Within the frame of Milan’s Design Week, Bvlgari introduces the “RVLES OF DESIGN” at Fuorisalone and meets the international media during the vernissage in Via delle Erbe in the Brera Design District. With an unexpected catering by the Bvlgari Hotel Milano, the roman Maison brings us through a journey along three different locations with three extraordinary exhibitions: an immersive 1000-metres-square installation in the Brera Design District, a Mirror Cube in il Giardino of the Bvlgari Hotel Milano, and a Gallery in the Montenapoleone Boutique. All the installations celebrate the special relationship of the brand with Design, starting from the evolution of its most iconic ring, the B.zero1.

BVLGARI INSTALLATION @ BRERA DESIGN DISTRICT

Envisioned as a labyrinth, the installation welcomes visitors into an abstract universe, where they are forced to abandon everything they know in order to grasp the Bvlgari essence of art and design: deconstruct rules in order to reinvent them.A stunning visual adventure translating three key elements of Bvlgari creativity – materials, modularity and colour – into a three-dimensional space, interpreted by three icons from the world of design and architecture: Iván Navarro & Courtney Smith, MVRDV and Storagemilano.

THE MIRROR CUBE AT BVLGARI HOTEL

 Il Giardino of the Bvlgari Hotel Milano is also transformed into a spectacular space for design, and hosts the second part of the Reinventing Design Rules journey: The Mirror Cube. It occupies the Hotel’s garden and makes it shine through its mirroring walls. Once inside the dreamlike structure, the guest is captivated by the hypnotic black and white pattern lining: B.zero1 dominates the scene. Selfie Rules are reinvented inside the Cube: a special camera generates an instant GIF that can be shared by the guests on their social profiles.

THE BVLGARI GALLERY AT MONTENAPOLEONE BOUTIQUE

At the Montenapoleone boutique, a hypnotic Gallery evokes the distinctive patterns of the Brera Design District and Bvlgari Hotel’s installations. An immersive environment allows guests to fully enjoy and celebrate the B.zero1 collection universe through theme windows transformed with geometric patterns.

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HERE IS HOW YOU CAN ACHIEVE ATTENTION GRABBING BRIDAL BROWS WITH BENEFIT’S PRODUCTS AND EXPERT TIPS FROM MENAT EL ABD.

Today is YOUR day and choosing the right look for your brows is as important as choosing the wedding dress. With Benefit products, having bridal brows has never been easier. The new “Gimme Brow+” and “Precisely, my Brow Pencil” along with “High Brow Glow” are here to help you achieve the perfect bridal brow look for your big day.

For the perfect brows, what is best is to start off the look with applying natural hair strokes by using “Precisely, My Brow” pencil to fill any gaps in and then set the look by topping it off with the new “Gimme Brow+”.

With the new “Gimme Brow+” tinted eyebrow gel, its applicator will definitely allow you to create the bridal brow look you desire in no time. The new product’s updated formula has tiny microfibers that helps volumizing the brows and adheres to the skin as well so you can guarantee a full brow look while looking flawless and natural. What is brow-mazing about this product is the fact that it’s water resistant and long wearing, so you can go ahead and enjoy your wedding with no worries.

Last but not least, to emphasize on the brows and make them pop, use the “High Brow Glow” Brow Pencil to highlight them and add a little of bit of a glamourous glow to your bridal look.

Here are the five steps for your Bridal Brows with a hint of glow. These guarantee a soft natural yet long lasting brow look for you to celebrate the big day. They have never been easier and they will definitely not take much of your time.

With these beautiful bridal brows, one of my favorite tips for all the brides getting ready for their big day is add “Gold Rush” to their look. This golden-nectar blush gives any look a natural-looking warm glow. Simply dust the blush on the apples of your cheeks and blend upward along your cheekbones for a natural flush and you’re done!

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Louis Vuitton enriches it’s Objets Nomades collection with 10 new items that were presented at The Salone del Mobile in Milan. Les Petits Nomades is a new collection of decorative objects from leading contemporary designers.

Created in 2012, the Objets Nomades collection keeps alive Louis Vuitton’s long tradition of beautifully crafted travel objects. Some of the world’s most renowned designers have since imagined stunning travel-inspired Objets, which have then been made by Louis Vuitton. This year, two new designers have joined the collection: India Mahdavi and Tokujin Yoshioka.

The limited editions and experimental prototypes that make up the Objets Nomades collection all pay homage to the House’s special orders of the past – such as the iconic Bed Trunk produced in 1874 for French explorer Pierre Savorgnan de Brazza – and add the defiantly contemporary visions of creative designers from around the world: Atelier Oï, Maarten Baas, Barber and Osgerby, the Campana Brothers, Damien Langlois-Meurinne, Nendo, Gwenaël Nicolas, Raw Edges, Patricia Urquiola, Marcel Wanders, and, most recently, India Mahdavi and Tokujin Yoshioka.

Today, there are 25 Objets Nomades, from a hammock to a deckchair, a swing chair to a foldable stool. Each project has been an opportunity for the designers and Louis Vuitton’s creative artisans to combine their savoir-faire to interpret the idea of travel in their own imaginative ways. Each Objet embodies their shared ideals: a love of the beauty of fine materials, the possibility of forms and carefully balanced proportions, complex and meticulous craftsmanship, and close attention to detail.

These values are clearly present in the 10 Objets Nomades recently added to the collection, such as the Campana Brothers’ playful sofa, inspired by clouds and the shell Botticelli painted for Venus; Atelier Oï’s stunning chair, with its repurposed straps resembling leather belts; Marcel Wanders’ modern, richly malletage-leather rocking chair; and India Mahdavi’s talisman-inspired nomade side table with its remarkable leather marquetry.

Over 160 years after Louis Vuitton began exploring new territories and ideas of travel, the Objets Nomades collection can be seen as proof that the House has lost none of its sense of adventure.

©Louis Vuitton Malletier – Odile Le Moal

ANDRÉ FU

“It is important to me to create forums in which people can gather and interact in person.”

André Fu was born in Hong Kong, educated in the UK from the age of 14, and studied architecture at the University of Cambridge. He credits his 30 years of travelling between Asia and Europe to define his style and unique blend of craft and innovation. He founded his design studio AFSO in Hong Kong in 2000 and since then has worked on hotels, restaurants, galleries, installations and retail spaces worldwide, including the Upper House Hotel in Hong Kong, Singapore’s Andaz Hotel, Villa la Coste in Aix en Provence and the Pavilion Suites at the Berkeley, London. Among his most recent projects was Galerie Perrotin’s new gallery space in Tokyo. Fu has won numerous awards and in 2016, was named Designer of the Year at Maison&Objet Asia, and included in Wallpaper* magazine’s Top 20 Interior Designers.

RIBBON DANCE

André Fu’s two-person “conversation” chair is a graceful echo of the movements of traditional Asian ribbon dances. Its pair of seats sit balanced between the elegant curves of the wooden arms covered in Louis Vuitton leather, their shape evoking ideas of infinity and giving the chair its delightfully fluid profile.

–

©Benjamin Decoin

PATRICIA URQUIOLA

“Nomadism is for me a condition of contemporaneity and lightness.”

Spanish-born Patricia Urquiola has been living and working in Milan, Italy, since the mid-1980s. She graduated from the city’s Politecnico in 1989 and went on to work for a number of renowned architects and design companies, including Alessi, Cappellini and Kartell. In 2001, she founded her own design agency, and two years later was awarded the Best System prize for her Fjord collection. Her body of work, which shows a pronounced taste for colours and a wide variety of materials, now includes an armchair (Smock), a chaise longue (Antibody) and a lamp (Chasen).

SWING CHAIR

Patricia Urquiola’s swing chair invites you to kick back and sway in the breeze in a handbag-inspired design featuring two large, Nomade leather-covered metallic “handles” and a welcoming woven mesh. Held up by gold-plated hooks and beige cord, the chair ensures your comfort with a welcoming Nomade leather seat cushion and woolen back cushion.

OVERLAY BOWL

Each one of Milan-based designer Patricia Urquiola’s Overlay Bowl is made of just four cleverly assembled sheets of smooth but hardwearing Louis Vuitton leather. Featuring harmonious colours and contrasting edge-dying, the baskets – which come in three sizes – are all individually handmade, making each one a one-off sculpture and a beautiful example of the House’s leather work savoir-faire.

©Cyrille George Jerusalmi

MARCEL WANDERS

“We have always seen Louis Vuitton as the benchmark of what it means to love your craft.”

Born in 1963 in Boxtel, the Netherlands, Marcel Wanders founded his design studio in 1995 with the aim of “creating an environment of love, and living with passion to make our most exciting dreams come true”. His design approach often mixes innovative materials and techniques with historical standards, a combination that give his work a poetic and romantic feeling. Alongside his furniture, he has designed a number of stores and hotels, including the Andaz Amsterdam Prinsengracht Hotel in the Netherlands, and works as art director for design label Moooi. His work has been included in design collections and exhibitions across the world at institutions including the Museum of Modern Art, New York; the V&A, London; the Stedelijk Museum, Amsterdam; and the Museum Boijmans Van Beuningean, Rotterdam.

DIAMOND SCREEN

Whether suspended on its metal frame or hanging from the ceiling, the leather screen artfully creates a semi-transparent partition that references both the diamond shape of the House’s classic Monogram pattern and the canework once used in its trunks. As each piece is held to its neighbours with brass clasps similar to those found on Louis Vuitton bags, the screen can be sized to fit any space.

DIAMOND MIRROR

In collaboration with Louis Vuitton, Marcel Wanders is presenting two Diamond Mirrors (2018) as part of the Objets Nomades collection at Fuori Salone this April. The mirrors have been designed in two sizes and are referred to as the large Diamond Mirror and the petit Diamond Mirror. They feature a central octagon that is circled by 25 smaller triangular mirrors and use dazzling geometric design to create poetic reflections. Each mirror’s faceted rigid structure is enveloped in Louis Vuitton’s rich Nomade leather and reveals Louis Vuitton’s emblematic contrasting stitching. The petits Diamond Mirrors are mounted on a heavyweight silvery brass stand with a marble foot.

©Benjamin Decoin

FERNANDO & HUMBERTO CAMPANA

“Above all, travel of fers the unique opportunity to embark on a new exploration.”

Fernando & Humberto Campana Fernando and Humberto Campana have been creating modern classics since 1983. Their creativity is based upon looking beyond the obvious to capture the beauty in the everyday. They use unexpected materials in surprising and inspiring ways, such as in the Vermelha chair, woven in brightly coloured rope they found in a São Paulo market, or the Favela chair, made out of scrap wood picked up on local streets. With a constantly striking use of colour and a heartfelt dedication to craftsmanship, the brothers make the ordinary extraordinary and bring out the beautiful in the simple.

Since 2002, Estudio Campana, their São Paulo-based company, has been producing its own product line, as well as one-of f handmade pieces. Their work can be seen in the permanent collections of cultural institutions around the world, including the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Vitra Design Museum, Weil am Rhein; and the Museu de Arte Moderna, São Paulo. They were also named Designers of the Year at Design Miami in 2008, at Maison & Objet Paris in 2012, and were given a special award at the Musée des Arts Décoratifs, Paris, in September 2012.

COCOON

See it swinging gently from its gilded steel and brass hook and the cocoon becomes an invitation to while away the day. A delicately perforated pod of vacuum-moulded fiberglass – the same material as surfboards – is then covered with calfskin on the exterior and quilted leather on the inside. With its broadcloth-covered cushions that are both warm and comforting, the cocoon is like a protective shell designed to enfold, envelop and reassure. It is of fered in red, yellow, turquoise, purple, caramel, light blue, dark blue, coral, grey or green leather.

TROPICALIST VASE

A carefully crafted construction of 176 two-tone, leather-covered metal “petals”, the Tropicalist Vase is a statement to the different ways that Louis Vuitton’s materials can be crafted. The Campana Brothers were the designers of the first ever Objet Nomade and their Louis Vuitton Les Petits Nomades Tropicalist Vase, inspired by South American quesnalia and bromeliad flowers, is the latest example of their timeless vision of exuberant refinement.

©Géraldine Aresteanu

INDIA MAHDAVI

“Design is about giving function a form.”

After studying architecture, industrial, graphic and furniture design, India Mahdavi spent seven years as creative director for interior designer Christian Liaigre. She founded her own studio in 2000 and, from her base on Rue Las Cases in Paris, has since worked internationally on interior design, scenography, furniture and object design projects. These have included restaurants and hotels, such as The Gallery at sketch in London, Ladurée in Geneva and Los Angeles, and The Monte Carlo Beach Hotel; retail concepts, most recently, Red Valentino in Rome and London; and a line of furniture and home accessories, including her trademark Charlotte armchairs. She describes her style as “polyglot and polychrome”.

TALISMAN TABLE

India Mahdavi’s side table, inspired by Middle Eastern nomadic hospitality, features a portable leather-covered base that unfolds like a book and a removable tabletop whose “benevolent eye” design is created in stunning leather marquetry.

©Benjamin Decoin

ATELIER OÏ

“Encounters and life experience nourish our atelier’s savoir-faire.”

 

Founded in La Neuveville, Switzerland, in 1991 by Aurel Aebi, Armand Louis and Patrick Raymond, Atelier Oï works to break down barriers between genres and disciplines. The three have worked on projects in architecture, design and set design, nurturing their love of materials and emotion. The studio’s work has been recognised the world over.

TABOURET

Folded it appears like a single sheet of leather; unfolded with one hand however, it magically becomes an intelligent and beautifully designed leather travel stool. Combining the traditional Japanese art of origami with Louis Vuitton’s savoir-faire in traditional trunkmaking techniques, the stool is an extraordinary object: a rigid aluminium membrane wrapped in soft Nomade leather. With its carrying strap and wide range of colours, the stool by Atelier Oï takes portable seating to wherever your desires lead you, from the banks of the Ganges to the dunes of the Sahara or the deck of a yacht. It is off ered in caramel, black, brown, yellow, blue, pink, orange and purple leather.

LEATHER ROSACE VASE

Swiss design studio Atelier Oï has taken the ingenious direction of exploring leather properties, and applied it to Louis Vuitton’s iconic savoir-faire. The results are Origami Flowers,15 differently coloured individually crafted leather blooms; Leather Rosace Vase and Tray, which inspired by the pattern of the House’s Monogram creating a bi-colored relief; and the Flower Field Cushion with its folded leather pattern, a nod to the Hammock that Atelier Oï created for the Objets Nomades collection.

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PRESIDENT GUILLAUME DAVIN AND CREATIVE DIRECTOR RAMESH NAIR SHARE THEIR VOYAGE TO BRING ONE OF THE OLDEST TRUNK MAKERS IN FRANCE TO WORLDWIDE SUCCESS.

GUILLAUME DAVIN, PRESIDENT

Pauline Moynat, a visionary and the only woman trunk-maker in history, founded Moynat in 1849, and soon made the house the most Parisian among the French leather goods and trunk makers of her time. Founded at the time of the establishment of the French railway system, the house registered innumerable patents, especially for train luggage. Later as a pioneer in the automobile adventure, Moynat specialised in custom-made trunks that fitted the contours and were matched to the colour of the car body. The most famous example is the Limousine trunk patented in 1902, and never copied.

The brand, which is older than Louis Vuitton and Goyard exited the scene in the 1970s, and it wasn’t until 2011 when it was relaunched. Bernard Arnault, the great helmsman of conglomerate Louis Vuitton-Moet Hennessy (LVMH), dreamed of re-awakening the sleeping beauty, and he found in Guillaume Davin and Ramesh Nair a suitable duo to navigate the brand revival.

A graduate of Rouen Business School and Insead, Guillaume Davin started his career in 1998 as International Director of Travel Retailing at Christian Dior Parfums in Paris, going on to work as President of Christian Dior Parfums in Japan in 2001. He joined Louis Vuitton in 2006 as Vice President of Retail in Japan, until he took the helm at Moynat.

Planning to patiently rebuild the brand from the ground up with the aim of capturing a clientele that values understated luxury over logos, Davin has infused a new soul into the storied brand.

What three words do you feel sum up Moynat?

Exclusivity, Excellence, and Elegance.

To what extent do you still feel storytelling is important in the luxury industry?

It is the link to the past which is a treasure and very important.

How challenging is it to preserve the heritage whilst still being modern?

The challenge is in leveraging the savoir faire and the roots, without becoming a museum of craftsmanship. We have strong roots but are creating for the customer of today’s generation, so we use age-old techniques and apply them to the modern day.

Tell us about your views on how over-communication can kill desire?

At Moynat we are a bit mysterious and we will continue to keep it this way, as we are not about it-bags for the season. We really believe in timelessness, craft, and quality, and are able to repair products. Moynat doesn’t target the mass and remains niche, so what is important is this one to one message and experience, as word of mouth travels.

To what extent is retail still important in the digital age?

It is extremely important in terms of telling the stories, because technology can enhance the experience for customers. It can show beautiful images of our past and stories about our craftmanship, together with changing the way that we can interact with clients. Selling online is something that we are not yet fascinated with, as we want to continue to offer a one to one service, although we may still try and experiment with it from time to time.

What are the difficulties that you face today?

The biggest challenge is the production and the quality, as we make products in an old-fashioned way. Of course, this is not very cost-efficient, and you need to find very skilled craftsman which takes time.

Can you share with us the message from Moynat this year?

We always strive to make our clients happy and proud to carry one of our bags, encouraging customers to become part of the Moynat family.

What is a resolution that you made to Moynat for 2018?

There is no miracle for making Moynat more beautiful, so I have to continue working on this through finding more beautiful materials and inspiration. It is also important to ensure that we don’t try to be something that we are not.

What is your vision for the forthcoming years?

Keeping Moynat at the top in terms of craftsmanship.

Can you share with us a motto that you live by?

Hard work is the key criteria for success.

