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A Royal Palace with an Italian-Style Garden Traditional Florentine


From semi-precious stones to the world’s most precious silks

Fashion and Accessories

Exclusive brands for exclusive people: Damiani, Panerai, Kiton Special Project90

85-metres on Water The Tallest Clock Tower in the World

Made in Florence

BB BBspirit

Henri Fantin-Latour

Galleria degli Uffizi, Florence

Self-portrait 1883

Stefano Ricci reinterpretation of Henri Fantin-Latour, Self Portrait Š Galleria degli Uffizi, Florence



A Royal Palace with an Italian-Style Garden Traditional Florentine


From semi-precious stones to the world’s most precious silks

Fashion and Accessories


Exclusive brands for exclusive people: Damiani, Panerai, Kiton Special Project

85-metres on Water The Tallest Clock Tower in the World Tuscan Hospitality The Unique Experience of Il Borro



Made in Florence


BB BBspirit

The passion that gave rise to the first edition of BB Spirit has gained momentum. This issue continues to explore beauty in its various forms, highlighting the many examples of excellence across Italy, particularly those of Tuscany and our hometown, Florence. This magazine reveals ours vision of the “Italian art of living”, starting with the quintessential Italian palace: the former king’s abode in Florence, Palazzo Pitti. In its Galleria Palatina, among other paintings and statues, it is still possible to admire La Vittoria, by our ancestor, Vincenzo Consani, and two incredible paintings whose restoration we have recently sponsored: the first by Renaissance artist Giorgio Vasari, and the other by famous sixteenth-century portraitist, Jacopo da Pontormo. For us, it is a natural instinct to seek art both inside and outside the museum settings, since the search for beauty is an intrinsic part of our lifestyle. Thus, in this issue, we focus on more examples of ancient yet contemporary forms of art and beauty, among them the art of silkmaking at the Antico Setificio Fiorentino; the Florence-born luxury watch brand, Officine Panerai; the genuine experience of Tuscan hospitality at Il Borro, owned by the Ferragamos; the Florentine-designed German mega yacht “Keiser85”; the extraordinary creativity of the Italian jeweller Damiani; and the bespoke fashion house, Kiton. And it is with great pride that I present the latest news and developments at Baldi, such as the launch of BB Fragrances, in collaboration with a top maitre perfumer, the latest flagship boutique in Saudi Arabia; and the undertaking of the most amazing challenge ever faced by our team: the creation of decorative clock designs capable of capturing the essence of the Abraj al Bait clock tower of Makkah. This issue has taken us through a journey in which different experiences become a trait d’union, a common passion for beauty and exclusivity – two inexhaustible pleasures for those who share the Baldi Spirit. The same spirit that will inspire our next issue.

Luca Baldi


Made in Florence

BBs p i r i t Table of contents BBART - Palazzo Pitti - The Grotto of Wonders - The Royal Palace Revealed - Masterworks Restored - All about Art: Another La Vittoria - Vincenzo Consani: A master from Lucca - Ferdinando Baldi, known to the art world as “Etrusco”

10 12 14 18 20 26 28

BBFOCUS - Emotion in colour - Excellence for the Future: meet the Red Lab Design - Florence’s Opificio delle Pietre Dure

30 38 40

Semiprecious stoneS


BBORIGINAL - The Tallest Clock Tower in the world - Luca Bojola Design

58 62

BBEXPERIENCE - A Day at the Races


BBSCENE - A Sea of Dreams - Luca Dini Design Studio - The New Baldi Perfumes

80 88 92

BBINSPIRATIONS - Kiton - Officine Panerai - Antico Setificio Fiorentino - Modern Elegance, inspired by the past - Damiani


Bathing in Style

98 106 112 118 128 134

BBLANDSCAPE - History Reborn: Il Borro





159 9

Palazzo Pitti. Located on the south side of the river, just steps from the Ponte Vecchio, Florence’s Pitti Palace sets itself apart from other residences in the city: its opulent interior and adjoining Boboli gardens, the prime example of an Italian style garden, have left visitors in awe for centuries. Based on a design by Filippo Brunelleschi and built by the wealthy Florentine banker, Luca Pitti, the palace was enlarged extensively by the Medici family after they bought it in the mid1500s. Together with the Boboli Gardens, the palazzo can be considered a work of art—a treasure chest in which its past owners embellished its interiors and amassed paintings and sculpture, porcelain and jewellery and other luxurious possessions. The Pitti Palace was so extravagant in its days of glory that it is believed to be the stylistic precursor to the Palace of Versailles in France. 10


Buontalenti GROTTO (circa 1583–1593), BOBOLI GARDEN FLORENCE.

