi Faster sneakers, today as a fashion house, what are the prerequisites that you look for when doing endorsements and choosing ambassadors? 

That’s a difficult question! When we choose an ambassador, we have to ask the question ‘is that ambassador going to represent the brand as we see it?’ With Benzema, he is elegant, he is well-known, he is talented and frankly, he looks good! Silvia Venturini Fendi looked at Benzema and the clothes he wears, and she sees that something will work. And then we created a special friendship with him and there is a story of trust. It’s quite moving when you talk about someone who is a great footballer and working with him on this project was something that we have both benefited from. That is an example of a very successful partnership. 

What can you tell us about what is in the pipeline for the rest of the year and any pre-hints on what to expect next year?

You can expect more good things. It’s our responsibility as always to continue to innovate, to have new ideas, and new initiatives and this is what makes us surprising for our customers and for ourselves and I think we have to continue this way. 

Tell us about FENDI in the Middle East – how does the region serve the brand and what can we still expect?

Of course, we are here today to celebrate this fantastic store in Dubai. We have also recently expanded our flagship store in Saudi Arabia, we tripled the size, and we introduced ready-to-wear and menswear, so I think to be able to offer that in a country such as Saudi Arabia is great, and we are very happy that we can do that. And hopefully, we will soon work on our other stores in the Kingdom with the same concept. Certainly, we are at a moment where the Saudi society is evolving. So as a brand participating in this evolution and its development is something that I think a brand like FENDI, which is about the strong woman, is important to be part of. 

What is the biggest challenge you face today as CEO of FENDI? 

In luxury brands I think we all face the same challenge of asking ‘how do I continue to do what I’m doing well, but how do I make it relevant for today and tomorrow?’ This is what is fascinating about this job. Time goes so fast in this industry and in my previous role at Dior, there was reinvention all the time. I have been with Fendi for almost five years, and it has been five years of permanent reinvention, so time goes incredibly fast. And I think this is the challenge – to always be up and ready to face reality and to adapt what we are to the new times. I am constantly adapting the organisation and I have to make sure the people around me are ready to face tomorrow. This is a constant challenge. There are great times and more difficult times, but in fact, at the times when you’re cruising and everything looks easy, that’s when things can get difficult. 

How would you assess the luxury industry today? 

I think the luxury industry has had a nice ride! It has been incredibly successful for the last two years. We had a good time, but it will be interesting to see what’s next. 

Over the past few years, it seems as though Dior can do no wrong. With sales reportedly increasing exponentially year on year and the success of men’s and women’s collections being celebrated by industry experts it feels as though the sky is the limit for the Parisian fashion house.

Since joining as Chairman and CEO in 2018, Pietro Beccari has been working hard to build on the success of the brand and help to steer its direction moving forward. It hasn’t always been an easy ride, with a global pandemic, a digital shift and an ever-evolving customer base, luxury brands have faced some of their most difficult years in history. But it seems Beccari has got it right. Earlier this year he led the reopening of Dior’s iconic 30 Avenue Montaigne boutique in Paris after two years of renovations. The historic building has been the home of the House since 1946 when it was first discovered by Christian Dior. With this extensive renovation, the brand has reinvented the shopping experience, creating a lifestyle around the DNA of the brand. Spread across more than 10,000 square metres the space offers a (re)discovery of the House’s creativity by offering experiences of all of Dior’s facets from haute couture to fine jewellery, to the art of living and giving, to gastronomy, beauty and culture, all promising timeless experiences. 

This Christmas, Dior is taking over Harrods with a festive spectacular. The Fabulous World of Dior honours the friendship between the House of Dior and Harrods that has been developed for over 70 years. It features a gingerbread-themed festive extravaganza, as well as exclusive pop-ups and an exhibition reproducing, in an amazing play on scale and proportion, the architecture of Dior’s iconic locations. It is the first time a collaboration of this scale has taken place within the historical department store. As we prepare to celebrate the festive season, we talk to Pietro Beccari about this exciting event and the recent success of the Maison. 

The last time we met, one of the key quotes you mentioned was; “don’t think big, think huge.” Congratulations on a successful year for Dior, being on the top of the pyramid of the best performing and most desirable brands, to what do you attribute the success of the Maison today and what is it that you still aim to achieve?       

I think Dior’s growth is due to a combination of many different things. It’s difficult to identify precisely one. We differentiated our business with bags. We innovated in accessories. We multiplied many times the sales of the men’s collections; we developed in the jewellery and accessories sector. We have revived our stores with a new concept that is less intimidating and more friendly and open which has given us extraordinary results. And of course, the basis of the success is also down to the creative team and the amazing savoir-faire that Dior has. I believe in energy, in the transmission of emotions, in our storytelling and I believe in the teams behind the vision.

The Harrods project in London is the perfect example of the type of dream situation we have tried to produce at Dior for years. And yes, I always tell my people that they have to think huge, not big. So, in this case, I think that they heard me very loudly!

It seems to be an exciting moment for the luxury industry, especially after the pandemic where the buying behaviour is still consistent, how would you assess the industry today?       

In my opinion, we are in a period in which ultimately people want to be distracted, and they want to have moments of joy. And that’s the ambition we have at Dior. We cannot change the world and the way crises have impacted our lives, but we can do our job, and our job is to make people dream as much as we can. I believe with projects like the reopening of the 30 Montaigne store and this project with Harrods, we are completely fulfilling the task.

Speaking of the 30 Avenue Montaigne flagship store, congratulations on the reopening of that. Tell us about the reaction so far and what has been a key moment in this project. I personally visited it, and it was out of this world. 

To me, the key moment of the project was the initial idea which we proposed three months after my arrival. Having inherited a fabulous brand, managed fantastically by Sidney Toledano, I asked myself: “what can I do to make a small difference on this extraordinary House?”.

Mr Arnault was my partner from the beginning when we said, “let’s do this, even though it’s a bit crazy”, to the moment we opened. Of course, when he came in and saw the store when it opened, he expressed himself like I rarely heard him, saying “Mon Dieu! Ça c’est fantastique!”.

To my knowledge, something like this did not exist before. But judging by the number of competitors that came very frequently to see the store, it’s something that has had an impact on the sales and on the image of the brand. The reaction of our clients is really impressive!

To what extent today it is crucial to ensure a 360 immersive experience when it comes to retail and in-store shopping? 

I have to come back to the 30 Montaigne project on this point because with this we wanted to create retail 2.0 experience. We wanted to have the ultimate physical experience. I call it the “anti-metaverse” because finally, you are in the Dior universe, you are living a dream, and you can really touch and feel everything… it’s a living representation and symbolisation of our DNA.

Selling a lifestyle and sharing the set of values of a brand today is almost a must to sell products. You don’t only sell products; you sell who you are, you sell what you like, and what you don’t like, and essentially, you are selling part of your history. All of this is part of your products and the savoir-faire, and therefore you have to talk about it. This is what I call retail 2.0. At Dior, we believe very much in that.

It is said that over-visibility kills desire, how are you balancing between being commercially aggressive yet remaining exclusive to a certain clientele?

With everything we do in terms of visibility, we are nurturing our desirability. And desirability, finally, is the engine of the sales of tomorrow. Even during a period of crisis, people want to have a good moment, to feel some emotion. Actually, in the end, it is about emotion. Even if the market is down, we want to steal market shares from our competitors. So, events like what we have at Harrods eventually help us to be more visible, more present, and ultimately, more successful.

How is technology aiding the customer experience at Dior today?

If you think of the 30 Montaigne store, it’s anything but a counterproposal to the digital experience; rather, it serves as a continuum between the physical and virtual worlds through technological innovations. The experience is “flowless:” a customer can see what they want to buy at home or from their hotel, and then they can come to the boutique to try on their desired items. There’s no checkout system: you can pay anywhere in the boutique at any time. If our customers want a table at Le Restaurant Monsieur Dior, they will be notified by text of availability and waiting time. Information about the works of art on display is also available on their smartphones. Everything is simple and fluid.

What is the biggest challenge you face as a CEO today?

With every brand I have worked for the challenges have been different. The secret is to be able to zero it, to level it, and then say: “Okay, what is best for this brand?” Not to repeat what I did well before somewhere else. That’s the difficult part. I think as a CEO, you should be very good at fitting the brand into this set of values, identifying them, and digging into the core values. That’s how the brand will flourish.

Moving forward tell us about the continued vision that you have for the Maison?

“Dream in Dior” has been our motto from the start and it is exactly about identifying what makes this brand different and respecting that. It’s not about being too traditional or too literal. As Mr. Dior said, tradition is there to be tickled, to be pulled, to be stressed, and to be relevant for nowadays. Ability and action, and risk-taking are part of today’s world if you want to succeed.

The collaboration with Harrods is incredibly exciting, tell us about this partnership and the concept revolving around it.

We have never led a collaboration of this scale with a department store. This is an absolute first, and there are surprises and exclusivities on every floor: the façade of the Brompton Road entrance is adorned with a monumental installation aglow with a play of light radiantly showcasing Dior’s fundamental references as reinterpreted by artist Pietro Ruffo for the Dior cruise 2023 collection. The compass rose, lucky stars and scintillating flowers will guide visitors along the historic window displays through a fantastic gingerbread tableau. Like a magnetic Shepherd’s Star, a central sculpture – built to an impressive height of seventeen metres, the building’s largest structure to date – seems to dance in front of the dome of the British department store, guiding visitors within.

For the first time in the history of the department store, each of these iconic displays – from Brompton Road to Hans Crescent, via part of Basil Street – is converted into a small theatre of wonder, with scenery made of gingerbread – an essential English Christmas treat – punctuated by mouldings and details sculpted in sugar and caramel, tickling the fancy of those with a sweet tooth and expanding the imagination of all.

Then, a fabulous exhibition is unveiled, reproducing the architecture of Dior’s emblematic locations – from Granville to La Colle Noire and 30 Montaigne – in reduced proportions. A fantasy universe, entirely composed of finely crafted cookies, punctuated with arabesques and delicate drawings, an expression of the audacity and art of detail so important to the House. Last but not least, two dreamlike pop-ups – an ode to Monsieur Dior’s attachment to the celebration of Christmas and the art of cherishing loved ones – along with a Café specially conceived for the occasion, promise unforgettable moments of joy and sharing. 

Can you tell us about Dior’s presence in the UK and why this is an important market for the brand?

Firstly, we think that London is one of the most beautiful and romantic cities at Christmas. Harrods is also one of our most important partners, one that has worldwide recognition and stature, one that can give us a platform to speak not only to the British people but to the world. And I think with this project, we will gain in terms of image and relevance as Dior is an iconic brand as much as Harrods is an iconic retailer. We have been associated with Harrods since 1953 when we had the first corner in London, and in 1954, we collaborated in the form of a show inside the department store. So, we are not newcomers, and it’s part of our DNA to do things that have an impact worldwide. Here, especially in London thanks to Harrods.

For those travelling from the Middle East to London what can they expect from this collaboration?

Speaking to families is the objective. Because in famous department stores in the UK, US or France, there is a tradition of bringing your kids, over the festive period, to admire the windows displays. With this project, we want our clients from the Middle East and all around the world to enter into this tradition and be part of it. We have adapted the model of the department store, and in a way, also gave a touch of romanticism to the history of Dior.

What is in the pipeline for Dior on a regional and a global level that we can expect in 2023?

We have a lot of big projects that will come in 2023 but I cannot unveil them now. We will try, once again, to surprise and bring emotions.

What is a message you would like to address to the clients and friends of Dior in the Middle East?

Our Dior universe offers positive energy and optimism, just like Monsieur Dior was optimistic after the Second World War. And I think this is the way to go. We have nothing but that: the hope of living the dream we are living here today.

Beatrice was born Beatrice Borromeo Arese Taverna to Italian aristocratic parents. After graduating from university, she became a journalist in Italy, working as a full-time reporter for the national newspaper Il Fatto Quotidiano, before moving into television, reporting on some of the country’s biggest political and news shows.

Prior to all this, when she was a teenager, Beatrice had found a career as a model and walked for fashion houses, including Chanel, Valentino and Trussardi, but journalism remained her true passion. She began creating documentaries including directing “Mamma Mafia”, a film surrounding the controversial subject of female members of the Italian mafia. She also directed several films that address controversial and important subjects surrounding women. In 2018, she launched her Monaco-based production company, Astrea Films.

In 2008, Beatrice began publicly dating Pierre Casiraghi, the younger son of Caroline, Princess of Hanover. The couple married in 2015 in the gardens of the Prince’s Palace of Monaco. Casiraghi is the maternal line grandson of Rainier III, Prince of Monaco and American actress Grace Kelly. He is eighth in the line of succession to the Monegasque (Monaco) throne, following his twin cousins Hereditary Prince Jacques and Princess Gabriella, his mother, his brother Andrea, nephews Alexandre and Maximilian Casiraghi and niece India Casiraghi.

Cuff bracelet in yellow and white gold set with round brilliant cut diamonds (ct. 2,11) Macri earrings in rose and white gold set with 8 round brilliant cut diamonds (ct. 0,22).
All Buccellati

While they are not full-time working members of the Monegasque Monarchy, Pierre and Beatrice are prominent members of society in the Principality and are held in high esteem. They have two young children and enjoy also the local aspects of life in Monaco. The couple supports many charitable causes and tries to use their status in a way that can help and give back to others. While Beatrice is aware of her position, she is very humble and has an air of effortless elegance surrounding her. While her privileged life allows her to have many incredible opportunities, she has chosen to continue to pursue her career in film production and documentary making, addressing issues that are important to her.

Beatrice is also a close friend of the Italian jewellery brand Buccellati. Growing up seeing her mother wearing the Milanese jeweller’s pieces and imagining herself one day wearing them, the partnership was a match made in heaven. On a beautiful day in Monaco, we met Beatrice to find out more about her life, her career, her passion for spreading awareness and her love for Italian- made jewellery.

It is fascinating to hear about your career as a journalist and your experience as a documentary filmmaker – tell us more about what’s in the pipeline in that direction.

I recently participated in the production of Amazon Prime’s first big TV show in Europe called “Bang Bang Baby”. It is based on “Mamma Mafia”, a documentary I did many years ago. Now I am currently developing a TV show that is the project of my life. It is in the final phases of its development and I consider it my dream project. I am also working on a documentary series as a filmmaker which I’m producing as well, and that will be coming out in spring 2023.

Cuff bracelet in yellow and white gold set with round brilliant cut diamonds (ct. 2,11) Macri bracelet in yellow and white gold set with 7 round brilliant cut diamonds (ct. 0,75). Macri bracelet in rose and white gold set with 7 round brilliant cut diamonds (ct. 0,75). Macri earrings in rose and white gold set with 8 round brilliant cut diamonds (ct. 0,22). All Buccellati

What you select to work on needs strength, confidence, and perseverance. If you look around you on the scene today, do you think women are equipped to be daring and talk about certain matters or do you still feel that there is a taboo around certain topics?

I think it’s wrong to generalise when it comes to women. I don’t think you can ever have a conversation that includes women as a whole because I find that it depends on the type of people, their experiences, restrictions, limitations, or the hope, possibilities and opportunities that they have. And this varies from country to country, from age to age, and from background to background, so it’s very hard to generalise and apply my own experience to others. In my part of the world, there are definitely a lot of possibilities and it’s very much up to you if you want to try to make it happen. In my field of film production, we are living in a golden age in which streamers are hungry for content, so many projects that a few years back would have received a very low budget are now possible to develop properly. There are a lot of people working in the documentary world who would have had a hard time getting films done until five years ago, so it’s an amazing moment for us.

So yes, in my experience it’s within reach no matter who you are – if you are bold, have good ideas and are willing to work really hard, but I’m not sure that is the case for everyone. I have learnt with time that you shouldn’t assume and that sometimes the obstacles and challenges that women may face are very hard to overcome – I’m thinking of the dramatic situation in Iran these days. It is extraordinary though to see women who keep on fighting for their rights, trying to reach equality, which is still not there in a lot of places. But in my world, there are a lot of things that it’s possible to do. Therefore I believe that hard work, resilience and motivation normally open many doors. It also depends on what you want to do of course, but I think, generally speaking, it is a moment in history where, in some countries at least, women are definitely better off than in the past.

Cocktail pendant in white and yellow gold set with 1 faceted kunzite (ct. 71,37), 119 fancy diamonds (ct. 2,07) and 111 round brilliant cut diamonds (ct. 1,84).
Il giardino collection Iris ring composed of petals in yellow gold and tourmalines, bordered by white gold bezels set with 1 faceted spinel (ct. 4,01), 48 round brilliant-cut diamonds (ct. 0,67) and 152 faceted tourmalines (ct. 1,21). All Buccellati

Tell us about a day in your life and what it’s really like to juggle many things.

Lately, the days have been very similar because my editing team is living with us. I wake up in the morning, take my kids to school and then we start editing until 4pm. I then pick up my kids and hang out with them for a couple of hours with my husband and then we edit for a couple more hours, have dinner and then it’s bedtime. And then we repeat! I’m in that particular phase of my documentary series – the editing – it’s a seriously draining experience, in the best of ways but you never finish – there are many cuts for each episode that need to be approved and it is a very long process. I love it though. I believe a lot in what I’m doing, I think it’s an amazing project and it’s also perhaps the first time I’m doing something that I’m really proud of, so that keeps me motivated.

In general, how do you handle your life and your job?

Women nowadays are expected to have children, have a partner, have a job, be successful in that job, and somehow have time for themselves, and that’s not realistic. Something’s got to give. I need downtime now and again, time to watch a TV show, read a book or just have a passive experience. Most of my best ideas come either when I’m sleeping or when I walk in the forest close to our countryside home. That’s when you get the best ideas because you need to give your brain a break. In truth, we are over-stimulated – there are too many messages, images, and inputs to take in – and our brains are so busy that they don’t have a second to elaborate on a thought. So when you disconnect, that’s when your brain has the best ideas. With my kids, for example, I try not to organise activities for them all the time, I just let them play and use their imagination and, honestly, they are never bored. I play with them of course, but sometimes I just let them be and I can see how healthy it is because it also puts them in a mindset that they don’t always need to depend on others to be fulfilled. I try to apply that also to myself although it’s more difficult!

Hawaii earrings in yellow gold set with 14 opals. Cocktail ring in yellow and white gold set with 238 fancy diamonds (ct. 3,61) and 1 jade (ct. 27,3). Cocktail ring in yellow and white gold set with 156 fancy diamonds (ct. 2,58), 48 round brilliant cut diamonds (ct. 1,04) and 1 jade (ct. 44,88). All Buccellati

Today we were celebrating the beauty, art, and craftsmanship of Buccellati – how did this partnership come about and what are the common codes you feel you share with the brand?

It’s a story that began when I was a child. I remember this one Buccellati Macri bracelet with stars that my mother had and that I always tried to steal! I was obsessed with it and she would only allow me to wear it while sitting on her bed. I would ask her every day. So I have this clear memory of Buccellati being something I was mesmerised by as a child. So when Buccellati asked me to work with them it felt very natural. It was jewellery that I loved to wear and that I would have borrowed if I could – so I could not envision a better partnership. I would never enter any partnership in which I didn’t really love what I wear, whether it’s a dress or jewellery.

How would you describe your style?

I’m quite easygoing, I normally wear jeans and a shirt with sneakers. I have my own style and no trend will ever make me change what I like to wear. Of course, I dress up for public occasions, and for that, I love the partnership I have with Dior because I really like what they do. I would struggle to have to wear something that doesn’t feel like me, so it’s amazing when I can find this combination of brands that allow me to be true to myself and that I find extremely elegant and cool and modern. For public occasions, I need to be elegant and proper. I hate to be shocking. I know what I like, and it takes me a second to decide what to wear.

Etoilee bracelet in white and yellow gold set with 87 round brilliant cut diamonds (ct. 2,69).
Earrings prestigio in yellow and white gold set with 2 diamonds, 26 rose-cut diamonds and 68 round brilliant cut diamonds.
Cocktail ring in yellow and white gold set with diamonds. All Buccellati

I’m sure there are a lot of women and girls looking at you as an inspiration – what would you tell them?

I don’t feel like I have much to teach yet. I just reached the point in which I know what works for me – but I insist on saying that one shouldn’t apply her personal experience to others. My biggest aim in life, when I was younger, was to reach emotional stability. The best part of my life right now is that I feel self-confident, I’m not afraid of missing out, I have a balanced life, I’m happy, and everything I need is in my home: my children, my husband, and my work. I need to be able to work to feel independent and to have a purpose and part of my job is to tell stories that can have a positive impact on the world around me, even if just on a very small scale. I don’t ever want to be oblivious to the world around me.

Tell us about some of the current initiatives you’re working on.

At this very moment, I’m honestly doing nothing but editing all day long. And I will keep on doing just that until it’s done. I used to be very involved with the Monaco red cross but until my film will be finished, every free moment I have will be dedicated to my children. I am looking forward to going back to those missions though, I love the feeling of belonging to the Monegasque community and contributing in some small way. My husband and I then do a bunch of other charity work that we choose not to share publicly.

Earrings unica in white and yellow gold set with 130 round brilliant cut diamonds Gerbera vintage ring in white and yellow gold set with 12 round brilliant cut diamonds and 1 pearl (ct. 7). Pentagramma vintage bracelet in white and yellow gold set with 506 round brilliant cut diamonds (ct. 24,18).
All Buccellati

What do you say no to?

