EDITOR IN CHIEF
BELLISIMA BENELLI
MANAGING EDITOR
NONGE KOOLHAAS
CREATIVE DIRECTOR
NONGE KOOLHAAS
CONTRIBUTORS
A SALVATORI
ALESANDRA SAENZ
ELAINE LECTAR
KERE DELCON
MORGAINE BLACKRAIN
ONLY DIVA SL
P E D R O
RAFAEL SINAVVA
SC TRACY
SERERIKA CAPRA
Greetings, my beautiful Attentionistas.
As the world reawakens, spring arrives not just as a season, but as a state of mind. It’s a time of renewal—of ideas, of creativity, of perspective. In this Spring edition of Attention SL, we lean into that spirit of fresh beginnings, exploring the trends, voices, and stories shaping what’s next.
T his issue is rooted in movement, whether that’s cultural shifts, emerging talent, or the subtle ways our everyday lives evolve with the changing light. You’ll find features that challenge convention, profiles that inspire curiosity, and visuals that capture the energy of the moment.
Spring reminds us that growth is rarely loud at first, it begins quietly, beneath the surface, before it transforms everything into view. We hope this edition reflects that journey and invites you to look closer, think deeper, and move forward with intention.
T hank you for being part of our community and for continuing to pay Attention.
ENTERTAINMENT ROYALTY
Behind the scenes of: The Monarch Kingdom. written by: Nonge Koolhaas photographed by: The Monarchs
16 Spring Style
Only Diva SL show off the looks for spring
40 Spring Guys
A Salvatore warms to the season
52 Winter Decor
Decorating for the season with Elaine Lectar
62 Exploring The Grid
Sererika Capra explores the beauty of Second Life™
72 Noobling
Kere Delcon talks about his discoveries and mistakes on the grid
76 Entertainment Royalty
Go behind the scenes of: The Monarchs Kindom with Falbala Fairey.
96 Where Spring Begins
Poetry in Color with: Morgaine Blackraine
102 Quiet Luxury
SC Tracy discusses the subtily of luxury fashion
114 Diving Into the Black Pearl
Going in depth with Dino Viper.
122 Spring Couture
Sererika Capra shows the beauty in spring fashoin
134 Luxury Living in a Virtual World
Exploring luxury living in The Valley Estates
142 Beauty In The Park
Ale displays true beauty as she relaxes in the park
152 Spring Awakening in Cherishville
P E D R O explores the gardens of Cherishville
164 The Max Mara Experience
Excelsior Models present a fashion experience
168 Chef’s Kiss
Rafael Sinavva proves food doesn’t have to be as cold as the weather.
176 Attention on Flickr
The best of the Attention SL Flickr chosen by our editorial staff.
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PHOTOGRAPHER: NEMESIS AZUL STYLE CREDITS
PHOTOGRAPHER: JEANIE WAYDELICH
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PHOTOGRAPHER: JEANIE DELICH STYLE CREDITS
PHOTOGRAPHER: LALI ARBIZU STYLE CREDITS
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PHOTOGRAPHER: DIANA BALHAUS STYLE CREDITS
PHOTOGRAPHER: RACHEL MCDONNELL STYLE CREDITS
PHOTOGRAPHER: A SALVETORE
PHOTOGRAPHER: ELAINE LECTAR
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Kere writes about the world: Discoveries and mistakes
By: Kere Delcon
When a major appeal of virtual worlds like Second Life™ is its escapism, then roleplaying within it can be like escapism with the safety off.
What I like about Second Life™ is that whenever we inhabit our avatars, we play some kind of role – usually a version of ourselves which opens doors to new opportunities and experiences. The longer we live virtually, the stronger our sense of virtual selves become. Loggin in is like flicking a switch, turning on a different version every time.
So… roleplay then is surely that version of us becoming a version of itself. It’s not me putting on the toga, it’s Kere. It’s a whole new level of character play in a whole new world of layers and storytelling to explore.
So, when in Rome, right? As a classics scholar, inhabiting a character in the world of Ancient
Rome was a massive source of fascination, and to my newbie amazement, within this world existed a smorgasbord of different versions of that. From fascination to fantasy and every spicy titbit nestled within, turned out togas really are a party – especially when surrounded by hunks of muscle waving their chitons about with reckless abandon.
So, would I be a slave or a slaver? A fisherman or a barman? Did I hunt? Could I even fire a bow and arrow? Maybe I’d sit around on temple steps just writing poems and waiting to get laid?
The ability to inhabit characters varies from avatar to avatar and is driven by both the imagination,
and the keyboard skills of the warrior driving him (and her, depending on your version of Rome).
This is one of the pitfalls of roleplay. It varies wildly, and there is some skill involved. It’s a barrier to play for some, or simply a hurdle to overcome that prolongs the inevitably of getting laid. Roleplay regions have come and gone over the years, with a few stalwarts still standing – like the empire of Romanum, the first one my pixel-feet ever stepped into. It still stands today – and makes me feel old.
The Second Life™ economy, however, means that regions have an upkeep – and it isn’t cheap to
do so. This is maintained through memberships, residential or commercial rentals, or simply by donations. These in turn are driven by the need for citizens. Those with imagination, the skills to overcome those first barriers, and the staying power to stick it out. It’s a difficult balance to keep on top of, and for that reason – those who manage a roleplay region ought to be applauded for both their imagination and their staying power.
This isn’t the only balance required. Those keyboard skills needed by players aren’t just about the knack for spinning a good yarn, but also for managing the required etiquette. How many lines is too many?
How long should the others wait for my response? When is it my turn to speak?
Ever heard the phrase para-rp? Look it up.
Just as the skill for roleplay varies, so does the tolerance for its different forms. Most regions will offer classes or a guide. Some manage roleplay with amazing skill that is inclusive, welcoming and fun. Others wrap it in so many
systems and restrictions that it becomes rule-play instead. And when the majority of your population features “no drama” somewhere in their profiles, bending the rules when playing by them is a fine art.
But we soldier on. Whether it’s in a toga, a trenchcoat or a titan3X900 android body casing, roleplay exists, it’s out there, go find it and have a go.
Make stories. Make a scene or just sit on the temple steps reading your “how-to” guide while waiting to get laid. I’ll find you.
Kere Delcon is old. He’s seen too much. He’s been too much, andhe’sletitallhangout.
Nowhesitswritingabouthis SLjourneybetweenavapeand acanof energydrink.
One of the greatest things about Second Life™ is that there are endless opportunities to experience things that you may never be able to in Real Life. Creativity is only hampered by the imagination and your skill at bringing it to life. There is live music, clubs, DJs, movie theatres, carnivals, and live shows. Entertainment is constantly changing and pushing the envelope of expectation and thrill. Probably the best in the business is the Monarch Kingdom. Led by Royal Shippe, The Monarchs are consistently creating, innovating, and pulling off things never seen before on the grid. His team of dancers, artists, choreographers, and wardrobe are seriously the best in the business. Falbala Fairey is one of the top choreographers and some would say Royal’s right hand in the troupe. She was gracious enough to agree to an interview, and we were honored to sit down with her.
Nonge Koolhaas: The Monarchs is in my opinion the top production show troupe on the grid. For those who may not know, can you give me a little history? How and when did The Monarchs get started?