What do you feel is a mistake that many other luxury brands are making?

Going too fast, because luxury was never a rush. With us, when you put a deposit on some bags it can take between two to six months before you receive it. Luxury is about the craft and the exclusivity, and we want to be an emblem in the world of real luxury.

Do you feel that social media can dilute a brand?

No, because technology can be a fantastic tool for making a brand more beautiful.

How about bloggers?

We like when we are being talked about, but we do not seek this aggressively. It is not our style to pay someone to carry the brand, and we cannot compete with the larger more powerful brands on this.

Do you think that word of mouth is one of the strongest marketing tools?

Yes of course, the strongest marketing you can have is the marketing that your clients are doing for you. By creating beautiful products that are made extremely well, we believe that it is only a matter of time.

RAMESH NAIR, CREATIVE DIRECTOR

Hailing from Melattur, a small town in Kerala’s Malappuram district, Ramesh Nair began his professional career with Yohji Yamamoto and then founded his own brand, Rain, in India. He went on to work with Christian Lacroix before honing his skills as senior designer for Hermès in the early 1990’s alongside Martin Margiela and Jean-Paul Gaultier.

It was up to Nair to carry forward the vision on which the storied brand was built, which he has achieved through exclusivity, divine craftsmanship, and the finest fabric and leathers. This is not merely a renovation of what existed, instead the result is something brand new with classic yet contemporary designs. Hallowed traditions and century-old knowhow are preserved and revived in creations that bear the modernity that is the hallmark of Moynat.

How did the opportunity to revive Moynat come about?

The Moynat renaissance is an intriguing story, it is a brand that had a huge presence and was very successful, but then disappeared from collective memory, except for a few experts. Years later, Moynat became a part of Mr Arnault’s personal portfolio and in 2O10 he decided to revive it as a heritage brand and I was invited to take creative lead.

What was the appeal of Moynat?

The first thing I did was to dig into the past history of the House like an archaeologist. I believed there was more than just the story of a trunk maker behind the brand and I was right. What struck me from the very start is that this is one of the rare Houses to be founded by a woman, at a time and in an industry dominated by men, making it particularly relevant to our society today. It is not a coincidence that we have so many women artisans in our ateliers. The other aspect of Moynat that holds great appeal is the combination of heritage and innovation. Moynat was born at a time of sweeping changes in France and especially Paris, around travel, around a way of living, so there is a tradition of modernity and open mindedness, of seeking new horizons. Moynat is an old House with deep roots and heritage, but at the same time, it is a brand-new entity because of the rupture in its history from the 1970s to 2011. This combination enables me to continue the Moynat story so that it is anchored in the past but has a fresh, modern future before it. It is very stimulating creatively to know that I can map the way forward, and that behind every door I open there can be yet another door leading to new territories.

Why was it the right time to re-awaken the brand?

There is no right time for a project of this kind, but when things fall into place in a certain way and a certain time, you have to recognise the potential and make it work. In fact, when we started to work on Moynat, it was a more difficult time economically. The real boom-time for launching a luxury brand would have been 5-7 years before that. There are so many Houses from the past that have fallen into obscurity, but we no longer have much information about them. Sometimes I come across vintage pieces that are interesting, but no one is able to tell their story. With Moynat, we had the opportunity to tell the story of this beautiful House once again.

What do you identify as the major signatures of the house?

I built the Moynat style signatures around shapes, structure, and details such as metallic components, as well as the liberal use of colour. What brings it all together is the harmony and balance between the elements. This means that what looks simple and obvious at first glance is actually very complex and multi-layered when you look deeper. My design philosophy is very strong on ‘invisible design’, in the sense that the best design is that which blends seamlessly with the user. It does not overpower the presence of the person carrying it, but subtly boosts it so that others notice you rather than your bag. I have also integrated into the personality of the Maison, the fact that Moynat was founded by a woman. There is grace and lightness in the overall aspect, and yet there is innovation and engineering that comes through. For me, an object must be beautiful not just at the moment of creation, but that beauty must continue to grow and evolve all through its life. Each mark, each scratch, each blow that it gets must add to its character.

How do you think the DNA of the brand has changed over the years and what has stayed the same?

In the mid-1800s products were designed around utility and novelty. They were meant to perform a function or find a solution to a constraint. For example, the Malle Anglaise, English Trunk, was created as an extra-lightweight trunk to overcome weight restrictions placed on railway travel, especially for those traveling between the UK and Paris. Similarly, monograms and logos were created as a novelty, to distinguish the House from other makers and to protect against counterfeiting. Both types of innovations led ultimately to design-led creation. Today, we no longer travel with wooden trunks the way Moynat customers used to do in the early days of the House, but we have maintained, and in some cases we have revived, the skills and techniques that were practiced in the 19th century and applied them to modern bags and accessories in ways that make sense for our way of living today. Hence, the modern Limousine case that works as a laptop desk. Or the Mini Vanity that uses the angle stitching technique that was previously used in leather trunks. Lifestyle changes mean that our creations today are aesthetically very different from the 19th century, but we still use the same natural materials, leather, wood, and canvas, even while we incorporate 21st century carbon fibre and titanium into some of our modern trunks. We continue to use traditional artisanal methods perfected over the centuries since the birth of Moynat and even earlier. The same master craftsmen trained in 19th century trunk making also work our carbon fibre.

What challenges have you faced with the revival?

Moynat is a unique case, we had no living memory of the brand, which is usually carried by owners, employees, or artisans because in the 30-plus-year rupture this entire generation had passed by. This means that we had to extrapolate from vintage pieces, not only the techniques that were specific to 19th and 20th century trunk making, but also those techniques that were specific to the House of Moynat. We did not have the luxury of relying on older artisans to help us nurture the skills. We did it ourselves by scouring the profession for talented individuals who have the potential for this level of workmanship and sometimes re-training artisans in the ‘Moynat way’. Of course, we are not alone in facing these challenges, some of the best Houses in the business have lost practices and skills because they no longer use them or make trunks the way they used to. This is not confined to the actual trunk making, but also to the makers of metallic parts, nails, closures, cabinetmakers, and other crafts that feed our work.

Can you share with us your greatest achievements at Moynat since you commenced your journey?

One of the things that make me very proud, quite separate from commercial success, is having set up the Moynat atelier and taking it to such a high level of workmanship. This is an achievement because although it was set up just 7 years ago, the work that our atelier produces has helped to establish our reputation and has ranked us among the most revered names for quality and refinement. All without the help of advertisement and product placement.

What do you believe distinguishes Moynat from other luxury leather brands?

I believe it is the special nature of our history, not just our founding in 1849 but also our renaissance. Following the rupture of more than 30 years in our history and our comeback about 7 years ago, Moynat has established itself in the forefront of heritage brands, almost seamlessly. Today, people find it hard to believe that we have not always been present on the luxury landscape. I would attribute this remarkable achievement to the exceptional character and quality of our products from the design, research and development, all the way through to the conception and production.

When we talk Moynat, we think only trunks and travel objects. How challenging was it for you to look beyond them?

Moynat to me is not about trunks or luggage or even bags. Moynat is about movement, mobility, and action. I don’t think in terms of product categories but about what Moynat represents in its character and its purpose. Trunks and travel objects were the foundation of the House of Moynat, but even then Moynat was forward-looking. Pauline Moynat, the founder, was the first to introduce a range of women’s travel handbags in the early days of the railway. The position of Moynat as a pioneer in incorporating lifestyle changes into products became clear to me when I started to collect and study vintage Moynat pieces. So, modernity and innovation were two of my guiding principles when I started to work on Moynat.

Which new materials and techniques have you introduced since reviving the brand?

I constantly work on multiple projects since some ideas take a longer time to mature and realise. This could be a revival or reinvention of ancient techniques and materials or developing entirely new ones from scratch. For example, I have applied trunk-making techniques to modern handbags so that these skills are not lost and remain relevant to modern lifestyles. One of these is the angle-stitching used in our Mini Vanity bags, another is the marquetry technique originally used in wood and which we have perfected in leather. In 2017 we created a magnificent ‘Cuir Imperial’ after a long research and experimental process to recreate the mythical Russia leather. Originally made in a jealously guarded process that took about 18 months and cured with birch tar oil and myrrh among other ingredients, this knowledge was lost following the Russian revolution of 1917. Since then, many attempts have been made to recreate Russia leather with not much degree of success. Moynat Cuir Impérial is finer than the original Russia leather, but it has the same oily, silken suppleness and cross hatch grain and heady aroma. We have even applied the technique to exotic leathers such as crocodile skins, which has never been done before. In terms of inventing new techniques and materials, we have created some unique techniques on crocodile skins, called Croco Ceramique, which we launched recently. I was inspired by ancient glazing techniques of Asian ceramics, from the depth and layering of colours to the crackle effect. Particularly inspiring was Kintsugi, or ‘golden joinery’, the Japanese art of repairing broken ceramic with lacquer and gold dust. Thus, a blend of two rare, traditional techniques from two very different fields, leather and ceramic, experiments what were manually realised at the tannery, which is how I like to work.

Which collections tend to prove most popular for Moynat?

Unlike other brands, at Moynat we do not work on seasonal collections, nor do we rely on one or two bags or models to carry our success. I have yet to see a line or a season that has not received an enthusiastic reception from our clients. It is also interesting that we have a high percentage of success with our range of precious leathers such as crocodile leather, which is typically a smaller part of any brand’s sales.

Can you share with us how a Moynat bag comes to life?

Inspiration for a bag is always a free-wheeling activity with no set path to determine what could trigger the design process, it could happen while I am traveling, and often it happens at the moment when I am about to fall asleep! The idea is a usually latent in the sub-conscious, I have to work to free it from all the other thoughts, and to turn the abstract concept into a concrete object. Frequently, the starting point is a material or a detail, the shape of a metallic component or the grain of certain leather or even the way two pieces of leather are joined together. Once the 1st drawings are ready, I give it a volume in a prototype, for which the choice of leather is very important. The type of leather chosen will determine how the bag behaves, how it holds itself, and how supple it is. After modifications and testing, we make a mini-series, which is subjected to wear tests before actually launching production. It is important to remember that each bag is made from start to finish by a single artisan.

Despite great demand, Moynat has kept prod¬uction small and exclusive, why is that?

I prefer to think of our approach as a quest for excellence rather than exclusivity. For me, luxury is about generosity, it is about pouring out the best of our ideas, skills and materials and not holding anything back. So, I would not define Moynat as exclusive because our aim is not to create scarcity by controlling our output. What is true is that our production, being artisanal, is by definition slower. Our standards for quality mean that our artisans are among the best in the trade, therefore not easy to select and train. Our leathers are among the finest and must meet our stringent requirements, again not easy to procure in unlimited quantities. For all these reasons, the rarity and the price of our products is a natural consequence of our vision and of who we are.

With limited prod¬uction Moynat is considered the epitome of luxury. How would you define luxury?

I am not a fan of the word luxury, I feel it has lost its meaning in an age of commodification of luxury. For me, luxury has to have both physical and metaphysical aspects. In addition, luxury is something that transcends time, never becoming out-dated even if it is attached to a particular period in history. A luxury object or experience is something that will give you the same sensory pleasure and intellectual stimulation time after time whether it is something you use or experience every day or rarely. This is the core of my design philosophy for Moynat as well.

With such a luxury good that is primarily available instore, how do you think it will keep up in the world of digital shopping and media?

With great convenience and speed comes great loss of experience. I do believe that the two models of retail can and should co-exist. In fact, brick and mortar stores are not just a point of sale, but primarily a point of physical contact and communication. It is where you can really connect with the brand beyond product, through the sensory experience that results from architecture, lighting, smells and sounds. The day is not far when brick and mortar stores may be truly experiential, and independent of the compulsion to purchase. At the same time, there is a lot to be done to make the e-retail experience more valuable, and more relational rather than transactional which is the case today.

Luxury brands are moving towards a younger, more energetic look, do you see this direction continuing in the years to come?

The design cycle and the generational change in designers leading brands today mean that we are always looking to the next generation of clients. But we shouldn’t lose sight of the fact that the designers that we consider serious and classic today were yesterday’s young turks. Rei Kawakubo and Martin Margiela ushered in deconstructed and conceptual clothing more than 30 years ago, which today’s generation is only just re-discovering.

Tell us why you choose not to use advertising?

We wanted to let the product speak for itself, to rely on word-of-mouth as a more authentic and organic form of communication. This lets us focus on the brand story, our heritage, and our craftsmanship rather than a slick, glossy presentation where the product is secondary to styling.

When researching new designs, what has been the greatest find in the Moynat archives?

There is no single object or period in the history of Moynat that has inspired me, rather it is the ensemble and the trajectory that the House has had over the years. When I see all the trunks together, I notice certain elements that strike me at different levels, depending on what is already going on in my head. One day, it could be the locks, which could bring me to focus on metallic components, or it could be the variety of curved shapes that may become the stimulus for me to design around.

You have created numerous iconic bags for the Maison, which might be the one bag that you favour?

It is impossible to choose one bag, just as it is impossible for a parent to choose a favourite child. The recent bags that I am fond of include the Loulou for its playful form and unusual closure inspired by the front clasp of our vintage trunks. It is also memorable for its singularly challenging construction where the surfaces are curved as though moulded to achieve a gently rounded face. I also have a soft spot for the Réjane Opera, a sleek evening clutch where the iconic clasp is set like a jewel.

On average, how much time goes into making a Moynat bag?

Depending on the kind of bag involved, it could vary from 3 to 7 days. However, this is just the actual make, once the artisan has all the necessary materials together. On the other hand, if you take into account the fact that our leathers are designed, developed and produced to our specifications, as well as our metallic pieces, right down to the last nail and D-ring, it could take as long as 3 months to have all the ingredients ready.

Tell us about how the craftsmanship sets Moynat apart from other brands?

Firstly, all our production is entirely located in France. Secondly, we have an artisanal approach to all our manufacturing, which means that each bag is made from start to finish by a single craftsman, instead of an industrial or assembly line approach. This means that each product is really a unique piece, and also that each artisan must be trained in many different techniques. Since many of my designs are intended to highlight Moynat savoir-faire, it is very important to maintain this approach. In some cases, we have reinvented or revived techniques that had been forgotten, which enriches not only our Maison, but also the craft itself.

How do you continue to keep the brand covetable and fresh, balancing tradition and innovation?

It is all about innovation, which is a core value of Moynat. When we talk about traditional craftsmanship or noble materials, I do not think of it as just a single technique or a single usage. I think of different ways of using the same metallic elements or using the same traditional gestures but either modifying them or applying them in different ways. It is a kind of cross-pollination between materials, processes, and applications. This is also where design steps in to add a contemporary twist or a humorous touch to lighten what may otherwise be heavy with tradition.

How popular is the made to order service, and can you explain how the process works?

Bespoke is at the very heart of Moynat heritage. The House was renowned for custom-made pieces created for each client since its inception, including automobile trunks that were fitted to the contours of the car and often matched to the colour of the car body. We work closely with our clients on their wishes, always keeping in mind the Moynat codes and expertise. We start by exploring what the client dreams of and then design the object in a truly Moynat way. There is no catalogue of styles, colours, or linings that the client can assemble the custom object from. It is important to understand that all our special orders are custom-made from scratch for each client. Each component is hand made to our specifications, including metal parts and closures specific to each trunk. It is not simply a question of assembling previously prepared components. Depending on the kind of object in question, the time taken to make it varies widely.

What are your thoughts of logomania, and the rise of logos in luxury fashion?

Luxury, like so many things in life, in cyclical. We went through a phase when logos and obvious branding was very trendy, then moved into a more discreet period, and now people are once again drawn towards logos. Being a surface embellishment, a logo is the easiest way to declare an identity. It also depends on the brand’s philosophy, whether to be visible with a logo or to place the focus on other design elements. I took the decision to emphasise our incredible heritage of form and functionality rather than an obvious logo. This does not mean that logos are not important, as when used intelligently a logo can support and strengthen the identity already created by other means.

As Moynat grows, in which geographical markets are you experiencing the strongest growth?

As for most other brands, Asia continues to be a strong market. In the case of Moynat, being such a young brand we have a long way to go in any market and so there is a lot of potential for us everywhere. So, I do not want to focus on just a single market but on nurturing and developing all our markets. I strongly believe that for us, the home territory is a key market, essential to maintain a strong identity and link with our roots, and more so in this age of global travel. I always keep in mind that from its inception until the brand closed down in the 1970s, Moynat had only a single store, which was in Paris.

Tell us your views on the Middle East market?

We have a strong base of clients, friends and followers from the Middle East who look for exquisitely crafted objects, from watch trunks for some to crocodile leather handbags for others. Our Middle East clients have very refined tastes, they don’t look only at the logos and branding but are very discerning about quality and appreciate discreet, subtle and personalised aspects of luxury.

Tell us about the exclusive pieces you made for the region?

We have selected some of our finest and most precious new creations for our first home in the Middle East that are as contemporary in their aesthetics as they are perfect representations of Moynat heritage and savoir-faire. Three rare exotic skins have been developed to showcase our iconic bags and a one-of-a-kind trunk. Crocodile Céramique is inspired by the ancient glazing techniques of Asian ceramics. From light to dark, 3 to 4 colours are applied to crocodile skins, and between layers the skins are hand polished to reveal the underlying coat of colour. The final effect is a complex, delicate, and layered hue unique to each skin, and echoes the layered colours and unique crackling effect of precious Asian porcelains. For the Crocodile Camouflage, I experimented with hand-applied water-based dyes in transparent washes to create military-style camouflage patterns that are unique to each skin, while the Crocodile Natura skin is treated to maintain the natural pigmentation. Finally, the pièce de résistance. It has long been a personal dream of mine to create a special trunk as homage to a piece of art that also has a spiritual significance.  After several years of reflection and research, I finally brought together all the ingredients. I had a rare 18th century hand-illustrated Kashmiri Qur’an in its original lacquered binding, which to me symbolises wisdom as well as an object of beauty and a work of art in its own right. The one-of-a-kind trunk I created for it is a perfect cube, realised in an exacting technique where the wooden frame is held together not by nails but by hand stitching the panels, a rare technique that only a master craftsman can achieve. The trunk is covered with a flawless green crocodile skin and lined with supple amber-coloured suede. Classic Moynat langue-de-chat clasps, lever locks and handles were custom-made for this trunk. Inside is an ingenious lectern mechanism that gently lifts the book when the lid is opened. The name ‘Al Noor’ was chosen because every known civilisation in the world has used light as the symbol of knowledge, freedom, and life. We even use the word enlightenment to signify spiritual awakening.