Today I say no to a lot more things than before. I say no to everything that isn’t really important. Previously I was afraid of missing opportunities but today I’m in a much safer place in my life because my identity is set, my family is strong, and thankfully I don’t have financial stress that pushes me to take on every opportunity, so I can choose what I really want to do. I have taken on many jobs in my life that I am not particularly proud of, but no more. I won’t take any time away from my kids to do something I don’t strongly believe in. I consider this perhaps the biggest privilege of my life.

What fears do you have?

I have so many fears! Since I had kids, I’m just so concerned all the time. And this is what I mean when I say I’m not in a position to teach anyone anything because there is so much I still need to figure out myself. I want my kids to be free to experience things, but at the same time, I’m terrified that something might happen to them. It’s something I am still struggling with.

In your opinion what makes modern royals today successful?

I think that the most important thing is not to live in a bubble, to be aware of the world around you and to appreciate the fact that whatever position you’re in, that position is a place of responsibility and not a place of privilege. It’s a role that allows you to do a lot of good things, a platform that allows you to give. If you try to take from it selfishly that doesn’t work.

Cocktail earrings in yellow and white gold set with diamonds and pearls. Ombelicale necklace in white and yellow gold set with 40 round pearls, 594 round brilliant cut diamonds and 3 tahiti pearls. All Buccellati

What do you think of Kate Middleton for example?

I think she is extremely good at her job – not only representing the Royal family but also raising awareness on the importance of children’s early years. She seems to be a very good mother and a very stable, strong person. It must be very hard to be constantly exposed as she is, I wouldn’t thrive in that situation and I admire her for the impeccable way she manages to navigate her role. Her situation is not comparable to our lives in any way: we help when we can here in Monaco, if there is any need for us to represent the family, we’re honoured to do it but it’s not very demanding for us. We have our jobs, we work for a living, and don’t depend on the State on any level.

Bracelet in white and yellow gold set with round brilliant cut diamonds, round faceted rubies, round faceted emeralds and round faceted sapphires.
Earrings unica in white and yellow gold set with 126 round brilliant cut diamonds and 4 oval faceted rubies.
Band ring in white and yellow gold set with round brilliant cut diamonds and 1 ruby. All Buccellati

Is there a message you would like to send to our readers in the Middle East?

I think that it’s so important to try to figure out what it is that you want and what makes you happy. Take others into consideration as well as your culture and your obligations to your community. But ultimately, it is good to push the boundaries if needed, to ask for more, and to always try to push for equal opportunities and complete respect. I think empowerment means you have more responsibilities, to your family, to your community, but also to yourself. My biggest wish for little girls around the world is that they are given the opportunity to grow into the person they want to be. We have to work as a global community to make sure this freedom of auto-determination is eventually granted to everyone. Meanwhile, you can always find a space for your dreams and do your very best to make them real.

Concept Creation/Editor In Cheif: Lara Mansour Sawaya

Fendi celebrated the 25th birthday of its iconic Baguette bag with a star-studded celebration in New York.

A special collection by Silvia Venturini Fendi and Kim Jones as well as a collaboration with Marc Jacobs, Tiffany & Co, Sarah Jessica Parker and Porter was presented to a host of A-list celebrities and VIP Guests.

Attendees included Kim Kardashian, Sarah Jessica Parker, Kate Moss, Naomi Watts, Grace Jones, Lily Allen, Karlie Kloss and many more. The audience at the Hammerstein Ballroom in Manhattan was treated to a celebration of the iconic accessory with exclusive designs and a celebration of nineties style representing the year1997, the time Baguette was first introduced.

“It was a special day when I designed this bag; the stars aligned. The horoscope said it was a Fendi day.” Said Silvia Venturini Fendi, Artistic Director of Accessories and Menswear, Fendi.

The collections celebrated the iconic accessory by looking at the times through which it has lived and those who have been integral to its success. Sarah Jessica Parker for example, whose Sex And The City character Carrie Bradshaw famously said: “it’s not a bag, it’s a Baguette” of her on-screen hand luggage, was one of those who partnered with Fendi to create her own interpretation of the accessory. Sarah Jessica Parker’s take on the Baguette, which was designed in partnership with Silvia Venturini Fendi was embroidered in degradé sequins with a palette of purple, wasabi, baby pink or soft blue, the bags feature four interchangeable buckles to suit the wearer’s mood.

Meanwhile, collaborations with Tiffany & Co., Marc Jacobs and Japanese luggage brand Porter also pay tribute to the bag and New York; the city in which its place in pop culture history was sealed.

Throughout the collection, the Baguette is realised in a multiplicity of ways, both in terms of clothing and accessories, reflecting the maker as much as the iconic item, while never neglecting the enjoyment and sense of celebration for the wearer.

In this rough-cut romance between uptown and downtown, luxury and utility, excess and reality, the Baguette and the clothing and accessories it inspires are at once defined as a moment in history and part of a continuum with today.

The bag is presented in new out-of-the-box ways and worn in iterations that are both practical and stylish. For the FENDI designers, the utility of the bag becomes a multi-pocketed motif, migrating throughout the collection. The unmistakable Baguette dimensions made mini and micro pockets, appearing on parkas to gaiters, roving all over the body, covering gloves, hats, skirts, sweaters and, of course, the bag itself in one of its new iterations.

In contrast, a sense of hyper-luxe and glossy glamour pervades the collection.  This comes in the form of silk satin, parka shaved mink and glossy leather. A stratification of sequins and biased cut silks are often layered beneath, adding a shimmer of art deco allure.

“I didn’t want to do a traditional ‘collection’ for the anniversary. Rather it’s a celebration of a time, of the moment the Baguette became famous. I relate that time to a sense of freedom in excess and fun – both qualities the Baguette possesses.” Said Kim Jones, Artistic Director of Womenswear, Fendi.

Marc Jacobs, who is a close friend of Kim Jones was invited to share his expression of this icon. He said: “I’ve got one word: Fendiroma. And it is one word! It is another land, this Fendiroma… And I’ve got two words: The Baguette. It’s a bag – and I am never one to shy away from an iconic bag.”

The designer pays tribute to the city of New York and its many contrasts, as well as the nineties period when the bag was first designed. Parachute train skirts, balloon-backed broken denim jackets, rustling cellophane opera capes and Fluro recycled fur stoles and hats are presented in classic updates of the iconic era.

The glitter of rhinestones, silver, and Fluro yellow pervades, becoming an almost literal example of ‘local colour’; inspired by the glass frontages and workman’s safety vests to be found on the city’s streets. Exaggerated, platformed and oversized, the take on the Baguette itself also shares something of these silhouettes’ grand gestures – elongated and gleaming, replete with multiple mini versions of itself attached.

Tiffany & Co. X FENDI COLLABORATION

Tiffany & Co. offers its own take on the Baguette as it reimagines it in its most precious of forms, through its use of sterling silver, enamel, Croco, white gold and diamonds. The T and the F complement each other in logo white gold fastenings, encrusted in diamonds while shining crocodile takes on the hue of Tiffany Blue. Perhaps the most impressive piece of all is an unprecedented Baguette made entirely of stippled sterling silver. Crafted by hand over a period of four months by the Tiffany artisans, the bag is engraved with lilies and roses – the national flower of Italy and New York State, respectively. It is also the first of Fendi’s ‘Hand in Hand’ partnerships to come from outside Italy and is a measure of Tiffany & Co’s superlative craftsmanship.

And finally, in partnership with Porter, the Baguette is given a decidedly masculine angle. Known for their hard-wearing bonded nylon, together with precision Japanese craftsmanship, here lightness and functionality are key. The Porter collection is also a proponent of one of the Baguette’s latest incarnations: the Bum Baguette.

Italian fashion designer Elsa Schiaparelli burst onto the fashion scene in the 1930s. Inspired by surrealist art, Schiaparelli entered with a ground-breaking way of designing clothes and a fresh approach to dressing the female silhouette.

Her creations became known for their innovative shapes and styles paired with eccentric designs and motifs that made the women of that time think outside of the box. Elsa collaborated with some of the world’s most influential surrealist artists including Salvador Dalí, Jean Cocteau, Man Ray, Giacometti and Marcel Vertès. In 1937 she introduced the Schiaparelli “shocking pink” hue which soon became synonymous with the brand as well as iconic motifs that have remained part of the house’s collections ever since, albeit with a new, modern approach.

Elsa Schiaparelli

In 1954 Elsa decided to close the Maison as she began to work on the autobiography of her life. After her passing in 1973, the brand lay dormant for several years until it was revived in 2012, opening a boutique at Hôtel de Fontpertuis at 21 Place Vendôme in Paris. This would begin a new chapter in the history of the Maison. In April 2019 Schiaparelli appointed American designer Daniel Roseberry as Artistic Director of the House. Daniel would become responsible for all collections and projects produced by the Maison, as well as reviving and realigning the vision of Elsa Schiaparelli, making it appropriate and relevant for today’s world.

Born in Texas, in The United States of America, Daniel grew up geographically distant from the world of Haute Couture, but even as a young boy he dreamt of these avant-garde-style creations. “My mum has always asked me: Daniel don’t you want to design clothes that would reach a wider audience? Clothes that people in the middle of America could buy, not just the super-rich, but more Democratic styles of fashion?’ And I told her that my life was not changed by going to Walmart and looking at the clothes in the store, my life was changed by dreaming of haute couture, this idea that romance and dreaming can set you free” And so, now at the helm of one of the most iconic Haute Couture houses in history, it seems Daniel has landed the perfect role. “I have always felt like I was called to do this and not to be over dramatic, but I have never once doubted or lost sleep over my job, I feel so perfectly placed in this House, in Paris, at this moment.” He explained.

Daniel’s first Haute Couture show in 2019, saw the Artistic Director being revealed to the world as he physically sat on the runway, sketching looks for the collection. It was a first for a designer to appear in the background throughout the show but it perfectly announced the comeback of the brand and highlighted that it was Daniel who would now be pulling the reigns and leading the direction, while of course honouring the legacy of Elsa. “From that first show, putting myself out there was like a way of introducing myself to this new community of people as an introduction, and I’ve been so lucky because the House has surrounded me with people who are committed to following my instincts and my dreams and making them come to life.” He said.

Schiaparelli FW22/23 Haute Couture

Over the past three years, Roseberry has been dedicated to reviving the eccentric yet beautiful world of Elsa Schiaparelli, while capturing today’s energy for fashion. His Haute couture collections have been a welcome addition to Paris Haute Couture Week and have brought an elevated sense of luxury and exclusiveness that many are craving today. Daniel has been given full creative direction over the brand which has allowed him to express his vision. “We have a very loud voice creatively, and I want this to become increasingly dominant, I want the house to acquire and maintain a position of authority because that’s where Elsa was in her time, and I think that’s important for the brand.” But it is not only about the legacy of Elsa; “I think that the vision of the house is adapting to where the world is going, and things are changing so quickly, and I think that part of our success is due to the fact that we have been agile and very reactive.”

Schiaparelli FW22/23 Haute Couture

During the COVID-19 pandemic, the House was quick to react. “We really assessed the way of not just how we communicated on the collections, but also the way they were being designed. I started to design different types of looks that I knew would work digitally because that’s how people were going to be experiencing them. And I don’t think everyone did that. I was thankfully given the freedom and support to do that. I think for so long, people have underestimated the relevance of the brand and now people are waking up, and it is more powerful and more captivating than people were expecting.”

Schiaparelli FW22/23 Haute Couture

Perhaps the most recent powerful moment was the Fall/Winter 2022-23 Haute Couture show which took place in Paris on 4th July 2022. The collection “Born Again” was a very personal moment for Daniel as it represented the rebirth of the brand and the well-respected position it now holds in the industry once again, but also took him back to those moments of his childhood when he would dream of fashion and the stories it can tell. “The show was another step and the next level in discovering what that vision looks like for Schiaparelli today and it is a lot of heart. I was never one of the cool kids in high school, but I’ve always been the most passionate and I think that’s maybe what these collections are; manifestations of that passion.” Said Daniel.

Schiaparelli FW22/23 Haute Couture

The collection celebrates romance, freedom, and love through the designer’s choice of exposed hearts and floral motifs. “We are in a period where the very foundations of what we thought was the norm are being questioned and I think that’s why I have such an appetite to see fashion as a source of comfort, peace, and reassurance and that’s why the unabashed romance started to come through with this collection. It just felt essential and necessary. Everything from the floral bouquets to the exposed hearts, to the soundtrack being one of my favourite soundtracks as a kid – it was all to bring myself back to a place where I felt safe again and a place where we all felt more soothed or comforted. We have talked a lot about the mission of Schiaparelli, and I talked to my team after this recent couture show and said, “we did something today, we put an enormous amount of love and beauty into the world and the world needs a little bit more love, beauty, and romance.”

Schiaparelli FW22/23 Haute Couture

And that’s what Haute Couture has the power to do, giving access to this universe and capturing that sense of romance and otherworldly dreaminess that Daniel so perfectly describes. Through the magic of the internet and social media millions have access to see Daniel’s designs from all corners of the world and it is the hope that it touches some of these people and gives them a moment of love and beauty. “Most of the time when I’m stopped on the streets, it is by fashion students who love what’s happening at Schiaparelli, and that for me is the biggest reward. Knowing that those kids who are so pure-hearted and so unaware of how hard it is to find a place in this industry see that you can have a voice that is unburdened by the machine of it all. That for me is an indication that we are doing something good, and I want to maintain, protect, and let that evolve.”

On a personal level, it is immediately obvious that Daniel is a deep thinker. Dedicated to his work he truly believes in this brand, and it is clear that his passion and ambition are driving his team and the brand as a whole into the future. “I think in terms of where the brand could go, the sky is the limit. It is more creativity, more romance, more beauty, and more luxury, and at the same time I think it’s the one house in the world where we can still be as surreal, creative, and as thematic as possible without sacrificing a single layer of luxury.”

Schiaparelli FW22/23 Haute Couture

Daniel left his home in the US to move to Paris for this role so of course there have been challenges. When asked about something he fears, he explains; “I do fear that sometimes that I’ve sacrificed too much of my personal life for my job because I am an intensely passionate worker. I am a Triple Virgo, I love to create and to put work out there, but it comes at a cost of being separated from people that I love and a life that I knew in New York or Los Angeles. I’ve truly given all of that up to be here and I never question it, but what I fear is probably that in fifteen years I will be looking at what I hope will potentially be a great career, but I worry that it would have come at the cost that I cannot at this point really quantify.” But the designer makes sure to take time out, to keep him grounded and to give him the space to continue his creativity. “One of the things I’m realising about myself as I’m getting older is that I must take two or three weeks a year to go somewhere alone. Two years ago, I went to live in a cabin in the Swedish countryside with no running water or electricity. A few months ago, I went to stay at a friend’s house in Ibiza – it rained every day, but it was perfect. So much of this job is about being extraverted and having to talk constantly about your work and lead your team and try and convert people to believe in your vision, so you need to take time out. Being in nature, either with some of my dearest friends or even alone can be really powerful.”

Looking to the future as Daniel explained how the sky is the limit for Schiaparelli. While the brand must remain niche and loyal to its existing client base there is of course room for expansion which has already begun with the launch of the ready-to-wear line. “I think the next big thing would be to become known also for our ready-to-wear.” Explains Daniel. “I think that couture is something that is naturally growing and is a natural and pure extension of what I’m passionate about, but I’m also passionate about establishing Schiaparelli’s voice as a brand. And when I think of what we could do in fragrance or beauty, it’s endless.”

The expansion will also be happening geographically as the House plans to have a greater presence in the Middle East, a region Daniel remembers for its beauty. When asked about a frame that stayed in his mind from that part of the world, he recalls: “I remember the sunsets in Jordan very vividly and I remember the generosity of the culture and the people the most. I don’t know if I’ve ever been to a region where I felt like what was theirs was mine in that way. There was a real overwhelming sense of generosity between the people themselves and especially to the people who were visiting, like me, who were so taken care of. And just the unique beauty of the region physically; the terrain, the light and I remember feeling like the light was from another time.” And with the designer’s love for the region, we can hope to see more of him in the near future.

Shocking! The Surreal World of Elsa Schiaparelli

“Schiaparelli is uniquely positioned to bring that in the most desirable, luxurious and precious way, to the people who can engage with the brand on a physical level, and I’m so excited to bring it to this part of the world.” He explained. “And I think also the aesthetic of the brand – the drama and the boldness – is so uniquely matched to the desires and the dispositions of the women who are looking for something that will really stand out.”

Alongside beautiful high jewellery creations, Bulgari revealed some exquisite jewellery watches earlier this year, interpreting the theme of the collection “Garden of Eden” with pieces that were true masterpieces of watchmaking.

We caught up with Fabrizio Buonamassa Stigliani, Creative Director at Bulgari Watches to find out more about these one-of-a-kind creations.

We spoke earlier this year at Watches and Wonders, and you promised me we would see something exquisite coming soon – today we are at your iconic boutique in Place Vendôme and I just saw two masterpieces – tell us more about these two special unique pieces?

Creating these pieces was a very interesting journey for us. We started to imagine this collection over a year ago. The idea was to have the richest garden possible, with many different flowers, petals, butterflies, many different finishes, and settings in one high jewellery watch. The most incredible thing about these watches is that you become part of the jewellery, it’s not just something that you put on your wrist. It’s like you wear the watch and the flowers start to wrap all around you. You become part of this amazing experience and that’s why we have these three-dimensional flowers, all the petals moving, and all the butterflies that are tremblement. All the elements of these pieces come from the Bulgari archive.

We have five different flowers incorporated into the designs and all these flowers are part of the Bulgari DNA and showcased throughout our heritage pieces. So, the idea was to reinterpret some of these elements in smaller sizes because in the past these flowers and butterflies were huge brooches with a tremblement system, so we tried to bring all this DNA of Bulgari together in one piece. It has amazing savoir-faire, and the idea is that we don’t want to see any metal, just stones that will sparkle under the lights. The initial reaction from our teams was that it would be impossible to do – there were so many questions – but step by step we found a solution for everything. It took one year to develop this piece and around eight months of that was spent assembling and setting the stones.

And what kinds of stones do we see in this piece?

There are so many different ones! What I can tell you is that with the flowers, in the beginning, the idea was to have darker and lighter stones, but when we had the first prototype, we discovered that the flower was too dark in the centre and we completely changed the setting so the lightest stones swapped with the darkest. These kinds of things you cannot see until you have the prototype, so it is a process of trial and error. And sometimes you need to see the piece on the wrist and the way it reacts to the light. So, it is a process. We developed a ring that turns around the flower just to cover all the links between the petals and the flowers. It was unbelievable. Four people were involved for one year to produce these two pieces. In the end, everyone was very happy and very proud of what we achieved. One was sold this morning and we are considering having another piece that will be different in terms of its colours and the combination of stones, maybe even different in terms of the positioning of the flowers. We have to start today, and it will be twelve or fourteen months before this is finished.

I see a lot of drive on the production of exquisite pieces – do you feel that after the past two years there is a demand to consider these kinds of pieces a mega-investment?

There is an appetite in terms of the stones. Many people are buying stones as an investment. This piece is different because it showcases the art of jewellery. We wanted to create a piece where people would be wowed by the savoir-faire and the 3D design. And of course, it was going to be something that made you feel as though you were in the Garden of Eden.

How do you balance the mechanical and functionality side of your role with the emotional, creative side? 

It’s not easy at all. I love the moment when you have the idea and the spark and you start to create sketches, but there is the same importance in the moment that comes after. Because if you have just an amazing object without exceptional savoir-faire, it’s just something that sits on your desk and if you have a good idea without any savoir-faire, it’s a missed opportunity and a waste of your time because you put all your efforts into something that doesn’t make sense. So, the two must be exactly balanced and that’s maybe the secret behind the Octo Finissimo – a new way to wear a grand complication watch, a new way to wear a tuxedo watch – now it’s a sports watch. When you can turn the discussion not just to the aesthetic point of view and you start to talk about the contents of the object, you take your gold.

Do you consider this watch your biggest achievement so far?

This is a very important watch for us in terms of high jewellery watches.

If there was something, you still aspire to achieve what would it be?

I would love to have the same different point of view that we have on the Octo Finissimo men’s watches with the ladies watch category. This is what I want to focus on to find our path in ladies watches, especially in high jewellery watches.

Where do you assess Bulgari’s positioning in high jewellery watches today?

First of all, today we have the Piccolissimo watch and we have the high jewellery watches. We are full of creativity and with Piccolissimo, we can make unique things. This is a great asset for us. Again, this is an evolution of the Serpenti and everything we do is connected. I try to mix and match the different souls of our products to make brand new products.

What can we expect to see revealed soon?

We are still working on this concept that you are IN the jewellery not far from the jewellery and this is what we will continue with moving forward.

Bulgari presented its new high jewellery collection “Eden Garden of Wonders” during a spectacular two-day event in Paris, hosted by Bulgari Group CEO, Jean-Christophe Babin and the Italian Ambassador to France, Teresa Castaldo. Held at the Italian Embassy in the city the exclusive gathering showcased the creativity and unrivalled craftsmanship of the jeweller to an exclusive group of esteemed guests including brand ambassadors Anne Hathaway, Lalisa and Priyanka Chopra Jonas.