Fabala Fairey: We (the team) thank you for this generous compliment to see us this way and to invite us to this interview is a big pleasure for us as well. The Monarchs is a small production troupe, starting back in 2016, dedicated to pushing the boundaries of what is possible in Second Life™ performance art. While we maintain a curated, close-knit team, we bring a wealth of technical experience to the stage. Our mission is simple: to elevate the grid’s performance scene by setting a new bar for quality, precision, and immersive storytelling.
For us, a show is more than just a series of dances — it is a comprehensive production. The Monarchs was born from a shared vision between Diiar Shippe and Royal Shippe to move beyond traditional stage routines. They felt there was an untapped potential in the medium for true technical choreography. They wanted to move away from static performances and instead focus on the complex “geometry” of dance — integrating movement, timing, and spatial awareness into a seamless visual experience.
NK: When did you get involved?
FF: Let me go back even further maybe. When I attended my first Monarchs show in 2019 — the ‘Carnival’ production — I went in thinking that nothing in Second Life™ could really
impress me anymore. Having been in the modeling industry for nearly ten years at that point, I thought I’d seen it all. But I was wrong; that show truly blew me away.
Instead of messaging Royal right away to ask for a spot as a dancer — which was my original plan — I spent the next year simply attending their shows as a spectator. I assumed he got requests like that all the time, and honestly, I was too shy. Eventually, I saw an opportunity when I found out they needed someone to translate the program into German. I used that as my ‘foot in the door’ and messaged Royal, letting him know I was bilingual. To be honest, I can’t quite remember if I ever actually did a translation back then! What I do remember is that by June 2020, Royal asked if I would be interested in
choreography as well. Since my plan was originally just to dance and avoid any heavy responsibilities, I hesitated for a moment. But I knew this was my chance to finally be part of the team, so I said, ‘Yes, sure.’ I figured, what’s the worst that could happen? Maybe I’d just be too clumsy for it anyway. Little did I know how wrong I was. That was the start of a journey that has moved at high speed to get us where we are today.
NK: Did you always envision it becoming what it is today, or did it evolve over time?
FF: Let me use some lectures I learned over time here, so I am not saying something which doesn’t represent the team spirit in the right way. To maintain this level of excellence, we follow a specific set of creative principles that define the so called “Monarchs Style”: For Our Choreographers: The Art of Movement
Our choreography is built on the philosophy that a stage should never be static. We prioritize:
Dynamic Formations: We believe movement should happen during the dance, not just between songs. Our choreographers specialize in fluid transitions where the dancers are constantly reshaping the stage.
Grounded Realism: Technical polish is in the details. We place a high priority on “foot-locking” and natural movement to ensure our performers look connected to the stage, avoiding the “sliding” effect that can break immersion.
Intricate Sequencing: We love the challenge of complexity. Our routines often feature “canon” sequences and independent movements that eventually snap back into perfect synchronization, creating a sophisticated visual layer.
Theatrical Intent: We aim for a sense of grounded physics. Unless the theme specifically calls for the supernatural, we prefer our performers to interact with the stage in a way that feels intentional and realistic.
Couture Presentation: We focus on high-concept theatrical costuming. We believe that the right ensemble tells a story, and we prioritize sophisticated, polished looks that enhance the artistic theme of the production.
For Our Dancers: Professionalism and Agility
Being a Monarch requires more than just talent; it requires incredible technical discipline. Our performers are the backbone of our consistency, known for:
Precision and Speed: The complexity of our shows requires dancers who are masters of their UI — capable of lightning-fast costume changes and seamless transitions between regions. Furthermore, reliability is a must. Once you commit to a production, your consistent presence is essential.
Dedication to the Vision: Every member of the team is committed to maintaining the high standard our audience expects, ensuring that every curtain rise is as perfect as the last.
NK: What was the biggest challenge in
getting The Monarchs off the ground?
FF: Since I wasn’t a team member from the beginning, I asked Royal about this myself. Unsurprisingly, his answer was exactly what I expected: he didn’t really see it as a challenge. I personally believe he feels that way because his building skills are out of this world. He creates sets that are larger and more complex than anything I’ve ever seen in Second Life™. While many builders create beautiful art, Royal’s sets are uniquely functional and interactive. This extraordinary skill set is what allowed the troupe to distinguish itself so quickly.
NK: Monarchs have just finished up another amazing show — tell me about it?
FF: This show has been in the works since our ‘Draco Eternum’ run back in 2025. Aleykat wanted to celebrate her 10th anniversary with us in 2026, so our first task was diving into her massive song list. Her repertoire is so huge and varied that it was easy to pick a setlist that would keep the show engaging. I immediately requested ‘Wicked’ and ‘Defying Gravity,’ and I was thrilled when Aley agreed. It got even better when she signed off on a Demon Hunter medley, too! Once we gathered the rest of the songs, we were ready to move forward.
Once the recordings are ready, Royal usually listens to the tracks on loop to get inspired for the sets. He likes to have a solid vision of the stage before the choreographers get their hands on it. Putting together a Monarchs show is a huge task, so we rely on wellorganized schedules to stay on track. Communication is everything here. We make sure to stay in constant contact
with everyone, particularly outside collaborators, to ensure the process is smooth and that everyone is happy with the final direction.
While the choreographers are busy with their work, we start the hunt for the perfect costumes and begin preparing the invitations, ship routes, and program books. This time, we also included an interview with Aleykat to give the audience a deeper look at her journey. These bilingual books are always available at the landing point where the guests board the ships.
In the end, we presented ten wonderful shows to our audience, aiming to entertain them to the best of our ability. Our goal was to provide an hour of pure joy away from the stresses of real life or Second Life™, while demonstrating exactly what can be achieved through hard work and dedication.
NK: What was the highlight of the run
for you?
FF: I think the true highlight for me was working so closely with such a professional team — people I can count on no matter how stressful things get. I’m so grateful to everyone willing to sacrifice their precious real life time in the weeks leading up to a show and throughout the performance weekends. A huge shout-out to all the choreographers, dancers, hosts, and our videographer — you all made this a reality. Most importantly, thank you to our audience for being so loyal. Seeing people come back for all ten shows makes every bit of the hard work worth it. That kind of support is everything.
NK: The show was headlined and narrated by Aleykat, arguably one of the best vocalists in Second Life™ — what was it like working with her?
FF: Working with Aleykat on this anniversary production has been a masterclass in professionalism. From the very beginning, she knew exactly what she wanted to achieve, yet she remained a dedicated collaborator throughout the
entire process. Her clarity of vision and her unwavering commitment to every single performance made our jobs as a production team so much smoother. It is rare to find an artist who is so deeply ‘in the zone’ while remaining so attuned to the needs of the show. Aley, thank you for your trust and your incredible work ethic.
NK: You do a lot of the choreography for the shows — how do you come up with the ideas?
FF: I typically try to limit myself to two choreographies per production. The last time I took on three was for our Star Wars show several years ago, but circumstances led me to step up for a third one this time as well. The inspiration flows most easily when the sets are already halfway finished, giving me a physical space to work with. I also draw from the rigorous training I received from my mentor, Royal, who constantly pushed me to test the limits of Second Life™ — and sometimes go even beyond them. Now, I strive to pass that same mindset on to my own students, many of whom were part of
this show. If a show is based on a movie or musical, I study the original material extensively to ensure the audience feels that emotional connection.