Will you look to make further capsule collections to satisfy the Middle East market?

We do not target markets with particular collections, but I do try to integrate tastes that are specific to different markets. The Middle East market loves rare and refined objects, so we try to ensure that such pieces are part of the mix here, such as exotic leathers and more unusual creations.

What do you expect to be the biggest challenge the brand will face in the coming years?

As the brand grows, we know that we have to expand our production. Keeping in mind our artisanal production model, our stringent standards for our materials and our workmanship, our biggest challenge will be to deliver growth while maintaining our obsession with quality. It is something that takes time and planning, which we have already begun working on.

Can you share with us your future plans for Moynat?

The future has its roots in the past. My aim for Moynat is to continue our trajectory, keeping in mind the philosophy that I have placed at the heart of the House, an emphasis on quality, educating people about our approach to design and artisanal craftsmanship and pushing our boundaries through research and development. This, for me, is the only way to sustain our growth and our success.

Located at the Fashion Avenue in The Dubai Mall, Saint Laurent’s flagship offers a complete vision of the brand and perfectly references the Maison’s identity, giving us yet another reason to shop the brand’s coveted collections.

The space embodies the Saint Laurent store concept, a contemporary interpretation of the French modernist movement of the early 20th century. The minimalist sophistication and iconic Art Deco materials echo the brand’s characteristic aesthetics, with floors and walls in white Carrara marble, and black silk marble, a monumental staircase in grey silver marble, structures in nickel plated brass and extra clear glass, leather and nickel-plated brass benches, suspended hanging rails and a gold frame showcase.

The boutique, which offers a wide selection of products from all categories including ready-to-wear, leather goods, shoes, sunglasses, and jewellery for women and men collections, covers three levels, boasts a VIP Room with vintage furniture, and features two elevators made in glass, mirror, and polished stainless steel.

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ARUNA SETH DESIGNS FEMININE SHOES THAT STRIKE A BALANCE BETWEEN TRANSFORMATION AND TIMELESSNESS, CREATING COLLECTIONS THAT ARE RELEVANT TO THE SEASON BUT REMAIN CLASSICS OVER THE YEARS.

Based on elegance and style, Aruna Seth is renowned for its stylish, elegant shoes and handbags, handcrafted solely in Venice, Italy. Founded by the British designer Aruna Seth in 2009, an ultra-feminine design aesthetic, skilled craftsmanship, luxurious leathers, and stones embrace the brand’s identity of sophistication and femininity, creating the iconic ‘Farfalla’, meaning ‘butterfly’ in Italian.

Hailing from a family firmly established in the shoe world, Aruna lived every little girl’s dream as she grew up surrounded by shoes, although while her father made practical, affordable, sports shoes, she wanted to make shoes fit for a princess. In her design approach, Aruna views fine detail as more than a matter of embellishment. The Swarovski crystals, intricate trims and exquisite materials that make her shoes instantly recognisable are ultimately the elements that give Aruna Seth shoes their beauty. However, it isn’t all about how they look as one of the key features is how the shoes feel, and thanks to a plush leather cushioned padding, the luxury of comfort is maintained irrespective of the heel size.

The shoes Aruna makes reflect sheer luxury and love for design. Here, she reveals her source of inspiration, why her shoes are as comfortable as they’re stylish, and how her works of art will complete your outfit on your wedding day.

Who is the Aruna Seth woman?

The Aruna Seth woman is recognised for her timeless elegance and femininity while always eager to be on trend, edgy, and youthful.

Can you share your brand DNA?

With the new rebirth of the butterfly Farfalla, the labyrinth butterfly, the brand’s DNA is now taking a more playful, youthful, and edgier turn. With the new shift in image, the brand is now tapping into the millennial market while staying devoted to loyal customers.

How did you first become interested in fashion, and in particular, designing shoes?

I was literally born around shoes! My father owns a shoe company, so I grew up around shoes and knowing everything related to shoes. This has definitely paved my way to enter the shoe industry, of course, let alone my strong admiration and addiction to shoes.

What was the catalyst behind creating your own label, especially in an already saturated market?

I was always buying luxury shoes that were not comfortable and that lacked this ‘wow’ factor, and this was when the idea of starting my own shoe brand hit me. I wanted a comfortable yet stylish shoe, something which was not necessarily abundant in the market. For this reason, my sock is made of soft nappa leather with a cashmere like comfort.

Can you tell us a little about what sets Aruna Seth shoes apart from other brands?

The cashmere like comfort factor for sure!

Is there another shoe designer whose designs or career path you admire?

Yes! The edginess of Giuseppe Zanotti and the craftsmanship of Sergio Rossi.

What are your favourite styles of shoes for women and why?

Of course, for each season it is a different style. For summer, the Aruna Seth sliders in either blush lace or even nude leather are a great style to put on, they’re easy and effortlessly glamorous. As for the winter, nothing beats a well-crafted, nicely fur lined bootie.

Which pair of your shoes should every woman have in her wardrobe?

A pointy toe stiletto for the formal occasions and a pair of sliders for the casual summer days. I am currently leaning towards a very comfortable pair of sneakers as well, hence the reason we have launched our bridal sneaker.

What do you think about a woman’s relationship with her shoes?

It is a very important and close relationship. Every woman considers her shoes as one of the most, if not the most, important accessory in her closet. I personally see the relationship as a form of her own identity and it highlights how much she cares about fashion.   

Can you share with us your style advice for wearing your shoes?

They’re versatile in terms of how you can style them. You can dress them up with an evening gown or down with a pair of jeans and white tee. Nothing is better than being able to wear a pair of shoes to multiple occasions and functions.

You have also glamorised the flat shoe, what are your thoughts on the growing popularity of flats?

I am happy that I was one of the very first brands to offer the glamourous flats, as being a pioneer in this area helped my brand flourish nicely. As for my thoughts, fashion is changing, and people are looking for the effortlessly glam look, so I see the Aruna Seth flat style as a perfect fit for today’s demands.

Do you prefer designing heels or flats, and which do you find hardest?

I prefer designing heels as you have more material to work with, it is also about the cut of the shoe. Designing heels is a lot more complicated than designing flats, which makes it more challenging and always fun.

Can you share with us how an Aruna Seth shoe comes to life, from concept to point of sale?

It starts with the inspiration of the collection, creating a detailed mood board, I usually like to cut and paste on to a foam board and hang it in my office to have the reference available at all times. The design process takes place from there and the production of prototypes follows right after, up until you achieve the perfect style, colour and fit, which is the final sample that you actually present to buyers and stores during market weeks in NYC and Paris.

Where do you look for your design inspiration?

My travels, the Indian heritage, and the Saris.

Do you have a particular muse in mind when you design?

It is a combination of Kate Middleton’s all-time grace with Jennifer Lopez’s edginess.

How about your signature butterfly, what is the meaning behind it?

Freedom, grace, elegance, and aesthetic.

How do you go about designing to ensure you combine both style and comfort?

This is the sole reason we design prototypes, it is all about reaching the perfect cut and comfort before moving into production.

Can you tell us more about the special padding that you use, and why you chose to incorporate it in all of you designs?

It made out of Nappa leather combined with a gold and nude trim around the padding which is strategically placed inside the sock to give the foot the extra comfort. Our production house is in Venice, Italy to ensure the highest quality and comfort for the client.

Why did you choose to have production in Italy?

To ensure we have the best quality shoes, comfort, and overall luxury for our clients

Tell us about the bespoke service that you offer?

We work on a made to order service, especially for our brides. It takes 10-12 weeks to make the shoes and the bride can choose from ivory satin and ivory lace or even a colour to match her dream dress. Clients can also work on bespoke shoes, where they can choose their butterfly colour and the fabric to match the butterfly. Should the client wish to personalise even more, we can engrave the initials. Moreover, all the shoes have a hidden butterfly in the sole and for the brides, we have a small blue pearl to go with something blue!

Why did you decide to concentrate on bridal shoes?

Bridal shoes are not the sole focus of the brand, nonetheless we are recognised for our bridal shoes due to the various options we offer the brides in terms of designing their one-off shoe for the most special day of their life. What pushed me to get into bridal is when I designed Pippa Middleton’s shoes for the royal wedding.

Tell us about your latest bridal collection?

We design a bridal collection once a year with heel heights from 50mm to 130mm. Our latest bridal collection includes a blue pearl at the sole of the shoe next to the small butterfly farfalle, and the fabrics range from ivory satin to blush lace and white satin.

Do you have a favourite pair?

The new addition to the brand, the Aruna Seth Farfalla sneakers. They are a white pair of comfortable sneakers embellished with the signature Farfalla.

Can you share your shoe advice for brides-to-be?

You should always take into consideration the venue of the wedding, the height of your groom, and what type of heel you are most comfortable wearing. If it is an indoor wedding, you can go for pointy heels and if it is an outdoor wedding, then it is definitely an open toe.

Can you tell us about your personal style?

My style is constantly evolving! I am currently going through a ‘rebirth’ which aligns with the rebirth of the Farfalla. The labyrinth butterfly that is seen in the Fall 2018 collection is edgier, playful with clean cut edges and to a certain extent more casual to suit the more casual style I am currently sporting.

How many shoes do you have in your personal collection?

So many! Around 400 now!

What has been the most significant breakthrough moment in your career and your greatest achievement?

Pippa Middleton wearing my brand was definitely one of the greatest achievements, followed by Kate Hudson.

When celebrities wear your designs, it certainly results in a lot of awareness of the brand, but how does it reflect in your sales?

Red carpet placements definitely help sales and create a larger demand for that specific pair. The reason we support celebrity placement is due to the trickle-down effect it has on the brand, as once a client buys a pair of Aruna Seth the chances are that she will go for a second, third and fourth pair.

Who would you most like to see wearing your creations?

Jennifer Lopez.

How should a pair of shoes make a woman feel?

Strong and like they’re on top of the world, together with being confident and fashionable.

What are your future plans for Aruna Seth?

Opening a standalone store in Dubai and Abu Dhabi, and our first flagship store in London.

By Eliza Scarborough

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Vacheron Constantin has recently appointed Louis Ferla as its new CEO. Ferla joined Richemont in 2001, as area sales manager for Alfred Dunhill in Hong Kong, and has devoted his career to the group, taking on international roles for Cartier in Taiwan, the Middle East, and China, before joining Vacheron Constantin in 2016. Most recently, Ferla has served as Vacheron’s managing director of sales and marketing, before taking on this new responsibility and leading the brand into an optimistic future.

What is your vision and the direction you are having for Vacheron Constantin?

When I first took on my new role, I spent time traveling to listen and speak to colleagues, clients, and partners. What I learnt from this was that Vacheron Constantin is a Maison that produces beautiful haute horlogerie and we agreed together that we would keep on achieving that. Vacheron Constantin is steeped in history, and although it has been faced with ups and downs over time it has succeeded because the Maison has constantly innovated. So, while we need to respect the tradition, we also need to continue with innovations. If you compare Vacheron Constantin to a tree, it is a very big tree with long deep roots and we have a lot of stories to tell, and to do  so, we keep turning back to our DNA while opening some doors for people to enter the world of Vacheron Constantin.

To what extent is storytelling important in the world of fine watchmaking and luxury?

I think this is key, as although it is expected that we create beautiful watches, engaging in the communications and living a passion is equally important. There is a very famous quote, ‘people often forget what you say, but they don’t forget how you feel,’ and we look to follow this with the experiences that we provide.

How do you aim to achieve a strong outlook for 2018?

I have always been a strong believer of what is called the virtuous cycle, where good news and a positive outlook brings on more good news and positivity. This creates motivation amongst the team.

What is the main message you are relaying this year to your clients?

Vacheron Constantin is a brand of its time, and we are continuing to create beautiful haute horlogerie, mixing tradition with innovation while at the same time remaining elegant and investing plenty of thought into details, making us unique.

What is key when looking to satisfy your existing loyal clientele, together with attracting new customers?

Exceptional watches pushing the boundaries of fine watchmaking with high-end mechanical complications in uncompromising designs will always remain at the center of Vacheron Constantin DNA. They appeal to both existing clientele and new customers. Because you don’t come to our Maison by chance. Our loyal clients or new ones seek excellence, history, legitimacy, authenticity and know-how. They already are connoisseurs.

Can you tell us about the strategy that you took to bring a new freshness to Vacheron Constantin?

For us, it is not a question of reach, but is more about the engagement. We are looking to share the level of passion in what we do with people who will grow with the brand, and the average age of our customer is under forty years old which has certainly surprised me.

Tell us about what we can expect to see in the Overseas collection?

We have a beautiful, ultra thin perpetual calendar in pink gold, a timepiece that reveals its technical complexity while exuding an aura of understated distinction. It houses an ultra thin mechanical movement and comes with two interchangeable straps. We are further presenting a chronograph with a black dial, that is very assertive in its identity as both: A sophisticated design object and a piece of contemporary fine watchmaking. The dual time – a sporty watch with a practical complication  – rounds out the collection. The steel version is coming in either a deep blue or silver-tone dial.

OVERSEAS ULTRA-THIN PERPETUAL CALENDAR

Where is the Vacheron Constantin woman this year?

We don’t have many new timepieces and will just be continuing our current offerings. Our approach this year was to not launch too many references, and instead be very smart with a clear message.

What is your opinion on over-communication reducing the desirability for a brand?

That is not our strategy at all, as for us we are not about reach and are instead focused on engagement. You can see that we don’t work with celebrities, as we are Maison of connoisseurs and for us what matters the most is to do what we do and do it well. We don’t plan to increase the number of watches that we produce, so this isn’t a direction that we would take.

Tell us your thoughts on e-commerce, and to what extent is retail and human interaction still important?

We believe that today you don’t have one typology of client, with our clients all having different demands and wants. They don’t have one journey and they take many different avenues before making an informed decision. These people are very often connoisseurs and experts, as it is very rare that you come to Vacheron Constantin by chance. I think it is our duty to facilitate the journey of the client through different channels and platforms, but the majority of our clients prefer a human interaction to see the details before making a purchase.

How important is your history and heritage in today’s communication?

If you are a new brand starting, you would dream to have the heritage of Vacheron Constantin. We started in 1755 and are constantly going back to our incredible archives to stay true to our DNA.

MÉTIERS D’ART AÉROSTIERS

How would you like to see the future of Vacheron Constantin?

I really would like Vacheron Constantin to continue being recognised as a beautiful Maison of haute horlogerie in 10, 15, or 20 years from now. There are two things that are extremely important for me, one is that we create beautiful watches, and second is that our client enjoys visiting us and their experience with us. We will continue promoting a gesture and a culture and I like to engage our client to do that. Finally, it is also important that our team takes pleasure in what we are doing too.

How would you sum up Vacheron Constantin?

Understated yet elegant.

FIFTYSIX

TRADITIONNELLE TOURBILLON

What motto do you live by?

Doing better if possible, which is always possible.

What would you promise Vacheron Constantin for the upcoming year?

To continue taking pleasure with what we do, enjoying the interaction with our clients together.

Diego Della Valle, the owner and chairman of Tod’s, was born into a humble and hardworking family of shoemakers in post-war Italy and saw his father’s work pay off in the 1960s as his shoes became fashionable items in America.

After working with his father for several years, he launched a second brand of shoes in the 1970s, a soft-soled moccasin with a distinctive rubber-nub sole called J. P. Tod’s that quietly became a high-quality, low-key status item until the 1990s, when Tod’s exploded. Under Della Valle’s direction, Tod’s now encompasses brands, Hogan, Fay, Schiaparelli, and Roger Vivier. He also owns Serie A football club ACF Fiorentina, where his brother Andrea served as chairman, and has stakes in some of Italy’s most influential companies, together with funding productions at La Scala in Milan and the restoration of the Colloseum in Rome.

Alongside the philanthropic causes which he is deeply committed to, Diego Della Valle is focusing on what used to be considered luxury’s essence, quality manufacturing, amongst other things. From understanding how to take advantage of the sweeping technological disruption of the luxury industry, to building a futuristic factory in the tiny hamlet of Casette d’Ete, the key to his success is being a man who’s always been about the people, the people who work for him and his close friends and family. Known for his business acumen, and despite having achieved something like sopra-hero status in Italy, Della Valle still desires the one thing that everyone who has got it all needs, time to enjoy it.

He talks to us about this, together with other topics during an exclusive chat while in Dubai to present the opening of the new Tod’s boutique in the Dubai Mall extension, where an exclusive collection of women and men iconic Gommino loafers were created in celebration, taking colour inspiration from the famous hues of the seven UAE sands.

Tell us what challenges you are facing today?

If you don’t change the strategy you don’t have any problems. Now what we want to do is use our story but add more creativity and sense of life, but without losing our DNA. We are balancing between tradition and quality, as day by day we can lose the quality to marketing and creativity, and maintaining our quality is paramount as it is a pillar in our DNA.

In your opinion what are the important pillars for sustaining the success of a brand?

For many years it was step by step, but now everything has changed with the advances of technology. Things are moving faster, and we need to change our strategy to keep up with this fast speed. I think that we are in a new era and we are working to embrace that.

What are your thoughts on co-branding?