This year, the collection is titled “Eden the Garden of Wonders” with more than 140 unique jewellery masterpieces designed by Creative Director Lucia Silvestri celebrating the marvellous colours of nature, interpreted through boundless creativity and the rainbow of colour that the brand is associated with. For the first time, the collection includes more than 20 pieces dedicated to the emerald stone, with show-stopping pieces highlighting the beauty of this delightful green gemstone. The “Emerald Glory” is the showpiece of the collection, designed to be worn in multiple ways.

As part of the launch, Bulgari also revealed ‘Beyond Wonder’ an innovative collection of NFT artworks of two high jewellery creations; the Magnifica Ruby Metamorphosis and the Emerald Glory necklaces. These are the first NFT jewels ever realised by Bulgari and further strengthen the connection between High Jewellery and cutting-edge technology. The two digital artworks will be sold only together with their physical twin necklace.

Here we discover more about the collection and its inspiration with Bulgari Jewellery Creative Director Lucia Silvestri.

Congratulations on this beautiful collection, why did you choose the name/theme to be “Eden Garden of Wonders”?

I chose the name because after the tough period of the pandemic and lockdown, we wanted to be in touch with nature and the colours, and all the energy that they bring. I very much believe in the energy of gemstones, and I see flowers in a similar way and I love to combine the two.

There is a beautiful park in Rome called Villa Borghese which for me is an example of “Eden”. I live very close to this park and during the lockdown, I would walk there often and feel the combination of nature and architecture with the columns, the gallery, the flowers the leaves, the birds, and the fountains – it was a beautiful escape. With these inspiring frames mind, I met with our internal teams to look through our archives and found that we have had a lot of jewels throughout the years with themes centred around nature – flowers, butterflies, leaves – it is in our DNA. So, we said why don’t we try to create a collection inspired by Eden, in a contemporary way by using new colours, and designs?

The colour combinations were the first thing that caught my eye, tell me about that…

Firstly, I want to share a lesson I have learnt. It is something that Mr Gianni Bulgari suggested to me many years ago. He told me; “don’t be shy with colour,”.  And this has always encouraged me to play with colours and to be daring and it is something that I try to keep in mind every year and every time I design a new collection. This time, because the concept of Eden is something that is associated with colour, we used more colours and new combinations. When I travelled looking for stones for this collection, I found new colours that I wanted to incorporate. I discovered new sapphires for example that I used with emeralds and two kinds of pink that were paired together for the first time. I think at Bulgari we have created trends in the jewellery market and our colours and colour combinations are something that has inspired others.

Anne Hathaway wore the beautiful “Mediterranean Reverie” necklace in Cannes, tell us about that?

Yes, she did and it’s such an amazing gem. The velvet blue tone is incredible. You could spend hours looking at this gem. I love it. We wanted to create a necklace that was very elegant and timeless to announce the beauty of Anne Hathaway as the new face of the brand and it worked perfectly. And then of course she wore it on the red carpet in Cannes and looked perfect. The balance and harmony with her Giorgio Armani dress was exquisite.

Can you tell us more about this collection and what it means to you?

We have 140 pieces in total, and I’m very excited because this is the first time that I’ve seen the full collection displayed all together. I followed it piece by piece, through the production process, but to see it come together like this is truly special. I’m very proud and touched. As part of the collection, we have around 30 pieces that are a tribute to emeralds. We had the opportunity over the past few years to collect some beautiful emeralds and we decided to celebrate this with a special dedication.

Let’s talk about a piece from this collection that took the most time and why?

That would be the “Emerald Glory”. First because to find these emeralds – eleven gems – was really difficult. It is a versatile piece that can be worn as a choker, a necklace, or a tiara. So the challenge for the artisans was to create something that is not heavy and was quite easy to change into the different ways of wearing it. My idea was to create a necklace that had this beautiful layout. I found the first three emeralds in New York, but I didn’t want to use these three stones alone, I wanted to wait for others to pair with them. Next, I found two stones in Hong Kong and one in Dubai, and then I started to work on the layout, and I found the four final stones. Once I had 11 stones I said ‘OK, we have enough gems to create a necklace’. We re-cut the emeralds into the perfect shape in Rome, and we created a graduated layout with the Columbian emeralds. It took 3,000 hours to create this piece and before that, we spent three years finding the stones!

What have you found has changed in what women are looking from jewellery since the pandemic?

I think women are looking for quality more than quantity. For myself, it’s the same. I prefer quality in terms of time, fashion, jewellery, quality of craftsmanship, gems, and creativity – I think that women are looking for quality in all these things.

How would you access the industry today overall?

For us at Bulgari it is different because we take our time, and we don’t want to compromise. We launch a high jewellery collection every year, we look for quality in the gems that we select, and we are a brand that has an important name which we can’t compromise on, so we take time to create something very special. We see many brands rushing to create but we are different, we want to have time to create with quality.

What else is in the pipeline for this year from Bulgari jewellery?

We are working with our key pillars. Serpenti of course – we have the new Viper which I love, it’s an everyday gem and we are working on more designs for this iconic collection. Then we have B01 and BVLGARI, BVLGARI – we are working with all these collections and developing them further. That’s all I can tell you for now!

What is a challenge that you face now and how is the industry changing around you? 

There are many challenges every year but sourcing the gems is the biggest challenge for us because they are becoming so rare and difficult to find. The most beautiful gems are rarer than ever, and the demand is very high. We have a lot of competitors, but we are a name that is very important for those working in the field and we are lucky that everyone calls Bulgari as their first point of call. So that does help. When a particularly important stone is discovered, we are the first to be told. But there is still a big challenge surrounding this.

Also, creativity is a challenge, and we have a lot of competitors. But I think that we have the best team of designers, it’s an all-female team and I’m very proud to work in a company that believes in women, something that is still very rare. I am very lucky to be in a company that gives the opportunities to me and my team to express our creativity.

What are the words that you would use to describe this collection?

Harmony, joyful, elegant, and timeless.

And finally, what stones are you playing with at your desk currently?

There is an emerald that’s close to 300 carats – that could be the talking piece for the next collection, but you will have to wait and see!

Jean Bienayme, International Marketing and Communication Director at Van Cleef & Arpels discusses the brand’s latest novelties and what to expect for the coming year.

What can you tell us about the novelties Van Cleef & Arpels presented at this year’s Watches & Wonders? 

This year the booth is inspired by two elements. The first is a garden – birds and of course nature which at Van Cleef & Arpels is a very important part of our DNA. Then we have astronomy – stars, planets – and based on that we have the three Automaton creations. Two of these are also inspired by gardens and birds, and one is inspired by the Planetarium. Then we have a very new watch; Heures Florales, which features new poetic complications, a new module, and a new story based on flowers. With this new bracelet, we are trying to progressively evolve through our sustainable bracelet.

Watches and Wonders 2022 Van Cleef & Arpels booth

You can see that the dial is three-dimensional, there is a layer of flowers, grey mother of pearl, miniature painting, gold skirting on the branches and also a yellow and white diamond setting. There are many layers with more than two hundred components just on the dial alone. It has a self-winding movement, so the oscillating weight at the back is also part of the story. What is most amazing about this piece, is that the number of flowers that are open indicates the hour, and the minutes can be found on the side of the case. With each hour that passes there is a surprise, so when it is two o’clock, the number one flower closes and two others open, meaning that the face is different each time. When it is two o’clock in twelve hours’ time, it will not be these same two flowers that are open. We are very happy with the reaction so far to this piece because it is totally new for us. We say that Van Cleef & Arpels is about enchanting, and I think with this watch, you can be surprised and enchanted each time an hour passes.

Lady Arpels Heures Florales 12H – Face © Van Cleef & Aprels – Clément Rousset

When stepping into this booth, it is like stepping into a magical, pristine paradise, and we can feel the consistency within the brand, tell us about this concept…

Absolutely, and one of the reasons you can feel that in the booth, is because on one side we have all the creations, but the booth itself is about crafts. There is the Bayeux Tapestry, which is a very famous knowhow in France, and then there are many other crafts featured and that’s what it’s all about. We can feel this in both the booth and through the pieces that are presented, and I think it expresses what you said and what you feel, about consistency. Van Cleef & Arpels is truly about craftsmanship, know-how and expertise at the service of a story and it is always the same approach throughout all of our segments.

Watches and Wonders 2022 Van Cleef & Arpels booth

How do you preserve the legacy at Van Cleef & Arpels whilst staying relevant to the customers of today?

When we see the evolution and the progression of the Maison in the markets worldwide there is an appetite for peaceful creation, but at the same time, something that’s based on very strong expertise. This means that our expertise gives value to the inspiration through the quality of the stones, the materials, and the work of the jewellers and the stone setters. I think that when you combine inspiration with expertise, this has a strong meaning for our clients and audiences at large. At Van Cleef & Arpels our clients can find something specific that they won’t find at another brand. You can love it or not, but it is always beautiful and made with the best expertise. There is a positive rapport with all of our proposals in all regions and I am sure it is because of the combination of these elements.

We have these beautiful pieces here with us today, but what else can we expect in the pipeline this year?

During this fair we are really focusing on these narrative pieces; Poetic Complication and Extraordinary pieces. This is highlighted particularly with Heures Florales, and then we have another chapter which jewellery watches. This part of our watch offering isn’t under the spotlight at this moment, but this year you can expect something interesting, deeply rooted in the inspiration of the Maison, inspired by our jewellery for daily wear. And you can discover that very soon.

Watches and Wonders 2022 Van Cleef & Arpels booth

What can you tell us about the jewellery offering this year? 

In France, at the end of May, there will be a lovely moment dedicated to a jewellery collection that is dear to the heart of the Middle East, and in this collection, we will also have something related to watches. This will be interesting. Then at the beginning of July, during the Paris Couture Week, we will present an amazing high jewellery collection. When I say amazing, there is an incredible story behind it, a one-of-a kind story, but I cannot tell you anymore right now, because we want don’t want to ruin the element of surprise.

While it may have a long history of being a jewellery Maison, Bulgari has earned its legitimacy in the world of watchmaking and more than proven itself as a key player amongst the world’s finest watch brands.

After the reveal of its world-record-breaking Octo Finissimo Ultra, the world’s thinnest mechanical watch earlier this year, the Maison returns with its latest timepiece offering at Watches and Wonders. With exciting new novelties for both men and women, from the most innovative and complicated watches to the most elegant jewellery pieces, we discover the latest novelties with CEO Jean-Christophe Babin.

What can you tell us about the novelties for both men and women? 

We already disclosed some Serpenti jewellery novelties this year at LVMH watch week, the most stunning being the Serpenti Secret watch which features the new revolutionary Piccolissimo mechanical movement which is a wonder of technology. Now at Watches and Wonders, we are still talking about Serpenti but we are talking about a watch that is more of a daily wear piece. So, they are more affordable watches, but they are still jewellery pieces. When it comes to the new Serpenti Spiga, we have the addition of malachite paired with rose gold and diamonds. This was initially created in ceramic, and we have evolved it into gold, set it with diamonds to turn it into a wraparound jewellery watch.

Serpenti Tubogas

How difficult is it to work with malachite? 

Malachite is a stone that we work with a lot in jewellery, especially on the Diva collection, and we have been using it on the dial of the Bulgari Lady and the Diva jewellery watch, so it is a material that we know how to cut. This time it was a bit difficult because the dial is slightly curved, but we managed, and we have developed our capabilities related to this over the years. It’s a very interesting watch and this colour, is very appealing to the Middle Eastern customer. We know that green has very strong values and emotions in Islamic countries, and we believe that the Serpenti watch is already very appreciated there, but this watch uses a colour that is popular in the region and together with the diamond setting and the rose gold, I think it will be a great success.

Tell us about the new Diva – the savoir-faire is amazing and the setting of the jewels on the dial is just beautiful.

Diva was originally born to be a jewellery watch but, much like Serpenti, it can also be a daily watch. The line has evolved across two directions: one uses small Diva elements such as flowers, and the other one acts more as a support for Métiers d’ Art, spanning from feathers to enamel and now we are going a step further into the artistic dimension of Diva, so it’s not only a jewellery watch. These watches are meant to increase our desirability in the jewellery watch sector, which is already quite important for us – we are jewellers by trade, so it’s natural – but strangely enough, it’s not a market segment that is explored by many brands. Most Swiss brands are masculine brands and are born with male watches, they have obviously developed into ladies’ watches, but often by using the men’s watches in smaller diameters. So, the Swiss watchmaking companies are not so experienced in true jewellery watches and therefore we have this over many of the brands. This is very important for us as it is the core of our history and now, we are applying it to watchmaking which allows us to further develop our expertise within the company and it is something we have been developing for over 100 years. The first Bulgari jewellery watch was crafted 103 years ago in 1919 – it was a platinum and diamond watch that complemented the jewellery offering. Today, we have two elements of Bulgari – the jewellery element and then the technology one. And so, we have a strong push in this sector, and we are bringing back coloured gems into the watch collection, the same way we do it on jewellery. We are completing our collection, providing more breadth and depth so that we have the ideal desirable jewellery watch assortment and also covering very different lifestyles and price points. 

Octo Finissimo Tourbillon Chronograph Skeleton Automatic

Let’s talk about men’s watches – the Octo Finissimo Tourbillon Chronograph Skeleton Automatic is very special.

This watch is state of the art in terms of its complication, but obviously like every single grand complication at Bulgari it comes in a very contemporary design and treatment. On one hand, our complications feature the best in acoustics for example, but they are also fitting with 21st-century style, meaning they are very contemporary. This is where Bulgari watches for men are different from many competitors because we dare to be very contemporary, and we combine the traditional grand complications with modern design and styling, and I think that is what our customers are looking for.

As a Maison that covers both jewellery and watches how do you remain strong and consistent with both sectors? 

Even though we are an Italian brand I believe that we are very military when it comes to our frame. What I mean by that is that our inspiration is clear – architecture, codes, symbols, arts, – and all our designs come straight from Roman history, arts, and architecture. This starts with our jewellery but in turn, also dictates our other categories in both men’s and women’s collections. Everything is directly inspired by our Roman history. Therefore, this cross-categorial way of creating, leverages icons that are all coming from one source, and it creates consistency across all our categories because we have one clear narrative. You will find this in all our products, in our communication, in the way we welcome our clients in our hotels and boutiques, and this is what is creating a unique brand consistency because there is a very strong history of 27 centuries of unrivalled leadership in the field of architecture. Yes, this can also be a constraint, but as you know, Rome has so much validity that it is an opportunity for us to fit within that frame in everything we do. Rome is probably one of the most famous and desired cities in the world, everyone wants to visit, and I think it’s a very emotional city and it’s the only city in the world with 27 centuries of ongoing arts and architecture and it has always been at the forefront of its time. It is a unique treasure for a luxury brand to get inspiration and to create a frame warranting that consistency that is so important to be successful as a luxury brand today.

Octo Finissimo Turbillon

How is it serving you to have the factories all being in Switzerland when it comes to watchmaking? 

For watchmaking we must be in Switzerland, this is where the excellence is and if we want to be amongst the best brands and watches, that is where we need to be. What makes a difference is that we are one of the most integrated watch brands when it comes to movements. Except for quartz, all our movements are made in-house and some are very original. All our cases and dials are crafted in our new Saignelégier Manufacture which we opened just before the COVID-19 pandemic. It’s a brand-new Manufacture with a lot of synergies between dial making and case making. This enables us to be much more agile and allows us to shorten the lead time and then we have Neuchâtel where we assemble the watches. So, it’s a circular approach. This integration enabled us to be more daring because we understand every excellence and dimension of watchmaking. This explains why for instance we were capable of not only coming up with the idea of the Octo Finissimo Ultra, but because we are integrated, we could also design and develop a bracelet for it, which was one of the most important challenges for us. Designing a titanium bracelet that fits with such a thin watch, if we were sourcing it from outside it probably would not have been possible, but as we master bracelets inside, we were able to do it. So, this integration is sometimes a challenge because when we run out of capacity, we can have longer lead times, but it means that we know exactly how to craft a bracelet, case, movement, etc. and that enables us to be more daring and creative because we have mastered all these areas of excellence. We don’t delegate to others, and we have full control, which is also very important for ensuring the quality of our products.

Serpenti Seduttori

When can we expect to see these watches on the market? 

Firstly, and very soon we will launch the ladies’ watches. Some of the Octo Finnisimo watches will also launch soon – the Steel Chronograph and the Minute Repeater – and the last to come will be Ultra which will be launched in November. But most of what you see today will be in the market by September at the latest. The Serpenti watch with Malachite will launch in the Middle East in September.

Panerai has always been a brand that pushes the boundaries of innovation and design. A clear leader in the realms of sustainability, this year, the Italian watchmaker will be expanding its offering using recyclable materials and there are very big ambitions to develop this sector further.

With several new launches, including the Panerai Submersible QuarantaQuattro eSteel, the Panerai Submersible QuarantaQuattro and the renewal of the brand’s partnership with Luna Rossa, the watchmaker continues to defy the rules and discover new fields that are yet to be explored. Leading the way is CEO Jean-Marc Pontroué whose passion for the brand and desire to take it to the next level, while not forgetting the legacy, is clearer than ever when we meet him at this year’s edition of Watches and Wonders. Here we discover more about the latest novelties as well as the future of the brand and how it continues to disrupt in the watchmaking industry.

This year Panerai is presenting two major stories – QuarantaQuattro and the Submersible line – tell us about these novelties?

The submersible QuarantaQuattro is THE story of the year. We have a new size, and it is part of a range that is the second best-selling line of our assortment, so it’s very important. But the best part is that each aspect of the line covers a different topic. So, we have the new Luna Rossa edition, then we have the eSteel in black, military green, and navy blue. This is made with 95% recycled steel, with a colourful ceramic bezel, and a graded dial, and this is the story of the year for Panerai. 

Submersible QuarantaQuattro

There seems to be a lot of focus on sustainability this year…

Yes, I am happy that you notice that because it is something that we started four years ago. Last year we launched the eLAB-ID, which was our first watch created from close to 100% recycled materials, but we only made 30 pieces, so it was more like a concept watch. But from that project, we learnt a lot because we created eSteel which we used on Luminor, it was a good success, so this year we launched it within the submersible line. Here at the fair, we communicated on the first day that by 2025, we will not have any more steel in our collection, because everything will be made from eSteel. No more steel at Panerai at all. This is something that will happen gradually, and we are very happy because I think we are going to be the very first brand to use only recycled steel.

We have seen in recent years, a major shift in the image, tone, feel and performance at Panerai – what is the current strategy? 

I always refer to the phrase; “everything must change so that everything can stay the same”. At Panerai our product is the hero. It’s not me as CEO, it’s not our marketing, it’s not our supply, it’s not our manufacture; it is simply the product. The product we have created allows us to differentiate from other watch brands because of its shape. It is instantly recognisable, and this is something every brand wants from a luxury product. So, we have this unique chance, and our job at HQ is to work with this platform and reinvent it in different ways. So, we are creating new stories but without changing the product. The idea is to reinvent the relationship with our customers and consider how we can be innovative. Panerai is Italian, so you always have this Italian feeling when you enter our stores that is very creative. We often say we provide a platform of experience but also happen to sell watches, we don’t want to have the traditional store concept. The idea is that customers come to our boutique, have an espresso in the back room, they might discover a book about Italy, or about emblematic Italian architecture, they will try on a watch if they want to, and if they don’t, they don’t have to. It’s more of a lounge to discover our universe.  

I remember this because the last time we spoke, and we talked about the immersive, experiential experience…

Yes, exactly that. We are looking at how we can translate the experience we have been offering and how someone who is discovering the world of Panerai can experience something that has a disruptive approach, compared to the traditional seller-buyer approach. 

Luminor GoldtechTM Calendario Perpetuo

And because we are in an industry of emotions, if you don’t really make people feel it, then there’s nothing special about it. Here at Watches and Wonders, you have provided an immersive experience for your visitors which is great…

I agree. When we create movies, we try not to make them as everyone else does, the booth is not like every other brand’s booth. You know, we are not the biggest brand, but the idea is that when you leave a fair such as this, in days to come, when someone asks you what the highlights were, you remember Panerai because it has been ingrained in your mind. 

How challenging is it for you to respect the legacy of Panerai but also continue to be relevant today? 

That is a great question because there are no textbooks for it. When you’re driving, if you’re at a red light you stop, if you’re at a green light you go, that is easy. Here it is a mixture of where you strongly believe you can bring the brand, without compromising. The experience, the concept, the advertisement campaign, the partnership, it’s about how to stage the brand and create a concept wherein 50 years, you will still be happy to have that product in our assortment. Like my predecessors did with products that we are still proud of today. So we need to understand how we make sure that the watches we create today, will still be in our assortment in 50 years and that we are still selling them. Things will change with the times, but the concept of the watch will still be the same. And there is no rulebook for this, it’s purely how you believe you must develop the brand and still be proud of it after many years. 

Panerai Submersible QuarantaQuattro

What can you reveal about what we still anticipate in 2022 at Panerai? 

We will be starting a new story with Luna Rossa and it’s not only about sponsorship, but it’s also about working with the product team; Prada has 30 boutiques in the world where they sell our Luna Rossa watches. There is a lot we can do with them. In a month we will announce the second edition of Brabus. We have a partnership with Razor which is a gaming operator in Singapore and during World Ocean Day in June, we will have a co-shared initiative to support the protection of the environment. 