For me, it was essential to capture that epic scene from Wicked where Elphaba wears her long black coat for the first time before her first flight. Similarly, Glinda’s pink bubble is a must if you want to translate the true emotions of these two iconic characters onto the stage. Beyond the big moments, I always try to hide subtle ‘Easter eggs’ in my sets that you might only notice on a second or third visit. My goal is to ensure the choreography never gets boring, no matter how many times you’ve seen it.
NK: Where do you draw inspiration from — real-world theater, music, film, or other creators in Second Life™?
FF: Beyond the inspirations I’ve mentioned, I am deeply driven by soundtracks; epic music is my ‘safe
place.’ It’s the kind of emotionally charged music that transports you deep into your own universe. Having spent years doing rhythmic gymnastics, ballet, and modern dance in real life, I tend to feel music rather than just listening to it. There’s almost never a moment where I hear a song and don’t immediately see a choreography — whether for Real Life or Second Life™ — unfolding in my mind.
Colleagues and students often ask how I work so quickly, and honestly, it’s hard to describe. I see the whole thing in detail before I even start. When I walk onto a new set, the choreography just starts unfolding in my mind’s eye. From there, it’s just a matter of making it happen. I also love being challenged; even if I have to add something unexpected to the plan, I can usually adapt quickly. My main goal with every new show is to push myself to do something I’ve never tried before.
NK: The Monarchs shows are always
fresh and different from anything that you’ve done before — what is the process of coming up with new concepts?
FF: A lot of it comes down to Royal and what’s currently inspiring him. Building a full sim is a huge job for a single person, and if you aren’t in the right mindset, you just can’t build something that big. That’s why I give Royal so much credit for deciding our direction. As soon as he has a spark of an idea, we jump in to help pick the music and start brainstorming how to bring it to life.
NK: How collaborative is the process between performers, designers, and choreographers?
FF: Communication is the heartbeat of our shows. There’s an inner circle— Royal, me and the other choreographers — who start the process long before the dancers join in. It’s crucial that the choreographers are locked in for the show dates because, without them, there is no performance. While we never want to replace anyone, a choreographer is far more difficult to replace than a
dancer; for that reason, we work hard to keep our lineup consistent for every production.
We stay in touch via Discord and inworld notices and chat to keep the information flowing. Our main goal is to be as transparent as possible and to maintain fair, equal relationships with the whole team. Even though Royal is clearly the boss, we work hard to keep the team dynamic as equal as possible. We listen to everyone’s concerns and finding solutions without compromising the production. It’s impossible to please everyone all the time, but we never stop trying.
NK: How long does that process usually take?
FF: The timeline for a production varies significantly depending on everyone’s real life circumstances. Sometimes we can bring a show to life in three or four months, while other times — especially if health issues arise — it can take six. We ask for patience because it’s not easy to build a full sim and create
choreography of this magnitude, so we appreciate when the audience is patient with us. We aren’t just dancing in a small theater box; we’re working with huge dimensions. Filling that much space as a choreographer is a real test. The distances are much greater, which makes keeping the animations smooth and avoiding slides a lot tougher. You also have to be much more careful with particles. You want to fill the environment, but you can’t let the effects cover up the dancers — something that is much easier to manage in a small, contained set.
NK: Have you ever had a concept that didn’t work? What did you learn from it?
FF: Honestly, the only concepts that haven’t worked for us are the ones where we hit the ‘ceiling’ of Second Life™ itself. Our creative vision is often larger than what the platform can currently handle. Whether it’s hitting prim limits,
avatar caps, or dealing with unexpected animesh glitches and lag, the platform is our only real boundary. What we’ve learned is how to become ‘virtual engineers’ — we’ve mastered the art of optimizing our builds and finding clever workarounds to hide the platform’s limitations so the audience never sees the struggle behind the magic.
We wouldn’t say we’ve had a concept fail creatively, but we’ve definitely had them ‘break’ technically. We are constantly fighting against sim limits and the search for animations that are fluid enough to meet our standards. Every time a glitch happens, it’s a lesson in resilience. It’s taught us to be incredibly adaptable and fast on our feet.
NK: When approaching a new show, what is your ultimate goal?
FF: The goal of Monarchs is to lead the evolution of virtual performance by merging cinematic scale with
professional-grade choreography. We strive to push the boundaries of the platform — transforming full-sim environments into living, breathing stories that challenge our artists and inspire our audience.
Our mission is to maintain a standard of excellence built on transparency, mentorship, and a shared dedication to our craft. Ultimately, we aim to provide a world-class escape that proves what is possible when a highly professional team works in perfect synchronicity to turn a vision into a virtual reality.
NK: How much rehearsal goes into a typical show?
FF: Our standard is to hold just two rehearsals in total. We use the first one to see what still needs adjusting, and the second to run exactly like a live show. Because we expect such high professional standards from our team, two rehearsals are usually more than enough. It relies on everyone showing up fully prepared and ready to perform.
NK: What’s the most technically
challenging performance you’ve ever pulled off?
FF: I’d say every performance has its own unique technical challenges, but since we raise the bar every time we plan a show, it only gets tougher. If you asked me which show was the hardest, I’d have to say the one we were doing right now. We’re always building on the quality of our past work, so the next show is always going to be a bigger challenge than the current one.
NK: Do things ever go wrong live — and how do you handle it?
FF: Things go wrong all the time — it’s unavoidable. The key is knowing how to react without the audience noticing or the team falling into a panic. We faced several challenges during this current performance, but we managed to navigate most of them behind the scenes. We were a bit unlucky during our opening weekend when Aleykat experienced severe internet issues and crashed several times. We had to ask our audience for their patience, and I can truly say we have the kindest,
most supportive audience on the grid. They were wonderful as we pushed through to the finale. Unfortunately, the crashes became so frequent that we eventually had to cut the show, but we did everything in our power to get that far. We aren’t immortal; like everyone else in Second Life™, we face lag, crashes, and last-minute emergencies. Our goal is simply to keep those ‘behindthe-curtain’ struggles invisible so the audience can enjoy the magic to its fullest.
NK: What do you look for when bringing new performers into The Monarchs?
FF: Because our standards are so high, we may seem selective to those looking in from the outside. However, maintaining this level of quality is essential to minimizing complications during a production — especially when it comes to speed. When seeking new choreographers, we look far beyond the basics. We need someone who can master
complex formations without ‘sliding’ and who demonstrates true creative range. We ask ourselves: does this person have the imagination required for a Monarchs show, or are they only comfortable within a single theme?
We look for consistency and a drive to improve; we need to know that a choreographer isn’t just a ‘onehit wonder’ who can’t maintain the high quality we require. It’s essential that they can adapt quickly, take constructive criticism, and implement changes to ensure the best performance possible. Our goal is never to tear someone down; however, we do believe in pushing people beyond their comfort zones so they can become the best version of themselves.
I view our structure much like a reallife dance academy. There are schools where people go simply for a hobby or to socialize, and then there are elite institutions designed to cultivate the next generation of professionals for the
world’s biggest stages. I believe everyone who enters an elite school dreams of becoming a top-tier dancer, but even with high dedication, not everyone possesses the specific qualities required to be a Monarch. While dedication is essential, being a Monarch requires a rare combination of skill and vision. We are always eager to discover those ‘rare gems’ on the grid, which is exactly why we established our dance school, Epic Center of Dance, several years ago.
NK: What keeps your team motivated and consistent at such a high level?