A Grotto of Wonders. Behind Palazzo Pitti are the Boboli gardens, one of the finest examples today of a sixteenth-century Italian style garden. Extending across a hillside to the south of Florence, this enchanting green space features a wealth of statues, fountains, an artificial lake, an amphitheatre, grottoes, and more, the Boboli gardens are a great place to take an afternoon walk while enjoying breathtaking views of the city of Florence. This extensive green space was created under the supervision of Eleonora de Toledo, the Spanish wife of Cosimo I de’ Medici. It is interesting to note that the Boboli gardens were not used exclusively for private leisurely walks but also provided a beautiful natural setting for many of the Medici’s grand parties and theatrical performances. The largest of three grottoes in Boboli is the so-called Large Grotto or Grotto of Buontalenti, situated in the grandiose garden, which is considered by many a park due to its sheer size. 12

A fine example of Mannerist architecture, the grotto is an artificial cavern that mixes sculpture, architecture and painting. Designed by famous architect Bernardo Buontalenti upon a commission by Francesco I de’ Medici, it was made between 1583 and 1593. Meant to be an allegory of transformation from chaos to order, this magical place continues to enchant even today. Inside visitors are greeted by statues of shepards and sheep who sit amid thousands of fake stalactites and stalagmites, descending from the ceiling and adorning the walls. The seemingly calcareous formations are meant to make the cavern look like a natural grotto, even though the mosaics and paintings, sculptures and other wonders contained in the grotto’s three rooms make it seem more like the place of fairytales. This ‘grotto of wonders’ is still the original home of Giambologna’s Venus and copies of Michelangelo’s four Slaves. 13

The Royal Palace Revealed. The Pitti Palace has been home to an array of rulers through the centuries, starting with the Medici—as Grand Dukes of Tuscany. The Medici family bought the palace as their noble residence in 1549 and, under their ownership, it soon became the pre-eminent palatial residence in Italy. The wealthy banking family remained in the palace for two centuries until 1743, when the last Medici heir, Anna Maria Luisa de’ Medici, died. The residence then passed to the heirs of the Austrian House of Lorraine and, for a short time. It became home to the Savoy dynasty and the King of Italy, Vittorio Emanuele II, from 1865–1871 when Florence was the capital of Italy, and only after the unification of Italy was it opened to the public, in 1919, 14

The Royal Apartments. The lavish interiors of the palace offer visitors a magnificently decorated historical setting, starting with the Royal Apartments, which occupy 14 rooms of the right wing on the main floor. The splendour and glory of the Medici family and the palace’s successive rulers can easily be discerned in these private living quarters. The rooms harmoniously document the differing styles of the palace’s owners from three different historical eras. In the Medici era, the magnificent rooms of the front side were dedicated to the Prince, Cosimo I de’ Medici, while the lateral rooms were occupied by his wife. The Lorraines, renovated the rooms to reflect contemporary tastes in the mid-eighteenth century, introducing significant changes to the furnishings and décor. It was in this period that the magnificent oval hall, the socalled ‘queen’s studio,’ was built, featuring hand-embroidered silk wallpaper and a ceiling decorated in the Rococo style. When the Pitti Palace became the home of the King of Italy, Vittorio Emanuele II of Savoy in the nineteenth century, a few rooms were completely redecorated, including the room of the King’s red damask throne and the Queen’s rooms. THE QUEEN’S STUDIO .

becoming Florence’s largest museum complex. Including the expansive Boboli gardens, today the complex houses several different museums and holds temporary exhibits. On the first floor of the palace is the Palatine Gallery, containing an extensive collection of sixteenth- and seventeenth-century paintings, and the Royal Apartments, which stand out for the historic furniture and décor elements. On the ground floor and mezzanine visitors will find the Silver Museum, which displays the Medici’s vast collection of household treasures, among them a magnificent collection of vases and semi-precious stones. The Gallery of Modern Art is on the top floor, holding a collection of mostly Tuscan nineteenth- and twentieth-century paintings. Higher up, in the Boboli Gardens, is the Porcelain Museum, located in a separate edifice, the Palazzina del Cavaliere; while the Palazzina of the Meridiana is the home of the Costume Gallery, which displays period costumes from the past 300 years.



Venus Room 16

The Picture Gallery. Located on the same floor of the Royal Apartments is the Palatine Gallery, exhibiting one of the most important art collections in the city . of Florence. It comprises works by Raffaello, Tiziano, Correggio, Rubens, Pietro da Cortona and other Italian and European masters of the Renaissance and Baroque periods. In keeping with the original character of the collection, the museum does not have a chronological or thematic order, but instead the works are arranged in accordance with the aesthetic criteria typical of seventeenth-century picture galleries, which were based on the personal taste of collectors. The lavish picture frames also exemplify the element of personal taste: at the time of the Medici, works were commissioned with a specific frame and frames were made in accordance to a specific artwork. The frames are thus to be considered an inherent part of the paintings themselves. The expansive rooms of the museum are also elaborately decorated, including the rich ornamental motifs, frescoed ceilings and colourful wall coverings. Initially created as the private picture gallery of the Medici family, the museum also displays several examples of noteworthy statuary and original pieces of furniture, such as the mosaic table below located in the Jupiter Room.



Masterworks Restored. Baldi, patrons of the arts.