So, you believe in omni-channelling?

Yes totally. One hundred per cent of the people who come to buy watches in our stores have been on the internet before, and today our e-commerce is growing, despite most of our stores reopening. It’s a habit. We benefit from the “Amazon operation” because we are all used to buying products in a way, we would not have done ten years ago. We are all impacted by the web, but for us now, it’s about how we make it an immersive experience. It’s not a downgraded experience compared to what you are discovering when you come to the store and there are many stories that we can explore around this. 

Submersible QuarantaQuattro Luna Rossa

Let’s talk about the Middle East – what is in the pipeline for our part of the world?

I think we have boutiques in all the key countries in the Middle East – Kuwait, Bahrain, UAE, and Saudi Arabia. In Saudi Arabia, we have stores in Riyadh and Al Khobar, but it’s a country that we haven’t really tapped into yet, we are just at the beginning. I was there a couple of weeks ago and when I saw the number of malls which are opening or will be active in the next five years, it’s probably one of the countries in the world which has the most impressive number of gigantic projects. Saudi Arabia will for sure not be the same in 2027 as it is today. Thanks to our local team we are in the starting blocks of making Saudi Arabia a major contribution to the brand. And of course, we already have Dubai with a huge presence through our two stores in Dubai, but I am sure that in the next 10 years, because of the population and the development of the country, Saudi Arabia will become very advanced. 

What would you tell your clients and fans in the Middle East?

It is a great pleasure to have you in the Panerai communities and I can tell you we have a lot of innovations coming this year, and I hope, as I did recently, to come and visit you to show you some of the exceptional timepieces that we have for our retail network. Thank you so much for being part of the most active Panerai community in the world. 

Wilhelm Schmid, CEO of A. Lange & Söhne discusses staying true to the values and the legacy of the brand with every innovation.

Since the very beginning, A. Lange & Söhne has been true to its brand DNA of celebrating craftsmanship and creating elegant, refined, yet innovative watches. Throughout recent years, although the offering has expanded, CEO Wilhelm Schmid has ensured that these original values and messages are at the heart of everything the brand does and every product they create. In 2019 the German watchmaker undertook one of its biggest moves yet with the introduction of the ODYSSEUS, its first full steel bracelet watch, which opened the brand up to a new market that it had not tapped into before. This year at Watches & Wonders, the brand launched the new ODYSSEUS in titanium with an ice blue dial, taking this casually elegant timepiece to a new level.

Also presented was the redesigned GRAND LANGE 1, a reimagined version of one of the brand’s classic designs, available in 18-carat white or pink goldwith a sophisticated grey dial and leather strap. The main difference in this watch is its new proportions which offer a refined look. And finally, the RICHARD LANGE Minute Repeater which features a classically executed design that’s contemporarily evolved. With its white, three-part enamel dial, this limited-edition timepiece is for the most devoted watch collector. Here we meet Wilhelm Schmid to find out more about the latest launches for A. Lange & Söhne.

A. Lange & Söhne novelties from left to right: RICHARD LANGE MINUTE REPEATER, ODYSSEUS and GRAND LANGE 1 with two case variations.

Tell us about the highlights of what A. Lange & Söhne is presenting at Watches and Wonders this year? 

Every year we have a theme that helps us to structure the year and gives it meaning. Last year was focused on subtle differences and this year it’s about devotion to the highest standard, and I think that the latest watches nicely illustrate what we mean by that. Let’s start with the RICHARD LANGE Minute Repeater. As you know, we already have the Zeitwerk Minute Repeater and now we have the newest addition, the RICHARD LANGE Minute Repeater. Each has a very different style and very different execution, and are in fact, two very different watches and this was done on purpose. If you dig deeper into the RICHARD LANGE, it’s the first time that we have produced our own enamel dial, even the printing is done in-house. It’s an achievement because these techniques take years to perfect, they don’t come overnight. This is the result of years of trial and error, and we are very proud of it. Yes, it’s something that we could have sourced outside of the company, but we wanted to see whether we were capable of doing it in-house and this highlights our devotion to the highest standard.

The ODYSSEUS has been a great success so far… tell us about the journey of that timepiece?

You can never plan success; all you can do is your best while making sure it’s still in line with the brand and that it’s very different from anything else that you have done or that others are doing. After that, it’s in God’s hands! I think that the ODYSSEUS, from the early days of the steel design to the titanium watch that we are launching now, has created a good discussion. And the element of “extra devotion” comes in with the new dial. It’s very different in its details, its structure, and its colour. The bracelet features the same design, but the finish is very different to the steel watch, and even the case finish is different. It’s all these tiny details, that highlight our theme of devotion to the highest standard.

Then for me, the watch that has been the biggest challenge is the GRAND LANGE 1, because if you touch a product that is essentially the face of your brand, as the Lange 1 is, you must be quite careful. Making it thinner by 0.6mm without touching the movement is quite an achievement. Previously, the difference between the standard Lange 1 and the GRAND LANGE 1 which launched in 2015 was minimal, so you would not immediately notice the difference, but now for the first time, there is a distinctive, immediate difference in the appearance of the two watches, and that is exactly what we wanted to achieve, without changing the design. So, it is the same, but just thinner. And now because the crystal is so close to the dial, you look at it and you almost worry that there’s no crystal on it. This is what we wanted to achieve. So, to summarise, we have three very different watches, that are all very classic in their own way.

Odysseus

The ODYSSEUS was created for a very different customer that you didn’t attract before – let’s say it’s a more casual approach to Lange… 

What happened was that people who purchased the ODYSSEUS, didn’t know much about us before, or they did know us, but we were for some reason not at the top of their minds. But when they came to us to discover ODYSSEUS they started to explore the rest of our portfolio and many of them left with something completely different to what they came for! You have no idea how many people came for the ODYSSEUS and left with a Lange 1 or an 1815, or even a Zeitwerk. So that was a nice side effect of ODYSSEUS.

So the ODYSSEUS was a good addition to the assortment? 

It gave us freedom. As a brand we want to change but at the same time stay true to ourselves, and the best way of doing that is to be strict with our five families of watches, our selection of precious metals and our design executions, and then, we have the Odysseus which is a playground that we can experiment with. And that’s what I like about it.

How would you summarise where A. Lange & Söhne is at today? 

We can’t complain. We want to stay humble; we want to stay vigilant. I have been around too long to know that when you become complacent, it’s the moment you start losing it. We are truly about watches, and I think you can see that when you enter our booth, creating watches is our only interest.

Richard Lange Minute Repeater

I love the coherence, I love the consistency, it’s been ten years since you joined and there is no deviation on the objective, the power is the consistency… 

One thing we have changed is our booth at the fair. The old one was very different, it was much bigger, now it’s a lot cleaner and it features very different materials. This is very interesting as to some extent, the COVID-19 crisis was a learning curve. It was an accelerator of things that we were already working on, but it gave us the time and strength and the necessity to implement changes and execute them more quickly. We do not want to change the way we produce, design, or represent our watches, but we are happy to change everything else if necessary. We sell through e-commerce, we talk to our friends and clients digitally, we do zoom meetings, and remote sales, and we do everything the customer wants, but we do not want to change the way we do our watches. This is our anchor point to ensure we do not lose ourselves. It is a permanent challenge, but no matter what, we won’t change, regardless of what comes.

What is in the pipeline this year specifically for the Middle East?

The Middle East has always been an important region for us. We have our key flagship store in The Dubai Mall, it’s a great location and we have a great team. Again, it’s about consistency in the way we communicate and consistency within our team. We are not a brand that changes our team or moves people around too quickly because you need people to be here for a while to really understand what we do and then it is truly a joy to work for us.

Grand Lange 1

What are the upcoming key moments for the brand this year that you can share?

Well, we like to surprise so I don’t want to take that away, but what I will say is that the watches that we are launching here at Watches and Wonders are not the last watches we will launch this year. That I can unveil! We learnt over the last three years, that it’s quite nice to have great watches for Watches and Wonders, but it is also good to have a few more watches to launch throughout the year.

What can you tell us about women’s watches this year?

I don’t think we should still think of watches as being men’s or women’s anymore. It’s not what we do, or at least we have not done that for the last five years. We realised that there is fine watchmaking and there are people that like fine watchmaking, some of them are men and some are women. Yesterday a lady came to visit us, and she was wearing a Zeitwerk, which you would not think of as a typical ladies watch, but it suited her very nicely. So, I believe we should stop thinking as cliches. What can be a challenge sometimes, is the size of the dial. But don’t forget that we launched the beautiful little Lange 1 Moon Phase last year and we still have such a huge demand for that watch, and again it is not a watch that was launched as a ladies watch, but we probably see a 50/50 gender split on the sales.

What is a message you would send to your customers and our readers about the new novelties? 

I will start with an apology because I am sure that a lot more people want these watches than what we will ever be able to produce, and that is a sad story but that is the DNA of A. Lange & Söhne. We are still impacted by COVID-19, especially at our factory, and that plays a toll on our output. But overall, we will make sure that for our customers, especially those that we have known for a long time, we will do everything we can to please them.

Van Cleef & Arpels’ quest for quality and excellence has remained unrivalled since the very beginning. The Maison’s commitment to sustaining elite craftsmanship and know-how sets it apart from others, as it continues to push the boundaries in creativity and innovation year after year. After taking a break from traditional watch fairs, the Maison returned to Watches and Wonders this year to showcase its latest timepieces as well as some of its Extraordinary Objects. These masterpieces, which take years to create, showcase the absolute finest in savoir-faire, through one-of-a-kind objects that create enchantment and surprise.

That element of surprise continues with the brand’s latest watch novelties which draw on new romantic stories as a source of inspiration. With dreams and imagination at the centre of everything they do, Van Cleef and Arpels offer more than simply a product, they allow their clients to discover a universe of dreams and stories and in turn, understand the story of the Maison. This year’s highlight novelties reflect the brand’s unique Poetry of Time concept, taking inspiration from the worlds of arts, nature and astronomy, three areas that are key to the brand. Here we discover more about the latest novelties and the current direction of the Maison with CEO Nicolas Bos.

What is the strategy that Van Cleef & Arpels is adopting to ensure there is always consistency with what the brand is offering? 

It’s not so much of a strategy but I think that everything we do is truly based on the identity of the Maison, this is the one thing we always repeat and ingrain into anyone who works with us. We are very clear about what our codes are and where our inspiration comes from as well as our creative field of expression. The connection with art and culture and the sources of inspiration are what have been driving us for more than a century. Yes, it is true that sometimes you can have the temptation to stray away from your patrimony, to do something disruptive or revolutionary or to bring a new story into an existing storyline, but this is not our approach at all. Our approach is about the inspiration. We keep within the same book but try to write new chapters, whilst making sure the same story continues to unfold. And so, the way we work across the board is of course about creativity but also when we develop craftsmanship, it’s about looking at how we can find new ways of continuing the story so that we don’t renew the identity, but we change the angle and the way we express it. We always try to keep the integrity and at the same time, try to remain relevant and of course, embrace today’s tools and opportunities. We are not looking for modernity for the sake of it, we don’t mind missing trends if they are not relevant for us, or they don’t have the right connection to the Maison. This is a philosophy that’s shared across the board by all our teams and there is a lot you can do with this mindset.

Van Cleef & Arpels Watches & Wonders 2022 booth  

There is a thin line between keeping this consistent narrative and being relevant – how do you balance the two? 

I believe it requires a lot of baby steps more than big strategy shifts, and it also depends on the timing, the communities, and the markets. Meaning that in certain countries there are certain media or channels that are more relevant for telling our stories, so we really embrace them, and it can definitely change from one period to the next or one region to another. So, it’s about paying daily attention and trying not to lose track of the identity, but of course, trying to bring it to modernity and I think we are quite happy in the fact that our identity is universal enough to still resonate with a lot of people in today’s world, as it has across previous generations. Nature has always been our inspiration and the love of craftsmanship, continues to be a strong value until today, so it’s more about finding the right ways to express these values while keeping our integrity and engaging in dialogues in every region that we are present in. We have dialogues with our clients, with artists, with institutions, with a lot of people to make sure we are not isolated and that’s a good way to ensure that this connection and relevance stays.

We know that Van Cleef & Arpels left the SIHH watch fair a few years ago and now you are back at Watches and Wonders – what is the message you want to convey this year?

There was a very simple reason for leaving the fair a few years ago, it was mostly because it was primarily a trade fair, and we don’t have wholesalers anymore, so the commercial aspect was no longer there. And we also wanted to be able to show our watches and creations in a different, more immersive manner which is usually associated with our jewellery universe. During the COVID-19 pandemic, we created quite a few successful private events around the world, and this is something that we will continue to do. But, having said that, this moment every year is a window on the whole spectrum of watchmaking, and as a brand, when you exit the fair, you can feel you are isolated or disconnected, so it feels good to be back, especially since the philosophy of the fair has evolved and even the name feels much more modern.

Planétarium automaton

It is very rare to see a Maison balance jewellery making and watchmaking as Van Cleef & Arpels does – what is the vision for the watchmaking sector of the company? 

It’s completely embedded in the same story, which brings us back to what we were discussing before, that we don’t really separate the two categories, they are only different expressions of the same identity, with different opportunities. So, for the stories that we tell in jewellery, we are able to give them an animated version through our watches. And this is really what has driven us so far. The connection between the two segments is very strong, which is also why our watches are mostly feminine watches, very much inspired or connected to our jewellery creations. They can be jewels but with a watch and it doesn’t necessarily have to be a complex movement, or we take it to a slightly more complex approach, and this is the way we are going to continue moving forward. I think it’s an identity that has been strengthened over the years and it is quite appreciated. It is very specific and unique in the watch industry because it is really an expression of what the Maison is about. 

Lady Arpels Heures Florales 12H – Face © Van Cleef & Aprels – Clément Rousset

What are two novelties from this offering do you really cherish and why? 

For this year’s creations, if I have to pick, I would firstly pick Heures Florale which has been created over a very long process and has a long story that I really love. It comes from an idea that was first expressed by a Swedish Botanist in the 18th Century. He was a scientist who had this theory that when you look at a garden of flowers, there are some that open and close at different times of the day, and from a scientific perspective, if you were able to organise them, you could probably create a garden that would mimic the concept of a clock, depending on the time of the day, different flowers will open and close. Of course, this project allowed us to dream, a lot of people have tried to do something similar, but it has been mostly a poetic take. I always thought it was a beautiful idea and it keeps within our DNA. Taking this idea to a real watch was a challenge and a journey and here is the result! It is a very first degree, literal approach. You have a dial where you don’t see any traditional indications of time, as we love to do. It is all enamel, there is miniature painting on the back, and it’s really considered a three-dimensional garden. The idea is that the number of flowers that are open indicates the hours of the day, and then you have a more traditional approach with the indication of the minutes at the side. And it has this kind of magical movement where the flowers open and close in a random effect. So, the theory that these scientists dreamt about becomes a reality on this watch. It’s a very simple story but what matters is the visual impact and the ‘wow factor’ that it generates. And then if you really want to dive into the movement and the watch, from a watchmaking standpoint it is really an extraordinary achievement in terms of technical development. But this is not the main goal, what we really want to favour is the impact.

Lady Arpels Heures Florales – Face © Van Cleef & Aprels – Clément Rousset

Can you tell us about the choice of material for the strap? 

It’s fabric and it’s a new material we have been working on. When we talk about relevance, I think that providing our clients with alternative materials to traditional animal skin straps is relevant today. And we want to overcome what can be an issue for some customers, who may not want to wear an animal skin strap, so we fully understand that, and we offer them an alternative. We are not trying to compromise on the identity but to adapt to the expectations of customers. And it looks good, which is important!

And your second favourite reference? 

I would choose one of the Exceptional Pieces from the Automatons collection because they are pieces of art, and we are very happy to have this opportunity at the fair to show them. These are pieces that we spend years working on and they require a crazy amount of work and coordination in terms of crafts. But sometimes people won’t see them, they might go to one place or to a customer, so having them here at the fair allows us to share them. If I had to pick one it would be the Fontaine aux Oiseaux automaton, which I think is one of the most beautiful pieces. It took about five years to create. It is always an intuitive process because we started to work on the idea of table Automatons more than fifteen years ago, then in 2017, we introduced one which showcased everything we learnt in terms of the work and organisation. What is special with these pieces is that we cannot rely on our own workshops so we have to group not only our jewellery and watch workshops but also other specialists that can support with various aspects of these pieces. So, we really have to coordinate all of these extraordinarily talented craftsmen which is what makes these projects so exciting and special.

Fontaine aux Oiseaux

VCA has branched out into several segments – what can you tell us about your latest initiatives and what is coming in the pipeline that you can share when it comes to the commitment of the Maison to society?

There are actually many ways we do this. L’ECOLE, our School of Jewelry Arts, of course, remains a very important initiative for us and it has really developed over the last ten years. We are opening two new parent schools: an additional one in Paris and one in Shanghai before the end of this year. We are also working on additional opportunities in the Middle East, in America and in other countries. It’s a very important project for us that works at a lot of different levels. Of course, we have the classic component of exhibitions and talks, but we are also having more and more research projects – we work a lot with universities and institutions to revive and research all the different fields that are associated with the world of jewellery. There is also an increasing commitment to a social component where we use the resources of the school to give access to education to underprivileged communities, we go to high schools, and it’s a great way to generate interest in vocations related to what we do.

Another field which has always been important for us but is becoming even more so is dance and choreography and two years ago we started an initiative called “Dance Reflections”. We host an annual two-week-long festival where we host many shows in partnership with dance institutions. It is mostly about how to give access to great works and achievements in contemporary dance and how to make this accessible to a wider audience, and there was also a very strong educational component.

And a third aspect is supporting a lot of programmes connected to poetry and literature. We are supporting scholarships across the world.

And so, the only project left to do will be connected to nature and biodiversity, which is of course a key inspiration for us. We are working with some gardens and special museums like the French National Museum of Natural History or supporting the renovations of gardens around the world and supporting research on flowers and biodiversity. So, there is a whole constellation of projects, but they are always linked to the Maison and its DNA and inspiration.

Lady Arpels Ballerine Enchantée Or Rose Pavée – Face 2 © Van Cleef & Arpels – Clément Rousset

What is the biggest challenge you face this year?

Sadly, we have to come back to the international situation that we are seeing in the world currently and with the difficulties that we are all facing, it is difficult to plan mid-term and short-term and to really deploy activities as we expected in a peaceful and organised way. Between the situation in Europe and the tragedies that are happening there as well as the pandemic which continues, we are still facing a lot of uncertainty, so it’s quite difficult to plan. The main thing for me is to make sure that we develop our plans in the best way we can. We need to maintain our direction and make sure that we can deliver on what we promise in circumstances that are very challenging and unstable.

What can we expect in the Middle East from Van Cleef & Arpels this year?

This region is a major region and market for us. This has been the case for a few years but now more than ever. So, we can really develop the Maison in The Middle East with our activities in the same way that we do in Europe or the United States or Asia. It’s not a secondary market at all. We have a lot of projects around L’Ecole, we are also working on a major Patrimony exhibition for the region which is going to be quite spectacular.

Jacques Cavallier Belletrud, Louis Vuitton’s Master Perfumer is a legend in the perfume industry. Having created some of the world’s most iconic fragrances over the last three decades his wealth of experience has allowed him to combine his expertise with the quality of Louis Vuitton to create a special range of fragrances. Louis Vuitton’s scents are in a league of their own. Only available exclusively at the brand’s standalone stores, they set a new standard for quality and are based on evoking emotions and creating a story and relationship with the person that wears them.

Cavallier Belletrud grew up in a family of perfumers in Grasse creating fragrance has been in his blood since a young age. As a young boy, he would walk past an estate called Les Fontaines Parfumées every day. Unbeknown to Jacques, what was hidden behind the wrought iron gates would many years later become his creative atelier. Jacques has always been fascinated by some of the ingredients that could be found close to his hometown – Orange blossom, citronella, lavender – and today he looks to combine this with other preferred ingredients sourced from every corner of the world.

In 2012 Cavallier Belletrud joined Louis Vuitton and has since been focused on introducing cutting-edge technology combines with his incredible expertise and innate sense of storytelling to not just create perfumes that smell nice but evoke emotions and create an instant relationship with the wearer. In 2016 Cavallier Belletrud introduced the first women’s collection for Les Parfums Louis Vuitton with seven initial fragrances. This has since been joined by a line of men’s creations as well as fragrances designed for both genders to enjoy.

This year Jacques Cavallier Belletrud embarks on a journey to the desert with his latest creation Fleur du Désert. Bringing the Master Perfumer back to the Middle East this amber floral fragrance for men and women combines the scents of the East and West. Cavallier Belletrud pays tribute to three Middle Eastern flowers: jasmine, rose and orange blossom which he combines with the perfect balance of oud. The deep scent of Oud is rounded by a honeyed note and a touch of cinnamon. The sensuality of Ambrox melts into the naturally musky softness of ambrette seed to complete this sensory experience. As the fragrance launches around the world, we talk to Jacques Cavallier Belletrud to discover more about the emotions evoked by perfume and the personal experience behind this new scent.

Tell us about the importance of the flowers and other ingredients used in the Fleur du Désert fragrance?

It’s very important to find the right balance between the flowers and the Arabic accords. If the perfume feels too French it’s not good and if it feels too Arabic it’s not good either because it limits the consumer. People are wrong to think that people in the Middle East only love heavy fragrances or fragrances with Oud as it’s not the case at all.