FF: Maintaining this level of quality can be exhausting at times, but we believe the fact that we are the only ones on the grid producing shows of this scale is what keeps people with us. It’s more than just a show; it’s an experience, whether you are watching from the audience or working behind the scenes. Does it take a lot out of you? Absolutely. Is it worth it? 100%. We also work hard to ensure that everyone feels welcome and appreciated. We truly believe that as soon as someone feels taken for granted — especially when they are sacrificing so
much of themselves — it can break even the strongest group of people.
NK: How do you maintain that level of quality across different shows?
FF: Quality is maintained through a combination of vision and appreciation. Royal and the team work closely to ensure the ‘Monarchs’ brand stays true to its roots, while we focus on making the team feel welcome and valued. When performers feel appreciated and part of something ‘rare,’ they naturally push themselves to meet those high standards. It’s about creating an environment where everyone—from the choreographers to the tech crew — is committed to giving the audience an hour of magic they’ve never seen before.
NK: For the sake of the question, I’ve never seen a Monarchs show — what’s your pitch to get me to come?
FF: When we meet someone who has never seen a Monarchs show, we try to convince them that it will be unlike anything they’ve experienced in Second Life™. It’s a challenge, though, because
almost every venue or club claims to be ‘the best.’ How do you prove it before they’ve stepped through the door? We often share videos, but even the best footage can’t capture the sensation of being on one of our ships, traveling across a full sim filled with massive, intricate elements. I often compare it to a Disney attraction — you have to be there to truly feel the scale. Some take the leap and some don’t, but those who do take the time to visit never regret it.
NK: What do you hope audiences feel when they leave a Monarchs show?
FF: One of the most frequent comments we receive is, ‘I’ve never seen anything like this in Second Life™ before!’ That is exactly what we aim for: giving the audience an experience they haven’t encountered elsewhere. It’s much harder than it sounds. With the growth of internet communities, AI, and media that showcase extreme visuals every
day, creating a true ‘Wow-Factor’ is more difficult than ever. Receiving that kind of feedback remains the highest praise we can get, as it proves we are still breaking new ground.
NK: Have you ever received feedback from someone that really stuck with you?
FF: We receive a wide range of feedback, and while we hold the positive, supportive comments close to our hearts, the negative ones often stick with me the most. This isn’t because I lack confidence as a choreographer, but because there is often a lesson to be learned — whether the critique is constructive or just bluntly rude. I don’t change things immediately based on one person’s opinion; I analyze it first to see if it holds weight.
For example, during our ‘Merry Christmas Eve’ show, a guest shouted
in local chat during my Krampus performance, ‘This isn’t Jesus enough!’ It was an insult to an entire European tradition where the Krampus is a vital part of the Christmas season. It didn’t make me doubt the act — it stayed in the show — but it helped me realize that there are still cultural gaps that need to be bridged. I would absolutely perform that act again; it’s important to preserve these traditions before they are lost to the ‘mainstream’ of superficial averageness.
NK: Having just finished up a month of shows, do you take a break for a bit, or is it straight into planning for the next one?
FF: I’m afraid it never really ends! Even while a show is running, we’re already brainstorming the next one — discussing themes, song choices, and conceptual details. Before we can even dive into the next full-sim production, we’re already in the middle of preparations
for the Avi Choice Awards on April 25th. Right now, six of our choreographers are working intensely on their sets to meet the deadline. It’s a high-pressure environment; even though we’ll be performing in a ‘box’ theater this time, we still aim to deliver the absolute best we’re capable of. Having less than a month to prepare is a massive undertaking, but once that’s wrapped, we’ll go straight back into planning the next sim-wide experience.
NK: The “Avi Choice Awards” have posted their nominations and The Monarchs have been nominated for multiple categories. How does that make you feel?
FF: Being nominated is a powerful testament to the ‘Monarchs standard.’ We push ourselves to the absolute edge of what Second Life™ can do, often competing against our own past successes to make the next show even more ‘impossible’ than the last. These
nominations belong to the whole team — the choreographers, the technicians, and the dancers who maintain that high professional discipline with only two rehearsals. It proves that our ‘pickiness’ and our drive for perfection aren’t just for us; the community sees and appreciates that level of quality.
NK: You have also been nominated for “Dance Choreographer” and “Female Fashion Model” categories — what is your reaction to that?
FF: Being nominated in both categories is incredibly special to me because, I spend so much time ‘behind the curtain’ worrying about technical glitches, internet crashes, and making sure my bosses and dancers feel appreciated, that I sometimes forget people are watching me, too. I try to hold myself to that same ‘elite school’ standard every single day.
Whether I am choreographing a complex routine that avoids ‘slides’ or modeling a look for a specific show theme, I’m always trying to give the audience something they’ve never seen
before. These nominations feel like a nod to that effort. It’s a lot of pressure to keep lifting the quality every single show, but seeing my name in these categories makes all that exhaustion 100% worth it. Honestly, winning isn’t the goal for me. In a community as large as Second Life™, just knowing that during the nomination process, someone thought of me and my work means the world.
NK: What does recognition like this mean for virtual performance as a whole?
FF: For the Avi Choice Awards to nominate a production of this scale shows that the community is recognizing virtual performance as a high-level art form. When the community votes for shows that push the limits of the Second Life™ engine — dealing with lag, crashes, and massive sim-wide elements — it proves there is a deep appreciation for professional-grade entertainment. It signals that the ‘standard’ for what a performance can be is officially rising. For virtual performance as a whole, it’s a green light for other creators to
stop playing it safe. It proves that the community wants to be challenged by complex choreography and unique cultural themes.
NK: Any sneak peeks into what’s next for The Monarchs?
FF: I have to keep the details a bit of a secret for now, but I will say this: 2026 is our 10th Anniversary, and we aren’t taking that lightly. We’ve spent ten years learning how to master the ‘behindthe-curtain’ chaos and the technical hurdles of the grid, and we want to pour all of that experience into something unforgettable. Expect the unexpected — we’re aiming to lift the ‘Wow-Factor’ to a level that even our most loyal fans haven’t seen before.
NK: What would your “dream show” look like if there were no limitations?
FF: That’s a fascinating question, and I can only answer it from my own personal perspective, as I wouldn’t want to speak for Royal’s specific longterm visions. For me, if we could strip away the technical limits of Second
Life™, my dream would be to create something that feels like ‘Cirque du Soleil’ meets ‘Ready Player One.’ I envision a massive, borderless spectacle — switching seamlessly between land and water performances with holograms and dozens of dancers all moving at once. I love the idea of a show that is almost overwhelming to the human eye, where something incredible is happening in every corner of your vision.
Right now, we are held back by avatar caps, lag, keeping this many dancers in sync and the search for animations fluid enough to look truly realistic. But in my mind, that’s the future. I want to move past the ‘mainstream’ and create a world so immersive and artistic that it feels completely real, even if it’s just for an hour. But that is my personal ‘North Star’ — a performance so rich and smooth that it transcends the grid entirely.
NK: Where do you see The Monarchs in the next few years?
FF: Since the Monarchs are built on a virtual platform, I’m crossing my fingers that Second Life™ continues to thrive
for many years to come so we can keep doing what we love. I hope we can produce many more shows and continue to grow with every single one. No one can predict what the next few years will bring — either in Second Life™ or the real world — but my deepest hope is that the Monarchs remain a part of this world in one way or another. I want us to keep inviting people into a magical space where, for just one hour, they can forget their worries and simply be part of the experience.