We do work on partnerships with other brands, and we are looking towards a collaboration with a special designer. We would plan for possibly two collaborations a season, which is very interesting as the customer loves the additional products and it is also a strong marketing movement of these times.

What are the prerequisites that you look for when choosing the right partner for collaboration?

Having the same feeling and passion, but what we also love is creativity, as when the partner starts collaborating it is possible for them to do what they want.

Diego Della Valle, Tod’s group Chairman at Rome’s Colloseum that was restored and funded by the group for a multiphase project costing around $27.6 Million.

To what extent is philanthropy important today?

I think that for businessmen like us we have a responsibility to give back a part of our power, finance, and attention to others, especially for the future.

It is only natural for us and for our family to give back with these initiatives. First you need to do it because you like to do it, secondly because it is important, and finally because people love to know that a company, which creates luxury products, is sharing its profits with their future.

Tell us about the relationship between Tod’s and the Middle East?

More or less, it is a long-term relationship as many of our Middle East customers have been with us for years, whether they were shopping in London, Milan, or St Tropez. Now we are here with a boutique in the region where we are able to offer more, which is very important as the elegant community of the Middle East is key for Tod’s.

Can you share with us your thoughts on customisation, and how important it is becoming for your customer?

It is important for the relation between brand and customer, together with the limited-edition aspect. People love something special and individual, which is why we have created the exclusive seven sands collection of Gommino loafers, taking colour inspiration from the famous hues of the seven UAE sands.

What is the main message that Tod’s is projecting this year?

Generally, the message is about taking a sense of light life. We make products that are sometimes not indispensable, which will at one point give you a happy moment. People are looking for the experience and the story that they are learning, investing in moments and feelings.

Can you share with us a life lesson that you have learnt and would like to share with young Entrepreneurs?

We have to always remember the important and crucial things in life like the sense of honour and sense of duties. This is the basis of life across all people rich or poor since if you have those qualities then you are very strong in the true meaning of strength. It is important that when you are in the real game of business to keep your human qualities and don’t think that being aggressive is a sign of success and strength.

You also need to have a dream and then push a lot and work hard to capture it, as everything is possible to be achieved. Again, There is no need to be aggressive, just be determined.

What is something that you would still like to achieve?

Free time, as all my life I have been involved in business, day by day, seven days a week. I would like a day without an agenda!

Where do you like to spend your free time?

There is more than one, but I do love Capri and also Miami.

When you wake up in the morning what do you tell yourself?

I have a daily morning ritual when am home at Le Marche, an eastern Italian region where also our headquarters is based, where I sit in my garden for 5 minutes reflecting.

I don’t say anything, but I just reassure myself that even if I do something that isn’t perfect, it will be ok. I also think a lot about the people around me and my family.

What do you hate in life?

Hypocrisy.

How would you like the world to remember you?

As a funny guy!

What is your vision for the Tod’s group moving forward?

I think that we are having a special moment in our business, facing a lot of opportunities. We have brands with a lot of potential, and although the market is aggressive we have strong products. It is like the second half of a football game. We need to do everything precisely in these next steps, and we will have an incredible chance.

How would you define Tod’s?

A lifestyle.

READ MORE
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A&E interviews IWC CEO Christoph Grainger-Herr on how the brand is celebrating 150 years and what the future looks like for the Maison.    

IWC Schaffhausen is celebrating its 150th anniversary, and while the watchmaker boasts technical expertise in the creation of watches for active professionals such as pilots and drivers, it also prides itself on designing timeless pieces that evoke emotion and memory, and through a uniquely narrative-driven message, is looking to conquer a new market share.

The man poised to take IWC’s ever-increasing relevance to new-heights is the recently appointed and dynamic Christoph Grainger-Herr. He is not one to rest on the laurels of IWC’s past conquests, and instead takes a focused and courageous direction as the brand hits its 150th anniversary. Understanding the importance of both e-commerce and the personal level of storytelling, it is clear that he will be instrumental in shaping IWC’s growing relevance with the current and future generations of watch buyers.

Here, while a new celebratory collection is unveiled at SIHH, we exclusively chat to Grainger-Herr about watches that transcend functionality, the brand’s growth, and the main challenges for haute horlogerie in 2018.

To what extent do you feel story-telling is still relevant in the watchmaking industry?

It comes back to the basic definition of what a luxury product is, and what it stands for. First, it begins with the physicality of the product and creative aspect, as no luxury product in the world is ugly and successful, making a beautiful design essential. Then you have the craftmanship and engineering content which make the product. As a luxury brand we also represent a values system, as a watch is the most personal and powerful product you can wear, especially for men who don’t have jewellery and fashion to express themselves in the same way as women. A watch is so rich in symbolism and allows others to instantly draw a conclusion about who you are and what you are saying about yourself. This powerful message comes from the content in story-telling.

What story is IWC telling this year?

It is the story of our 150th anniversary, and the focus point really is to express that we have a unique and different founding story. Our background is not in an artisan atelier, as instead we had an American engineer and entrepreneur who travelled from Boston to Switzerland to combine American manufacturing technology with Swiss craftmanship to make the best pocket watches money could buy. In his first year of operation at the age of 27, he created a modular system of watch movements and exported 10,000 pieces to the American market. So, what we are trying to express is that we have a story that is based on engineering, combined with the other side of IWC, which is adventure. To celebrate this milestone, we unveiled a special Jubilee collection which comprises a total of 27 limited-edition models from the Portugieser, Portofino, Pilot’s Watch and Da Vinci families, together with the first-ever wristwatches to feature the original digital hours and minute display as it appeared on the Pallweber pocket watches back in 1884. The one aesthetic element all these timepieces share is their imprinted dial in white or blue, an effect that is achieved by a process of applying several layers of lacquer, reminiscent of heritage enamelled finishes.

What are the challenges that you are facing?

The biggest project that we have this year is completing our manufacture centre. Our two main focus points are on the one hand the manufacturing process and on the other is the ongoing e-commerce rollout.

What is your objective for 2018, and your vision for the brand moving forward?

At the moment we are in the middle of building a meaningfully connected distribution channel globally. It is a high quality, high-end brand experience and service, which complements all our physical wholesale and retail distributions with both our own e-commerce and everything we do on Mr Porter and Net-a-Porter, to really make sure that those channels become fully complementary. The idea is to ensure our clients have the opportunity to interact with us wherever, whenever and however they choose, to make sure it is one unified experience.

To what extent do you think the retail experience is still important?

At the end of the day, with the products we sell it is about understanding the contextualisation of that product on your wrist. The relationship with it and human reaction are very important and enrich the product, and it is impossible to relay this without a retail experience. Of course, a proportion of purchases happen online, but in most cases the client will have interacted with product at some point beforehand.

Is it your strategy to sell some products online, and other more exclusive pieces in boutiques?

We are not pursuing any strategy to push a certain channel in a certain direction. You will always have exclusive editions across all channels. Broadly speaking, the shopping behaviour online is completely identical to the shopping behaviour offline.

What are the pre-requisites that IWC set for collaborators?

It has to make sense with our direction of storytelling, and there has to be a match of minds and a match of values in the organisation.

To what extent do you think over-communication negatively impacts desirability?

There is a balance to strike between awareness and the quality of the content. I think we also have to realise that the awareness for mechanical watches in many markets is still very limited, so there is a component of reach that you need to have, simply to spread the word. But managing luxury is always a balancing act between exclusivity, rarefication, desirability, and reaching your potential customers, and in such an aesthetic industry it has a lot to do with feeling what you are doing. We monitor our communications very carefully and respond on a day to day basis.

Where is the woman in IWC?

She is very much part of IWC. We have many launches and offerings, but our idea is to have a fully complementary female offering from classic to sport, which can sit alongside our existing more male focused collection.

Tell us about your thoughts on what other brands are offering at SIHH this year?

I think a lot of the brands have made a step forward this year, becoming more energetic which is so good to see.

How do you choose what watch to wear?

I am very much emotionally driven when it comes to watch selection. I pick the watch I wear each day depending on what I love and what speaks to me.

What brought you to the watch industry?

When I started my University placement year, one of my first projects was to design a gentlemen’s accessory store in Sloane Street in London Longmire Cufflinks. I think that was the moment I became interested in creating shops for luxury goods. Later, I designed a jewellery shop in Rue du Rhône in Geneva, before I started to work as an interior designer in Zurich. Shortly after I was contacted by IWC to create the brand museum in Schaffhausen. It was during this assignment that I got to know IWC and fell in love with the brand.

Tell us about how your personality fits your new position as CEO?

I see myself as a balanced creative person, and the main part of my character will always be the aesthetic drive, which I think luxury brands need. Although I am not just creative, as I have always had a commercial understanding and focus which really helps in my current position.

What do your promise yourself, and IWC for 2018?

Personally, I am not one for New Year resolutions, as I try to work towards everything I want on a daily basis, every day of the year. On a professional level, we really want to make this year truly special, firstly with a big global celebration, and on the other hand we are placing a big emphasis on R&D and manufacturing to really reinforce that engineering spirit again at IWC, adding this to the storytelling communication.

What motto do you live by?

Curiosity is what gives us energy, passion and fresh ideas.

Tell us something that you would still like to achieve at IWC?

We are a brand that truly has the potential to be globally one of the top watch brands and that is the direction that we want to go in, ensuring that we have the best product, with the best service and most appealing story, working on substance and emotion.

What lessons would you like to pass on to your children and your IWC family?

I tell my children to be true to themselves, as you must trust in what you can do, and not try to be something that you are not. The lesson I am sharing with my IWC family this year is that we are working as a true team, we are all here to create the best possible product and experience for our clients and everything has to be aligned to that end.

How would you sum up IWC?

Engineered, pure in design, and full of emotion.

  READ MORE Bradley Cooper Stars In IWC Campaign IWC Presents Jubilee Collection To Celebrates the Company’s 150th Birthday

Dior Homme debuts it’s latest accessories for summer with a selection of leather goods in supple, yet hardwearing grained calfskin.

On the occasion of his ten-year anniversary at Dior Homme, Kris Van Assche revels in the craftsmanship of the House atelier situated at 3 Rue de Marignan in the 8th arrondissement of Paris.

The signature of the Dior Homme atelier features on a selection of leather goods in supple yet hardwearing grained calfskin. Presenting four elegant and simple leather goods, the backpack, briefcase, hand-held and crossbody pouch, Dior Homme combine a streamlined elegance with attention to detail, the perfect way to transport the essentials of a contemporary lifestyle.

The black leather is stamped with the ‘Christian Dior Atelier’ logo which evokes both the Dior Homme savoir-faire and the house’s contemporary vision.

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From Tate Modern’s first ever Picasso Survey to an innovative and truly immersive 3D experience of Van gGgh’s most famous works, here’s your guide to the most highly anticipated art exhibitions around the world for 2018.

Salvador Dali: The Memories

DIFC, DUBAI

Featuring Dali’s original paintings, lithographs and photographs sourced from private collections around the world, this is an opportunity to familiarise yourself with Dali’s other remarkable art works apart from The Persistence of Memory. An exclusive piece to watch out for is Shower of Jasmine, as the oil painting on canvas has only been displayed to the public twice since it was first unveiled in 1954, and its Dubai appearance will be the third time ever that the public views it. Paintings aside, photographs featuring Dali taken by Robert Descharnes will also be on display at the exhibition.

Picasso 1932: Love, Fame, Tragedy

TATE MODERN, LONDON

In what will be the Tate Modern’s first ever solo exhibition dedicated to Picasso, more than 100 paintings, drawings, and sculptures will go on view alongside family photographs to illustrate the artist’s personal life, focusing on one considerably tumultuous year in the artist’s life, when he met his muse and lover Marie-Thérèse Walter. Of particular note will be the display of three paintings of Walter, shown together for the first time since produced in 1932.

Michel Sittow: Estonian Painter

NATIONAL GALLERY, WASHINGTON, D.C.

Considered Estonia’s greatest Renaissance artist, Michel Sittow (c. 1469–1525) was sought after by the renowned European courts of his day, and this is the first monographic exhibition devoted to the artist. The exhibition includes some 20 paintings from American and European collections, including 13 paintings by Sittow, as well as works by Juan de Flandes, Hans Memling, and Jan Gossaert that provide a context for understanding Sittow’s achievement.

Permanent Temporariness: Sandi Hilal and Alessandro Petti

NEW YORK UNIVERSITY, ABU DHABI

Sandi Hilal and Alessandro Petti, co-directors of DAAR examine conditions of exile, highlighting how refugees’ state of displacement unsettles how we think of temporary living conditions. Trained as architects, the duo shows how these living conditions have developed social, economic, and political systems, and created built environments that deserve to be seen as fixtures rather than as aberrations. Their work takes the form of installations and collaborative projects, such as Campus in Camps, an experimental educational programme they ran in Palestinian refugee camps.

Gabriele Münter

LOUISIANA MUSEUM, DENMARK

Though perhaps not widely known yet, the German painter Gabriele Münter should be acknowledged for her striking contribution to the art of the twentieth century. Taking a present-day look at Münter, this exhibition is the first in several decades to unfold the many aspects of her long and multi-facetted artistic career.

Painted in Mexico: 1700-1790

MET FIFTH AVENUE, NEW YORK

In a show that first appeared at the Los Angeles County Museum of Art in 2017 as part of Los Angeles’ ‘Pacific Standard Time: LA/LA’, which explored Latin American art throughout the city, this show, a collection of more than 100 artworks, will travel to New York’s Metropolitan Museum of Art. Put in the context of the Met’s prodigious collection of European masterworks of the same period, the show will take on a new importance as questions of colonialism, international exchange, and art history are put in stark and fascinating relief.

Van Gogh Alive: The Experience

D3, DUBAI

Van Gogh Alive explores the life and art of Vincent van Gogh in an incredible, stimulating multimedia format. The Dutch impressionist’s famous works will be projected onto the walls, ceilings, and floors, making you feel as though you’re walking right into his paintings. Set to classical music, the exhibition boasts more than 3,000 images, including some of Van Gogh’s most beloved works, immersing you entirely in the vibrant colours and vivid details that constitute Van Gogh’s unique style.

Azzedine Alaïa: The Couturier

DESIGN MUSEUM, LONDON

London’s Design Museum will open a major retrospective focused on world-renowned fashion designer Azzedine Alaïa. This highly anticipated project will feature 60 pieces selected by the designer himself, as Alaïa was co-curating the exhibition when he died of heart failure in November 2017, which makes the exhibition one of his last creative endeavours.

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Victoire de Castellane reveals an unseen Versailles, composed of secret passages and concealed boudoirs.

The inner sanctum of the château is where the stories and the passion behind these narrative and playful Dior Fine Jewellery pieces unfolds, precious rotating stones, hidden drawers and miniature chests hide symbols relating to Monsieur Dior’s world.

See some of the key pieces from À Versailles, Pièces Secrètes below.

IMAGES BY BRIGITTE NIEDERMAIR FOR DIOR

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The new fashion avenue in the Dubai Mall has welcomed some of the biggest designers from around the world and the Dolce & Gabbana boutique has taken over three floors of this prime shopping destination. The Italian duo are known for bold collections and extravagant shows, and the latest store in their portfolio reflects their vibrant personality perfectly.

The rich and romantic blossoms of White Geranium print on a black background are the signature motif of the Women’s Line. The collection features dresses and skirts in chiffon, poplin, cady and crepe, blouses in charmeuse, coordinated bags, sneakers and accessories – all with splashes of white flowers as if a lush Italian garden has magically bloomed, in the heart of the desert.

Clothing and accessories in scaled-down versions are also available, so that our younger customers have the possibility of choosing among delightful dresses, pinafores, poodle skirts, fun t-shirts and comfortable activewear with all-over White Geranium print.

The Men’s Collection, bold and sporty, reflects the contemporary spirit. Trousers, t-shirts, pullovers in jersey, backpacks and accessories are characterised by a white background printed with graffiti print and colourful images of hearts, crowns, stars and the D&G logo.

Also part of the Men’s Line is a special sneaker with a gilded crown design and ‘The Royal World’ written on a white background, available both in the boutique and on the Shoes Level of the Mall. Dolce&Gabbana also proposes an exclusive white t-shirt for Women, Men and Girls featuring #DGLOVESDUBAI.

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Beat the crown and the experience a pure escapism with our guide to the ultimate private island destinations.

BAWAH ISLAND, INDONESIA

This sensational, luxurious private island only opened in late 2017 and is already creating a huge buzz. Until now, the remote archipelago, located between Malaysia and Borneo was relatively unknown. However, Bawah Island has suddenly put this stunning location on the map. After taking a ferry from Singapore, followed by a seaplane, you are welcomed by phenomenal views of the five lush jungle-covered islands, surrounded by turquoise waters, coral reefs, and extreme remoteness. The island can host a maximum of 70 guests in 35 beautifully designed eco villas and features 13 pristine beaches and 3 blue lagoons. Once settled into island life, you can choose to unwind in the holistic spa, which offers a range of treatments and activities, such as yoga, Pilates, and meditation. Or the adventurous soul can spend days hiking in the lush tropical forests or exploring the open sea, with plenty of places to dive, snorkel, paddle board and canoe. Food is locally grown and can be found on the island’s Asian fusion menu at the stunning Tree Top restaurant.  At sunrise, you can search for turtle nests and come sunset enjoy cocktails whilst watching classic films at the open-air cinema. Don’t be fooled, this remote, island paradise has plenty to do to keep everyone entertained, whilst still providing that feeling of pure escapism.

www.bawahisland.com

ISOLA SANTA CRISTINA, ITALY

Experience your own little slice of Venice by visiting Isola Santa Cristina. Just a 20-minute boat ride from Venice itself, this little oasis offers the utmost privacy, with picture perfect surroundings. The Island is almost self-sufficient, boasting its own fresh water source, organic fish and produce farming. Santa Cristina’s exclusive villa, accommodates up to 15 guests, with each room is luxuriously styled, offering sensational views of the Adriatic Sea, the Dolomites and the neighbouring islands of Torcello, Burano, and Mazzorbo. The Venetian style kitchen is certainly impressive, and you can either prepare meals yourself or take advantage of a private chef. The owners are also yoga instructors, offering classes for up to 14 people in their stunning yoga studio, and excursions to nearby islands are regularly available. So, if you are looking for a unique, island experience with total exclusivity, then make Isola Santa Cristina your first port of call.