We know you continued to create scents during the pandemic, how challenging was it during this period to continue with what you do?

I stayed at home with my family and my assistant in the South of France and we worked from there because I had to protect my nose. My assistant was blending formulas and ideas and my daughter was collecting samples. We left the house for around 20 minutes only per day and we were very careful. I have some friends who are perfumers who did have COVID-19, and they lost their sense of smell, and it modified their perception of scents so that was a great worry for me. In general, when I have a cold, I feel depressed because I cannot smell, so I cannot imagine losing it for weeks and weeks. So, we were very careful, maybe too careful, but it was not worth taking chances. I was lucky enough to be able to work at home in The South of France at my personal office. We worked with a lot of discipline, and we created a routine. We couldn’t physically travel so the power of imagination was fantastic. Sometimes it’s even better to dream of things than to experience them in reality. I was of course scared for my family, for myself, for my nose, but we were lucky to be locked down in our beautiful house. It was a good reset and a unique experience. We worked and we created quite a lot, so for me, it was overall a positive experience.

So the new scent was an output from this time? 

I was dreaming about flowers and how to mix them and bring them together without being too overpowering. I wanted to add enough oud but not so much that it was dominating, and with the addition of amber, creating a centrality, inspired by the mineral world. So this challenging time took me on a journey to the desert. I wanted to create the feeling of being in the desert and reaching out to touch the sky. That feeling that the world was created just a few minutes ago. So, we added the symbol of the flowers: jasmine, rose and orange flower all flowers that originated in the desert. My grandmother used to prepare food with orange flower water, and it reminds me of that time. So, there is a feeling of myself in this perfume. I wanted to create something sensual, yet mysterious, but not too heavy or dark. It is for me, more complete and more faceted than the regular oud scents.

Your scents are wearable and genderless – how do you find the right balance or realise that you have found the perfect recipe for a perfume? 

I always say that ‘to create is to decide.’ At some point, you must decide what works, and I’m not saying that’s it’s simple, but in fact, you know in your heart that there is a moment when you are modifying something you are working on and there is no result. If you adapt the perfume and you are the only one to notice the difference, then it is not working. My feeling is that the client will see the difference and notice what my modification brings, whether it’s freshness, something more sensual, more volume – and then I must realise if it’s positive or not. Often, I go back to the fragrance we loved at the beginning, and this is the one. There are two very important moments in the creation: the beginning and the end. For this fragrance, I had the image and the idea in my mind, and I wanted to find a bouquet of flowers from the desert that meant bringing life or freshness to a very dry world.

As one of the very few that has this unique gift, as the world changes and many of the processes become mechanical, what challenges do you foresee coming in what you do?

That is the border between luxury and mass. All the so-called luxury brands that are making these changes will not succeed. But the brands that will make their offering higher and higher will survive. It’s very simple, it’s like you are comparing McDonald’s with a three-star Michelin restaurant. McDonald’s can have the best ingredients, but it will always remain as junk/fast food. Don’t get me wrong, I go to McDonald’s sometimes, but what I mean is that you can’t compare the two. And this is exactly what I want to do at Louis Vuitton and I have the freedom to do it. I’m free to produce whatever I want, to have no marketing pressure, no business pressure and I’m working directly with Delphine Arnault, Director and Executive Vice President and Michael Burke, CEO of Louis Vuitton. Michael is a genius, and he is fully supportive of me and believes in me and so I feel very responsible for what I’m doing. For me to create a collection that’s a tribute to the origins of perfumery, is something that I have always wanted to do. To work with the best materials and more than that to produce emotions is truly incredible, and this is the vision of Louis Vuitton.

The biggest mistake that brands make today is that they produce perfumes like they are commodities. A perfume is not a commodity it is an emotion. When you remove your clothes only your perfume is left, and it illustrates the secret part of your personality. It leaves a trail of you even when you leave the room. This philosophy of luxury at Louis Vuitton is the real philosophy of luxury. They have this in mind, and they know how to treat people and we are very successful, and to have a perfumer at a luxury brand is something unique. I am currently building an area at the HQ with a winter garden so visitors can escape into the world of perfume. This will be ready in the summer and will offer a totally immersive experience to our guests. We all lack a lot of emotions and feel depressed post-COVID, so for me, being creative is very optimistic. I have the chance to work with the best materials, price is not an issue, I don’t have the pressure of being on the shelves next to other fragrances, I’m not making cheap things, I’m working with what I consider to be good quality as a perfume, and the best compliments I can receive are things like ‘I love your perfume because I’ve had so many comments about it’.

Tell us about the offering of perfumes at Louis Vuitton?

We have quite a lot of perfumes, but I want to offer choice to our clients. Some clients may not like floral fragrances, and some may not like the oriental style, so they can have a fresh note. I will soon be opening a special atelier just for bespoke perfumes because this is what clients are looking for and I think it’s so chic. We have clients from all around the world that we are making bespoke fragrances for and it’s very difficult. It’s harder to make a fragrance for just one person than for millions because it is a very psychological experience. But I’m the man of secrets and it’s a very exciting challenge! And this is the true power of luxury in fragrances. To produce emotions is very difficult but I love it. To see someone, smile and their eyes light up when they smell a perfume, I have created makes my day. I’m very curious about what makes people who they are, and this is a very interesting part of my job.

What can you tell us about the differences between what men and women are looking for from fragrance? 

I’m curious about what makes a woman a woman and what makes a man a man, everyone is talking about this concept of ‘no gender’, but for me, this is a marketing concept. From my experience the inspiration for men and women is different. I try to take the best of both and mix them together. I do however put a lot of female influences into my men’s perfumes, and I put the strength of men’s perfumes into my women’s fragrances. I think this is clever to do because the inspiration is never the same. It is the same as what Virgil Abloh was doing with the Louis Vuitton men’s fashion collections. He was adding colours that are usually seen as being feminine into men’s clothing. In perfume, we do this too, especially in fragrances for the younger generations.

You have created so many iconic perfumes over the years – in your opinion, what do you think makes a perfume a classic?

In perfume, it is extremely difficult to make a classic. When you are creating it you don’t know that it’s going to be a classic, but 20 years after, if it’s still modern, that’s what makes it a classic. I created L’Eau d’Issey for Issey Miyake in 1996, for example, and that has continued to be a hit until now. I created Jean Paul Gaultier Classique in 1992 and that continues to be a classic 20 years later. I am proud but more than that I’m just happy to smell these fragrances on young ladies. But the point is when you are creating these things, you don’t know at the time what you are doing, it is the clients that show you what you have done over the years. For me, it is a pleasure to invent and to have this chance of being at Louis Vuitton and being alone in a domain that is 100 per cent dedicated to the creation of perfumes is a pleasure. I will be going to Paris next week to see Michael and Delphine where I will share my ideas for the coming years, and this is a pleasure for me. I know the opportunities that I have compared with many perfumers, and this is special.

You have the right balance between storytelling and relevance…

Yes, but the perfume is a story itself. It’s a love affair. I love to put emotions into the bottle like it’s a magic potion. And then, people can decide if they like it or not. But if you like it, you will love it.

Becoming a CEO of a global luxury brand at a young age may seem like a daunting concept to most, but for Frédéric Arnault it was a dream he had been working towards since he was a young boy.

Frédéric is the fourth child of Bernard Arnault, chairman of LVMH Moët Hennessy Louis Vuitton, the group under which TAG Heuer falls. A watch enthusiast at heart, Frédéric has always been fascinated with the world of watchmaking and his age has not held him back when it comes to driving the Swiss brand into the future.

The CEO of TAG Heuer seems to have effortlessly made his mark since joining TAG Heuer in 2017. He was a key player in the development of the brand’s first connected watch, and since becoming CEO in 2020, he has been driving the repositioning of TAG Heuer under his new vision and moving it into the future. This journey has so far seen the introduction of new products, partners, brand ambassadors and most recently, the reimagination of retail spaces and there’s much more to come.

On a recent visit to the UAE as TAG Heuer opens its latest retail concept in Dubai, we caught up with Frédéric Arnault to discuss the newest developments at the company, as well as how he is bringing the brand into the future through innovation and creativity.

Tell us about where TAG Heuer is as a brand today and what is your vision for the future of the company? 

That is a very vast question! We started the exercise of repositioning the brand three years ago and building on our strength, starting with the products. We looked at redefining our pillars and our collections, revamping them to make the offering much stronger. Firstly, we completely revamped our Carrera collection beginning with the Chronograph and introducing a new elegant, sporty design. We worked on the design of the watch but also on the universe, repositioning this collection closer to the motorsport world and its history and connection to Porsche. Carrera is an icon and the story of the link to Porsche was never told.

Then secondly, we have TAG Heuer Aquaracer. This journey started last year with the introduction of a new reference, and we are complementing it this year with a new addition to the line in the form of the TAG Heuer Aquaracer Professional 200. Aquaracer is a very deep collection and it’s time to talk about it. So, we have identified two territories: the first is the diving watch, but Aquaracer is more than just a diving watch, it’s also a professional sports watch so that’s why we have these new editions.

What we also wanted to do is to reinvigorate and make the brand stronger in its expression, so we have redefined the brand purpose and its values. Now we are redefining our retail concept which I think is very important in the whole brand expression as it allows our customers to experience our universe. We began with the website where we invested a lot into the brand image and the storytelling, and now we are investing in the retail stores which is very important. It’s a long journey and we are just at the beginning as we have many more stories to tell in the future.

TAG Heuer, The Dubai Mall

We know you work closely with partners and brand ambassadors – what are the pre-requisites of the ambassadors you choose and how do they serve you in today’s world?

It’s still very important for us to work with ambassadors and friends of the brand who will help us to express the brand in the right way. Firstly, they need to fit with the brand’s values and we are much stricter about this today than we were in the past. It’s not just about choosing someone famous; it’s about selecting people who can represent very well what we stand for and then we need to build a personal relationship and connection with them. We take time to do this and to make them true ambassadors, not just when they must be but through every aspect of their lives and I think this is very important for it to be authentic. Nowadays consumers can see through things that aren’t authentic, so it’s very important for our customers to feel this personal connection.

What is a challenge that you face today? 

There are a lot of challenges of course! The first was to define and explain the vision internally and embark everyone on it, and as there were many changes and shifts in the way we wanted the business to be: investing more, increasing the average price point, but gradually, all of this has huge implications. And to get everyone on board takes time. We needed to see what was successful and what was unsuccessful, and I think we’ve now reached a point where the vision is understood by the market, by our people, our retailers, and our customers. Now that we have this foundation it’s a case of building on it and continuing to go further. The biggest challenge that we have currently is time. Because in the watch industry, things take time. I think in the past sometimes we didn’t take enough time to get things right so moving forward we need to take things slowly, which can be a little frustrating!

One topic we are actively working on is how to reposition ourselves in the high watchmaking segment. We have in our portfolio, for example, the TAG Heuer Mikrograph, which is a complication we invented 100 years ago and we’ve had many innovations in the past and while it plays a small role in the brand, we would like to come back stronger in the future in this segment.

TAG Heuer, The Dubai Mall

TAG Heuer has some of the most iconic watches in its portfolio – what in your opinion makes an iconic design today and how do you as a brand ensure you preserve these icons but also continue to appeal to today’s customers? 

Thanks to the extraordinary heritage of our Manufacture created in 1860, we are very lucky to have in our collections some of the most iconic watches in the world such as the Monaco, the TAG Heuer Carrera and the TAG Heuer Aquaracer. It is also a heritage that we perpetuate by continuing to create outstanding watches which ally great performance, quality, and timeless design. We preserve our icons, but we also continuously innovate to appeal to our clients. TAG Heuer is also a brand that has a state of mind of the perfect mix of heritage and avant-garde. Today, I think that the customers expect brands to be authentic and to stand for something. It is the combination of the two dimensions, the emotion of the brand and the product appeal, that makes our customers buy our products and love our brand.

What kind of client you are now touching base with as you reintroduce the brand? 

Overall, we are targeting a younger and richer clientele with an age range of between 25 and 35 and a certain level of income. We are focusing worldwide but The United States is a very strong region for us, and we’re also targeting Chinese customers. And here in the Middle East, we believe there is great potential. In Dubai of course, but also in Saudi Arabia. We are investing a lot there; we have just opened some new boutiques and we will be opening more. We see developments and many changes; we know the population is very young and there is a will to spend and experience. I also know that sports play a major role in the 20-30 age group as well as the vision of the Crown Prince, so we believe there is a huge opportunity for us there.

Aquaracer Professional 200

How important is it to you to honour the history of the brand and its founders today?

Our heritage is key. We have a department dedicated to our history and a museum located in La Chaux-de-Fonds in Switzerland, where our Manufacture is located. Also, innovation is part of our heritage, thanks to Jack Heuer, who was a real visionary and a pioneer, TAG Heuer is at the origin of some of the most important innovations in the watch industry. Today, through our constant desire to innovate, we perpetuate the heritage of Jack Heuer and we continue to bring to life the avant-garde spirit that is an essential part of the brand’s DNA.

What can we expect to see from the brand moving forward this year?

We had an amazing edition of LVMH Watch Week in January, but we kept our strongest novelties that will talk to the watchmaking community for the upcoming edition of Watches & Wonders. There are new additions to the TAG Heuer Aquaracer collection, but we are talking about movements, quality, reliability, innovation. There are very strong stories around these products. Firstly, we have the TAG Heuer Aquaracer Diving watch. It is a Super Diver of 1,000 metres and we also included a new movement. It has up to a five-year warranty and is of the best quality you can find. The second product is on the outdoor line, and we believe strongly that Quartz watches still play a role that we can be proud of. We can also innovate with Quartz watches and so we are introducing TAG Heuer Aquaracer with new technology that will last for 15 years due to solar energy.

Which watch are you wearing on your wrist today?

Today I am wearing my TAG Heuer Carrera x Porsche Limited Edition; the stunning co-creation that launched with our partner Porsche. But I often change during the day and use my TAG Heuer Connected Calibre E4 if I go to work out for example.

If you had to summarise, what can the customers expect from TAG Heuer?

They can expect innovation and creativity in our watchmaking.

Sitting high above the Rhone Valley, with exceptional panoramic views stretching from the Matterhorn to Mont Blanc you’ll find the picturesque area of Crans-Montana.

Originally two villages (Crans and Montana), they became the now-famous ski resort around 100 years ago. Situated at an altitude of 1500m, the area is home to over 140km of pistes of varying levels and one of the most advanced ski lift systems in the world, so it’s easy to get around. In terms of skiing, there is something for every level, from the nursery areas for beginners to the wide and long red and blue runs for intermediate skiers. Off the slopes, there’s plenty to discover too. Here we offer our insight into what you can expect from this luxury winter getaway.

Where to Stay 

Crans-Montana is widely known for its luxury accommodation. With an offering ranging from private chalets to self-catering apartments, spa hotels and everything in between, you’ll be spoilt for choice. We discovered two of the resorts properties during our stay:

Hôtel Royal

Hôtel Royal

In a perfect location in the city centre, Hôtel Royal is close to all of the area’s amenities. Housed in a traditional style chalet building the hotel features 51 rooms with panoramic views of the Alps, the forest or the ski area. The rooms feature wooden details and most have a balcony allowing guests to take in the fresh air and enjoy the scenery.

Hôtel royal

For those who are planning to ski, the hotel will organise a short transfer to the slopes and you can visit the nearby shops for all your skiing needs. Those opting not to ski can enjoy the indoor pool and hot tub while they enjoy the views and experience true relaxation.

Le Crans Hôtel

Le Crans Hôtel

Just outside of town (around a ten-minute drive) you’ll find Le Crans Hôtel. Located high above the mountains and on the edge of a peaceful Alpine forest, the views from this property are a sight to behold, whatever time of year you’re visiting. A haven of peace and tranquillity this five-star property is known for its sense of warmth and a place to unwind and completely relax. It features one of the best spas in the area and is perfect for those looking for total peace.

Le Crans Hôtel

The rooms are designed with traditional Alpine décor featuring antique pine panelling, elegant colours and cosy textures. With a wide selection of room categories, named after some of the world’s most famous mountain peaks, there is something for every need. Many of the rooms have panoramic views across the mountain tops, inviting you to spend a lazy afternoon, cosying up in bed and gazing out of the window.

Where to Eat 

Désalpe

Désalpe

For authentic Swiss cuisine in the heart of the town, Désalpe is the place to be. With a warm cosy setting and views overlooking the hustle and bustle of the streets, it’s one of the most popular destinations in Cras-Montana. The signature dishes are tartars as well as grilled meat, cooked on the wood fire. All of the meats are locally sourced in Switzerland for the freshest, most delicious flavours. Another must-try is the traditional cheese fondue or raclette, Indulge in the flavours of mature alpine cheese – a cheese lover’s dream!

LeMontBlanc

Le Crans Hôtel is also home to one of the most popular gourmet restaurants in the area. LeMontBlanc offers diners an unforgettable gastronomical experience with artistic seasonal cuisine prepared with local produce by the in-house chef Yannick Crepaux. Each dish is truly a work of art created through Crepaux’s passion for food and using local produce. A must-try is LaTable d’Hôtes; a sample menu of some of the restaurants most popular and creative dishes.

Kaizen

Kaizen

For something different, Japanese restaurant Kaizen is a favourite of locals and visitors to the area. One of the newest editions to the resort Kaizen is the brainchild of chef Miguel de Vega. Bringing a taste of authentic Japanese cuisine to the Swiss Alps, the unique dining destination comprises an incredible menu in a cosy setting. Choose from a menu of traditional-style sushi, sashimi and nigiri as well as delicious main courses including Black Cod and Wagyu beef. Be sure to book ahead as getting a table at this hotspot is not always easy.

Merbé

Merbé

Home to a menu of freshly prepared Swiss and Italian dishes, Merbé is a typical Swiss “brasserie valaisanne”, located within a chalet, offering beautiful views across the mountains. It’s the ideal place to stop for an après ski bite to eat and soak up the fresh air. Merbé has recently been renovated to a high standard and features traditional Swiss wooden décor.

Where to shop 

Rue du Prado

Crans-Montana has been described as having “the largest Alpine shopping facilities in the world”, and that wasn’t an understatement. The main shopping area Rue du Prado is packed full of locally owned stores as well as dozens of international luxury boutiques. From Hermès to Prada, Louis Vuitton, you won’t have to look far to find your favourite designer brand. The latest addition to the shopping district is Loro Piana whose new boutique is a must-visit. Many of the boutiques in the area offer exclusive designs and capsule collections, perfect for adding to your winter wardrobe once you arrive. There are also a number of luxury jewellery and watch boutiques including Cartier and Omega, in case you are looking for something that extra bit special during your stay.

Where to look after your wellbeing

Whether you are looking for some after-ski pampering or a more in-depth treatment, Crans-Montana boasts a number of spa experiences.

Guarda Golf Spa

Guarda Hotel

The nearby Guarda Golf Spa offers a choice of traditional beauty treatments to meet all your wellness needs. From massages to facials to full body treatments this Alpine beauty experience is truly relaxing. When you’re finished with your treatment relax in the heated indoor pool, whirlpool bath and sauna or opt for the traditional hammam experience.

Summit Clinic

Summit Clinic is a professional medical clinic specialising in aesthetic medicine and surgery, preventive and regenerative medicine, and ambulatory surgery, especially orthopaedic. Visitors travel from all around the globe to discover world-class treatments and extra-special care. The clinic will offer a chauffeur service to collect you from your destination and ensure a smooth journey for all.

Getting There 

Crans-Montana is around a two and a half-hour drive from Geneva airport or approximately a four-hour driver from Milan. For more information visit https://www.onecransmontana.ch/

With special thanks to One Crans-Montana.

Young Emirati engineer Reem Al Marzooqi discusses getting global recognition for her work and becoming part of the Bentley Extraordinary Women initiative

Reem Al Marzooqi is a young female engineer and the first citizen of the UAE to be granted a patent in the United States of America for designing a car that can be driven without hands. Her “Lower Extremity Vehicle Navigation Control System” was initially designed to help the lives of those who are disabled and cannot drive a regular car. The system uses a steering lever, an acceleration lever and a brake lever which are entirely foot-controlled, allowing the driver to control the car without the use of their upper body. It was the first system of its kind and has already had patents granted in the United States and Japan while China and the European Union are now reviewing her designs. Here we find out more about her passion for engineering and what it means to her to be part of the Bentley initiative.

Tell us what it means to you to be part of the Bentley Extraordinary Women Initiative?

Being invited to be part of this event was something unexpected for me, and collaborating with a prestigious brand like Bentley for such an important initiative means a lot. I have always wanted to do something remarkable for society and to be known for doing good things, so I hope this collaboration will enable my voice to be heard and I hope to inspire the next generation of women with my experience.

What are you hoping to achieve by being part of this programme, and what do you think you can offer young aspiring entrepreneurs with your knowledge and experience? 

I’d like to inspire young women as they begin their journey into the real world and tell them that it is not as scary as they might think. I hope to share my knowledge of the things I have learned about myself and the world around me since I started my career in engineering. It is all about having courage, trusting in your abilities and knowing that you are not alone in your journey to success.

Why do you think initiatives such as this are useful in helping to empower women in the UAE?