NK: If someone watches just one Monarchs show, what do you want them to say afterward?
FS: If someone only sees one Monarchs show, I want them to walk away saying, ‘Oh my god, I have to come back — there was so much happening all at once!’ That’s exactly the ‘Wow-Factor’ we strive for. I want the experience to be so dense and visually rich that you feel like you only caught a fraction of the magic the first time. If they leave wanting to experience it all over again just to see what they missed, then I know we’ve truly done our job.
NK: Where can we find out more about The Monarchs?
FF: We can be found on different options:
T hank you so much for taking time to talk to us. From all of us at Attention SL Magazine, we wish you the best, and we can’t wait to be WOWed by the next epic performance from The Monarchs!
PHOTOGRAPHER: Morgaine Blackrain
She didn’t feel it start only the hush of warmer air, flowers lingering in her hair, butterflies slow to leave. Balloons bobbed above her bike, a bright tug at the sky, her dog flying beside her down a well-worn road made new.
Fields leaned greener. Silence stretched awake.
For a breath, colors shimmered then slipped away.
She rode on, smiling, already knowing: spring is not found. It is carried.
PHOTOGRAPHER: SC TRACY
By: Bellisima Benelli
When it comes to entertainment, sometimes you just want to let your hair down and dance your troubles away. You’re looking for an atmosphere, and a DJ that can speak to your soul. The Black Pearl consistantly hits that mark for me, and when the owner, Dino Viper, is on the decks, it becomes more than just another dance club, it becomes an experience. We managed to pin Dino down long enough to ask him a few questions before he escaped to chase the next squirrel that caught his attention.
Bellisima Benelli: How did you get started as a DJ in Second Life™?
Dino Viper: I produce music for commercials in real life and was working with the Spinning Records label at the time when I came back to Second Life™. I always love mixing and creating music. I rented land under a venue called Exhale. They told me I could control the land stream. I began to invite my friends to my parcel to hear some of the music I was producing and mixing. Soon, the number of people who were coming to my parcel was larger than what was in the club venue above.
T he owners came to me and said that I was not able to have a competing club on their land. I told them it’s not a club. These are my friends and guests to hear some music. They then said, “We want you to play in our venue instead and bring your 30-50 friends with you.” So, I agreed and began
playing there for my first year. This is 2014.
BB: What inspired you to create The Black Pearl in Second Life™?
DV: Black Pearl is actually my 5th venue. I had a partner in a venue called BUDDHA BAR, and it was a smash. Only open a few nights and was fully packed with some of the DJs that I met along the way, who I truly respected as talented DJs. My partner forced a change of the music format and took select nights from the EDM DJs. So, we left. I opened the BLACK PEARL within a week in March 2021. It began with a core group of DJs.
BB: How did you come up with the name and theme?
DV: Just like my first venue, SPACE was inspired by here in Miami. Buddha Bar is inspired by RL venues and labels. Black Pearl is famous for being a reference ship in a Pirate movie, but in reality, it’s
an international club brand which is strong in ASIA. This is the inspiration. A dark Asian inspired pearl, rare and inviting.
BB: Did you ever imagine the club would last 5 years when you first started?
DV: I live very much in the
moment. So, we just go from set to set, night after night. We had a 1-year celebration. After that, I stop counting. In my head, there was a venue called ENERGY, run by Dat Trip. It was a premium DJ club, with high standards. The music was stellar, and the crowds were thick. They lasted 5 years before closing. I had this same
mantra and goal of reaching 5 years for the Black Pearl. This was a plan, not a haphazard, let me just open another venue.
BB: What kind of atmosphere or vibe do you aim to create for your guests?
DV: We only have one rule. “Don’t be mean or rude”. We are open to new people, furies, LGBTQ, couples, singles, people of all types, because in the end, they are music
lovers. And Music is the language that binds us together as a people and, more evidently, a community. Other venues have copied our slogan, Good Vibes, but it’s not
just a slogan is a lifestyle choice. You cannot have good vibes when your staff is upset, your DJs are not happy and not earning, and your people are being harassed in the open local. It’s not marketing. It’s an ideology and philosophy of acceptance and tolerance. That’s why it works.
BB: How important is roleplay or aesthetics to your club experience?
DV: Escapism is the word. Establishing an atmosphere is meant to set up the experience. If your venue is a box, you can create an environment within it, but you must be creative. Think about why you joined Second Life™ in the first place. It was not to sit in a box. It was to explore and experience new worlds and places. We provide a Real Life experience in a Second Life™ world.
BB: What makes The Black Pearl unique compared to other clubs in Second Life™?
DV: DJ showcase and underground sounds. We are not a club. We feature some of the best DJs on the grid. You won’t find hosts, contest boards, bribes, sploders, or dance balls. It’s just some of the best music and atmosphere you can find on the grid.
BB: Was there a defining moment
when you realized the club had become something special?
DV: When other clubs/venues were actively scouting the DJs on the team. Copying our format. Some are even copying our venue’s look and feel. We spawned 3 or 4 venues I can think of off my head who mimic us, and even approached our team to leave. That’s when I knew.
BB: What role has the community played in keeping the club alive for 5 years?
DV: This venue is for the community. Not me. Many times, I wanted to quit and throw in the towel for one reason or another. But it’s the people that I would miss. It’s the love that is shared for music and each other that I could not end the party. Ask any owner, clubs/ venues do not make money. The donations go to my Staff. I spin, and that affords the SIM. Every Linden goes right back into
the venue and more.
BB: How is DJing in a virtual world different from DJing in real life?
DV: Intimacy. DJing in Second Life™ is like a house party. You know everyone there; they know you. And they will feel a connection to you. Real Life is electric. The feedback is intense, and the high of affecting that many people at one time, as you are feeling it too, is hard to describe other than the closest thing to ROCK STAR.
BB: What’s your process for putting together a set?
DV: In Real Life, you must have a few sets on your thumbnail drive. Just in case of turntable failures or streaming. This usually comes from a live set or a session you have produced. But Second Life™ is my testing ground. So I never EVER play a recorded set. Each
time it is live, uncut, raw. When you play live, and you are mixing tracks, swapping beats, layering tracks, changing vocals on the fly, raises, drops, and effects, that is a show. I don’t want to just hit play. I WANT TO MIX LIVE and give people what they cannot hear anywhere else.
BB: Have your music tastes or style evolved over the years?
DV: I began mixing rap and then hip hop while living in NYC. We had actual scratch records, and it was fun. My family owns bars, nightclubs, and entertainment venues, so TKA and freestyle music were unknown on the radio at the time. I started in the Industrial music scene in the early 90’s. By the end of the decade, I was full on
in Dance/ House, which involved me dragging crates around for other DJs that worked for our venues. It was an experience before coming to Miami and Club Mint.
BB: What’s one track that always gets the crowd moving?
DV: One more time- Daft Punk
BB: If your club had a theme song, what would it be?
DV: Stardust - Music Sounds Better With You
Galantis : Gold Dust
BB: How do you build and maintain a loyal crowd in a virtual world?
DV: You must genuinely care about people. It seems so simple, and it is. Remember, you may be the star in your world, but you are just the supporting cast in other people’s worlds.
BB: Do you have any memorable stories or regulars who’ve made an impact?