In a city like Florence, where artistic masterworks are located at almost every corner, facilitating the conservation and restoration of the great paintings of the past is of utmost importance. Generations of Baldi have lived and helped shape the artistic genius of the city, and members of the family today have also done their part to ensure that Florence’s art survives many generations to come. In 2012, the Baldi family sponsored the restoration of two paintings in the Palatine Gallery collection: Giorgio Vasari’s The Temptations of Saint Jerome (1541) and a portrait of Cosimo I de’ Medici, which has now been attributed to Pontormo (1537). Made in the late Renaissance, these two masterworks were in a dilapidated state and desperately needed restoration. By sponsoring these restoration projects, Baldi played a vital role in a re-evaluation of their importance in the eyes of art critics. Thanks to the expertise of restorer Stefano Garosi, the colours of the Vasari painting are now brighter, giving the painting a more luminous presence in the gallery, while art critics were finally able to prove beyond a shred of doubt that Pontormo was the artist of the portrait of Cosimo I de’ Medici.

Vasari’s St. Jerome. A painting commissioned by Ottaviano de’ Medici, Giorgio Vasari’s The Temptations of St. Jerome is displayed in the Palatine Gallery in Florence, in the Ulysses Room. Made in 1541, the monumental painting is an allegory of the sexual temptations that tormented St. Jerome. Hidden under a thick layer of old paint, which gave the work a dull, yellowish hue, the restoration of the painting gave grace back to Vasari’s elegant forms and warm colours. Restorer Stefano Garosi was able to reveal a whole new chromatic significance and return a sense of depth to the work.

G. Vasari, Tentazioni di S. Girolamo (BEFORE, DURING AND AFTER THE RESTORATION). 18

Jacopo Carucci “Pontormo”, PORTRAIT OF Cosimo I de’ Medici (BEFORE, DURING AND AFTER THE RESTORATION).

Pontormo’s portrait of Cosimo I. Jacopo Carucci, also known as Jacopo da Pontormo, Jacopo Pontormo or simply Pontormo, was a Mannerist painter and portraitist from the Florentine School. Born in a town near Florence, as a young man, Pontormo apprenticed to several painters, including Leonardo da Vinci and Piero di Cosimo, and at 18 he became assistant to Andrea del Sarto. He went on to become one of the most sought after portraitists of the sixteenth century. Called on to immortalize nobles, rulers and popes, art critics recently attributed to him the first ever portrait of Cosimo I de’ Medici as the new ruler of Florence. The small-scale painting on wood is the first portrait made of the young Cosimo I in 1537, just months after he was invested as the first Grand Duke of Tuscany, at 18 years old. Previously attributed to an unknown artist from the workshop of Pontormo, it was thanks to the restoration sponsored by the Baldi family that critics were able to finally prove that this small yet important masterwork was made by the Maestro himself. After spending years in deposits, the portrait will now be displayed in the Prometheus Room of the Palatine Gallery.


All About Art: Another ‘La Vittoria’. La Vittoria, the preeminent sculpture of Lucca-born nineteenthcentury artist Vincenzo Consani was presented to the public in September 1867. This Canova-like marble sculpture took Consani four years to complete. Inspired by Neoclassic ideals, it is said to symbolize the liberation of Lombardy from Austrian domination in the mid-1800s. It represents a Greek woman sitting on rocks, as she intently writes the dates of the Lombard battle on her marble shield. After its presentation, the artwork was presented as a gift to Savoy King Vittorio Emanuele II. 20



Magic in Sculpture. An artist’s vocation is to express the perception of his time. An artist’s descendants are called upon to protect, promote and preserve this work for time immemorial. Celebrated for upholding Canova’s neoclassical tastes, artisan and sculptor Vincenzo Consani executed his metalwork and marble masterpieces with a brand of expertise that is common only to Tuscany. His descendants, the Baldi family, continue their efforts to uphold his legacy, whilst producing significant works of their own. In 2012, Consani’s classic marble sculpture La Vittoria became the centre of a far-reaching technological project, sponsored by the family itself. Leonardo Boni Baldi tells us more. “About 10 years ago, my grandfather Paolo Baldi, expressed the desire to create a relief of La Vittoria, the famous statue sculpted by his ancestor, Vincenzo Consani. At the time, experts were still creating reproductions using traditional methods”, Leonardo explains. “To overcome this challenge, my grandfather turned to the University of Pisa, one of the world’s most avant-garde centre for research, in hopes of gaining technological support. Unfortunately, even the laser scanning methods they used at the time, didn’t prove the best option in this case. The techniques were considered too invasive”. Happily, technology has developed significantly since. Baldi adopts traditional manufacturing methods, while also making use of the most modern forms of technology. This skilled combination of time-tested craftsmanship and state-of-the-art tools, strengthen the company’s age-old roots while setting its sights onto the future.


Baldi acquired a 3-D structured light scanning system with the intention of recuperating all of its collection’s models. Leonardo recalls his grandfather’s wish, ‘It’s what we wanted. We’re talking about a non-invasive process that can be carried out simply and quickly. The scanning device is similar to a camera equipped with a tripod. Scanning occurs thanks to the software’s re-elaboration of multiple photos taken of the object. Once the software has acquired these photographic images, it reproduces a new threedimensional image that is in essence, identical to the original object.’ Thanks to this state-of-the-art method, only a photography shoot proved necessary. There was no need to block off a certain area of the museum venue or to work with a numerous team of collaborators. The project was carried out on site, at Florence’s Pitti Palace, which has been the statue’s home since King Vittorio Emanuele II had the statue placed in his official residence in 1867. La Vittoria is just one of Consani’s multiple works in the Tuscan capital, for the sculptor cultivated a deep-rooted artistic relationship with the city, where he was a professor at Florence’s Accademia di Belle Arti.