I think such initiatives shed light on the potential struggles women face in various aspects of their lives. For example, it shows how sometimes we place unrealistic expectations on women to meet specific standards in multiple places in our lives. Such initiatives offer a unique support system to women and a safe space to share their struggles and be inspired by other women as well.

What are some of the common codes you share with a brand like Bentley? 

An appreciation of fine details and quality when it comes to representing a project I have worked on or a concept I’m applying in my work, I can see how Bentley focuses on that too.

Tell us about your passion for cars and why you decided to enter this field?

I grew up in a house full of boys so I was already exposed to cars from a young age. But I have to be honest, when I first started, it was challenging and embarrassing in a way, but I realised it’s actually fun to work in such a field and nothing need cause any embarrassment at all.

How do you make sure your voice is heard in an industry dominated by men?

I ensure my voice is heard through my work and the support I receive from other women in the field. The past couple of years saw an incredible development in the engineering field for women, such as Aircraft Engineer, Suaad Al Shamsi. The situation and opportunities for women in the engineering field have drastically changed and I have had great support from other women who push me further in my career development.

Who has been the biggest supporter throughout your journey?

My number one supporter is my mum. She has always believed in me, even when I was being questioned about the decisions I made for myself in my career. Without her support and belief, I would not have gotten this far.

Tell us about the car you designed and where this idea came from?

The inspiration for the project was Jessica Cox, a disabled pilot from the United States, who I contacted before I began working on the project. I first saw her on a TV show, and the idea came to my mind. I was thinking only about how I could help make day-to-day life easier for Jessica and other disabled people. My thought process was simple, and I wanted to create something I could send to Jessica for her to use.

What is the biggest challenge you face in what you do today?

One of the biggest challenges I face is working in a male-dominated industry. However, it’s my passion and this makes me challenge myself to excel even more in this field.

What would you still like to achieve that you haven’t done yet?

I would like to find an innovation that can help people who suffer from eczema – especially children – because I have watched so many people around me normalising the discomfort and pain caused by it. It’s a very stubborn condition to deal with and I don’t blame anyone who has lost hope, but I’m so sure that an innovative solution can help.

Tell us about some of your upcoming work for 2022?

I’m currently focusing on environmental projects and solutions to help the planet heal faster.

What advice would you give to women looking to enter the automotive industry?

Think of it as a bigger scale of toys and try to enjoy your journey, there is always a place for women in this field and mastering it will boost your self-esteem more than anything.

The UAE recently celebrated 50 years – what did this moment mean to you?

The 50th anniversary of the UAE allowed me to truly appreciate how far we have come as a country. By global standards, we are an incredibly young country and seeing it develop, while I myself transitioned from adolescence to adulthood, it has been a unique experience.

What is the professional motto that you live by? 

Never underestimate your abilities or simplify or limit your capabilities to just grades, job title or degree. You need to invest as an individual and never stop learning.

Donatella Versace, Chief Creative Officer of Versace discusses her vision for the House, the S/S 22 collection and the brand’s iconic red-carpet moments.

Despite the world facing a turbulent two years throughout the global pandemic, Versace is a brand that has gone from strength to strength. With Donatella Versace at the helm, it has continued to push forward, always staying relevant and continuing to honour its heritage in new, innovative ways.

A house that transcends generations, Versace appeals to a vast audience around the world thanks to Donatella’s unique approach to design. While innovation and talking to a young audience are key, the Chief Creative Officer never forgets her lifelong customers and always comes back to the iconic styles and motifs that have been part of the brand for over forty years.

This year, for her Spring/Summer 2022 collection, Donatella Versace revisited some iconic motifs including the Versace Medusa, the unforgettable safety pins and even the brand’s iconic chainmail. There were also new modern classics added into the mix, playing on historical styles but giving them a new twist for a new audience. Donatella enlisted members of her “Versace family” including Dua Lipa, Naomi Campbell, Emily Ratajkowski, and Lourdes Leon to showcase the collection in Milan. Here we find out more about the spring/summer 22 collection as well as her vision for the future of the house.

Donatella Versace at the Versace SS22 Fashion Show

Tell us about the Spring/Summer 22 collection, the highlights and the men and women it represents?

The main inspiration for the Spring/Summer 2022 collection is the Versace iconic silk foulard; a fundamental component of Versace’s heritage and DNA. It has acted as a canvas for our iconic prints, and it can be worn in multiple ways, from knotted tops to headscarves to bags and accessories. It’s a way of adding attitude to every look. The foulard has been with us since the very beginning of the brand, but this season turns everything on its head: it is no longer fluid or dreamy, the scarf is provocative, sexy, and it is for both men and women.

The past two years have been unusual to say the least – what is something you have changed at Versace since the beginning of the pandemic?

So much has surfaced in the last couple of years and there has been a lot to reflect on. Many might re-consider the role of fashion in all this. I have certainly thought about it on several occasions. I believe we now have the chance to make a difference, to positively impact the lives of future generations. It is our responsibility to preserve the planet, promote human rights and create the basis for a better life. I am prepared to put myself out there, as I have always done. That’s what Versace stands for. To not be afraid to dare, to provoke, to indulge and to look on the bright side of things and make a difference. We are stronger than ever.

What is a lesson you feel you have learnt over the past two years?

I think above all, I have rediscovered the importance of solidarity, unity, and the power of actions.

The Fendace collection was an iconic moment – tell us about the project with Kim Jones, why you decided to create this collection, and can you share a little on the process behind your designs? 

Kim Jones called me and said, “I would like to do something with you, but something that has never been done before.” There have been a lot of collaborations between brands but never a full swap of designers. So, I became the designer of Fendi and he became the designer of Versace. I interpreted Fendi in the way I see Fendi. We approached it like a game more than a real job and that allowed us to be free to express ourselves. I’d like to underline that a collaboration is one thing but swapping designers is something totally different. Kim trusts me enough to hand Fendi over to me and he allowed me to translate it into my vision. I trust him enough to give Versace to him and his vision.

We have seen in recent seasons a lot more collaborations, partnerships, and strategic brand takeovers – do you think this is something consumers what to see more of and is there room for more to come?

I have never stepped away from a creative collaboration when I felt it was the right thing to do, but I do not seek to collaborate just for publicity. It must be something creative, inspiring and that looks to the future, at innovation, at doing something that has never been done before. When two creative minds come together, they can do anything, and I find the process very impressive and stimulating in all its phases.

We’ve seen some great accessories in the last few seasons – La Medusa bag, the Greca Sneakers – to name a few – what do you think makes a modern icon when it comes to accessories in today’s market? 

I think we all want to have something special in our closets, something that makes us feel happy. And this is what accessories are made for! That’s why in the SS22 collection I introduced the new Triplatform line; a selection of footwear favourites that innovate the idea of a platform shoe with a wavey block heel and fun-loving aesthetic. They’re so very Versace! Speaking of accessories, the new season also introduces a youthful La Medusa mini bag style, which provides multiple carry options, including a stiff-chain top handle and adjustable shoulder strap. Another perfect item to become a modern icon.

Going back to the SS22 show, we saw you reflect on the past years of the brand – what is an era or moment throughout Versace’s history that you still hold close to your heart today?

One of the most important to me is the Tribute Collection. It marked a turning moment for me personally and professionally. That was the first time I went back into the brand’s archive. It was a moment of transformation and catharsis, and it was the beginning of a new era for Versace.

Versace Triplatform

We’ve seen some great new brand ambassadors joining the house in recent years, what do you look for when choosing someone to represent your brand and how do you connect them with the customer?

I always admire when someone has the courage to speak their mind, whether I agree with them or not. That is what I look for when I’m choosing someone to represent Versace. It is never just about placing a dress on someone or shooting a nice picture…it is about getting to know that person, about creating a long-lasting friendship, about being part of the Versace family!

What are your goals for Versace for 2022?

To stay relevant and creative. As a designer, I could not wish for anything more than that.

Looking at the longer term, if you had to sum up your current vision for the house what would you tell us?

To be true to its DNA but always evolving.

Looking forward to the upcoming fall/winter 2022 shows, is there anything you can share with us on what to expect?

I can only tell you to stay tuned!

In recent years your red-carpet gowns have truly been incredible – what are some moments that stand out to you from some of the celebrity red carpet moments Versace has had recently?

There are too many to count, even just considering 2021! Angelina Jolie at the premiere of “Eternals” in Rome, Maluma and Lil Nas X at the MET Gala, Zendaya at the Bet Awards, Dua Lipa at The Grammys…I am so lucky to work with incredible celebrities that can be called as such because of their personalities, their strength, endurance, and the positive impact they have.

We hope to see you in Dubai soon – what can you tell us about Versace in the Middle East?

The Middle East is a very important region for Versace and I personally love it. Ever since we launched in the region, I have realised that Versace is so loved and appreciated. It is fascinating to see your sense of style and your knowledge of luxury fashion.

Peter Philips, Creative and Image Director for Dior Makeup discusses the house’s latest makeup collection and a new approach to beauty after the global pandemic.

As Parisian jeweller FRED opens its first boutique in Dubai we meet CEO Charles Leung and Artistic Director Valérie Samuel.

Parisian jeweller FRED recently opened its first boutique in Dubai, beginning a new chapter in the Middle East for the first time with physical points of sale. Founded by Fred Samuel in 1936 as a “Creative Modern Jeweller,” FRED offers unexpected contemporary designs that have been unique and modern yet timeless since the beginning. And while this is the first step for the brand in the region, Fred Samuel has always had a passion for the Middle East. As a keen traveller who was interested in every culture, he would scout the world for sources of inspiration. For many years he created pieces for the private collections of key figures in Middle East Royal families as well as VIP clients in the region. Many of these beautiful pieces are still thought to be with their owners in the region until now.

Today, FRED combines its elegant heritage with the ability to always create jewels that reflect the moment they are designed in. Modern yet timeless but always one step ahead, their pieces are made to be worn every day, but still feature the finest in quality. Under the leadership of its CEO Charles Leung, FRED is expanding its network and wants to share the story with the Middle East for the first time. Charles works alongside Valérie Samuel, the granddaughter of the founder as well as the Maison’s Vice President and Artistic Director. Together they are blending the history and the future of the brand for a seamless global expansion. As the brand opens its first store in the region we meet with Charles and Valérie to find out more about the plans for growth in the region and the message that the brand is trying to share today.

 

 

What can you tell us about the concept of the new FRED store in The Dubai Mall?

The most difficult thing to do in a jewellery boutique is to make clients feel relaxed. I’ve been in the business for 25 years and this is one of the things we have always asked, and it is almost impossible. But when I arrived here, I found it very easy. There is a very good vibe and people are quite at ease when they come to FRED here in Dubai. We want to make sure that this spirit stays in the store, but at the same time, we must tell the story through different elements: the creative elements of the shop but also keeping it luxurious. We can be relaxed but we want it to be a luxury experience.

 

Why did you decide to come to the region at this moment?

There are a lot of opportunities here. We wanted to come to Dubai and it was in the three-year plan when I first joined the company as CEO. We needed to be in the region and work on sharing the story of the brand and our collections. It was a natural expansion. Originally, we had planned to come in 2022 but we received an invitation from The Dubai Mall. It was a little be earlier than planned, but when you get an invitation like that, it’s something you can’t say no to!

 

 

Where do you aim to position the brand in the Middle East?

What is important when coming back to the Middle East is that we need to make sure people understand that we are a high jeweller, but at the same time, we might be the coolest and the most approachable. We want people to know that we have that level of quality and craftsmanship, but at the same time, our doors are open, and we are very welcoming and inclusive. All generations, all genders, it has always been like this at FRED and we want to continue with this DNA.

 

What challenges do you face when you are rolling out the brand in this region?

I think the challenge is to relate to the customers in the most efficient way. We are a bit late as a lot of brands are already well established here, especially in the last ten years as there was a boom of luxury in the region, and a lot of brands have done a really good job in telling their story and building a great client base. The challenge is how to catch up with that and tell our story when customers are already so overloaded with brands. They will for sure like the freshness of a new brand, but we have to be relevant and tell a story that interests them.

 

What do you think sets FRED apart from other brands in the market?

We have a different DNA from other brands, and we like to play with this difference. First of all, we have our founder, Fred Samuel. We must put him and his life out there because he is a real person and that makes us different. The second point is our “Riviera spirit”. This is a relaxed effortless approach. It’s very high quality but at the same time, it’s very easy. And thirdly we want to communicate on our technical audacity. It has been part of the house ever since the first bracelet was created 55 years ago. The tone of FRED is always about being “in the now”. We are not trying to share a story that happened 200 years ago or a story of the future. We are about being in the present moment.

 

 

We just faced a very difficult period – did you change anything in your strategy moving forward after the pandemic?

I think we further confirmed our strategy and positioning. That is that FRED’s jewels are for every big and small moment. Before the pandemic, we all thought that jewellery was for specific occasions – a wedding, an engagement, a dinner – but after the pandemic, I believe we have changed a lot of things. We believe that what really matters to us, might not be the so-called big deal that we thought it was. It could be just a simple coffee with friends, but we have a good laugh and a conversation, but today, that’s more important than going to any dinner or event to impress someone you might not even know. So, during this time, we have confirmed that FRED’s purpose is to bring everyday joy through our jewellery. It’s not about being pretentious. We also reinforced our digital capacity so that we can reach our customers easier and in different ways, even if there is a pandemic so that they can still find joy.

 

What is in the pipeline for FRED in the region?

We hope that this is just the beautiful start of our story in the region. Hopefully, because there is still a lot to explore, we will establish quickly here and progressively open in the region. We are saying, although it does depend on the developments of the shopping malls, that we are aiming to try to open a least one store per year.

 

What is your vision and direction to take FRED forward?

The purpose of our brand is to bring joy and we want people to think about FRED when they want to buy something that makes them happy. And I think we have already succeeded in that. We are very close to being one of the top ten pure jewellery brands in the world and after this year we will be in the top ten. And we won’t stop there!

 

What is one thing that you still aspire to do at FRED?

I think the aim is to succeed in bringing back our heritage in a very professional way. I think there is so much richness and so many extraordinary designs and pieces from our past that are worth sharing with a larger audience to give justice to Fred Samuel and the family. This is something we are working on, and I hope very soon it will become a reality. Of course, it’s a huge investment to do that, but I think what is great also is that we are not thinking of the short term in terms of our goals, we are thinking long term. I hope that with the help of our Artistic Director Valérie Samuel and some of the heritage team we can make this a dream come true. We would like to have an exhibition that showcases some pieces from our past and we are launching a campaign to source some of the custom- made pieces from the past.

 

Valérie Samuel: The most beautiful pieces from our history are here in the region for sure.
Back in those days, pieces were not signed so some people may have pieces and not know their value. So, we have the challenge of locating some of these pieces through auction houses etc. We launched the campaign two months ago and we have already had more than 130 people contact us and not only tell us that they have some of our pieces, but they want to share their stories. One lady came to us with a very beautiful watch, and she told us how Fred Samuel himself advised her to have full diamonds on the watch to celebrate her wedding anniversary. Then she finished her testimony saying, “I still have the watch and the husband thirty years later!” So, it has been a real journey for her. This is my favourite story!

 

Valérie Samuel.

 

How difficult is it to respect the DNA and the heritage of the brand but at the same time remain relevant to today’s customers?

Charles: I will pass this question on to Valerie…

Valérie: I think this is an easy task because our DNA and heritage are in the now. It’s not something from the past and it speaks to everyone today. Our pieces have never been designed to be kept in a safe, they are designed to be worn and they have always been so “in the now”. We have realised that relevance is one of our key values and it’s something we experience every day with our clients. So, keeping this balance is not complicated because we are just true to ourselves and true to our founder’s vision and of being a modern jewellery design and this is what we follow every day.

Charles: We have been a jeweller since the beginning and Fred’s vision was to keep everything professional and we still want to continue with this. All of our jewellery pieces have a very high standard, and we cannot accept anything less.

Valérie: We also have a lot of versatile pieces that can be worn in several ways and that is what our clients are looking for.

 

If you were to describe FRED in three words what would it be?

Valerie: Fred Samuel is inspiring us in everything we do so I would say; true, consistent and relevant.
We are translating his vision and our values into everything we do today and that is what you can experience in our store.

Silvia Venturini Fendi, Artistic Director of Accessories and Menswear at Fendi discusses the brand’s latest initiative that honours the skills of Italian artisans.

This October, Fendi presented a unique art exhibition in Rome. “Hand in Hand” honoured the brand’s appreciation for Italian craftsmanship and highlighted the importance of preserving traditional crafts and supporting the few artisans that can implement these special skills today. Taking place inside the Palazzo della Civiltà Italiana in Rome, Hand In Hand showcased the brand’s partnership with local artisans across Italy who have implemented their own style on the iconic Fendi Baguette handbag. The initiative first began in 2020 as the brand partnered with artisans from around the country to transform this iconic accessory, designed by Artistic Director of Accessories and Menswear Silvia Venturini Fendi in their own way, showcasing their talents and skills. This unprecedented project showcases the time-honoured skills of craftspeople across Italy whose specialities in the applied arts continue FENDI’s long history of reinterpreting this iconic shape.

 

 

The exhibition in Rome showcased the work of this diverse group of ateliers and workshops, presenting their transformations of the classic Baguette and showcasing some of the crafts themselves. Twenty bags are on display, each handmade in a different Italian province in collaboration with the best local artisans. Floor-to-ceiling LED screens projected visions of the skilled artisans at work as they sketch designs, prepare materials, apply age-old techniques, and reveal the intergenerational secrets of their ancestral art. At the centre, each bag is displayed amongst the materials and tools used to create it. From weaving and embroidery to silversmithing, leather marquetry, lacework, tapestry, mosaic and more, 20 meticulous processes are revealed in a series of video documentaries embedded into each workstation, taking the viewer on a voyage across Italy and into family-owned workshops and craft collectives from around the country.

 

At the heart of the project is Fendi’s Artistic Director of Accessories and Menswear Silvia Venturini Fendi, who not only designed the Fendi Baguette in 1997 but has been supporting the use of traditional Italian crafts throughout her career. As a member of the Fendi family Silvia understands and appreciates the importance that these techniques have had at the brand since the beginning and with many of them dying out, she hopes that with Hand in Hand, Fendi can help to promote the value and importance of the Made In Italy concept. Here we discuss more about the project and the relevance of traditional craftsmanship today.

 

FENDI Baguette Hand in Hand exhibition – Calabria Artisan

 

Tell us about how the exhibition came to life and why did you call it Hand in Hand?

We often communicate on our products and the designers, but not so much on the people that are behind the creation of the objects, and with this initiative, I wanted to celebrate these incredible people. That’s why we called it “Hand in Hand” as it represents Fendi and the artisans coming together. I think that today, more than ever, people want to know what they are buying and wearing, how products are made, what they are paying for and the story behind it. I think we want to consume less, but better. And so sustainability and ethical issues are very important to today’s customers. It’s like when you eat, you look at what the ingredients are in your food, or if it’s organic etc. because you take into consideration your health, and I think the same thing applies to the products we wear and use. This is a way for brands to be transparent.

 

What is a lesson you have taken away from the experience of the global pandemic?

I think that today I’m more relaxed about things that used to be so important to me. Now I see everything from a different perspective. In a moment everything you believed in can change and you must reorder your values and priorities. So today I’m more flexible. Before I used to say “I have to have it, I need to go there”. Today, if it’s possible, I will, but otherwise, I can live without it.

 

FENDI Baguette Hand in Hand exhibition Umbria Artisan

 

To what extent do you think the “Made in Italy” concept is still relevant?

I believe that Italy is still the capital of craftsmanship. Made in Italy is a real value for us because it’s made up of many family-owned companies that have been keeping their skills alive for generations. Many other countries have lost their crafts and heritage for various reasons, but in Italy, it’s still alive, maybe not as it was before because the number of artisans is much less, but it is still there, and we need to recognise it.

In my generation we wanted our children to be lawyers, computer programmers, doctors, etc. and we thought that working in craftsmanship was something too humble, but that is not the case. And therefore, I want the artisans to be centre stage with this project.

We are expecting many people to visit over the next few weeks, including many young people, and I think that today more than ever, this is a profession for the future. To work with your hands and to be an artisan means that you can put a lot of yourself into an object, and today with the addition of the digital world, you can spread your message and amplify it. You could be an artisan in a small village in Italy, but your project can be seen all around the world. These artisans do incredible things and there is a real history behind it and I think it is a moment to show it.

 

Are you planning to take this as a travelling exhibition?

Yes, why not? It would be very nice, but the time of the artisans is also very precious, so it depends on them as they also need to continue with their production.

 

FENDI Baguette hand in hand exhibition – Molise Artisan

 

Is there a particular region of Italy that you connect with in terms of craftsmanship?

Every time I hear a story of craftsmanship it seems so unique, and I think it’s my favourite. Then I hear another story and I think that’s my favourite! It’s so difficult to choose one. At the moment, I have two regions from where I like: Umbria and Sardinia. Sardinia reminds me of my childhood because I went on a trip there with my grandparents when I was four or five years old. The bag the artisans from that region have created reminds me of a carpet my grandparents bought, so it brings back memories. And Umbria because I love the region and my paternal grandmother was from there. I have a house there which I go to very often and the Baguette they have created is so beautiful and I feel it’s something that shares a little of myself. I already ordered another bag: the one from Valle d’Aosta, because I think it will be nice to have when I go to the mountains, and I ordered one from Calabria because the story is so beautiful, and I know that I will wear it when I go to the country. It’s so moving to hear the processes and it makes me want to have them all!