DV: I have made so many friends along the way that to single one or two out would be unfair and untrue. I will have to say it will always be those who are no longer with us that made the most impact on me. Danger, a festival promoter, who gave me a chance and was one of my biggest supporters who crossed over 2 years ago. And recently, Alkaline, who was one of my co-creators with SUMO Underground at Black Pearl. She passed to the other side 1 week before our ULTRA Festival, which was devastating to me personally.
BB: Have you seen friendships or relationships form through the club?
DV: Yes. Hundreds. I am really no different than anyone else. Not above or below. If someone makes me their friend, I am extremely honored.
BB: What are the biggest challenges of running a club in Second Life™?
DV: Life is easy. Music is beauty. People make things hard on themselves. Expectations are the #1 culprit in failed relationships, personal dramas, and club closings.
BB: How do you keep things fresh after so many years?
DV: Within the NEO JAPAN city, which is the Black Pearl. Like any city. There is more than one place to hang out. So we create new venues in the city. SUMO UNDERGROUND is a follow-up to the DOJO. It’s a fun way to keep people interested and engage them with exploration and experiences.
BB: Have there been moments when you almost gave up? What kept you going?
DV: Yes. A few times, when you treat people as best as you can. And still they try to hurt you, hurt your reputation, spread falsehoods to make themselves look more favorable. It’s hurtful and sad, really. I let people do as they want. Come, go, stay, be. This is not for me to control. But at times, the cruelty has made me question whether to continue or not. And it’s the love of people that I continue.
BB: How has the platform changed since you started?
DV: Avatars and PBR.
BB: What does this 5-year milestone mean to you personally?
DV: I have achieved all the goals I ever had in Second Life™. Builder, Creator, 5-year venue, festivals, SLB events, I can’t think of any other achievement that I wanted to accomplish with this crowning moment.
BB: Outside of DJing, what are your other passions?
DV: My family, businesses, and helping others.
BB: What’s next for The Black Pearl?
DV: One more set. One more night. One more party.
BB: Are there any new features, events, or expansions you’re planning?
DV: We just launched SUMO in January. We have a Summer Event this year. To ensure that all of the DJs on team play. We may need to extend this to 4-5 days. 3 days were not enough for the ULTRA FESTIVAL
BB: Where do you see virtual nightlife going in the next 5 years?
DV: There will always be new venues opening. I don’t see this changing anytime soon.
BB: Would you ever expand
beyond Second Life™ into other platforms?
DV: I have and will continue to spread the love of music and people. Twitch, YouTube, TikTok, Dino Viper is there
BB: How can people find out more about the Black Pearl?
DV: We are on CAPE FEAR island. www.dinoviperproductions.com has the link to our venue.
BB: How can people book you as a DJ?
DV: In world: mrdinoviper resident Or dino@dinoviper.com
PHOTOGRAPHER:
Nonge Koolhaas: Thank you for taking the time to talk to us. You are the mastermind and primary designer of the Valley Estates?
Vail Evergreen: Mastermind is a strong term LOL but thank you for having me here.
NK: What made you want to undergrow this project?
VE: Well, the Valley really came to mind early on.
I have been a landscaper for quite some time. I was always building projects for other people. Asking what they wanted, what their Pinterest boards looked like and designing their spaces. Eventually, I reached a point where I realized I wanted to build something that reflected my vision. I wanted to
drive down my own driveway and see my neighbors, see life around me, and to experience a community that felt not just intentional, but really beautiful. I was having an extremely difficult time finding that in Second Life™.
So that is what first sparked my interest into exploring opening a community.
NK: What is the concept behind Valley Estates?
VE: The Valley was heavily inspired by retro Palm Springs and mid-century modern California living. I really love that aesthetic. I like the desert landscape. The canyon colors.
T he lush sort of green palette of the hills. It really was something that I’ve always enjoyed. But I
By: Nonge Koolhaas
Everyone needs a place in Second Life™ to call home. With so many choices, it can be difficult to make that decision. If you find what you really want is luxury living with only as much drama as you choose to have, The Valley Estates may be a choice for you. We sat down with the designer and owner Vail Evergreen to find out more about it.
also wanted to blend it with modern elements and create something that felt both nostalgic and contemporary. What started as an idea quickly snowballed into something much bigger once I realized how immersive it could be.
NK: So, your inspiration for the neighborhood designs was more California aesthetic?
VE: Absolutely. The entire all of the regions are California-based regions. So, we explore different parts of California within one community and that is where the Valley is based. In this chapter of the Valley. Okay.
NK: In your opinion what is the draw for people to move there?
VE: Oh gosh. I feel like we’re really offering something different. I feel like a lot of what sets us apart is the landscape, the drivable roads, the type of residence that we have and this idea of a luxury-based community. It is not your typical community. Right now, we don’t have a fire department, a police department, a court system, or bureaucratic forms for our residence. It’s really not like that, it is a true luxury living experience. It’s also for people who like privacy. Sometimes people don’t want a lot of coming and going. They don’t want to feel pressured to RP. I feel like we offer a hybrid RP community which I have not seen done before. It’s either no RP or full RP. I feel like there’s a lot of things that set us apart and those are just a few of them.
NK: What activities do you offer your residents?
VE: Well, we have a great events team that we that it’s always hard to work. She, Minnie Snacc, is always hard at work putting together events for our residents. We have a very active book club. We have yoga and wellness and a gym. We have an entire marina full of shopping from well-known designers who offer great discounts while shopping with us. We have a restaurant, a lounge, a bistro, and we have a pet store. We even have a cigar shop and most notably we have a country club which is home to many events that happen at the Valley. We’re about to host a beautiful event called the Bridgerton Ball that we’re very excited about. And prior to Crescent Ridge, we had an entire
amphitheater that was based off of the Red Rock amphitheater out west and that was a huge draw where we had live concerts, live performers, and talent coming in with large scale production.
NK: You said you just opened the new neighborhood where the amphitheater was. Is that going to be replaced somewhere else?
VE: It will be coming back. We have big plans for the summer so stay tuned for that, but we are not letting go of the performance and arena aspect of the Valley just yet. We are currently in the beginning stages of a new three region architectural development that is going to make that canyon side of our community truly come alive.
NK: Are most of the activities open to the public or are they more
restricted to the residents?
VE: We don’t restrict anything to the public as of now. Every activity and event is promoted to the public. None of them are private so everybody is welcome to attend.
NK: I noticed you have tennis courts. Are those playable?
VE: They are playable tennis courts. We’re about to do a little bit of a renovation to make way for a new state-of-the-art golf course and additional playable tennis courts as well as playable pickleball courts.
NK: You said Velley Estates is a hybrid of role play and non-role play, can you elaborate?
VE: That new region, Sciel, is completely role play.
NK: Are there stricter rules for getting into Sciel?
VE: We do have an application process for Sciel. We really wanted to make sure that our residents moving into that particular neighborhood were committed to storytelling.
It is, again, not your typical role play neighborhood within the Valley. It truly is story-based. We wanted something a little different that added mystery and we wanted to allow the residents to create their own legacy.