La Vittoria, a masterwork by an ancestor of the Baldi family in the Pitti Palace.

Artistry and craftsmanship is an essential industry for Tuscany. For time immemorial, the territory and its landscape has been a powerhouse for artistic expression and hand-crafted excellence. Yet, for the Baldi family, whose ancestors have been producing art and craftsmanship for generations, creativity is an authentic genetic inheritance. Currently dedicated to producing luxury hand-crafted objects using traditional Tuscan methods, the Baldi family finds inspiration in its clan’s most creative members, whether those from centuries past or those working today. La Vittoria, a masterwork by Vincenzo Consani, one of the family’s most famed forefathers, exemplifies traditional canons of beauty and harmony, two ethical and esthetic principles that continue to be at the forefront of the family’s modern-day craftsmanship and production. The statue’s magnificente and triumphant but reflective temperament has provided a model for the family’s up-and-coming craftsmen, as they work to successfully uphold the excellence that has characterized their unique work through the generations.



Vincenzo Consani: A master from Lucca.

Sculptor Vincenzo Consani, one of the Baldi family’s most eminent forefathers, was born in 1818. Having lost his father in early childhood, the boy was encouraged by his maternal grandfather, the painter Giovanni Farina, to train in the goldsmith workshop of artisan Benvenuti. In the early nineteenth century, Lucca proved a bustling centre for the applied arts, and Consani’s notable talent was soon recognized by renowned local silversmith Pier Antonio Martini, with whom Consani studied modeling and drawing and created myriad decorations for local churches. Consani later became a student of Luigi Pampaloni and achieved remarkable success during his time. His life experiences and artistic legacy bear witness to the family’s continued commitment to artistic excellence.

News of Consani’s first marble bust depicting Capuchin Friar Francesco Maria Finucci caught the attention of Bourbon Princess Luisa Carlotta, widow of Maximilian of Saxony and the then duke’s sister. She quickly became the first in a long list of clients who coveted a gesso copy of the bust, paying the young artist eight scudi for what became his earliest widely recognized work. Upon the duke’s return from London, he too sent for the promising sculptor, wishing to have him trained in either Rome or Florence. Consani opted to gain professional experience in the Tuscan capital, which continues to host many noteworthy examples of his work, including La Vittoria at the Pitti Palace. The Uffizi loggia hosts his large-scale statue of Florentine botanist Pier Antonio Micheli, credited as the founder of scientific mycology. Additional Florentine works include Consani’s portraits of Santarelli and antiquarian Arcangelo Migliorini, now part of the Uffizi Gallery’s collection. Before commencing his Florentine sojourn, Consani was held to producing various commissions for Lucca’s ruling dynasty, including marble busts of the Duke and his wife Maria Teresa of Saxony and a sculpted portrait of the hereditary prince. During Consani’s early period in Lucca, the sculptor was also commissioned a portrait of Countess Matilde, who spent a significant portion of her


life in the Tuscan city. As Consani’s fame grew, other royal and noble commissioners sought his talent. The Savoy king Vittorio Emanuele purchased his Wounded Amazon, now on show at Rome’s Quirinale. Similarly, Consani successfully captured the attention of international nobles and intellectuals. Lord Salidsbury, England’s prime minister purchased his First Pain, a unique statue depicting a young boy contemplating death as he holds a dead bird in his hands. In Florence, Consani was invited to sculpt four large-scale statues destined to grace the façade of Santa Maria del Fiore Cathedral. Of these, the most noteworthy is a marble rendition of Pope Eugenius VI, who consecrated the basilica on March 25, 1437. Throughout the course of his life, Consani produced a total of 24 statues, 69 busts, 23 medallions and 12 bas reliefs.

Ancient and contemporary inspiration. The third of five siblings, sculptor Vincenzo Consani showed considerable manual talent from an early age. Throughout his career, he gained inspiration from Greek mythology and often represented historical and contemporary figures in his works. Florence’s Gallery of Modern Art hosts his Head of Saint John the Baptist in a Washbasin, Head of Michelangelo and a medal bearing the Princess of Saxony’s profile. The sculptor also created an honourary statue of Paolo Savi, designed for Pisa’s Camposanto, which depicts the lecturing scientist as he dons his professor’s toga. On the tenth anniversary of his death, Urbano Lucchesi created a commemorative statue of the artist, now under Palazzo Pretorio’s open arcade.