 

Speaking of childhood, as a child did you have big dreams?

Yes as every child did. But what I knew was that I want to be part of this [Fendi], but then I had to compete with giants and try to prove and train myself, but it was worth it.

 

FENDI Baguette hand in hand exhibition – Lombardia bag

 

What is a challenge you have faced along the way and how did you overcome it?

For me, every day is a new challenge. When creating a collection, I have to deal with people in the world, changing their habits and I like to translate each moment into the products I create and the things I do. So for me, every collection is like the first. I like to have a very humble approach in everything I do.

 

What is something that you haven’t done yet that you still want to achieve at Fendi?

At any moment I have new ideas so I think I will always be looking to find new challenges. I have done a lot at Fendi but I am very curious to know one day what I can do without Fendi, this is something that I haven’t experienced yet! So, I do wonder what I will do one day if I have the time for myself? But at Fendi, I’ve done so much.

 

FENDI Baguette hand in hand exhibition – Umbria

 

Why do you think Fendi has been so successful at keeping a balance between the old and new generations of customers?

Maybe because we come from a family-owned company and we are used to dealing with multiple generations, maybe because this family attitude is still very much alive. I see it even in Kim Jones, the moment he arrived he was inspired by Delphina [Fendi], and he works closely with me, so he understands that you have to deal with different women of different ages and different generations which is something he immediately took into consideration when he joined the house. This is so important because today we want to be relevant, but we must be realistic, and I think that comes quite naturally here. Maybe it’s because this company has been modelled on a different range of women. For many years I have been working with my mother and listening to her but also working with my daughter and listening to her and I think this is very important at Fendi.

 

What is the message you would like to send to your clients in the Middle East?

I would like to say that I think they can appreciate the creations in this exhibition because the Middle East has an incredible heritage and I think that it’s important that to keep that DNA alive and not conform. When I visit the region, I want to see the culture and I think what the Middle East and the UAE is doing is amazing.

Shahad Abdullatif created her jewellery line LaStella during the global pandemic.

The Emirati entrepreneur decided to turn her passion for jewellery design into a business after longing for unique pieces that were different from anything else out there. LaStella combines innovative design with expert craftsmanship to showcase collections that bring together classic design and contemporary style.

Shahad Abdullatif graduated from Zayed University with a major in Enterprise Management, but it was her passion and eye for jewellery that would shape up her career. To take this passion to the next level, Shahad studied the art and process of designing jewellery before deciding to create her own brand. With LaStella she aims to offer every woman a luxurious range of jewellery styles, from small, delicate pieces to bold, statement designs.

Her first collection “Demantur” was inspired by the dramatic and wild beauty of Reynisfjara in Iceland, a black sandy beach located on the south coast of the country. The collection channels the different levelled patterns found on the basalt sea stacks that the area is known for. Here we discover more about the latest collections and Abdullatif’s vision moving forward.

What can you tell us about the universe of La Stella?

LaStella was founded with a passion for design and a dedication to bring unique, classy pieces to the jewellery market. Each piece is designed to translate the love between wild nature and the passion to create unique jewellery pieces.

What is it about jewellery that you love and why did you decide to launch your own brand? 

I believe that jewellery is a gateway to self-expression that helps each individual to reveal part of their personality. I have always had an eye for jewellery and a love for creativity which fuelled my desire to start my own brand.

Tell us about the latest collections?

The latest collection “Demantur” is inspired by the dramatic and wild beauty of Reynisfjara. It emphasises the beauty of gold and diamonds through an array of necklaces, chokers, rings, earrings and bangles.

How would you describe your designs?

I would describe my designs as contemporary and elegant, catered to the modern woman. The latest collection artistically portrays the basalt sea stacks found on Reynisfjara through different levelled patterns on the bangles. While the Hálsanefshellir Cave nestled within the beach paved the path to a bold colour palette of black, gold and white.

Can you tell us about the stones used in your pieces and how you go about sourcing them?

All our designs use diamonds and different gemstones which are ethically sourced from top suppliers in the industry.

You launched your company in the Middle of a pandemic – what was the biggest challenge you faced and how did you overcome it?

One of the biggest challenges we faced during the pandemic was sourcing the right materials from different countries due to different lockdown restrictions. However, this gave us the time to invest in defining our brand and finalising designs for the launch.

Where would you like to see your brand in five years? 

I would love to see LaStella designs trending globally and adored by women all around the world.

What do you think women are looking for from jewellery today? 

For women, jewellery is an essential accessory that completes their look. Today, women like to choose jewellery that expresses their look and their personality.

This month we are celebrating the 50th anniversary of the UAE, what does this occasion mean to you? 

I feel very honoured to live in a country where the word “impossible” doesn’t exist. This country strives to be the best in everything.

What is a message that you would send to your country on this occasion?

I would like to thank UAE for empowering the women of this country and for giving each of us the recognition that we deserve.

What is your fondest memory of the UAE from your childhood?

One of my fondest memories was creating the biggest flag for the National Day celebration.

How will you be celebrating the 50th anniversary? 

I will be celebrating by spending time with my family and reliving the memories of the past which will contribute to strengthening the national identity of our children.

What do you think the UAE has that no other country possesses? 

Wise leadership.

Where would you like to see the UAE in another 50 years? 

I would love to see the UAE as one of the most developed and innovative countries in the world.

What is the personal motto that you live by?

Take the leap of faith and keep going to achieve your dreams.

What advice would you give to other women who are looking to start their own businesses?

My advice would be to believe in yourself and your passion as this will help you achieve whatever you put your mind to.

Who or what inspires you the most? 

Nature inspires me. It has its own mystery and magic.

What is a message you would send to our readers about your brand? 

LaStella is a jewellery brand that celebrates every woman by creating unique pieces that are a fusion of innovative designs and impeccable craftsmanship.

H.E. Shamsa Saleh, CEO of Dubai Women Establishment and Secretary-General of the UAE Gender Balance Council discusses the UAE’s progress in gender balance and going beyond women’s empowerment

This month we are celebrating the 50^th anniversary of the UAE, what does this occasion mean to you?

This occasion is not only about celebrating the 50^th anniversary of our beloved nation, but also celebrating the gift that this land and the wise leadership has given to its people. Back in 1971, we only had five female graduates. As I was growing up in Dubai, things were changing rapidly. Today, we have succeeded in closing the gender gap and we are the first nation worldwide in the female literacy rate. Pioneering this agenda globally is something we never thought of, but always aspired to, and today we reap the benefits of this progress. Our government, throughout the decades, worked tirelessly to engage women in the country’s economic development and fuel its growth through women. I don’t only speak for myself, but for all Emirati women – we are now enablers, not the enabled.

What is a message that you would send to your country on this occasion?

I would like to congratulate every member of our society – women, men, children and the elderly – they have all contributed to making our country one of the best in the world to live in. Loving our country is what I and many others were raised on, and is something that I teach my children. The UAE has given us everything and continues to surpass not just our expectations, but that of the international community as well.

This occasion is an opportunity to celebrate our success and look forward to the vision of the next 50 years. Every government entity and organisation is part of this vision and we look forward to the challenge of elevating our nation’s status even further. We are competing globally across competitive indexes in various fields, and we have proved to the world our success with tangible numbers. I will give my all to the UAE, and I know that all of my fellow Emiratis will do just the same.

What is your fondest memory of the UAE from your childhood?

I have a lot of fond memories from my childhood! As you would expect, I experienced the old and new of Dubai and the UAE. I saw new buildings rise. I remember a time when Sheikh Zayed road was not paved! I still remember the National Day celebrations in our neighbourhood, they were so simple back then. In school, I always used to participate by wearing traditional dress, performing the Emirati dance for my classmates, and waving the flag proudly all day long!

Fast forward to today, we can see the tallest building in the world from anywhere in Dubai. When it comes to infrastructure, I’m proud to say that we have one of the best in the world.

And it doesn’t stop there, we have reached new horizons across fields such as space with our mission to Mars. I can truly thank the wise leadership for the fast progress between the 70s and now. It has only been 50 years but we’re competing globally and leading the race regionally.

How will you be celebrating the 50^th anniversary?

I will be celebrating with my family as well as being part of celebrations happening across the city. This year is a special year for all the UAE and we look forward to it. We will be celebrating our achievements and successes, including our current high ranking in global competitive indexes. We will be celebrating the happiness of our nation, a place where people from over 200 countries live in peace and harmony as well as looking to the future, and the next 50 years in a new chapter for the UAE.

In a way, we have already started celebrating the anniversary with the hosting of Expo 2020 Dubai, one of the main accomplishments that happened during the UAE’s Golden Jubilee. We hope that the UAE will remain a place where the world can get together to celebrate, discuss and create a bright future for our world.

What do you think the UAE has that no other country possesses?

Our biggest possession is great visionary leadership. Their greatest assets are their clear direction, transparency and the hunger for the UAE to be a leader across fields. This ambition is highly appreciated by the people of the UAE, who aspire to follow in their path.

They have set for us standards that we always strive for. This is what leading by example really means, and we’re grateful for it. The various strategies across government entities are all linked to their overall vision for the UAE, and when we work on agendas related to women and gender equality, we know that it will add value to that wider nationwide vision.

Where would you like to see the UAE in another 50 years?

I am a result-oriented person and always have been. I can see our country surpass expectations and lead global competitive rankings, not only across the region but the globe.

We will expand our horizons, become pioneers in modern fields and work together with nations to create a better future for humanity.

Tell us about what you are currently working on and what is in the pipeline for the coming year?

There is always something new in the pipeline and an objective that we work towards. We are now working on the new gender balance strategy in the UAE, after going the extra mile in closing the gap by raising awareness, introducing legislation and overcoming challenges. Now, we are in a position to introduce a new innovative approach to gender equality and export best practices to the world. This will be achieved through our new gender balance strategy. We also have partnerships lined up with global organisations in the aim to accelerate women’s portfolio in the UAE.

What is a quote or motto from the UAE’s leaders that inspires you the most?

There are many quotes and mottos that I live by from our leaders. The one that inspires me the most is: “Never settle for anything less than first place” by His Highness Sheikh Mohammed bin Rashid Al Maktoum. Being number one, competing globally and having a result-oriented mindset like our leaders is very important. This is my motto in life.

Lucia Silvestri, Creative Director at Bulgari discuss the latest chapter of the Jannah collection, a special partnership in collaboration with Her Highness Sheikha Fatima bint Hazza bin Zayed Al Nahyan.

In 2020 Bulgari introduced the Jannah collection. A collection that was a result of the coming together of Lucia Silvestri, Bulgari’s Creative Director, and Her Highness Sheikha Fatima bint Hazza bin Zayed Al Nahyan to create a special collection that transcends cultures and generations. The high jewellery collection which was unveiled last year was a huge success and today, the story continues as the Roman jeweller presents chapter two of Jannah; a beautiful fine jewellery collection that honours the first Jannah designs. Under the wish of Her Highness this new collection allows for a wider audience to discover a part of Jannah through new pieces that, much like the first designs, are inspired by the interior of Abu Dhabi’s iconic Sheikh Zayed Grand Mosque.

The symmetrical five-petal “Jannah” flower was designed by Lucia Silvestri when she created the first collection and that same geometric symbol is reimagined on the new collection, combining elegant Mother of Pearl and rose gold. Her Highness said of the collection: “It is so light and beautiful, literally heaven. This is Sheikh Zayed’s message through a work of art.” Inspired by her late grandfather Sheikh Zayed Bin Sultan Al Nahyan, the collection represents a message of peace and love.

The collection, which was launched in Dubai, consists of six delicate and refined 18-carat rose gold creations that can be worn alone or layered together for a modern, everyday look. Embedded in a circular gold frame, the five-petal Jannah flower is set with iridescent mother-of-pearl inserts and dazzling diamond pavé stones. A sophisticated pendant necklace with matching pendant earrings is finished with a shimmering gold and diamond tassel. Stud earrings, a soft bracelet and an elegant pendant necklace complete the collection, while a versatile sautoir features two-sided discs – with or without diamond pavé lines which can be rotated to create different compositions. As the collection launches in UAE stores, we sat down with Lucia Silvestri to find out more.

Tell us about the new Jannah fine jewellery collection and how it came to life.

First of all, I want to say that collaborating with Her Highness Sheikha Fatima bint Hazza bin Zayed Al Nahyan has been a fantastic experience. When I met her for the first time she told me about her traditions and the love she has for her grandfather and the Grand Mosque and she was so proud. We immediately felt that we have the same values: family, love for what we do and tradition. The second time I met her I came to the UAE with my designer, and we went to the Grand Mosque in Abu Dhabi and we took so many pictures and started to think about the geometry in the design. We design our jewels with a lot of geometry, and we didn’t want to have something that was too romantic. We wanted to create a flower but in a contemporary way with the geometry that we saw at the mosque. We also saw a lot of marble and that is why we have chosen to play with Mother of Pearl in this collection. It’s a very wearable collection and very feminine and elegant.

How long did this collection take to come to life?

It took less time than the high jewellery collection because we already had the basics and with this collection, we played around with the flower and the design that we already had. The details are the same and the quality of the craftsmanship is the same. The pieces are very feminine and playful, and they can be layered. The idea was that it had to be simple and elegant and for everyday wear and I think that is what we have. It’s amazing to see this collection come to life and Her Highness was very happy to have this collection.

How was the experience of creating something specifically for the Middle East?

I didn’t know it could be such a great experience. Working with Her Highness was fantastic. I remember the first appointment I had with her, I was a little bit scared because, for me, a Sheikha is a like a queen. But when I met her, she was so nice, and I felt at home. We have common values as I mentioned and I think Italian culture and UAE culture both value warmth, hospitality and family – so this was when I realised, we could work together. As you know in Rome we are living in a city that is like an open museum and when I went to the mosque I immediately felt this same beauty. There was such great energy. You can see the light and the white and gold everywhere and it’s so beautiful. The whole process was a beautiful journey from the beginning to the end.

We know you have started to travel after the pandemic – tell us about your recent trips and how you get inspiration from different sources around the world?

I recently went back to India after two years and it was very important for me to be back there. I worked with my team via Zoom for two years, but it was not the same because I have this need to touch the gems. I was in India for a week and as soon as I arrived, I immediately felt at home again. I like to touch the stones and experiment with new cuts. I saw some of the rough stones and I started to dream about new stones for our upcoming collections. I discovered new gems which we are already planning to use for our collections in 2023. We start to work on each collection one year before, but to find the stones I have to start much earlier. I can’t say too much but I will work with new stones for our 2023 collection which we found in Jaipur. I was so happy and excited because I saw the stones from the rough cut. I’m proud to say that I am the only one in the jewellery industry who can follow the process of the stones from the rough to the finished product. As a woman, I am very proud to be working in a male-dominated world and be the only one who can say this. So, I know the real story of each jewel.

Speaking of women, being a woman in this industry, do you see any changes in the way people look at you since so much emphasis has been put on women’s empowerment and equality?

We as women have had to work hard for these changes to happen. When I started working in this industry over 40 years ago it was completely different. Things have changed, but we still must continue to work hard. In my position yes, it is different because people know who I am, and I have the power of my experience. Only with experience and determination you can do it. But there is a message that I want to give to all women: be determined and persistent, but also with femininity. Don’t forget that we are women, and we can achieve our goals but with elegance and femininity.

You have been with Bulgari for many years and achieved a lot, what is something that you would still like to do?

There is always something new that I would like to achieve. I love to have new challenges and to do something new in terms of designs and collections. My challenge in this company is to always create something new but continue to honour the legacy of the company in all our products. When I create new designs, I want to say; “yes it’s new, but it’s Bulgari.”

Across history, jewellery has always reflected its era, what is a collection that you would like to see reflecting what we are living today?  

Today, I see a lot of competition. Everyone is creating high jewellery pieces and honestly, I don’t see very beautiful jewels, I see massive jewels that are less elegant. So, I think it is a little bit of a confusing period. But from my side and from the brand I can say that our clients are looking for quality. Quality in terms of the gems and the craftsmanship. And this is the direction that we are following.

What are your thoughts on your customers in the Middle East and what do you think they are looking for from jewellery today?

I love our customers here because I love the way they wear jewels. They are very proud to show the jewels that they are wearing. In Europe, things are a lot more hidden, but here in the Middle East, I am very happy to see my jewellery being worn by these beautiful ladies. And that’s why it’s important for me to come here, to see how women are wearing our jewels.

We know you are already working on the next high jewellery collection. If you were to describe in one word what would it be? 

Spectacular.

What is a final message you would like to send to our readers and your clients in the region?

Wear jewels with joy and don’t keep them in a safe because they are pieces of art. Jewels are forever and for generations to come so wear them with joy.

Pietro Beccari, Christian Dior’s Chairman and CEO discusses the future of the house and the determination to be the market leader in the region

Since joining Christian Dior as Chairman and CEO in 2018, Pietro Beccari has been faced with a global pandemic, a huge restoration project and a digital evolution. But the luxury brand always seems to come out on top. Throughout the pandemic, Dior was one of the few fashion houses who continued to be constantly active and to push forward with projects, despite the challenges the world was facing. This determination is something that has been with the house since the beginning in 1946. Christian Dior was never a follower of others, and his challenging spirit is what the house was built on. Today, Beccari is honouring that spirit by continuing to push the boundaries of innovation, technology, and creativity at the luxury house.

The most recent project of bringing the Christian Dior Designer of Dreams exhibition to Qatar, reinforces the house’s relationship with the Middle East and highlights the importance of clients in this area of the world. In this exclusive interview, Pietro Beccari shares more on Dior’s fighting spirit, the latest in technology and innovation and the future of the house in the Middle East.

Dior was among the few brands that showed agility, resilience and even growth during the pandemic – to what do you attribute this success?

I think it is a combination of factors. The most important one is our team and our spirit and the courage that we had to face challenges and to keep accelerating and investing while others were not. In the period of crisis, we decided to keep investing in our shows, and to continue with our collaborations. We began many initiatives and we had courage, instinct and a risk-taking attitude which was very typical of Mr Christian Dior himself. We kept moving forward and we have been prospering and having a good time. It takes courage and a collective risk-taking attitude to achieve this and it’s something I’m very proud of.

Pietro Beccari with wife Elisabetta at the opening of the Christian Dior Designer of Dreams exhibition at M7 Museum in Doha © GETTY

How would you assess the luxury fashion industry today?

After this period of crisis, many brands are coming back with a vengeance. I think everyone is investing and trying to beat each other in terms of events, visibility and conquering a market share and a share of public interest. There are many big events happening and brands are even more eager to get visibility and they are doing it through multiple investments. This reaction is what I expected, as after any crisis you would normally have event spending and revenge investment. There is a lot of money in our industry and people want to invest to show that they can, so I am very positive about the industry moving forward.

Temporary façade by Pierre Delavie of the Avenue Montagne flagship © ADRIEN DIRAND

We have of course seen a huge growth in digital selling since the beginning of the pandemic – do the stores remain the brick and mortar of the brand and how do you now see that blend between physical and digital?

 You are talking to someone that made a large investment in re-modelling the Avenue Montaigne store which will be ready very soon, so we strongly believe in brick and mortar, and we invest a large amount of our money into our stores. Particular stores like Avenue Montaigne are a symbol of our DNA and highlight what we represent in terms of values, aesthetics and what we want to communicate. That being said, E-commerce is becoming more and more important, but it is a matter of convenience. There are people who may not have stores close to their home for example therefore online becomes very important in this way. And pop-up boutiques are a way for us to show a different side of ourselves. When you are on vacation for example, and you see a pop-up it can be a way of understanding another facet of the brand in a surprising way and it creates excitement.

Tell us about the augmented reality and technology that Dior is leading the market with?

To be at the forefront of innovation is part of our DNA. If you think about it, the company was born based on a new, innovative idea and I believe that Dior must continue being innovative in terms of technology and that is therefore what we are doing. We are present all around the world on many social networks in Europe and America, Asia etc. We were one of the first brands to be on TikTok and we were the first ones to invent the method of launching new products with different types of celebrities online, explaining the product at the same time to various places around the world. This is something that we invented and now everyone is following. So having innovation on one side, and then something like this exhibition in Qatar on the other, so that we can display our savoir-faire and our historical roots, is very important. We have these two facets which are in a way reassuring the consumer.

Temporary façade of the future Dior headquarters on the Avenue des Champs-Élysées © KRISTEN PELOU

How challenging is it to remain relevant today while at the same time continuing to guard the brand’s DNA and heritage?

If you were to ask me what’s the main challenge of a CEO in today’s world this is it: to be able to balance both acts. Mr Dior wrote in his book that for tradition to be relevant you need to adapt it to retain that relevancy. If you don’t do that, then tradition will always stay as tradition and become old and outdated. Therefore, this balance between tradition and modernity is the most important thing a CEO must manage in his daily work. It is not only the CEO, but it is also the responsibility of the Creative Directors as they are the ones who are out there sharing their collections, then the brand expresses itself in different forms – digital, exhibitions, stores, advertising etc. – and all that is the result of a reflection, and you cannot be too traditional or too modern. It’s a fine balance and it is the most difficult part of my job.

What is a significant challenge that you have faced at Dior and how did you overcome it?