I remember when I was little, I used to read, and I don’t know if people remember this, but I used to read Choose Your Own Adventure books and I loved the idea of people being able to move into the community and choosing their path, whether they were going to
live a low-key life on the beach where they had quick and easy access to yoga, wellness, fitness, or shops or a place to walk their animals or even push a stroller with their kids or are you going to live in a more behind-the-gates luxury estate high in the hills? I wanted our residents to be able to choose what their outcome was and in Sciel we wanted to help facilitate that story. We have a pretty extensive role-play storytelling line that the residents who now live there participate in, but there is an application process for that and we are currently full. But in Sciel, the storytelling and dialogue is what drives it to be much more than just the RP.
NK: Is that one more expensive to rent from?
VE: Yes, it is because it is more involved and most of the homes
there are custom, meaning that they’ve been heavily modified and re-textured and updated as well as the lawns and the type of landscaping that went into that, especially with the detail involved. It is more expensive. You also have different opportunities there for storytelling RP. They have their own newspaper, and they will have their own neighborhood parties or events that take place. It is not restricted only to the members of Sciel, but the story evolves within Sciel.
NK: The homes are also much bigger there?
VE: They’re large estates. There are smaller homes there on certain streets. However, Sciel is where you will find the very large three to five bedroom homes.
NK: You mentioned that those
homes are more customized. What kind of customizations are the renters able to do themselves?
VE: Beyond decorating, the residents don’t have my mod rights, so they’re not able to actually do direct modifications, but I do encourage every resident to make their home truly feel like their own, and they do. I’ve seen them build within their home, put together extra rooms in their home. I really do encourage that.
NK: Do you have any of the building designers who actually do the customizations there, or do you do those yourself?
VE: I do everything myself. I retexture, update to PBR myself, create additional rooms, doors, windows, balconies, different textures, I extend certain homes, but I’m the one solely that does that.
NK: That’s a lot of work on top of the estate management and events, I know you’re not doing all of it by yourself. Tell me about your staff.
VE: Yeah, I could not do any of it without the team, and our team is evolving and growing as we are evolving and growing.
We have an incredible events team which is led by Minnie Snacc, we have an RP team in the works to help facilitate the storyline of some of our neighborhoods, and we have a great RE team, real estate team, led by Dresden Couerblanc. And we recently added two new members who are very experienced in their own right. It truly feels like a dream team. Everybody works in tandem, working together to make sure that the residents get what they need, because to me, the
residents are obviously incredibly important. I’m extremely strict with my staff about that. Every resident, whether they live in a houseboat on the water, or a huge mansion in the hills, all of our residents are treated with care and respect. They are all VIP, and every single person on our team works really hard to make sure that the residents are always taken care of.
NK: What is the average price of renting a home there? I would say that the average, I can give you a range that might be a little bit better.
VE: The range is very broad range. Our houseboats start at L$999 per week. Those are pre-decorated houseboats that sit right on the marina, and they go all the way up to, I believe, around L$6,000 for some of our large estate mansions. On average, I would say that most
of our homes hover around the L$2,000 per week range.
NK: And how can people get more information if they’re interested?
VE: We are on Instagram and on Facebook as well. Also, they’re welcome to just pop in and visit any team member that’s in our country club, and they’ll be able to get more information as to how to rent. We do have a website as well that people often look at to be up-to-date on events, which is also where we post our calendar. We also have a Discord that you don’t have to be a resident to even join. In our Discord, we also give a lot of insightful information as to what we’re doing, when we’re doing it, and again, everybody is completely welcome. So, there are multiple places to find what you need.
NK: What kind of events will
people find on the calendar?
VE: We had goat yoga last month. We have a pretty regular trivia night hosted by Dresden, and game nights, and we have more relaxed events like morning coffee or book clubs. So, people have a good amount of resources to stay in touch with the Valley.
NK: Is there anything you want to add that I may have missed? I think I would add that I really want residents and potential residents to feel like this is a place where they are welcome. They can be themselves.
VE: They can be someone different if they feel like it. I want them to feel comfortable and taken care of when they enter the Valley, no matter what. And again, whether you’re leaning into luxury or you’re someone who gets their
morning started early, I really want everyone to know that this is what you make it, and you choose your story when you drop into the Valley.
NK: Thank you so much for sitting down with us.
VE: It was a pleasure. Of course. Thank you so much. Facebook
PHOTOGRAPHER:
For our spring edition, I invite readers to explore the latest metamorphosis of Cherishville. Designed by the renowned Lam Erin, this destination— set within the rural estate known as Tuscan Hills—re-emerges this season with an atmosphere that perfectly balances rustic serenity with the vigor of nature reborn.
Unlike past editions, the current topography is predominantly level, yet artistically bisected by a waterway that meanders through the region, dividing the scenery into two distinct banks. The connection between them is poetically formed by a solitary stone bridge to the southwest. Encircling the entire horizon, the imposing sim-surround mountain range creates a geographical embrace, where the contrast is striking: while the meadows below flourish, distant peaks still preserve the final traces of winter snow.
The choice of EEP (Earth Eclipse) is one of the highlights of the visit. The lighting bathes the region in warm, soft tones that enhance the fresh green of the trees and the vibrant colors of the local flora. The auditory experience is equally refined; the ambient sound is not merely filler, but a careful composition of native birds, the diligent hum of bees, and the steady rhythm of waves breaking against the coastal cliffs and rocks.
The journey begins in the northwest, where well-defined trails invite a barefoot stroll through the soft grass. Along the way, visitors will encounter:The Seaside Retreat: A charming, meticulously decorated café strategically positioned in front of a pale sandy shore. Between the establishment and the sea, a long reflecting pool serves as a home for majestic swans.
The Stone Sentinel: Rising above the rocks, an imposing clock tower overlooks the coast, offering a classic landmark for photographers.
Rural Life and Fauna: The soul of Cherishville lies in its pulsing life. One can spot everything from foxes and raccoons among the trees to a variety of cats and birds. In the farm area, local agriculture takes center stage with vast lavender fields coloring the landscape in lilac, alongside the quiet presence of sheep, goats, and horses.
Cherishville Spring is more than just a destination; it is a testament to Lam Erin’s unmistakable style in creating worlds that feel as though they truly breathe. A must-visit for anyone seeking to capture the essence of the season in its most authentic and tranquil form.
By: Nonge Koolhaas
Within the ever-evolving landscape of virtual fashion, platforms like Second Life™ continue to serve as fertile ground for creative experimentation.
T he Max Mara Experience, presented by Excelsior Models, stands as a refined example of how digital environments can be used not to overwhelm, but to distill fashion to its most essential elements: structure, movement, and presence.
Designed by Lowen and Mowie, the collection itself embraces a sense of quiet sophistication. Rather than relying on overt spectacle, the garments reflect
a controlled aesthetic — one that prioritizes clean lines, balanced silhouettes, and a subtle interplay between modern tailoring and wearable elegance. There is a restraint in the design language that feels intentional, allowing each look to communicate through form rather than excess embellishment.
T his sense of refinement is echoed in the show’s overall execution. Excelsior Models approaches the presentation with a clear understanding of pacing and composition, creating a runway experience that feels measured and
cohesive. The models move with precision, their walks defined by confidence and consistency. Each step reinforces the structure of the garments, demonstrating an awareness of how digital modeling translates physical fashion principles into a virtual setting.
distinguishes The Max Mara Experience is its commitment to clarity. In contrast to more elaborate virtual shows that lean heavily into narrative or visual effects, this presentation remains grounded. The focus stays firmly on the relationship
between garment and model, allowing the viewer to engage with the collection without distraction. It is a choice that speaks to confidence — both in the designs themselves and in the agency’s ability to present them effectively.