Ferdinando Baldi, known to the art world as ‘Etrusco’ Ferdinando Baldi, better known on the international art scene as ‘Etrusco,’ is one of the Baldi family’s noteworthy artistic heirs. His encausto works are inspired by the methods used by the Etruscans, whose own encausto art remains perfectly intact after some twenty-five centuries. After earning his high school diploma at a Florentine secondary school specialized in the fine arts, Etrusco continued his education at the

Accademia di Belle Arti and frequented the Faculty of Architecture. Etrusco also trained under Florentine painter Ottone Rosai, one of Italy’s most renowned twentieth-century artists. In the late 40s and early 50s, the artist won four top national prizes for his portraits at the Florentine Fair for Craftsmanship. Ceramics was one of his choice mediums at the time. Since the early stages of his career, Etrusco’s paintings and portraits have gained acclaim with critics and art lovers, thanks to their modern feel and dynamic colourful flamboyance. In 1964, Etrusco gained acclaim when he was awarded the Silver Cup during Santa Margherita Ligure’s ‘National Competition for Figurative Painting’. That same year, Etrusco’s international experiences 28

multiplied as he began exhibiting internationally. Over the last several decades, he has shown his works in Australia, Germany, Belgium, France, Switzerland and Luxemburg, Lebanon and the United States. Etrusco exhibits nationally at least three to four times a year, in cities such as Parma, Florence, Modena and Verona. Without a doubt, his unique artistic flair and commitment to beauty was inherited from the Baldi family, whose ancestors have proved beacons of creativity throughout multiple generations. As a living artist who continues to live and work in the land of the great painting masters from the Renaissance onwards, Etrusco represents the region’s centuries-old artistic culture, capturing the landscape’s inherent colour with unmatchable skill. In the later stages of his career, the dynamic artist has developed a brand of expressiveness that exudes contemporary features, particularly in terms of colour schemes. The shapes the artist prefers capture the essence of his multi-faceted artistic personality. Several works from his later years are currently exhibited at the Baldi headquarters in Florence. Etrusco still works as an artist, sharing a studio with his son, the painter Andrea Baldi, who carries on his father’s artistic legacy.


Emotion in Colour. It is difficult to capture the essence of joy: you cannot hold it in the palm of your hand; you cannot drink it or breath it in; you cannot place it on your mantelpiece. But objects which bring joy can be placed there, and can be looked at day after day, brightening the room and our souls. The twinkle of light reflected off perfectly faceted crystal, the harmony of luminous colours, the soft glow of light warmed by deep blues, ambers and greens, the smooth elegance of crystal shaped to perfection: these joys delight not only our eyes and our fingertips, but also enter our hearts and lift our spirits. 30




“A thing of beauty is a joy forever.” John Keats The skill of the best craftsmen lies in creating luxury while maintaining simplicity, manmade beauty while retaining the natural purity of the raw materials. The joy of a maker who knows he has created a unique and precious masterpiece is reflected in the joy of the person who receives it, who knows that they hold in their hand an object as perfect as it is rare. Joy is contagious, like a smile from a stranger on the street. Like an unexpected word of praise from someone you esteem. Just as light from a lamppost invites passers by towards its warmth, so joy attracts company, and a beautiful object calls for you to come close and draw on its brilliance. Creations of the highest quality inspire feelings of joy in us because of the depth of their beauty and character. These three collections explore this concept in different ways, embodying emotions and heightening our senses; their varied personalities inspire in us a range of feelings, talk to us in different tones and fill us with wonder and joy.

Crystal. The very word ‘crystal’ conjures up images of opulence, elegance and splendour. Crystals are magical and mysterious; they put on a sparkling and constantly changing display of light and colour. Only the best craftsmen can bring out the full capacity of crystal, its playfulness and allure, grace and purity. Combining traditional knowledge with modern techniques and innovation, every crystal is individually blown and hand carved. This collection presents crystal at its very best.





The joy of Charm is the delight of classic lines and traditional colours. Just as we are unconsciously drawn to charming people, so we are attracted by the beauty of timehonoured styles. Equally important is innovation: these colourful collections are sparklingly contemporary yet, underlined by decades of traditional knowledge and heritage. Euphoria epitomises this freshness, bursting with energy and invigorating those who are lucky enough to be touched by its vitality. Joy is felt deep within our souls; it is all-encompassing, diffused through our bodies and even touching levels of our unconscious. Love and Romance encourage us to explore emotions which are the most intimate, the most personal, transporting us to ethereal dimensions. The sublime and sparkling colour combinations kindle different emotions in the viewer, from peace and tranquillity to harmony, elation and verve. Just as the most profound feelings of joy encompass a variety of emotions, which weave together to form a multi-faceted coalescence, so the symphony of beautiful colours creates greater softness, freshness or intensity than a single pigment would achieve. Poignant blues meet warm ambers; extravagant purples melt into soft pinks; vivacious greens juxtapose fresh yellows.




Joy is Colour. Simplicity. Perfection.




Excellence for the Future: Meet the Red Design Lab. This innovative collaboration between the Design Campus of the University of Florence and Baldi will explore new methods of combining traditional knowledge and contemporary technologies in craftsmanship and the artisan sector. The project aims to protect traditional artisan techniques and to develop new objects using modern creativity. A three-dimensional scanner provided by Baldi will enable the process to be reversed in order to be conserved: the scanner will analyse finished products, reconstructing the artisans’ process of work and creating a database of patterns and materials.


Students from the Design Campus have had the special opportunity of being involved in the development of Baldi’s new collection. In a variation on the Joy collection, one student designed an innovative electrically powered tray for the Joy items. The items are charged when placed on the tray, and when removed, shine with a resplendent glow, bringing out the full glory and beauty of the vibrant purples, warm ambers and powerful greens. Other objects designed by the students include magnificent chairs, cuffs with miniature clocks and fountain pens. This laboratory, the Red Design Lab, presents a unique opportunity for these students to collaborate with such a prestigious company as Baldi, and to make a contribution to Baldi’s high-quality creative output.