AMANPULO, PHILIPPINES

The Philippines is fast becoming an Asian hotspot. With over 7,000 islands, one can experience true paradise and isolation. Situated in the Sulu Sea and an hour’s flight from Manila in the resort’s private jet, Amanpulo exudes off the grid luxury. On arrival, you will immediately be wowed by the sugar white sand beaches and crystal clear turquoise waters. However, these are not the only perks to this beautiful island. Each Casita features a beachfront setting, with deluxe, yet rustic island styling and your own golf buggy to explore your surroundings. For the active soul, Amanpulo offers a range of activities, from an abundance of watersports, to jungle trekking, cycling and even turtle spotting. The Aman group has done it again, providing another world-class resort. We dare you not to fall in love!

JUMBY BAY, ANTIGUA

After a seven-minute boat ride from Antigua airport, close your eyes and be transported into a world of butter soft beaches, calm waters, and sensational views. This family friendly resort features sleek suites and a collection of spacious villas and estate homes with private staff. Take advantage of the children’s club, while you top up your tan or brush up on your tennis skills and be sure not to miss out on the Sunday night White Nights beach barbecue, a toe in the sand, steel drum spectacle. Jumby Bay truly is a home away from home, with impeccable surroundings.

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The concept of Palazzo Versace Dubai represents the beauty and the luxury, which the Versace brand is famous for. It brings all the elements of the inspirational Versace world into a single destination to allow everyone to experience the ultimate Versace lifestyle.

Set in the heart of Culture Village, less than 15 minutes away from the international airport, Palazzo Versace Dubai is located on prime waterfront with unobstructed views of the Dubai Creek. . This specific location of the hotel mirrors the same sense of place as a grand hotel setting in the Lago Maggiore or Lake Como.

Design & Architecture

The architectural style of Palazzo Versace Dubai hotel and residences represents the merging of a traditional neo-classical Italian palace with recognizable Arabic architectural elements.

The interiors showcase the Versace lifestyle through the contemporary eyes of Artistic Director Donatella Versace. The iconic motifs of Versace are present in each detail such as the Medusa head, the Greek key and the House’s legendary prints, with many designs created exclusively for Palazzo Versace Dubai.

Lobby

The ceilings are hand-detailed in gold and complement the impressive chandelier lights on the grand foyer.

A Versace floral pattern typifies the grand foyer chandelier, shaped to appear as if moved by a soft breeze, bringing delicacy to 3000 kg of hand-blown Bohemian glass.

The floors in the upper lobby are made of Cremo Delicato marble from Italy. The overall colours of the Palazzo are an explicit reference to the desert.

Mosaico

The name refers to the outstanding 1000 sqm marble mosaic flooring set in the lower part of the grand lobby. It is a hand-crafted masterpiece of approximately 1.5milion pieces of mosaic made by the famous Italian manufacturer of mosaics and marbles, FANTINI Group. The décor is inspired by a heritage pattern from Versace’s archive.

Versace Boutiques

Located on the west wing of Palazzo Versace Dubai, are the Versace boutiques: Versace Fine Jewellery, Young Versace and Versace Home.

Kids’ Club

Home to the little ones, this kids’ club, features a room for napping, a room for bedtime stories and a very stylish play area with primary coloured flooring designed by Versace.

The Spa

Located on the ground floor west wing of Palazzo Versace Dubai, The Spa has seven treatment rooms, a spa suite and hair & make-up salon. Both the ladies and gentlemen’s relaxation areas have plunge pools, hammams and saunas.

Almost 1000sqm of wellness typify the new Versace spa.  Its marble floors of Granito Nero Assoluto match the grey degrade mosaics and the white birch wood walls with mother-of- pearl details. The plunge pools are in vibrant turquoise mosaics. The décor’s motifs belong to the sea world: cornucopias interlaced with small seashells and embellished curlicues.

Gymnasium

With a full selection of cardio and strength training equipment from the cutting edge TechnoGym, including cross trainers, treadmills, bikes and free weights, our gym offers a variety of options for guests to keep fit while relaxing in the lap of luxury at Palazzo Versace Dubai.

Amalfi

Located at the west lagoon pool, Amalfi features an al fresco dining venue. This tranquil poolside bar and restaurant offers traditional cooking techniques to prepare classic Mediterranean fare that includes healthy salads and authentic Italian pizzas – the perfect accompaniment to a relaxing sundowner by the waterside.

Q’s Bar and Lounge

The music legend Quincy Jones’ first ever bar, Q’s is set to become Dubai’s most desirable venue for live entertainment. The living room-like space will feature performances from an ever-changing schedule of acts of next generation stars directed by Quincy himself.

Enigma

Unfolding over the course of a year, Enigma brings food connoisseurs evolutionary culinary tales of mystery and delight, each lasting just for a limited time.

Diners can now experience the third chapter of Enigma’s journey. ‘The Inside Story’ will see Enigma bring Turkish cuisine to life in a new and creative way which is sure to captivate the imagination.

Giardino

This restaurant presents marble “terrazzo” flooring, columns and wallpapers inspired by the jungle motif of Versace wallpaper collection. The colours switch from green, light green and ivory. The crockery belongs to an exclusive line “Rosenthal meets Versace” collection, inspired by “Les Reves Byzantines”.

Gazebo

Facing the Ischia pool, lies Gazebo –  a shisha lounge adjacent to Giardino where guests can enjoy a selection of Moroccan, Turkish and Lebanese mezze outdoors, or simply enjoy a variety of shisha flavours.

La Vita

This chic and vibrant smoke-free bar upholstered in leather and matelassé textile with the iconic Vanitas motif is the perfect place to meet after work hours. La Vita features innovative cocktails, carefully selected boutique wines by the glass and crafted beers.

Vanitas

Like in a traditional Italian palace, Vanitas restaurant is typified with hand-made decoration on the walls featuring the so-called “Grottesche Italiane”. The grotesque is a traditional decoration used in the Renaissance age, after the rooms of the Nerone’s Domus Aurea painted with the fanciful motif has been discovered.

On the bottom wall stands a beautiful century landscape that reminds of a painting from Versace’s archive, while the furniture is typified by classy yet bold red and blue colours. The renowned dinner service ‘Medusa Blue’ by ‘Rosenthal meets Versace’ collection perfectly complements the environment.

Gala Ballroom

A magnificent area conceived for outstanding events, the Gala ballroom could be divided into three separate spaces. Its pre-function room leading up to the entrance of the ballroom features classical columns.

The interiors boast of a carpet reflecting an archival Versace Barocco print in gold and violet that measure 600sqm. Three high windows overlooking the so-called Hypogeum garden, while majestic frescos with symbolic animals of the Arabian culture – i.e. the Peacock and the Falcon adorn the three niches of the ballroom. The staircase leading to the foyer level is made of Cremo Delicato marble and is complemented by a stunning Bohemian crystal chandelier.

Signature Suites

Located on the 9th floor of the hotel, the Signature Suites measure up to 300sqm and present an entrance hall, a powder room, a dining room, a living room and a bedroom with en-suite bathroom. Wooden floorings match the Cremo Delicato; Giallo Siena or Verde Laguna marble slabs while the walls are decorated with Versace wallpaper collections.

The Imperial Suites

Set on the two-leveled top floors of the Palazzo is the magnificent Imperial Suites. The first presents a heritage design concept with neoclassical elements and a delicate colour palette: the floorings come in Verde Laguna marble mosaic alternated with Grey Delicato or Giallo Siena marble as well as wooden floors; the furniture belonging to the iconic Vanitas collection by Versace Home.

The Imperial Suites are made of almost 1200 sqm and each has two levels. Both feature an entrance hall, a magnificent marble staircase, a dining room, a living room, an office, a lounge and entertainment room, a cocktail room, two master bedrooms with walk-in closets and en-suite bathrooms, a gym and sauna. The terrace unveils an outdoor private pool and garden.

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In 2017, Dior Addict Lacquer Stick, a delightfully easy to use lacquer-balm hybrid, transformed our lip make-up habits, until this year when Dior pushed lacquer and lip care even further, creating Dior Addict Lacquer Plump, the first plumping lacquered lip ink.

This plumping lacquered lip ink is a genuine feat from the Dior laboratories. Just like an ink, it colours lips in fusional shades for 8hours, and like a radiant shiny plumper, it provides shaping, smoothing, and plumping effects and achieves new levels of hydration.

Its secret? An oil and water emulsion infused with colour and enriched with natural hibiscus extract for a plumping effect, hyaluronic acid for hydration and an ingredient that provides a fresh sensation. Upon contact with the lips it is activated, revealing the intensity and shine of its lacquered finish. Mere seconds after application, colour and shine appear in a featherweight film.

Seen here through the lens of director Cass Bird, and with Peter Philips’ expert application, Bella Hadid models the Lacquer Plump, and also shares with us her thoughts on this new innovative product, together with her make-up secrets and memories.

What do you love about the new Dior Addict Lacquer Plump, and what makes it special?

I particularly love the plumping effect and strong pigments.

What is your favourite Addict Lacquer Plump colour for an everyday look and a party look?

My favourite shades are Dior Pretty and Lovely D. I love a light pink or a nude lip.

When do you use it?

All the time! I literally feel naked when I don’t have it on.

How did you feel when you first tried the new Dior Addict Lacquer Plump?

I was really excited for this product to come out, as the Lip Maximizer has been one of my favourite products ever. Imagine my excitement when I found out that a lipstick will ally the plump effect to an extra shine finish!

What do you like most about the new Lacquer Plump?

I love the combination of the plump effect and vibrant colour.

How important is lip makeup to you?

I usually wear light colours, but I love a nice shine. My favourites are the nude and light pink shades.

Can you describe shooting the campaign?

The energy on the shoot was so great! I love working with Peter and Cass, and having other girls, whom I love, with me made the whole experience really fun!

What is the best trick for getting voluptuous lips?

I use the Universal Lip Pencil to contour my upper lip and then apply the Lip Maximizer or the new Dior Addict Lacquer Plump.

Can you define beauty in 3 words?

Confidence, intelligent, kind.

How do you take care of your lips?

I love a good lip scrub. I would usually use the Lip Sugar Scrub in the morning and then a good moisturiser. It’s really important to do a good scrub before applying colour.

What are your 3 must-have makeup products in your bag?

My Undercover concealer, my Lip Maximizer and my Dior Nude AirLuminizer.

Name one woman who inspires you?

Mrs. Michelle Obama.

Do you have any specific beauty icons in mind?

Carla Bruni. She is such an iconic beauty!

Can you share with us you first beauty memories?

Probably stealing my mother’s makeup without her even noticing it. It started with face oils and skin products really, and then I went straight for the black eyeliner.

At what age did you start to use makeup?

At 14 but was for sure way less knowledgeable about it than I am now.

Did your mother let you go to school with makeup on?

My mum didn’t allow me to wear makeup until I was 14.

Has your mother given you some beauty secrets?

She always taught us to take care of our skin first and that less was more!

Can you tell us about your beauty routine?

My routine is pretty much the same. I wash my skin and apply a good moisturiser. During the day, I usually put on a little concealer, highlighter, do my brows with the Diorshow Brow Styler, add a little bit of mascara, some Lip Maximizer and I’m out!

What are your ‘Holy Grail’ products, which you cannot live without?

My Lip Maximizer, Dior Nude Air Luminizer and Undercover concealer.

Do you like to experiment or are you more traditional in your choice of makeup products and your looks?

I love to experiment and try new things, but I always end up going back to my signature makeup.

What is the worst mistake you can make when it comes to makeup?

A bad eyeliner wing!

What beauty advice would you give to any woman who wants to look her best?

It’s important for me that women and especially young women understand that your confidence exudes through you. I’ve also learned this year that your smile is your greatest makeup product.

How does it feel to be 21? Has your view of beauty changed?

I feel pretty much the same to be honest! I am still experimenting and enjoying makeup, but I generally keep it simple as much as I can.

How has it been working with Peter Philips?

Peter is a Legend! We work extremely well together, and I love his company. I can’t complain about the fact that he is one of the most incredible makeup artists in the world!

Any tips you have learned from him?

Peter really taught me the importance of building your makeup and blending. Blend ladies, blend!

Which are your favourite looks that he has created for you?

They might be my Diorshow liners look, as they are all so incredible and special. They look like actual pieces of art!

Photographer: Liz Collins
Makeup: Peter Philips
Hair: Ward
Manicurist: Mei
Stylist: Marie Chaix

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WE TAKE A LOOK AT SOME OF THE BEST BOHO-CHIC STORES IN DUBAI THAT CAN BRING SOME OF THAT FREE SPIRIT MODERNITY TO YOUR HOME.

Tribe, The Courtyard, Al Quoz

Handmade and unique, you will be spoiled for choice in this cute store located in a picturesque The Courtyard. Curated by Australian designer, Jo England, Tribe brings together coastal elegance with a global-chic edge.

White Moss, www.white-moss.com

White Moss focuses on handmade simple pieces that bring a sense of neutral balance to any home. Choose from pineapple shape lamps to printed or fringed cushions that make something simple look special.

Boutique Nomads, www.boutique-nomads.com

Turn your outdoor space into a playground with bright hammocks, fun pool floats and lanterns that will have you spending more time outside during these sunny months.

The Bowery Company

For a bohemian urbanite who is looking for something a little bit cleaner and modern will love what’s on offer at the Bowery Company. Add some quirky utensils to your kitchen or bring a minimalist vibe to your lounge, whatever your taste there is something to cater for any free spirited city dweller.

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There seems to be nothing that can dampen the positive optimism of Bulgari and their charismatic CEO Jean-Christophe Babin. As the sun shines down on another sparkling edition to their hospitality portfolio, the newly opened Bulgari Resort in Dubai, we take a moment to reflect on the last 12 months and look ahead to a colourful future that the Maison is determined to keep consistent, creative, and credible.

Describe the feel of the Bulgari Resort Dubai?

Hospitality is taking us to a new level of luxury experience. I say this is a mix between Milan and Bali which, makes it magical and unique. On one end this it is a city resort central to Dubai, but at the same time you’re on a tropical island, a Bulgari island.

Let’s talk about the Festa collection, what has been the reaction?

Festa resonates well in what you expect, feel, and dream out of Italy. People think about Italy as joyful so the Festa theme reflects that, it represents what Italy stands for. Turning that into jewels you’d never experience felt to the client as a major revolution without denying anything of the past. It’s strong, bold, and colourful, so those items are there but it’s expressed in different ways, which is unexpected.

We have a soft spot for Monete, will we see a revisit to the collection?

You can’t have repeat jewellery with Monete as each one will be slightly different. Each coin is unique and rare, and it can only fit with one of a kind pieces. We created a watch for a client with a beautiful coin, but the coin itself cost 100,000 Euros, so the Monete can be much more expensive than some very big gems.

Do these pieces go to auctions?

You frequently find our pieces at auctions, but our role at Bulgari is not to feed ourselves at auctions. If we ever sell at auction it’s not a need to speculate or to increase the price, it’s a second market for Bulgari.    

What can we expect from the fashion jewellery?

The fashion jewellery has been a success, and we have managed to evolve credibly. Serpenti has evolved with pendants and rings and so have other collections which added new clientele on top of traditional clientele. The launch of Diva has been a major success and brought a new layer of clientele, so fashion jewellery is very strong.

Tell us about the Diva accessories?

Diva is a new baby as it was launched this summer. We saw that the clientele is different between Serpenti and Diva across jewellery and watches. Perhaps Serpenti is a stronger self-statement, yet Diva is perhaps more feminine, so they are on different levels. Those who are in love with Serpenti might not be interested in Diva, and vice versa.

What are we expecting to see at Basel?

Basel will be very feminine. It will show that if you’re daring and you can evolve, an icon which may have seemed frozen forever.

To what extent do you think brand collaboration gives back to the brand?

They shouldn’t be systematic, they are there to add value. If it’s just to have a slight twist on something that we have already created. As a brand you’re the main creator, but on occasion we need mind openers and it’s exciting to work with someone who is different to you because it stimulates the themes and gives personality.

As a jewellery Maison, what challenges do you face today?

Our challenge is to express identity, difference, and character in a world of few millimetres. You may think everything has already been invented, which is right or wrong. If you take Serpenti, we could do it the way Egyptians did it 3000 years ago, but obviously we try and find our own Serpenti. I think what is more challenging in the jewellery business is to try to reinvent something which theoretically is impossible.

Do you tend to create the story first and then the product after?

The product always has an origin, there is initially a trigger. It should symbolise something, for Serpenti it’s the Egyptian bracelets, but it’s not the full story and it’s not the only way to create. The object must be beautiful.

Can over-telling the story, especially on social media, effect the product?

With social media there is very little storytelling, you find more on websites. On Instagram it’s more news rather than the storytelling. Taking Monete, it’s not just a beautiful coin but something that was used 2000 years ago, you can imagine it in the Middle Ages or other adventures.

What are your objectives for the new year?

Professionally it is to grow the desire for Bulgari. There’s no real limit, you can do it through a hotel or ring or an event. You have so many facets in the Bulgari world and you have playful dimension in terms of management. This strive for credibility and consistency remains our challenge for years to come.

And on a personal level?

I live in the moment, I’m not a person to set goals. I’m optimistic and tomorrow is another day.