T he environment, crafted by Regi Yifu, plays a crucial supporting role in achieving this balance. The set design is clean and intentional, enhancing the presentation without competing for attention. Its structure provides a sense of place while maintaining visual restraint, ensuring that the runway remains the focal point. This synergy between environment and presentation underscores the importance of thoughtful design in virtual fashion spaces.
Within Second Life™, where creative possibilities are virtually limitless, such restraint can be particularly impactful. By choosing not to overextend the digital medium, the show highlights how simplicity can function as a powerful aesthetic decision. It demonstrates that innovation does not always require complexity; sometimes, it is found in precision and control.
T he models themselves serve as the connective thread between design and environment. Their performances are steady and self-assured, emphasizing posture, timing, and subtle expression. There is a professionalism in their delivery that reinforces Excelsior Models’ reputation for cultivating talent capable of adapting to diverse presentation styles. Even within a minimal framework, the
models bring depth and presence to each look.
As a complete presentation, The Max Mara Experience operates as a study in balance. It aligns design, modeling, and environment into a cohesive whole, where no single element overpowers the others. Instead, each component contributes to a unified vision — one that values elegance,
clarity, and intentionality.
In the broader context of virtual fashion, this show offers a compelling reminder that the digital runway does not need to replicate the spectacle of physical fashion weeks to be effective. It can instead carve out its own identity, one rooted in accessibility, precision, and creative focus. Through this lens, The Max Mara Experience becomes less about imitation and more about evolution.
Ultimately, Excelsior Models delivers a presentation that feels both contemporary and grounded. By prioritizing structure over spectacle and presence over excess, the show reinforces the enduring fundamentals of fashion while embracing the possibilities of a virtual world. It is a quiet confidence that defines the experience — and one that leaves a lasting impression.
WRITER: RAFAEL
SINAVVA
Cool mornings followed by warm afternoons mean the menu can be whatever you make it. Here are a few spring suggestions to hit the spot for whatever you may be craving.
Ingredients:
For the Apple Filling:
1½ cups apples, peeled and finely diced (Granny Smith or Honeycrisp),
2 tablespoons butter, 2 tablespoons brown sugar, 1 teaspoon cinnamon, ¼ teaspoon nutmeg, 1 teaspoon vanilla extract
For the Waffle Donut Batter:
2 cups all-purpose flour, ¼ cup granulated sugar,
2 teaspoons baking powder
½ teaspoon baking soda
½ teaspoon salt
1½ teaspoons cinnamon
2 large eggs
¾ cup milk
¼ cup melted butter
¼ cup sour cream or Greek yogurt
1 teaspoon vanilla extract
For the Vanilla Glaze:
1½ cups powdered sugar
2–3 tablespoons milk
½ teaspoon vanilla extract
Instructions
Prepare the apple filling by melting butter in a skillet over medium heat. Add the diced apples, brown sugar, cinnamon, and nutmeg. Cook for 5-7 minutes until the apples soften and caramelize. Remove from heat and stir in vanilla extract. Set aside to cool.,
In a large bowl, whisk together the flour, granulated sugar, baking powder, baking soda, salt, and cinnamon.,
In another bowl, beat the eggs, then add milk, melted butter, sour cream (or Greek yogurt), and vanilla extract. Mix well.,
Pour the wet ingredients into the dry ingredients and stir until just combined. Gently fold in the cooled apple filling.,
Preheat a mini waffle iron and lightly grease it. Scoop batter onto the waffle iron and cook according to the manufacturer’s instructions until golden brown and cooked through.,
For the glaze, whisk powdered sugar, milk, and vanilla extract until smooth. Adjust milk to achieve desired glaze consistency.,
Dip or drizzle the cooled waffle donuts with the vanilla glaze. Allow glaze to set slightly before serving.,
Prep Time: 20 minutes | Cooking Time: 15 minutes | Total Time: 35 minutes | Servings: 12 mini donuts
1 tsp garlic powder
1 tsp onion powder
8 slices pastrami
4 slices Swiss or cheddar cheese
4 brioche burger buns
4 slices cooked bacon (optional but recommended)
1 avocado, sliced (optional)
Creamy Burger Sauce: 1/2 cup mayonnaise
2 tbsp ketchup
1 tbsp yellow or Dijon mustard
1 tsp pickle juice
1/2 tsp smoked paprika, Black pepper, to taste
Instructions:
In a bowl, gently mix ground beef with salt, pepper, garlic powder, and onion powder. Form into 4 thick patties.
Heat a skillet or grill over medium-high heat. Cook patties for 3–4 minutes per side until well-seared and juicy.
Top each patty with cheese and pastrami during the last minute. Cover briefly to melt.
Toast brioche buns lightly until golden.
Mix all burger sauce ingredients in a small bowl until smooth., Assemble burgers: bottom bun, beef patty with melted cheese and pastrami, bacon, avocado slices, and a generous drizzle of sauce. Finish with the top bun and serve hot.
I Hope you TRY out all these recipes and ENJOY them!
Ingredients:
1½ lbs sirloin steak tips, cut into bitesized pieces
1 teaspoon Cajun seasoning
½ teaspoon garlic powder
½ teaspoon smoked paprika
½ teaspoon black pepper
Salt, to taste
2 tablespoons olive oil
Instructions:
3 tablespoons unsalted butter, divided
4 cloves garlic, minced
12 oz rigatoni pasta
1 cup heavy cream
½ cup low-sodium beef broth
4 oz cream cheese, softened and cubed
¾ cup grated Parmesan cheese
½ cup shredded mozzarella cheese
½ teaspoon Italian seasoning
2 tablespoons chopped fresh parsley
Bring a large pot of generously salted water to a rolling boil. Add the rigatoni and cook until tender but still slightly firm in the center. Drain thoroughly and set aside while you prepare the steak and sauce.
Pat the steak tips dry to help them brown properly. Season evenly with Cajun seasoning, garlic powder, smoked paprika, black pepper, and salt, making sure all sides are coated., Heat the olive oil with 2 tablespoons of butter in a large skillet over medium-high heat. Once hot, arrange the steak pieces in a single layer without overcrowding. Let them sear undisturbed for a few minutes to develop a deep golden crust. Flip and cook the other side until caramelized on the outside and tender inside. Transfer the steak to a plate and keep warm.
Reduce the heat slightly and add the remaining tablespoon of butter to the same skillet. When melted, stir in the minced garlic and cook briefly until fragrant.
Pour in the beef broth and gently scrape up the flavorful browned bits from the bottom of the pan. Stir in the heavy cream and allow the mixture to come to a gentle simmer., Add the cubed cream cheese and stir continuously until fully melted and smooth., Gradually whisk in the grated Parmesan and shredded mozzarella until the sauce thickens and becomes creamy and glossy. Sprinkle in the Italian seasoning and adjust salt and pepper if needed. Let it simmer gently for another minute to fully combine., Add the drained rigatoni to the skillet and gently fold until each tube is coated inside and out with the rich Alfredo sauce. Let it cook together on low heat briefly so the sauce settles into the pasta.
Spoon the creamy rigatoni onto plates and arrange the garlic butter steak tips alongside or over the top. Spoon a little extra sauce over the steak for added richness., Finish with chopped fresh parsley and an extra sprinkle of Parmesan before serving.
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