UniversitĂ degli Studi di Firenze

Elisabetta Cianfanelli Gabriele Goretti Roberta Baccolini Marika Tardio Carmine Federico Danilo De Roberto Davide Simpatia Mattia Andreozzi Emanuele Bitossi


Florence’s Opificio delle Pietre Dure: A great artistic tradition that is still flourishing.

In a Florence increasingly besieged by tourism, those who desire something unique can come to the Opificio delle Pietre Dure and its museum, invaluable for its collection and its roots in antiquity. The current Opificio, an internationally renowned centre specializing in the restoration of works of art, is the direct heir of the workshop founded in 1588 by Grand Duke Ferdinand I de’ Medici. It was at this time that the passion for semi-precious stones gained great enthusiasm: the Renaissance considered these materials particularly suited to the refined splendor of the princely courts; delight was taken in cameos, inlays, and urns that the Hellenistic and Roman world knew how to create from semiprecious stones.

Urn of lapis lazuli, gold and enamel, designed by B. Buontalenti, Granducal manufacture and Jacques Bilivert, 1581-1584 Florence, Silver Museum

Florence wasn’t the only centre in Europe where antique works in semiprecious stone were created, however it was the first to specifically manufacture this difficult and costly art. The first Florentine creations were vases made of semi-precious stone carved in fanciful shapes, but Florence was to gain unequalled fame in the art of inlay, wherein the finished piece is born from placing numerous sections of stones of different contours chosen according to their natural shading.

Table top with garlands of flowers, fruit and birds, semi-precious stone mosaic Galleria dei Lavori, 1710 -1720 – Private collection 40

Table top with view of Livorno port, mosaic of semi-precious stones, designed by Jacopo Ligozzi. GranDucal manufacture, 1601-1604 Florence, Uffizi Gallery

Salon panel of the great gardener, mosaic of semi-precious stones, from a model by Edoardo Marchionni, Opificio, 1883. Florence, Museum of the Opificio delle Pietre Dure

“Paintings in stone� was the name Grand Duke Ferdinand gave to these perfect puzzles, meaning they were capable of competing with paintings for their variety and colour, traits of the infinite natural palette of stones, which also have the advantage of remaining unaltered over time. Table tops, cabinets, chests, clocks, wall-paintings, sculptures and the most varied furnishings created for three centuries by this uniquely Florentine manufacturer are today found in many European museums. Only at the Opificio is it possible to retrace the entire temporal arc of this special activity and understand how these complex creations were born by way of the materials, tools and technical procedures jealously handed down for centuries. Its antique heart still beats in the modern Opificio, where extraordinarily capable specialists restore the marvels of the past and recreate them with the same simple tools of long ago, guided by hands and eyes that regard the magic colours of stones with the painterly sensibility of true artists. Annamaria Giusti Opificio delle Pietre Dure 41


artistic craftsmanship in the 21st century. Baldi spans the full range of artistic excellence. The company’s profound history, knowledge and experience with traditional techniques and craftsmanship meet a contemporary and innovative creative vision and groundbreaking manufacturing processes. The use of colourful semi-precious stones in the creation of decorative objects has been practised since the Renaissance, a period in which the use of semi-precious stones in art flourished in the city of Florence, especially under the rule of the Medici family. Toward the middle of the eighteenth century, when the construction of St. Petersburg began, under the rule of Peter the Great, Italian stone masters and architects took part alongside Russian artisans and artists, in the Russian city’s enlargement learning the ancient technique of Russian mosaics from them. Always using the most ancient craft techniques—from stone cutting, chisel and shaping to the lost wax technique and gilding, artisans working for Baldi are absolute experts in their craft. They have years of experience working with different kinds of materials, designs and shapes.


SEMIPRECIOUS STONES The Efes Urn is made in malachite and features decorative elements in gilded bronze. 43


Gilded bronze dĂŠcor elements further embellish this one-of-a-kind C. Bechstein Gran Piano, made in malachite. It is beautiful both to the eye and ear. 45

The small, round table in malachite features a Russian mosaic design and legs depicting four winged lions in gilded bronze. 47

Made in tiger eye, this pair of Leonardo Obelisks HAVE ornate bronze motifs.



The eight-candlestick Candelabra with Lions sitting on the Heracle Column are both made of rock crystal WITH decorative motifs in gilded bronze.



The Victoria Console in lapis lazuli, featuring a Russian mosaic design and supported by four gold-plated bronze legs depicting lions, stands under the Aretusa Horizontal Wall Mirror, also in lapis lazuli.


The Galileo Globe mosaic in lapis lazuli and tiger eye, with motifs in gilded bronze. The piece holds two bakhoor in tiger eye and perfume bottleS.



the pear vase in amethyst features floral motifs in gilded bronze.