By Lara Mansour Sawaya

It is no surprise then that Italian luxury brand Bottega Veneta has found deep-rooted success since Creative Director Tomas Maier came on board in 2001. Before his appointment, the brand faced bankruptcy as its Intrecciato leather weaving technique had begun to lose global relevance, yet now into his 17th year with the brand, the designer has made creating unfettered luxury his mission, pushing out understated designs rarely found in today’s logo-driven, high-fashion world.

Born in April 1957 in Pforzheim, Germany, at the edge of the Black Forest, Maier was raised in a family of architects and attended a Waldorf school as a child. From there he headed to Paris, where he trained at the Chambre Syndicale de la Haute Couture. His professional experience includes designing for some of the most prestigious fashion and luxury goods houses in France, Italy, and Germany, including Guy Laroche, Sonia Rykiel, where he designed men’s wear for eight years, and Revillon, where he spent four years as creative director. For nine years, Maier was a women’s ready-to-wear designer at Hermès, where he also designed some leather goods and accessories.

In 2001, after the Gucci Group bought over Bottega Veneta, Tom Ford, who was Gucci’s creative director at the time, brought Maier on board, and since then he has had complete creative control over the design for men’s and women’s ready-to-wear collections, alongside homeware, furniture, watches, luggage, fragrance, and fine jewellery.

One of Maier’s earliest moves was to affirm that Bottega Veneta would return to its logo-less heritage, conveyed in the famous slogan, ‘When Your Own Initials Are Enough’, and using this principle, together with four key cornerstones, high-quality materials, outstanding craftsmanship, timeless design and contemporary functionality, he has grown Bottega Veneta into the luxury lifestyle brand that it is today. He presented his first collection, which consisted solely of accessories in September 2001, just a few months after being hired, and launched the Cabat bag, a woven leather sack-like bag that features no logos. The first women’s ready-to-wear show took place in February 2005 and the first men’s runway show was held in June 2006, before the addition of homeware, furniture, watches, luggage, fragrance, and fine jewellery.

Another of Maier’s great successes has been The Art of Collaboration, which was conceived in 2001, and highlights a storied relationship with artists. For Spring Summer 2018 the next chapter unfolds with a disruptive digital first ad campaign, and the focus will return to Bottega Veneta itself, with a communication platform that reinforces the brand’s own initials more relevantly for today’s customer. Titled Reflections, the campaign embraces moving images as its core, with six distinct and deeply cinematic films to be released episodically throughout the season via multiple platforms and partners. Each season will focus on different characters with an overarching narrative that illuminates the collection and draws from the brand pillars, Mystery, Sophistication, Architecture, Sensuality, and Surrealism.

At the helm of a relatively young luxury brand, only founded in 1966, whose name literally translates as ‘Venetian Atelier’, Tomas Maier has transformed the luxury goods business, offering a thoughtful and increasingly important argument for the primacy of quality, craftsmanship, and individuality. His refusal to pander to fashion’s fickle tastes has allowed him to carve out a niche in the industry, refining a formula that finds the sweet spot between credible fashion and casual, wearable clothes. Necklines, silhouettes, and proportions are subtly tweaked to suit the seasons, but they all boast the same attention to detail and longevity that’s now a cornerstone of all Bottega Veneta’s products.

What are the core values of Bottega Veneta?

The foundation of Bottega Veneta’s values remain the Four Cornerstones which I established when I arrived at the brand in 2001. They serve as a strong guiding principle for everything that we create, from our core leather goods to jewellery and fragrance.

How do you think the DNA of the brand has changed over the years and what has stayed the same?

On the foundation of the Cornerstones, we have built our pillars and creative ideals. Among the pillars are things that we value as part of the brand’s culture, Sustainability, Individualism and Experience. Our creative ideals include mystery, surrealism, and sensuality. These have all evolved and deepened over time.

What do you identify as the major signatures of the house?

The intrecciato weave is undeniably the most recognisable signature of the house. It’s our default logo. But what I love about intrecciato is that we find creative ways to approach it every season. For Spring, we introduced the Intrecciato Checker, which uses a colourful graphic contrast weave. We also created the Intrecciato Wingtip workmanship, which translates the decorative perforations of a brogue onto an intrecciato City Knot handbag. Intrecciato is so perfect and simple that the possibilities of how to reinvent it are endless.

How do you continue to keep the brand covetable and fresh, balancing tradition and innovation?

The design process is a collaboration between myself and the artisans. It’s a dialogue and there’s mutual respect. Their work is based on strong roots but it’s always evolving. That’s what keeps all of us motivated. We like a challenge. We don’t like to do the same thing over and over, because that would be boring. Because of the way we work, tradition and innovation are completely intertwined.

Tell us about how the craftsmanship sets Bottega Veneta apart from other brands?

I can’t speak for other brands, but we are unequivocally committed to craftsmanship. I think our atelier in Montebello Vicentino, which is built within a beautiful Palladian villa, is evidence of how important craft is to us as a company. We respect our artisans and treat them well. We also patronise other Italian artisans to keep their businesses alive. In the Spring Summer 2018 collection, we used silk from Taroni, an old mill based in Como, and we use Murano glass for our fragrance bottles. We have to support these people and these traditions, or they will die out.

Do you find the speed of fashion challenging as demand increases for the number of collections and ranges a year?

Yes, especially with the products we produce, that need a lot of time to be developed.

What do you think has been the key to growth and building a strong identity?

Staying true to the brand and being aware yet not listening to the noise.

When did you your passion for fashion start, and love for fashion come from? Was fashion a career that was always destined for you?

My father was an architect and I very much liked architecture but if I went into it, I would have been taking over the family business. I also became interested in fashion when I was around 15 years old, and later, I decided to apply to the Chambre Syndicale de la Haute Couture and left for Paris shortly after I finished high school.

What drives you and keeps you inspired?

I have always been inspired and passionate by many things, art, architecture, photography, music, and the places and things I have discovered on my travels and throughout my life. There are many things I find inspiring in the Veneto region, the architecture of Palladio, the paintings of Veronese and the sculpture of Canova. Or it could be a certain kind of Japanese lacquer or a strange plant specimen.

Tell us about your design process, and how it begins?

My design process always starts with colour, which is extremely important at Bottega Veneta. Our palette is unique and every single material, every single yarn, every single fabric of ours is custom. Nobody else dyes everything that they use. Colour is key for us because it has that inherently Italian playfulness. It’s the very specific joy of living in Italy.

What was your inspiration behind the most recent Spring Summer 2018 collection?

The palette there came from the Marble Room at Kedleston Hall, a Palladian estate in the English countryside. That gave us all these beautiful powdery pastel colours. The silhouettes were inspired by workwear and sportswear, very easy, functional shapes. Then we contrasted that simplicity with exquisite embellishment.

Tell us about the concept behind the Art of Collaboration?

Originally, I conceived of the Art of Collaboration because I love photography as an art form and collected photography for many years. When the opportunity came up to create a new approach for a luxury advertising campaign, I thought I could go with a fashion photographer or I could go with an art photographer which is more my world, and that would tie into the idea that Bottega Veneta is a brand for the individualist.

Why did you choose to collaborate with artists and photographers for your advertising campaigns?

I like the idea of bringing something educational. Maybe I can help them discover unknown territory. Perhaps they knew some photographers we collaborated with but not all. I think this new campaign that we created with Fabien Baron, since these striking moving images can exist on so many platforms, will bring the same dynamic, just in a different way.

What makes telling the story through film more effective?

These films have layers and depth. They are not easily categorised. When you are shooting a campaign, there is a desire to tell more of a story. You are in an interesting environment with great talent, and the wheels start to spin. Who is this woman? What is the man doing there? Whose house is this? Film now allows us to take the story further. To me it is always more interesting when a film ends, and the plot could go one way or the other. It’s open to interpretation.

By following the format of an episodic television series, are you looking to attract a younger consumer?

Our aim is to communicate with our customer where he or she already is. We went with a digital-first format because we want to always be in the palm of our customer’s hand with content that inspires and entertains. Certainly, young people are digitally savvy, but I think these days the luxury audience, no matter their age, are increasingly engaging with brands in this way.

To you, what is luxury?

Having personal, private time.

Tell us about why you brought back the tagline, ‘When Your Own Initials Are Enough’?

When I arrived at Bottega Veneta, it was the era of the ‘it’ bag. I wanted to give something to people who wanted something that was beautifully made, timeless and free of any of the logos and excessive hardware that was so prevalent at the time. I discovered this tagline ‘When Your Own Initials Are Enough’ in an old Bottega Veneta advertisement, and it just fitted the moment and the mood perfectly.

What are your thoughts of logomania, and the rise of logos in luxury fashion?

Fashion goes in cycles and therefore logos come and go. I think what is important in this industry is to stay true to who you are.

You are now offering customisation in all your Maisons, are you seeing an increased demand for this service?

I think in general there is a move towards customisation in luxury. We’ve always offered services for clients to do special orders and, considering our motto, this new personalisation program is a natural move. We made it our own by taking advantage of our savoir faire with precious skins, offering stitched initials with letters cut from croco.

Why did you choose New York as the location for your third Maison?

New York is very important to the brand. Bottega Veneta opened its first store outside of Italy on Madison Avenue in 1979. We were one of the earliest Italian luxury brands to be there. That store was quite successful. Jacqueline Onassis shopped there, and Andy Warhol was a regular visitor and even made a short film about the brand. Our return to Madison Avenue is kind of a homecoming.

What has been a standout moment in your career, and your greatest achievement?

My most important achievement was building the atelier in Montebello Vicentino in the Veneto and giving our artisans a beautiful place to work. It’s built into an 18th century Palladian villa within a historical park but is completely modern and Platinum LEED certified.

By Eliza Scarborough

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Three Reasons To Visit The Largest Bottega Veneta Store In The Middle East

Bottega Veneta’s New Art of Collaboration Campaign Is Here

Conceptualised by Saudi born Nour Al Tamimi, The Nou Project is a limited-edition line of sneakers designed in collaboration with up-and-coming artists. Through handpicking a select group of artists and bridging the gap between art and footwear, Nour creates inspiring, one-of-a-kind pieces, so you can now wear a piece of art on your feet.

Tell us about how you conceived The Nou Project?

The Nou Project was actually part of my final thesis at Sotheby’s Institute of Art in New York, we had to come up with a business plan to benefit the art world in a different manner. I was inspired by sneaker culture in the city and I wanted to offer artists a new platform to showcase their works.

How did the idea of combining exclusive art with sneakers come together?

When I first moved to New York, I realised it was necessary to invest in a cool comfortable pair of sneakers to walk around the city. That’s when I came up with the idea of combining art and sneakers, owning a cool pair of sneakers with a limited work of art to stand out.

Tell us about how you turn buyers into collectors?

Art has always been a powerful form of expression that reflects and provokes attention to the circumstances within society and culture, while in some cases influencing change within these cultures by bringing attention to certain issues. I wanted to give upcoming artists a chance to showcase their expression on something that is somewhat of a moving canvas. This allows for their message to be seen and heard within a larger community and audience, as well as allowing customers to walk with a purpose. I want the buyers to appreciate the message as well as the limited edition aspect of the sneaker, as it will never be reproduced. Also walking around with a cool design on a shoe allows the buyer to stand out and make a statement.

How do you choose the artists you collaborate with?

My first collaborations were with artists I knew directly or artists that I met through friends in the art world, such as gallery owners. After launching the first three artists, Rex Chouk from Saudi, James Rawson from the UK, and Nydia Lilian from Mexico, I started having artists approach us.

If you could own any piece of art, what would it be?

That is a tough question because there are so many great artists that have been instrumental within art history and within different types of art movements. But if I could own any piece of art it would definitely be either a Mark Rothko, abstract expressionism, or Damien Hirst, more contemporary.

What are you most excited about for the future of The Nou Project?

I am excited to meet with new and interesting upcoming artists as well as established artists, of course these would be more limited and more expensive, just as in the art world.  But it is very exciting to be working with creatives and making something magical together. I am also excited to expand to other types of apparel such as t shirts and sweaters.

How would you describe your personal style?

Eclectic, elegant and edgy. I would say I am definitely someone that likes to make a statement with what I wear. I love accessories that stand out and that are different, I have a weakness for sunglasses and headpieces, and I love themed parties because I love to go all out.

Which are your go to, heels or sneakers?

Sneakers in the day and heels at night, although of course this also depends on the city I am in.

What does your personal shoe collection look like?

I have mostly TNP sneakers of course, but I also love Gianvitto Rossi and Aquazurra for heels.

Who is the woman, or women, who has inspired you the most?

I am one out of five girls. So, I have to say my mother and each one of my sisters have been a huge inspiration to me in different ways. They all have different characteristics that have influenced the person I am today.

What three films could you watch over and over again?

Sound of Music, Pretty Woman, and Clueless.

Who would play you in the film biopic of your life?

That’s a very tough question, but I have always loved Jennifer Connelly as I find her so elegant and an incredible actress.

If you could invite four people, living or dead, to the ultimate dinner party, who would they be and what would you serve?

Cleopatra, Marilyn Monroe, Madonna, and Lady Gaga. These women have been and are icons, and have affected society in so many different ways. I would have a tea party!

What’s your guiltiest pleasure? 

Special K with two spoons of Nutella and milk, I know it’s weird, but I love it!

Do you prefer a night in or night out?

A night out of course.

What was the last piece of clothing you bought?

A crop top and very edgy high wasted pants by designer Yasmin Qanzal from Jeddah.

Tell us about your most prized possession?

My magnetic Midnight headpieces.

If you weren’t a designer what would you be?

Definitely an artist.

What is your earliest fashion memory?

Going on a shopping spree with my mother when I was 12. It was right before I went to boarding school and she bought be amazing clothes to wear out on the weekend when uniform wasn’t necessary.

What are the best and worst things about a career in fashion?

I think the brand is very unique in that it is a new creative concept, so it is fun because I feel it stands out. I think the worst is feeling pressure all the time because there is no time off!

Tell us the secret to your success?

To always believe in the project and the brand and not let anything stand in the way. The power of visualisation.

Who do you follow on Instagram?

Many artists, emerging and established, galleries and museums, as well as sneaker brands.

What advice would you give to your teenage self?

To be confident and not care about what others think. 90% of style is confidence.

Where is your favourite place in the world and what makes it so special?

India, I love their ethos, the spirituality, the yoga, the culture, the energy, the colours and the happiness the people exert. They are so happy, and I love that about them.

When packing, what are your travel must haves?

My jump-rope and my workout clothes, a variety of sunglasses, body suits that I can either dress up or dress down and my Nou Projects of course!

Where is the next place on your wish list to visit?

Japan! I am dying to go because sushi is my favourite food and I want to dress in Harajuku!

What are your beauty essentials?

Dark lipsticks because they change your face, even when you are not wearing anything else, together with all of Charlotte Tilbury’s products, her eyeshadows are the best.

Tell us the best advice you were ever given?

My mother told me that confidence is the best accessory.

What was your life goal aged 10?

To be a poet and a writer.

And what is it now?

To turn the Nou Project into an established brand that represents artists and utilises them as designers. To also publish a book, or many, and to pursue my career as an artist. But I believe there is time for that, as there is no age limit when pursuing your career in art.

By Eliza Scarborough

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Palmer//Harding: The Art of Shirting

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This season is all about logomania, and Fendi pays tribute with a special capsule collection that reloads the iconography of the FF logo. See our ‘Logo Girl’ editorial story in full below.

FF allover bomber jacket in velvet jacquard, FF allover sweater top, FF Runway small ALL FENDI

LEFT IMAGE:  FF allover bomber jacket in velvet jacquard, FF Runway small RIGHT IMAGE:  FF allover logo sweatshirt, FF allover knit dress ALL FENDI

LEFT IMAGE: FF allover pleated skirt, FF allover technical  mech dress, multicoloured FF allover logo Kan I, FF allover technical mech boots  RIGHT IMAGE: FF leather Runway shopper, FF allover knit jacket ALL FENDI

LEFT IMAGE: FF allover bomber jacket in velvet jacquard, FF allover sweater top RIGHT IMAGE:  FF allover knit jacket, FF black leather biker boots ALL FENDI

Styling & Direction: Dana Mortada
Photographer: Fouad Tadros
Hair & Make-up: Ammara at MMG
Model: Natalia at MMG
Location: Last Exit E11, Dubai

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Milan Fashion Week: Fendi FW18

Shop Fendi FF Capsule Collection On Net-A-Porter Before Anyone Else

Get a new season update with Bvlgari’s hypnotic Serpenti Viper Collection- featuring stackable timeless pieces. Enter a world of sensuality with our exclusive ‘Power Players’ story for Bvlgari out now in our April’18 issue.