I think it’s difficult to highlight one thing but what comes to my mind is the positive values that I have found at Dior and the incredible potential of this house. In the past four years, we have been the fastest-growing brand, so I didn’t find a difficulty, on the contrary, I found a huge potential, but maybe the most difficult part has been to align everybody with the vision, our positioning, and our repositioning since I took over. We had a seminar where we called every store manager from all over the world together so we could share the vision. Dior is about a dream of someone who after the war woke up and said, ‘it’s time for me to create something for me, but also trying to do something for women and make them not only more beautiful but happier.’ No one else has ever put this concept of being happier and dreaming out there before and therefore to align everyone behind this vision and to make it concrete has probably been the biggest challenge.

Christian Dior Designer of Dreams exhibition at M7 in Doha © NELSON GARRIDO

What is your vision and objectives for the brand moving forward?

The near objectives in the industry are always in a three-year cycle. The challenge we have is to keep being a living brand in terms of growth and market share all over the world as we have been doing, because we don’t want to be complacent or look at the past. We will be judged for what we will do and not for what we have done, because what we have done has already been forgotten. Therefore, the challenge is to keep this fighting spirit and not to get too satisfied with what we have done before. We need to be eager to have the capacity to reinvent ourselves and that’s the main challenge.

What is the perception of luxury to you today?

My perception of luxury is the same as it always has been: it’s about the emotion that you are able to give to a product through the savoir-faire. Today, we cannot hide, what we share is even more on display thanks to social media, so you must be an open book and to give emotion by being authentic. Mr Dior wrote in his book that through authenticity you can move mountains and you can make miracles happen and that’s what we try to accomplish: to be able to give an emotion to a product, to an event, or to a story we are telling. And customers want to be able to participate and to share the values that you are presenting. It’s not just enough to sell a product, it’s everything that’s around it and it’s the image of the brand that counts.

Today we are in Qatar discovering the latest edition of the Designer of Dreams exhibition – tell me why Qatar was chosen to be the host city and what is unique to this particular edition of the travelling exhibition?

In terms of why Qatar, we owe it to the persistence and vision of Her Excellency Sheikha Al Mayassa Bint Hamad Al Thani, who believed in this exhibition to be shown in Qatar, particularly at this historical moment of the inauguration of the M7 building which is a beautiful cultural hub. Her vision for the country, her courage and her characteristics are similar to what Mr Dior had when he decided to create the company. And of course, we have to support the country and young talents as the country modernises and move towards the future. The event was originally scheduled for 2020 because it was a year of cultural exchange between Qatar and France and of course the pandemic meant that it couldn’t happen last year, but we have come back with a vengeance, and we want to celebrate. And it’s very fitting and relevant in a way: our company was founded after the war and now we are celebrating after this terrible time and there is a return to the energy, we had pre-covid and we wanted to do it in a majestic way.

Secondly, there are some personal pieces belonging to Her Highness Sheikha Moza bint Nasser on display that she generously contributed and there are some inspirations of embroideries that Mr Dior and his successors utilised during their shows, so there is a dialogue between the Arabic world and the history of Dior.

Christian Dior Designer of Dreams exhibition at M7 in Doha © DANIEL SIMS

What is in the pipeline for Dior in the Middle East and on a global level?

There are lots of store openings happening – yesterday we visited a new fantastic store in Doha that will open at the beginning of next year at Place Vendôme, a new part of the city. It’s a large store, so it’s a big challenge. And then we have several other stores opening – in Saudi Arabia, in Bahrain – so we are investing a lot in the region, we believe in the region, and we are very close to being the number one brand in the Middle East. It’s not a competition but it is nice to be the leader, so therefore leadership in the region is our objective and we are not that far off. Dior is loved in the Middle East, and we feel a lot of love for the brand so it is a pleasure to be back in the region. We have continued investing here and this exhibition is also a testimony of our commitment to the region.

What is a major milestone you have achieved since joining the brand and what is something you still aspire to do that you haven’t done yet at Dior?

The major milestone is that we achieved our five-year objectives in a much shorter time expected and personally I am very proud that, along with a fantastic team of people, we were able to grow during the COVID pandemic. Not only did we achieve our objectives we did it during the year of COVID and that is a huge milestone. In terms of what I still want to accomplish I would say the opening of Avenue Montaigne is a major milestone and I think Dior after this opening will be a different Dior and that says it all.

What is a message that you would like to give to your fans and clients in the Middle East?

As I said, we are dedicated to the region. We kept investing even during a very difficult year and we are very happy to have done so. We keep developing our products for the world, but for the Middle East but we have paid particular attention to our capsule collections. We will have a new collection for Ramadan next year and we have products that are specially dedicated to the region, and I invite your readers to go to the stores and discover. I think this is a symbol of our love for The Middle East.

Italian jeweller Buccellati has been a family business since its founding in 1919. The house has built its foundations on creating elegant jewels that display the finest in craftsmanship and goldsmithing while using the highest quality materials.

The brand’s jewellery revolves around intricate textural details and signature engraving techniques, as well as using the finest gemstones, taking inspiration from traditional Italian elements such as Venetian lace, Etruscan patterns, Italian vegetation, insects and animals, all of which have been key elements of the brand since the beginning. Founder Mario Buccellati was fascinated by all types of metals from a young age and combined this love with a passion for gemstones and the Renaissance period to create a jewellery house that produces pieces that are instantly recognisable.

Today, the same family who have kept true to the DNA and vision of its founder is still actively involved in Buccellati. But the challenge, as it is for many traditional jewellers today, is to continue to protect its history and DNA, while remaining relevant to today’s customer and every-changing environment. To find out more about how Buccellati is doing just this, as well as some of the plans for the brand in the Middle East, we talk to Maria Cristina Buccellati, Global Communication and Marketing Director.

What do you believe makes Buccellati unique as a brand?

The delicate and unique handcrafted workmanship makes the Buccellati style as unique as the artisans who create are jewellery collections. No two pieces are ever the same thanks to the beauty of being handmade.

What do you think makes a jewellery piece an icon in today’s world?

A product that embodies your character and your way of being, becomes iconic. Buccellati is an extremely elegant and refined brand and this is reflected through the women who wear our creations.

In your opinion what are some of Buccellati’s “iconic” pieces and what makes them iconic?

The Macri collection is definitely the most iconic and our best-seller thanks to the unique workmanship which became a Buccellati trademark. The beautiful engraving turns gold into a silk-like material. Another important icon for us is the honeycomb workmanship, which is again, very recognisable and unique.

MACRI BRACELETS

How does Buccellati find the perfect balance between tradition and modernity?

To continue to create a classic style that never goes out of fashion is one of the most important values of the brand. Once a product is timeless it can be used forever and passed down to future generations.

How important is it for clients today to understand the history and heritage of the House?

I think once you understand the philosophy of Buccellati and the intricate workmanship techniques that we use, you will understand the real value of our jewellery.

MACRI RINGS

What do you think women are looking for from jewellery today?

Personally, as a woman, when I choose a piece of jewellery, I prefer something that not only adorns me elegantly and discreetly but something that can also enhance my features.

How does Buccellati aim to attract a younger clientele but ensure it is still appealing to its long-standing loyal customer base?

We try to interpret a new easy-going and casual lifestyle in our own way, but we do not forget sophisticated looks. We are now communicating more through digital platforms which gives access to a broader range of customers of all ages, but the most important thing is to remain true to our identity.

Can you tell us a little about sustainability at Buccellati?

Sustainability can have many different meanings but for us it means not only the responsible procurement of all precious metals, stones and diamonds that we use for our creations but also a way to create unique objects that can be preserved for decades and passed from down from generation to generation, giving new life to them each time. Part of our current mission is to recollect all vintage Buccellati pieces to give them a new purpose.

What is the importance of sustaining traditional Italian jewellery crafts and what action is Buccellati taking to help with this?

The Italian goldsmithing tradition is as ancient as the world! We aim to maintain and preserve the values of artisanal workmanship as well as create a school where young artisans can learn. Once they show passion dedication and skills, they are welcome to continue their professional path with us.

The incredible engraving on Buccellati’s pieces sets them apart from other brands – tell us a little about this process and the value of sustaining this technique within the house?

Engraving is one of the most recognisable techniques at Buccellati. It is something that’s done completely by hand and needs great skills of creativity and precision. There is a special tool called a “bulino” which has a sharp point that carves the metal when creating the designs. In the case of rigato the lines are parallel and they are done one by one with infinite patience.

Is there anything you have changed about the business moving forward after the pandemic and what is a lesson you have learnt from this time?

Work wise, we have started working on an e-commerce platform which will allow us to reach customers in every part of the world.

What can you tell us about the plan for Buccellati in the Middle East?

We are already present in Kuwait, Bahrain and Qatar and soon we will have our own boutique in Dubai for the first time.

What is a message you would send to clients in the region?

I would love to invite our clients in the Middle East to get to know the brand not only through the product but also by meeting the family members and understanding the love and the passion we all have for our work and our tradition.

What can we expect to see in the coming months from the brand?

This month we are launching our first book which looks back on our past 100 years; our work and our story. On top of that, we have a new collection of Ombelicali necklaces inspired by a special long necklace that the Poet Gabriele d’Annunzio, friend and admirer of Mario Buccellati, used to commission for his girlfriends.

An idyllic haven in the heart of The Maldives, The St. Regis Maldives Vommuli Resort offers the ultimate in contemporary luxury.

Arrival at the Velana International Airport is the smoothest of journeys thanks to the St Regis Lounge where guests will be welcomed as they wait for their seaplane. If you haven’t travelled by seaplane before, get ready for an exciting experience. A short flight away you’ll find yourself landing in a blue oasis that feels a million miles away from civilisation.

Immediately you’ll feel relaxed. The St. Regis Maldives Resort is situated on the private island of Vommuli in the Dhaalu Atoll, also known as Southern Nilandhe Atoll, it’s one of the most southern inhabited islands and features its own unique natural elements. You’ll instantly notice the modern architecture and interior design, which features elements of tradition and local culture, and the values of St. Regis the brand.

With an eco-friendly design, sustainability is a priority on the island and you will instantly notice some of the practices that have been put into place to support this. As a light breeze flows through the resort you’ll be invited to relax by the friendly staff as they make your experience as smooth as possible from the very beginning.

Rooms & Suites

With a unique modern design, the rooms at St. Regis Maldives Vommuli Resort are unlike any others in the area. With sustainability at the heart of everything that’s done here, the rooms are designed to be ecologically friendly. Comprising of 44 overwater villas and 33 beach villas surrounded by serene blue waters or lush green gardens depending on your preference. For those like us, who are travelling with family, the two-bedroom Sunset Overwater Villas or the Two Bedroom Beach Villas are perfect.

Each comes with its own private pool and terrace as well as plenty of space for everyone to relax. Inside the rooms, you’ll find state of the art technology including a St. Regis Maldives Vommuli Resort and super-fast WiFi (a must for those of us who need to always be connected). We fell in love with the interior design which is modern with a touch of island elegance.

Light furnishings with wooden details and hints of blue tones connect the outside and inside, making this the perfect haven for relaxing and soaking up the atmosphere. Each villa has a private butler service. Your butler will be on hand to handle any request throughout your stay.

For large groups, the resort is readily equipped thanks to its large accommodation options. The Caroline Astor Estate comprises three beachfront bedrooms and a 67-square-metre private swimming pool. While for the ultimate indulgent experience the John Jacob Astor Estate is the largest three-bedroom overwater villa in the Maldives.

Named after the chain’s founder this huge presidential villa features a private gym, cinema room, spa suites, staff quarters and a 92-square-metre infinity pool plus a private jacuzzi and two plunge pools. It really is the ultimate in luxury and perfect for large family stays with space for up to 12 people.

Food & Dining

When staying at a resort that offers the best in luxury experiences, it goes without saying that the food is going to be out of this world. The St. Regis Maldives Vommuli Resort doesn’t disappoint when it comes to dining. If you’re travelling with kids, then a visit to Crust is a must. The pizzeria invites guests to design their own pizza from a selection of available toppings and it will be cooked to order.

For something more formal Decanter, the subterranean restaurant offers a unique five-course dining experience that you won’t forget. Alba presents modern interpretations of Italian classics, offering dishes with locally sourced produce, while Orientale offers a new take on oriental dishes including a pan-Asian selection and a sushi bar. And for those looking for something extra special, there are numerous private dining experiences that can be arranged around the island. From dinner under the stars on the white sandy beaches to a private sandbank picnic in the middle of the Indian Ocean, no request is too much for the team at St. Regis.

Before or after eating we highly recommend paying a visit to the iconic Whale Bar. This overwater lounge is the iconic instantly recognisable whale-shaped structure that makes up the beating heart of the resort. If you happen to be visiting at sunset you will have the joy of experiencing a very special sparkling grape ceremony that The St. Regis has been known for across the world. Relaxing at sunset in this location is a truly special experience that you won’t forget.

Spa & Wellness

No trip to the Maldives is complete without a luxury spa experience and this is one that you won’t forget in a hurry. The Iridium Spa is situated atop the luscious blue ocean, with views out to sea and the sound of the waves relaxing your mind and body. With a treatment menu based around island life expect to feel whisked away to a tropical paradise. The 1,850-square-metre haven features elegant furnishings set against white oak interiors. Six treatment rooms, including two Ayurvedic suites with private steam rooms, are the perfect destination for the ultimate relaxation.

Highlight treatments include the Ayurvedic Shirodhara, the Caviar Journey and the Iridium Signature Touch which will offer a unique service for each and every guest. After your treatment, enjoy the Blue Hole Pool, one of the most expansive hydrotherapy pools in the Maldives and enjoy an array of whirlpool jets as you relax in peace. Aside from the space, the island salon, located in the Vommuli House provides all your hair, makeup and nail needs if you are looking for some extra pampering.

In the fitness centre you will discover a unique offering of amenities including Jumping Fitness; a dynamic fitness training system, fitness classes and an exercise room for activities including anti-gravity and laughing yoga. Outdoor tennis courts will offer a great wellness experience for all and a range of water sports are on offer for thrill-seekers and those looking for an adventure.

Activities for all the Family   

When you’re in the Maldives there is no reason to get bored and at The St. Regis Maldives Vommuli Resort, there are so many activities and experiences to satisfy any taste or need. Charter a private boat with your loved ones for a day or island hopping, sunset watching or dolphin spotting as you discover the beauty of the area. Head to the library where you will discover over 800 books to borrow throughout your stay. Cycle around the island and take in the luscious green landscape or enjoy snorkelling around the beautiful coral reef that surrounds the island.

For the little ones, the resort children’s club is designed to keep the little ones focused, engaged and entertained throughout their stay. Activities on offer include children’s yoga, painting, creative crafts, games and plenty of entertainment. The club is monitored at all times by professional childcare attendants. Carefully selected to reduce the risk of injury, all toys and furnishings are non-toxic and environmentally friendly. For teens, Socialite is a recreation area designed to offer an escape from reality. The games room features games included table tennis, pool and air hockey, as well as video and board games.

The St. Regis Maldives Vommuli Resort is currently running a number of special offers for guests. Visit https://www.marriott.com/en-us/hotels/mlexr-the-st-regis-maldives-vommuli-resort/overview/ to find out more.

Dr Houriya Kazim, the UAE’s first female breast surgeon discusses raising the awareness of cancer during the global pandemic, not just in October but all year round

After attending medical school in Ireland, Dr Houriya Kazim returned to the UAE to intern at a government hospital in Dubai. At the time, breast cancer was a subject that women didn’t like to talk about it and the taboo surrounding the disease meant that many women weren’t diagnosed until it was much further developed in their bodies. Kazim saw some of the most advanced breast tumours she had ever seen and this both shocked and worried her for the future. She discovered that superstition, fear, lack of knowledge and mainly modesty, prevented many Emirati and Arab women from seeking treatment from the country’s predominantly male medical establishment and knew that she wanted to pursue a career in this field in order to try and help remove the stigma around the disease. She became the UAE’s first female breast surgeon after pursuing further training in The United Kingdom and The United States before returning to work in the UAE once again.

Motivated by what she’d seen during her internship, Kazim created an ambitious outreach programme to educate women about breast cancer, taught them about breast (and body) awareness, and offered treatment advice and options. In 2006, she opened the country’s first Well Woman Clinic staffed exclusively by women for all women’s healthcare needs. She also established Brest Friends, a charity organization that includes the first breast cancer support group in Dubai. In 2015, Brest Friends partnered with Al Jalila Foundation, a non-governmental organization established by His Highness Sheikh Mohammed Bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai. The joint mission is to promote early detection of breast cancer, expedite support with medical treatment and research into the epidemiology of breast cancer in the UAE and the region.

Much of Kazim’s work has helped to reduce the taboo around breast cancer and subsequently saved the lives of women in The Emirates, but there’s still much to be done. As cancer rates continue to rise globally, further development in medicine and technology is crucial in the fight against this disease. On the occasion of Breast Cancer Awareness month we discover more about what we can all be doing to keep the awareness going not just in October, but all year-round.

This past year, health has been at the forefront of everyone minds – how do you think this has impacted the approach to breast cancer? 

The entire world has been collectively anxious for the last year and a half, however, my breast cancer patients were doubly so – having to deal with two potentially lethal illnesses. Unlike other parts of the world, our cancer patients in the UAE had continuity of their care. There were some changes in their management though, such as minimising the extent of surgery to decrease the time staying in hospital. This sometimes meant they needed another operation later to complete their surgical care. We often changed the order of treatment for a patient – giving them chemotherapy as an out-patient first, before surgery, again to limit the time the patient stayed in hospital.

Of course, COVID-19 has become something we are all aware of but why is it important to continue to raise awareness of breast cancer, especially when are in a global pandemic? 

People still get cancer, despite the prevailing pandemic. Some patients, even though they are aware that their check-ups are due, are still afraid to visit hospitals due to the perceived risk of getting COVID-19. So, it’s important to keep reminding women to continue with their usual medical screenings. I’ve had many patients, who found a lump during the early part of the pandemic but didn’t visit a Specialist until much later as they were afraid of getting COVID-19 if they left their homes.

What advice would you give to women who have been putting off visiting a doctor to get their breasts checked because of the restrictions around COVID-19? 

The COVID-19 situation in the UAE is so much better now, and most people are vaccinated. In addition, all medical centres have stepped up their sterilisation programs to minimise the risk of covid transmission. I would advise women to please continue with their usual breast checks.

Can you tell us about any new developments in technology around breast cancer that could be particularly beneficial to women moving forward? 

We now have 3D mammography (called tomosynthesis) which can pick up the early stages of breast cancer much better than the previous 2D mammograms. From a surgical management point of view, we are always trying to minimise how much surgery we do on the breast and the lymph nodes, which can only be good news for the patient. The medical treatment of breast cancer is very dynamic with new drugs being developed that target cancers with a particular biology. We use immunotherapy for some cancers and we even have drugs that treat cancers that have occurred due to an inherited gene mutation. So, it’s not one drug for all breast cancers.

What is something we can all do at home to check for lumps or abnormalities in our breasts? 

All women should be body aware – not just breast-aware. They should know what their bodies look and feel like and if they ever notice anything new, they should show it to a specialist. The best way to screen for breast cancer is by having regular mammograms.

How do you think the stigma related to breast cancer has lessened in the Middle East over the past years? 

The stigma is still there but much less so over the past two decades. I think the awareness programmes and the internet, have been responsible for this welcomed change.

What can we all be doing to educate our children and the younger generation on breast cancer? 

Breast cancer is a disease whose risk increases with age. The median age of breast cancer in Europe and North American is 62 years. In the MENA region, it’s in the mid-40s, so I don’t believe we should be scaring children about breast cancer. And even for adults, it’s also important to remember that 9 out of 10 women will NOT get breast cancer and that more women will die of heart disease than breast cancer. So, education for the younger generation should be about their general health – things like diet and exercise – and not just focussed on the breasts.

What is the biggest challenge you face now in what you do? 

Breast cancer treatment is a long journey that can be very expensive. The biggest challenge that I have professionally is not a medical issue but is in trying to help patients have their treatment without the added financial worry.

What is the biggest reward you get from your job?

My biggest reward is my patients. Every day they show me how strong and resilient women really are!

What is something you still want to do that you haven’t done yet?

I would like to research why, in this part of the world, (MENA and Indian Subcontinent), the median age for breast cancer is almost two decades younger than in the West. This has huge implications. A woman getting breast cancer in her 40s or younger, would be in the prime of her life, the peak of her career or bringing up a young family when affected with this disease.

Tell us about some of the recent charity work you have been doing and how is it helping men and women? 

In 2002, I set up Brest Friends whose mission is trifold – breast cancer education and awareness, to offer financial help to pay for treatment, and locally-based research into the disease. In 2015, we partnered with the Al Jalila Foundation, whose mission aligned with ours. The Foundation helps raise money for our cause but also for a host of other worthy causes that men, women and children in our community will benefit from.

What is something you will be doing to raise awareness this October? 

As breast cancer occurs all year, our awareness programs run all year! We do step things up in October with informative talks to ladies’ groups, schools and colleges, local and international companies. Most importantly, we plan special events for breast cancer survivors such as “look good, feel good” events with our cosmetic partners etc.

What is a message you would like to send to our readers around the topic of breast cancer? 

To please keep up with your usual health checks, including mammograms.