An amethyst table featuring a Russian mosaic table top and silver-plated bronze floral and vegetal motifs at the base. 55

The Tallest Clock in the World. Time is of the utmost importance in Islam; it is one of the greatest blessings given by Allah and is connected to four of the five pillars of Islam. It is not surprising, then, that the new symbol of Islam is the monumental Abraj al Bait clock tower of the King Abdulaziz Endowment Centre, which overlooks Masjid al-Haram, the most sacred mosque in Islam. 58



The Makkah Clock. Millions of pilgrims visit Makkah al-Mukkaramah every year, fulfilling the Hajj, one of the Five Pillars of Islam. As they circle the sacred Kaaba, looking down on them is the magnificent Abraj al Bait clock tower, which, at 600 metres, is the tallest clock tower in the world. The magnificent clock at the top of the tower stands 251 metres tall and weighs 36 tonnes; its 17-metre long hour hands and 22-metre minute hands can be seen from over eight kilometres away and its call to prayer can be heard from a distance of seven kilometres. A truly awe-inspiring and mighty symbol of this great religion, it proclaims the message and values of Islam, with a giant Hilal displayed on the top, and the messages ‘Allah is great’ and ‘There is no God but Allah and Mohammad is His Messenger’ shining out in beautiful calligraphy. Its grandeur is continued even on the most intricate and detailed level, with 24-carat gold in many of its 98 million glass mosaic tiles. During the call to prayer 21,000 sparkling lamps shine out from the top of the tower, creating a brilliant light display which can be seen as far as 30 kilometres away, alerting even the deaf and those in nearby cities 60

of the all-important prayer times. The intricate mechanics behind the clock-faces ensure that they run with minute precision. The four atomic clocks are linked to the Coordinated Universal Time system, and set to Arabia Standard Time, to regulate with extreme accuracy the time of Makkah and the people living or visiting there. The importance of the clock can be seen in the many records it has broken, including that of being the tallest clock tower in the world and having the world’s largest clock face. It was built to last the centuries: its call to prayer will be heard and its powerful light will be seen throughout the ages, proclaiming to the world the greatness and wonder of Islam. “Time is not isolated from us like a tree, a book or an inkwell … Rather it is something that encloses us” — Dr. Mustafa Mahmud


Luca Bojola. Designer and art director, Baldi

Luca Bojola was born in Florence and continues to be influenced by the traditions and art of this historic city. With almost thirty years of experience collaborating with elite craftsmen, Studio Luca Bojola follows an unconventional and free creative path, designing timelessly beautiful yet refreshingly innovative objects and one-ofa-kind pieces using fabulous precious and semi-precious stones. Working both in classic and contemporary design, Bojola finds the perfect union of the two, incorporating traditional styles into fresh, new creations. His studio works with a range of materials— from ceramic, glass and metal to marble and gemstones—and has designed creations that adorn villas, restaurants, public spaces and exhibition areas around the world, including Europe, Asia and the Middle East.


Inspired by the majestic Abraj al Bait clock tower, one of the challenges Bojola faced while designing these clocks for Baldi was to preserve the same sense of grandeur and to fluidly combine a clock face with a table or supporting structure. He achieved both of these goals by creating designs which are at once both flowing and powerful, using materials of the highest quality. For this unique project, Luca Bojola has created 3-metre tall, four-faced clocks that are individually dynamic and compelling. Also in the works is the creation of a series of miniatures of the collection, measuring 30 centimetres in height. The sketches and designs of the various clocks by Luca Bojola can be viewed on this page and in the pages that follow.

Design Luca Bojola


Design Luca Bojola 64

Design Luca Bojola 65

Design Luca Bojola 66


The Artisan Tradition as an Expression of Innovation. Luca Bojola’s striking and original designs were transformed into such a resplendent result through the superb work of expert artisans, talented professionals who succeeded in realising Bojola’s complex and demanding drafts. The result is the creation of perfectly detailed timepieces, respecting time-honoured handicraft techniques while utilising the latest in technology and science. These Baldi clocks had to be of highest quality and beauty, with perfection shown in every intricate detail. The exteriors of the clocks are embellished with numerous semi-precious stones: the deep purple of amethysts conveys devotion, energy and intensity which creates a pleasing harmony with the luxurious and powerful tones of bronze. The alluring green swirls of malachite fascinate us with their splendour while the deep blues of lapis lazuli reflect the majesty of the oceans and the sky. On the interior of the clocks, the attention to detail and quality continues: Baldi co-operated with the world’s greatest clock technicians in Germany to construct the intricate, elaborate and absolutely precise mechanical system. And the challenge does not stop here: Bojola and Baldi already have a more elaborate clock in the works, one with four faces, which will soon be the latest addition to this unique series.



Baldi’s greatest challenge. The Baldi Clock MK5 combines traditional values with modern technology and design. Baldi is renowned for fusing tradition and innovation, centuries of knowledge with the best of modern technology. Luca Bojola was keen to create a timepiece that could perfectly encapsulate the meaning and majesty of the Abraj al Bait tower in smaller clocks intended for the inside of palaces. Standing around three-metres tall, these clocks are symbols of elegance and refined opulence. In the photos on the right and left are the first clocks made by Baldi. They are two splendid examples of fine craftsmanship—one in malachite and bronze and the other in amethyst and bronze. In line with the company spirit, there is already a project to create a series of 30 centimetre-high clocks in miniature. It will be a series of collectibles to love and admire on a mantlepiece or tabletop inside the home. Making a client’s dream come true is always fulfilling and a great pleasure, especially when doing so involves creating unique masterpieces such as these—both big and small. Each clock is one-ofa-kind, destined to live on as an example of splendour, opulence and excellence in craftsmanship for centuries to come.