BVLGARI SERPENTI VIPER Bangles in Pink Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Bangles in Pink Gold with Mother-of-Pearl, BVLGARI SERPENTI VIPER Bangles in Pink Gold with Carnelian, BVLGARI SERPENTI VIPER Ring in Pink Gold with Pavé Diamonds and Carnelian, BVLGARI SERPENTI VIPER Rings in Pink Gold with Pavé Diamonds, BVLGARI SERPENTI Earrings in White Gold with Pavé Diamonds

LEFT IMAGE:  BVLGARI SERPENTI Earrings in White Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Rings in White Gold with Mother-of-Pearl and Pavé Diamonds, BVLGARI SERPENTI VIPER Rings in White Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Rings in Pink Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Bangles in Pink Gold, BVLGARI SERPENTI VIPER Bangles in Pink Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Bangles in White Gold with Pavé Diamonds RIGHT IMAGE:  BVLGARI SERPENTI Earrings in White Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Rings in Pink Gold with Pavé Diamonds and Carnelian, BVLGARI SERPENTI VIPER Rings in Pink Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Bangles in Pink Gold, BVLGARI SERPENTI VIPER Bangles in Pink Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Bangles in Pink Gold with Mother-of-Pearl

LEFT IMAGE: BVLGARI SERPENTI Earrings in White Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Bangles in Pink Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Bangle in White Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Rings in White Gold with Mother-of-Pearl and Pavé Diamonds, BVLGARI SERPENTI VIPER Rings in White Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Rings in White Gold with Full Pavé Diamonds, BVLGARI SERPENTI VIPER Rings in Pink Gold with Pavé Diamonds RIGHT IMAGE: BVLGARI SERPENTI VIPER Bangles in Pink Gold with Carnelian, BVLGARI SERPENTI VIPER Bangles in Pink Gold, BVLGARI SERPENTI VIPER Bangles in Pink Gold with Mother-of-Pearl, BVLGARI SERPENTI VIPER Bangles in Pink Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Bangle in White Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Rings in White Gold with Mother-of-Pearl and Pavé Diamonds, BVLGARI SERPENTI VIPER Ring in White Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Ring in Pink Gold with Pavé Diamonds, BVLGARI SERPENTI Earrings in White Gold with Pavé Diamonds

BVLGARI SERPENTI VIPER Bangles in Pink Gold, BVLGARI SERPENTI VIPER Bangles in Pink Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Bangles in White Gold with Pavé Diamonds, BVLGARI SERPENTI Earrings in White Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Rings in White Gold with Mother-of-Pearl and Pavé Diamonds, BVLGARI SERPENTI VIPER Ring in White Gold with Pavé Diamonds, BVLGARI SERPENTI VIPER Ring in Pink Gold with Pavé Diamonds

Styling & Direction: Dana Mortada
Photographer: Fouad Tadros
Hair & Makeup: Ammara at MMG
Model: Paulina at MMG

Enjoy our exclusive film for Bvlgari below:

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A&E Interviews: Bulgari’s Lucia Silvestri

Bvlgari SS18 Accessories: Upon Reflection

From abstract to zoopraxiscope, here’s a comprehensive guide of art terminology, techniques and movements.

Abstract Art

This is art that does not attempt to represent an accurate depiction of a visual reality but instead use shapes, colours, forms, and gestural marks to achieve its effect.

Gilbert Soest

Baroque

Baroque was the dominant style in art and architecture of the seventeenth century, characterised by self-confidence, dynamism, and a realistic approach to depiction.

Sir Joshua Reynolds

Classicism

The terms classic or classical came into use in the seventeenth century to describe the arts and culture of the ancient civilisations of Greece and Rome and is referred to as classicism.

Nan Goldin

Documentary Photography

This is a style of photography that provides a straightforward and accurate representation of people, places, objects, and events, and is often used in reportage.

Oskar Kokoschka

Expressionism

Expressionism refers to art in which the image of reality is distorted in order to make it expressive of the artist’s inner feelings or ideas.

Barbara Kruger

Feminist Art

Feminist art is art by artists made consciously in the light of developments in feminist art theory in the early 1970s.

Harold Cohen

Generative Art

The term generative art is predominantly used in reference to a certain kind of computer-based art. It is art made using a predetermined system that often includes an element of chance.

Frank Stella

Hard Edge Painting

The term ‘hard-edge painting’ was coined by Californian critic Jules Langster in 1959 and is characterised by monochromatic fields of clean-edged colour which reinforced the flatness of the picture surface.

Salvador Dalí

Illusionism

The term illusionism is used to describe a painting that creates the illusion of a real object or scene, or a sculpture where the artist has depicted figure in such a realistic way that they seem alive.

James Abbott McNeill Whistler

Japonisme

The term is generally said to have been coined by the French critic Philippe Burty in the early 1870s. It described the craze for Japanese art and design that swept France and elsewhere after trade with Japan resumed in the 1850s.

Jeff Koons

Kitsch

Kitsch is the German word for trash, and is used in English to describe particularly cheap, vulgar, and sentimental forms of popular and commercial culture.

Frank Stella

Lithography

A printing process based on the fact that grease and water don’t mix, where the image is applied to a grained surface such as a flat stone or metal plate using a greasy medium, so that the ink will adhere, while the non-image areas are made ink-repellent.

Georges Braque

Modernism

Modernism refers to the broad movement in Western arts and literature that gathered pace from around 1850 and is characterised by a deliberate rejection of the styles of the past, emphasising instead innovation and experimentation in forms, materials and techniques in order to create artworks that better reflected modern society.

John Constable

Naturalism

Until the early nineteenth century both landscape and the human figure in art tended to be idealised or stylised according to conventions derived from the classical tradition. In the nineteenth century there was a trend towards representing things in a more realistic way.

Robert Delaunay

Orphism

Orphism was an abstract, cubist influenced painting style developed by Robert and Sonia Delaunay around 1912. In the Delaunays’ work patches of subtle and beautiful colour are brought together to create harmonious compositions.

Sir John Everett Millais

Pre-Raphaelite

The Pre-Raphaelites were a secret society of young artists, and one writer, founded in London in 1848. They were opposed to the Royal Academy’s promotion of the ideal as exemplified in the work of the Renaissance master Raphael, and believed in an art of serious subjects treated with maximum realism.

Sandro Botticelli

Quattrocento

The cultural and artistic events of Italy during the period 1400 to 1499 are collectively referred to as the Quattrocento from the Italian for the number 400, in turn from millequattrocento, which is Italian for the year 1400.

Philip Mercier

Rococo

Light, sensuous, intensely decorative French style developed in the early eighteenth century following the death of Louis XIV and in reaction to the Baroque grandeur of Versailles.

Sir Eduardo Paolozzi

Screenprint

A variety of stencil printing, using a screen made from fabric, either silk or synthetic, stretched tightly over a frame.

Edward Collier

Trompe L’Oeil

French phrase meaning ‘deceives the eye’ used to describe paintings that create the illusion of a real object or scene.

Banksy

Underground Art

These days the term underground art is used to describe a subculture of art, like graffiti art or comic strip art. Since the late 1990s the internet has become a forum for underground art thanks to its ability to communicate with a wide audience for free and without the support of an art establishment.

Wyndham Lewis

Vorticism

The vorticists were a British avant-garde group formed in London in 1914 with the aim of creating art that expressed the dynamism of the modern world.

Joseph Mallord William Turner

Watercolour

Refers both to the medium and works of art made using the medium of watercolour, a water-soluble paint with transparent properties.

Xylography

A printing technique that involves carving text in relief upon a wooden block, which is then inked and applied to paper. This method of wood-block printing originated in Japan and China in the 8th and 9th centuries and appeared in Europe in the 14th century.

Damien Hirst

YBAs

This is a label for Young British Artists and is applied to a loose group of British artists who began to exhibit together in 1988 and who became known for their openness to materials and processes, shock tactics and entrepreneurial attitude.

Zoopraxiscope

19th-century motion-picture device, designed by Edweard Muybridge, in which light is projected through rotating glass disks applied at the rim with a changing sequence of images, creating the illusion of movement.

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CHOPARD PRESENTS FOUR SUMPTUOUS FRAGRANCES BASED ON A LUXURY NATURAL PHILOSOPHY

After many years of external collaborations, Chopard is establishing its own fragrance house, Chopard Parfums, leading the brand to the forefront of luxury natural perfumery. Echoing the brand’s vision as a jeweller, Chopard Parfums places natural, positive, and ethical luxury perfume-making at the heart of its inspiration as a Maison de Parfums. By taking control of its perfumery activities, Chopard aims at creating exceptional fragrances, rich of the most pristine and premium natural ingredients, in line with its journey to sustainable luxury, a project that started in 2013 at Cannes Film Festival with the launch of the High Jewellery Green Carpet Collection.

Inspired by the Arabian Gardens of Paradise, these four new high-end fragrances are a tribute to the most mythical and mystical gardens of the Orient. From the Mediterranean to the East, these legendary gardens are the expression of the Golden age of Arabian civilisation. Peaceful and secret, traversed by rivers of water, milk, and honey, they are filled with the most beautiful, sweet-smelling and colourful flowers and fruits, under the shade of majestic trees.

With the Gardens of Paradise Collection, Chopard Parfums is offering fragrance connoisseurs the quality of the highest tradition of perfumery, and during their launch in Dubai we took the opportunity to speak with Caroline Scheufele, Chopard Co President, and Patrizio Stella, CEO of Chopard Parfums, to get a greater understanding of the power of scent.

To what extent in such a fast-paced world storytelling is still important?

CAROLINE: I think it is more important than before, because the younger generation are questioning what they buy far more. They want to be more informed, so there needs to be a true story behind the product to garner their interest and touch them.

PATRIZIO: I believe it is very much important, but it must be translated in the right way. There are different elements in luxury business, one is the quality of the product itself, the second is the brand, and thirdly the story. Storytelling for us is something that is not just a marketing tool to sell the product, it has to be the true fairytale behind the creation that can help people understand more about the process and link them to the vision and dreams of the brand. It is there to enhance the story of the product.

What is the true meaning of luxury today?

CAROLINE: Luxury is a choice, so no matter what category of price, it is all about the quality and being different.

PATRIZIO: We believe that luxury is connected with quality, emotions, and being true to yourself. Luxury is a promise that we make to our customers, telling them that we will take care of them from the beginning to the end without hiding anything. It is about the substance, it needs to be rich, with the right ingredients, and the right story, whilst still remaining transparent to the customer. Simplicity is very important to us when talking about luxury, we believe that perfection is not when there is nothing else to add, but when there is nothing left to take away.

What makes each of the four fragrances unique?

PATRIZIO: The four fragrances are very much unique, so despite them being a collection, they can be individual fragrances on their own. They all have one ingredient that makes them uncomplicated, and each of them tells a different story, representing a different garden.

PATRIZIO STELLA & CAROLINE SCHEUFELE WITH LARA MANSOUR SAWAYA

How would you define each fragrance?

PATRIZIO: In the case of Orange Mauresque it’s a sandy fragrance, for Jasmin Moghol it’s about sensuality, with Rose Seljuke it’s a mythical flower like the rose, and for Miel D’Arabie it’s the emotional restoration.

Tell us about the challenges you face today with fragrances?

CAROLINE: It’s a big competition with almost every brand touching the fragrance world, whether they are fashion, jewellery, or cars. So, if you want to stand out and make it, you must be different and immediately recognisable.

PATRIZIO: On the creation side we are challenged because we have placed a long-term goal on ourselves to work with natural, high-quality materials which can be complicated due to scarcity and the time needed to work with them. The other biggest challenge for us is defining ourselves in this new luxury natural perfumery segment of fragrances.

What is next in the pipeline for your fragrance sector?

CAROLINE: This line is perhaps more focused on the mature client, so we are looking to create something for the younger generation.

PATRIZIO: This is a major launch which is being introduced all over the world progressively. The Gardens of Paradise is really the starting point, and we chose Dubai to launch it first because it is a place that is fundamental to the fragrances. The idea is to stay very selective with its placement.

As you are inspired by colours, can we look forward to other jewel coloured bottles in the future?

CAROLINE: Certainly, I think the most obvious colour that we would use next would be red, inspired by the ruby.

Can we expect to see a wider range of related products released in the future?

PATRIZIO: The project started from the creative side rather than the retail side. Which means that if things follow in the path of the brand, we could be interested in going anywhere to create more complimentary products.

What are the common codes that you are ensuring you keep between the fragrance and the Maison?

CAROLINE: First of all, being as creative in the world of   fragrances as we are with watches and jewellery. Next is sustainability, as we are the first brand in the world to really push forward the ethical aspect, which I think really contributes to the fragrance as it makes the smell different. The sustainable side is more complicated due to the ingredients, and this requires extra precision which is in line with our watch and jewellery making.

Tell us about the story behind the design of the bottle?

CAROLINE: The base of the bottle is from the bottle I designed for the very first fragrance that we launched, Happy Diamonds, which was the beginning of the fragrances in 1995. We were talking about the bottle in brainstorming meetings and I showed this previous design which is also inspired by an emerald cut diamond.

Among the fragrances, do you have a favourite?

CAROLINE: It would be the Miel D’Arabie.

Do you have any regrets when it comes to the timeline of Chopard Fragrances?

CAROLINE: I would have preferred to have done this a couple of years ago!

CAROLINE SCHEUFELE

What are your highlights for 2018 with jewellery and watches?

CAROLINE: Happy Sport, one of the first watches I designed is celebrating 25 years, and we also have a large collection of 71 pieces in the red-carpet book to present in Cannes.

What can we look forward to seeing on the red-carpet in Cannes?

CAROLINE: There will be a lot of colours, as I can’t stop myself when it comes to colour!

Can you share with us what you still looking to achieve with the jewellery sector?

CAROLINE: The Happy Hearts line is very successful, and we are extending this as it is very popular with the younger generation.

How challenging is it to speak to the mature client, whilst still attracting the millennials?

CAROLINE: It is about choosing the right media for both levels, so we need to make sure that we advertise each product in the right manner in order to reach the right customer. The younger products are placed across digital platforms, whereas the high jewellery is in print.

When you are designing, do you have a specific idea in mind, or do things come together as you design?

CAROLINE: If it is red-carpet, it is often centred around an unusual or rare gemstone, and this is what inspires me. With the younger lines I start with a white sheet of paper and it can be troubling, whereas with watches, you have a movement in the middle and you have to respect this, designing around it.

What is your favourite stone?

CAROLINE: Diamond.

What is your perfect ‘me-time’?

CAROLINE: Relaxing with good music.

What do you hate the most?

CAROLINE: Bad moods.

Are you currently reading a book?

CAROLINE: I am reading, ‘Fire and Fury: Inside the Trump White House’, which I think a lot of people are reading at the moment! It is not something I would usually read, but it is out of curiosity.

What is the one thing you wouldn’t leave the house without?

CAROLINE: If I travel, a pair of jeans. But funnily enough on this trip to Dubai I packed two left shoes by mistake!

What do you promise yourself and Chopard for the future?

CAROLINE: I promise myself to do more of the things that I want to do, including sports as last year was a marathon but without sports, and spend some more time with my parents, together with having fun. For Chopard I want to create a better red-carpet collection than before, working as hard as I can.

PATRIZIO: To myself I also promise to do more of the things that I like and listen more to the people around me. To Chopard, I want to give plenty of time to maintain the brand DNA, so that in the future it is even more true to itself.

You are one of the few companies that is still family owned, how does that serve you?

CAROLINE: It is a certain freedom that we have, but also a big responsibility.

If there is one thing that you would like to see Chopard achieve in the future, what would it be?

CAROLINE: Being a success with the fragrances.

By Lara Mansour Sawaya

Spring is a time of renewal and regeneration. It represents a fresh start after the protracted dormancy of winter, a figurative and literal shift that affects us both physically and psychologically. In other words, the change of season isn’t confined to warmer temperatures, blooming flowers or sprouting seeds. It’s about the subtle shifts that occur in our bodies.

While most people tend to detox at the beginning of the year, spring, being inextricably linked with ideas of expansion and renewal, is the time that’s most conducive to a full body reset. Now is the perfect time to let go of stimulants and old habits and, above all, make some subtle tweaks to your nutrition and grooming routine, to ensure you spring forward in the best possible shape.

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Huawei, a Chinese company- born and founded in Shenzhen- has rose in a very short time to become a global leader in ICT solutions and is transforming its enterprise services strategy with the introduction of several channel services policies and programs across the world. Today, Huawei’s products and services are available in more than 170 countries, and are used by a third of the world’s population, placed third in the world in mobile phone shipments in 2016.

Aside from advanced technology, Huawei has beaten all odds and sets an industry benchmark for style and colour of new revolutionary devices. Especially for its Middle Eastern customers, a new Artificial Intelligence Strategy will focus on:  evolving smart devices into intelligent devices by building end-to-end capabilities that support coordinated development of chipsets, devices and the cloud.

Here we speak to Rex Liu, President of Huawei Consumer Business Group Levant Region as he walks us through the company’s strategy focus on customers in the Middle East, Huawei’s new innovations that give the consumer a better experience and its promising future.

Tell us more about the Huawei brand, its products and its achievements in the Middle East region so far.

Huawei was established 30 years ago, with a mission to enrich life through communication; and today it has become a global leader in telecommunication, and a serious contender for the big tech giants. With increasing brand influence, it has become one of the world’s most valuable brands. Also one must mention that it is the first Chinese company to ship more than 100 million smartphones.

As for the brand performance, here are some facts:

• #2 Smartphone market share in the MEA region at 13.8% (GFK report H1).
• 27% growth in our brand awareness in the UAE – 2015 – 17 (Ipsos).
• 25% growth in Brand awareness in KSA – 2015 – 17(Ipsos).

We have a mix of several series to match all consumers’ preferences, including The Y series, The Nova series, The P series and our flagship products the Mate 10 Series that we recently launched in the Middle East with amazing key features that will dazzle our clients.

What advantages do you feel Huawei products have over other comparable products?

The Huawei brand is built on four principals: management philosophy, product innovation, commitment on quality, and think global act local.

As for Huawei’s products, they are setting new standards and uniqueness in so many ways such as the Mate 10 Series that we recently launched, which incarnates a series of firsts:

1. The World’s First AI Processor Inside a Smartphone
2. The World’s First AI-Powered Photography Technology
3. The World’s Longest Battery Life
4. The World’s First TÜV Safety Certified Charging Technology
5. The World’s Fastest 4.5G Experience

Huawei is committed to turning smart devices into intelligent devices by building end-to-end capabilities that support coordinated development of chips, devices, and the AI cloud.

We focus on User Experience; Huawei added a layer of AI to Mate 10 smartphones which created a more organic interaction between people and their devices. This impacted the entire user experience, from efficiency to photography and security.

The Kirin 970 in Huawei Mate 10 Series provides:

• Intelligent performance
• Intelligent photography
• Intelligent power

What has been your market strategy for the region?

Huawei CBG was established in 2011 in the Middle East region, and has now a strong position in the region.

Firstly, thanks to the great consumer reception of our diverse portfolio of products, second our strategic partnerships and lastly being customer first.

Tell us how did Huawei make this possible?

By Bringing meaningful innovation to this region: World’s 1st Leica dual camera, supercharge with TUV certification and Kirin AI processor.

Consumer centric in MEA: opened 47 dedicated customer service centers in the region.

Continuous investment: 1st Huawei Flagship Store Launching at Dubai Mall in Oct 2017.

Local innovative collaborations:

• Partnership with The Executive Council to become one of the first smartphone companies to adopt the Dubai Font in OS in 27 languages.
• Aligned to UAE Happiness Agenda – Happiness meter in Huawei customer service centers to measure customer happiness in real time and interact immediately to solve problems.

Can you tell us more about the newly applied photography standards? Why focus so much on Leica?

Taking daily pictures has become a norm; we capture moments and share them with the world. Photography skills are no longer a must, as long as you have your smart device with its fully equipped camera, you are good to go. Therefore, the need of consumers today is to not only have a smartphone with the best features, but also to have a super intelligent camera. To answer their needs, Huawei has invested time, effort and craft to create an innovative smart camera that will take photography to the next level.

As a result, Huawei partnered with Leica, a premium camera manufacturer with more than 100 years as the leader in the world of imaging. Since the launch of the p9, they offered a new and improved dual-lens camera technology that sets a new standard in smartphone photography. Huawei and Leica have now a joint lab and they are pioneer in the world of smartphone photography.

And the newest update is the New Leica Dual Camera in Huawei Mate 10 series with SUMMILUX-H lenses, featuring an aperture of f/1.6. The cameras have 12-megapixel RGB + 20-megapixel monochrome dual sensors with an Optical Image Stabilization (OIS) solution to help you capture more light, and to enable perfectly focused pictures of everyone and everything you love.

HUAWEI and Leica co-engineered the new dual lens camera that utilizes the world’s most advanced photographic technology to create artistic photos in Leica image style.

AI Features on the photography level:

• AI-powered Real-Time Scene and Object Recognition: which automatically chooses camera settings based on the object and scene, supports an advanced AI-powered Digital Zoom.
• Snapshots with AI Motion Detection for clearer portraits and sharper pictures.

In your opinion, what are consumers looking for in a mobile phone, and specifications that mostly interest them?

Consumers usually look for a mobile phone that has a good speed in processing the apps, a long lasting battery, a long life (no need to replace the phone every couple of years), super good camera that takes beautiful pictures regardless of the light and movement conditions, big storage and definitely an elegant design.

In short, they are interested in mind challenging devices, yet practical and modern ones.

For that reason, Huawei brings them the world’s first truly intelligent devices, the HUAWEI Mate 10 and HUAWEI Mate 10 Pro — two new devices that define the next era of mobile. In the last decade, we’ve witnessed advancements in smartphone development including: connectivity, displays, cameras and performance. Featuring Kirin 970, the world’s first smartphone chipset with a dedicated Neural Network Processing Unit, the new HUAWEI Mate 10 Series provides a faster, more personalized user experience that will bring the future to life and I think that’s exactly what consumers are looking for.

Today, Huawei is growing up to become the world’s number one. Tell us how the focus on innovation has given your consumer a better experience?

The focus on innovation was rewarding and helped us provide devices with an ultimate design, long lasting battery, fast charging technique, tremendous photography tools, intelligent speed and many convenient features that changed the customers’ experience to the better.

A device with the Kirin 970 processor, where apps and big games are loading faster and getting the phone into action is a very fast process. This processor allows an energy saving up to 50% compared to previous versions, with a fast-chargeable 4,000mAh battery that last for 2 days.

Huawei values R&D investment, technology and innovation. In the last 10 years, the company invested 45 billion USD in R&D to bring the latest technology to its products and services.

To date, the company has established 15 R&D institutes/centers and 36 joint innovation centers around the world, mainly in Europe, including Belgium, Finland, France, Germany, Ireland, Italy, Sweden, and the UK. Huawei also ranked as the world’s top 10 companies in terms of research and development spending in 2016, according to EU Industrial R&D Investment Scoreboard.

The Premium phone is a very tough market; why did Huawei decide to place itself in this category?

Huawei decided to take on the challenge of producing value added phones, premium phones because of the customers’ constantly evolving needs and expectations.

We even went above the premium especially by introducing flagship phones such as the Huawei Mate 10 Pro, which has been described as reinventing the concept of a smartphone-strong hardware, a new NPU, water resistance, and good display and cameras and has a great display and a powerful processor with minimal power consumption; the Huawei Mate 10 Pro is among the top 3 best devices of 2017.

Moreover, Huawei collaborated with Porsche Design to create Porsche design devices, the partnership with Pantone Colour Institute to create a vibrant palette of tech-packed P10 smartphones, we also have a lot of R&D centers in the world, as well as design centres including Japan Research Centre; Moscow Algorithm Centre; San Francisco UX Design Centre; Paris Aesthetics Centre; EU 5G Technology Centre and London Design Centre.

What is your take on digital advancement and how is it reflected on the company’s efforts to innovate and provide the consumer new ground-breaking products? 

Digital advancements can help in creating the product, but can never create one.

We cannot deny that digital advancements have helped us get to where we are now, but it also raised the level of standards high, and challenged us to create a ground-breaking device that already generated global recognition; especially since it’s powered by AI chipset, the Kirin 970- which is the World’s First SoC with NPU and all the advancement that was added.

Walk us through the brand’s collaboration process, and what does Huawei foresee in the near future, any new collaborations with fashion designers or artists?

Huawei has joined forces with industry partners to innovate and bring technology to consumers. Committed to the core values of staying customer-centric, Huawei amassed long-term, focused effort that leads to great moments of technological breakthroughs.

We have collaborated with Global Partners as well as renowned companies:

• Huawei collaborated with Porsche Design to create Porsche design devices.
• Huawei and The Pantone Color Institute, the global colour authority, have partnered to deliver the first Pantone colours for smartphones.
• Huawei partnered with Leica, a premium camera manufacturer with more than 100 years as the leader in the world of imaging.

On Fashion and Artists:

Huawei partnered with Ricostro on Huawei P10 and Huawei P10 Plus, to reconstruct the design language for smartphone accessories. RICO designed smartphone charging cables and a smartphone bag for Huawei P Series. Her inspiration came from ‘telepathy’ – power runs through a device like blood in human body to connect ‘space’ into geometry tailoring creation. Sometimes abstract and sometimes structured, to possess the modern beauty of technology.

Moreover, Huawei also partnered with CSM (Central Saint Martins), to explore the boundary of vanguard design (The Arts London’s Central Saint Martins is regarded as the birthplace of luxury brands and fashion designer incubators, and highlight the personality of the times and lead the world fashion. The world’s leading designers Alexander McQueen, Stella McCartney are graduates from this school.)

So, what do we have to look forward to in Huawei’s future devices? Any plans to enter a new product category?

Huawei is becoming a global tech giant and is yet to introduce more and more innovative devices in the years to come, by:

• Bringing more consumer focused innovations.
• Bringing forward exciting era of Mobile AI.
• Investing in R&D.
• Work on more unique features based on the AI technologies.

We believe that focusing on the consumers needs and with the global tech innovations we are keen to always introduce new devices that suit everyone and that simplify their lives and enhance their daily routine.

With the introduction of the AI chipset, I believe we are the trendsetters when it comes to the future of smartphones, we will keep on investing in R&D with our centres across the globe and we are committed to always come up with more and more innovations.

At this stage I can only say stay tuned because we will have plenty of products that will dazzle you.

By Dana Mortada

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ZURICH’S URBAN RETREAT, HOTEL ATLANTIS BY GIARDINO IS HOME TO SWISS LUXURY WATCHMAKER, HUBLOT’S FIRST-EVER EPONYMOUS SUITE, HUBLOT 107.

Designed by Swiss company, Studioforma, the stylish suite spans 68 square meters and revives the theme of watches with its unusual design. It is comprised of one spacious living room, a master bedroom, two wardrobes and two private terraces.

‘The Art of Fusion’ is the guiding principle of the Hublot brand and can be found throughout the suite. The architectural layout of the suite embodies a concept of balance and features lavish fittings and textures to reflect the signature look and feel of Hublot watch boutiques. The suite is furnished with a sublime elegance reflected in the smallest detail. A refined combination of grey and black tones, the use of polished aluminium and black smoked mirror panels, alongside walls hung with grey velvet, all work perfectly together to encapsulate the chic, seductive lifestyle characterised by the Hublot brand.

The suite hosts a gem of technology – an innovative installation of a chronograph chandelier designed with a diameter of 1.20 m and a rainbow-coloured LED lighting system. The chandelier resembles an exploded view of the Hublot Unico chronograph. Its interactive technology empowers the guest to vary the colour and temperature of the light for setting the preferred mood and atmosphere in the suite.

The room also boasts custom Molteni sofas, which feature a similar design to the furnishings found in the brand’s boutiques, along with other furniture items from Molteni. Eye-catching contemporary Big Bang pop-art canvas screens in striking neon colours are distributed across a number of walls.

“This collaboration with the Giardino Group is Hublot’s first-ever with a hotelier. We’re are incredibly proud and honoured to partner with this exceptional watch brand. Our guests now have the opportunity to fully immerse themselves in Hublot’s world, ” said Philippe Frutiger, CEO of the Giardino Group.

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Bvlgari’s Accessories hold a forever prestige only revealed at a closer look. 

BVLGARI SERPENTI FOREVER Bag in Python and Multi Colour

LEFT PHOTO:  BVLGARI SERPENTI FOREVER, Bag in Calf Leather and Rose Brushed Metallic Colour, BVLGARI SERPENTI Sunglasses RIGHT PHOTO:  R: BVLGARI SERPENTI FOREVER, Bag in Calf Leather with Pop Heart and White Agate Colour L: BVLGARI SERPENTI FOREVER, Bag in Calf Leather and Rose Colour

LEFT PHOTO: BACK: BVLGARI DIVAS’ DREAM, Bag in Quilted Calf Leather and Violet Colour FRONT: BVLGARI DIVAS’ DREAM, Bag in Python and Multi Colour RIGHT PHOTO:  BVLGARI SERPENTI FOREVER, Bag in Python and Multi Colour, BVLGARI SERPENTI Sunglasses

LEFT PHOTO:  BVLGARI SERPENTI VIPER, Bag in Python and Multi Colour BVLGARI DIVA Shelley in Silk RIGHT PHOTO:  BVLGARI DIVAS’ DREAM, Bag in Quilted Calf Leather and Jade Colour BVLGARI TATOO Scarf in Silk

Fashion Director: Dana Mortada
Photographer: Henry Pascual

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At 27, Jennifer Lawrence is already one of the most successful and exalted actors on the planet. She’s a four-time Oscar nominee and Best Actress winner for Silver Linings Playbook, who simultaneously built a history-making franchise with “The Hunger Games”, while co-starring in another for X-Men. This March, Lawrence will be seen in a new blockbuster, “Red Sparrow”, an action-thriller she made with her friend and Hunger Games director Francis Lawrence.

Although when not filming, actress and muse Lawrence embodies Artistic Director Maria Grazia Chiuri’s feminist vision of the Dior woman, the French fashion house, whom she’s represented since 2013. She understandably is the ideal fit for this role, after pulling off a hugely difficult Hollywood feat, being both immensely likeable and seriously strong, taking stands on issues surround feminism and gender-equality.

Wardrobe & Makeup all by DIOR

To coincide with the launch of Red Sparrow, we take the opportunity to exclusively chat with the independent and self-confident Jennifer Lawrence, who is as powerful a voice as she is a star. Starring as Dominika Egorova, a dancer in the Bolshoi Ballet who was drafted against her will to become a ‘sparrow’, Jennifer describes her role as a trained seductress in the Russian security service. ‘Dominika learns to use her body as a weapon but struggles to maintain her sense of self during the dehumanising training process. Finding her power in an unfair system, she emerges as one of the program’s strongest assets. Her first target is Nate Nash, played by Joel Edgerton, a CIA officer who handles the agency’s most sensitive infiltration of Russian intelligence. The two young operatives fall into a spiral of attraction and deception, which threatens their careers, allegiances, and the security of both countries.’

This was a role which she was drawn to during the press tour of the last Hunger Games movie, telling us that it was a book that director Francis Lawrence had been reading and thought would be an interesting movie. Trusting the director who she had previously worked with on three films was the catalyst behind taking on the project, ‘I love working with Francis and think he is an incredibly giving and collaborative director. He has amazing taste, and I know the pressure is off me personally when he’s directing the movie, because there is a trust and he’s truly a visionary.’ This relationship, and the shorthand they understand during their collaborations led her to investigate the role further, and Jennifer explains, ‘when I finally had the opportunity to read the script, it was an easy yes. It’s a smart, sexy, and intense thriller about a secret program that trains young agents in the psychological art of seduction.’ However, the preparation was demanding, requiring intense physical training of up to 4 hours every day for three months, in order to emulate the ballerina role. ‘It taught me posture and transformed my body, together with learning about the discipline of the art, and the level of discipline it takes over so many years of their lives. The way they carry themselves, the way they handle themselves, and the way they work.’ Which remained as something that was constantly on her mind, even after wrapping all the dancing sequences. Together with the physical training, dialect coach Tim Monich helped Jennifer craft the Russian accent.

The authenticity which Jennifer relays in the role adds to the adventure that the storyline tells with its many twists and turns, ‘it’s a really smart thriller, and is exciting.’ Although, moreover it is the relatability of her character who like many women has been treated differently to men throughout her life. ‘We’ve always had to find different ways and angles of getting what we want and becoming successful professionally.’

Wardrobe & Makeup all by DIOR

Aside from her Hollywood career, Jennifer finds her role as the face of Dior a ‘tremendous honour,’ and to be able to be a part of a house with a rich history is something she doesn’t take for granted. Championing feminism, which to Lawrence mean ‘equality of the sexes,’ she is the perfect fit to model Maria Grazia Chiuri’s designs, who as the first female artistic director of Dior has contributed considerably to female empowerment in fashion. ‘She’s an inspiration to us all. Beyond designing beautiful clothes by a woman for a woman, she is redefining glamour.’ From her very first collection at Dior, Maria Grazia Chiuri launched a social media project, #TheWomenBehindMyDress, featuring the women behind her first collection, such as seamstresses and models, and #TheWomenBehindTheLens, which highlights the female photographers that she chose to work with, such as Brigitte Lacombe, Maripol, Sarah Moon, Nan Goldin, and Janette Beckman. It is this outlook which particularly resonates with Jennifer, who believes ‘it’s incredibly important, especially right now, to be supporting female artists and activists. We are in a sea of change for the better.’

Wardrobe & Makeup all by DIOR

Whether dressing casually in her personal life, or glamorously for premieres, Jennifer feels her red-carpet style ‘has definitely evolved’ as she has grown up, which is inevitably due to being ‘dressed in the best clothes’ by Dior. From the bags and shoes she loves from the last collection, to her favourite ‘black leather jacket with the Moon tarot sign on the back’, or the current Spring Summer 2018 collection she shot in these exclusive Ben Hassett images on location at Paramount, American beauty Jennifer is a muse that clearly lives and loves the storied French Maison’s designs.

Wardrobe & Makeup all by DIOR

So, as another blockbuster movie wraps, Jennifer is likely to move on to a handful of equally impressive projects, but not before she enjoys a real work break. ‘I am taking my time to choose the next film I want to do. I’ve been reading a lot and meeting directors that I want to collaborate with, and I’ve also been able to spend time with friends and just take it easy, which surprisingly has been nice.’

PHOTOGRAPHER : BEN HASSETT
MAKE UP ARTIST: JO BAKER
HAIR STYLIST: JENNY CHO
STYLISTS: JILL LINCOLN & JORDAN JOHNSON

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Jennifer Lawrence Is Our March 2018 Cover Star

Leading Hotels of the World

Located in the heart of the 8th district, within walking distance of the Champs Elysees Avenue, Hotel Lancaster was originally built as a private mansion. This small and intimate hotel is peaceful and discrete, with a large and valuable collection of art and French antiques, accented with contemporary items. The former private residence became a hotel in 1930, when famous guests included Marlene Dietrich, and epitomises civilised Paris and comfort.

Style

Originally a private residence built by Spanish aristocrat Santiago Drake del Castillo, before being enlarged and converted into a hotel by Swiss Emile Wolf in 1925-30, the Lancaster still has something of the feel of a private home, perhaps because of the winding corridors. The hotel has several original paintings on display, including numerous portraits by Russian artist Boris Pastoukhoff who lived here in the 1930s, antique clocks, and furniture mixed with modern comforts. The restaurant has recently been redecorated, forsaking the Japanese touches of its Grace Léo Andrieu days for a comforting ambience of grey velvet seats and white linen.

Rooms

The 56 rooms, including compact singles and good-sized doubles, overlooking the street or planted courtyard, feature herringbone parquet floors, original paintings and antique furniture. The ultimate is the spacious Suite Marlène Dietrich, where the actress actually lived for more than three years in the 1930s, complete with its tall windows, lilac-coloured sofa, chaise longue and baby grand piano.

Food & Drink

Chef Julien Roucheteau is one of the surprisingly unsung talents of Parisian cuisine. He gained his second Michelin star at just 35 years old, and has been at the head of the one Michelin-starred Table du Lancaster restaurant since 2011. Dishes such as dessert of mango sorbet, mousse, and redcurrants with curry reveal Roucheteau’s flair for subtle spicing.

Hotel Lancaster Paris is a member of The Leading Hotels of the World, a collection of authentic and uncommon luxury hotels. Rooted in the locations where they are found, the hotels embody the very essence of their destinations. Offering varied styles of architecture and design, and immersive cultural experiences delivered by passionate people, LHW’s collection is for the curious traveller looking for their next discovery. Established in 1928 by several influential and forward-thinking European hoteliers, Leading Hotels has an eight decade-long commitment to providing remarkable travel experiences.

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A&E Reviews: Mondrian London