Design Luca Bojola

A day at the races. Baldi has long been synonymous with luxury and high class living. A recent venture has seen the company bring its exquisite Made in Italy workmanship to the exclusive world of motor racing, by sponsoring the Saudi Falcons Porsche team. In early February, both the company’s managing director, Luca Baldi, and the head of production and R&D, Leonardo Boni, were invited to experience first hand the thrills and excitement of the Porsche GT3 Cup Challenge at the Reem Circuit in Riyadh, Saudi Arabia. The important 7th and 8th rounds of the contest saw two of the Saudi Falcons team members take to the podium. Baldi was also proud to create a series of unique and striking trophies to be presented to the race winners. 74



The Porsche

GT3 Cup Challenge. Two Saudi Falcons drivers participating in the Porsche GT3 Cup Challenge, Fasial Binladin and ATF, were only too pleased to meet with their Italian sponsors. In turn, Luca Baldi and Leonardo Boni were fascinated to get behind the scenes at the Reem Circuit in Riyadh to really get to know the team they’ve been sponsoring since the start of the season. This race track in Saudi Arabia is famous for its tight bends and narrow straights, not to mention the highly dusty conditions when it’s windy – which it often is. However, the drivers were on their home turf and so had the support of the crowd and between them have clocked up a fair amount of time on the track itself. The impressive sparkling Baldi trophies were there to spur them on and, despite setbacks which included a potentially fatal accident for ATF during the 8th round, both took to the podium at the end of the day. At the start of the day, ATF and Binladin had both the Drivers’ Championship (where ATF was in the lead) and the Teams’ Championship (where the Saudi Falcons held second place behind the Al Nabooda Racing Team) on their minds. As the more experienced driver of the two, ATF was one of the race favourites, despite a small incident during the unofficial practice


sessions which meant making last minute repairs to his front right suspension, as well as problems getting his tyres to the right temperature. However, the up-coming Binladin did very well in qualifying, earning himself second place on the starting grid – a crucial advantage on a track where the tight bends and narrow straights make over-taking extremely difficult. ATF started in fourth position, although he held his nerve and quickly made up for lost time by moving up to third place. He then fought it out with team mate Binladin and another driver, Algosaibi, and eventually finished in second place, behind Clemen Schmid from Al Nabooda Racing. Binladin was over the moon to finish third and gain his first podium of the season – and get his hands on one of the unique, finely crafted Baldi trophies. The 8th round didn’t go so well for the Baldi sponsored Saudi Falcons. Thanks to further problems with his tyres, ATF’s qualifying times put him in fourth place on the grid, directly behind team 77

mate Binladin. ATF pushed hard and was keen to maintain his top place in the Drivers’ Championship, although a mistake during an attempt at overtaking in lap 10 put him from fourth to sixth position. He might have been able to come back from this however, had it not been for a dramatic accident during lap 14 (out of 17), when his car was hit from the left side by Zaid Ashkanini. The car was pushed off the track and rolled twice before coming to a halt. Thankfully, ATF walked away from the accident unscathed, although his position in the Drivers’ Championship subsequently dropped to second place. On a brighter note, while this nail-biting accident was taking place, Binladin cruised to second place, gaining his second podium finish of the day and gaining crucial points for the Saudi Falcons in the Teams’ Championship.

Sponsored by Baldi. The relationship between Baldi and the Saudi Falcons began when Luca Baldi became friends with the Binladin family, which heads one of the most important corporations in Saudi Arabia, some three years ago. When the family spoke of the motor racing team it owned, Baldi – who is passionate about cars - was immediately interested in becoming more involved. They quickly struck up a deal to sponsor the team this season. As a company, Baldi already has close links with the region, through the Baldi boutique in Jeddah. Clients to the store, which was designed by Luca Bojola, are immediately enveloped by the shamelessly opulent and exclusive Florentine style that Baldi has come to represent. That very same style and level of detailed craftsmanship was also brought to the design and production of the trophies made for the GT3 Cup Challenge. The trophies were, in reality, a last minute addition. What started as a friendship developed naturally into a public relations opportunity for the company and went on to provide a chance for Baldi to showcase their unique and enchanting work with these stunning trophies. Baldi are proud of their involvement with the Saudi Falcons and are thrilled to have been invited to take part in the GT3 Cup Challenge.



A Sea of Dreams. In the yachting world, the name KaiserWerft has come to symbolize unparalleled excellence. For more than 25 years, the company has been building luxury motor yachts and commercial and military defense vessels for a demanding and discerning worldwide clientele. The KaiserWerft philosophy is that of uncompromising quality, passionate craftsmanship, and the absolute latest technology married to the long tradition of German engineering and manufacturing. The result is a company with deep roots and traditions in the world of luxury vessels, a company eminently capable of realizing the dreams of its clients and satisfying their every demand and exigency. It creates dreams and sets them afloat. 80

BBSCENE KaiserWerft 85-metre project. 81

Quality and technology

come together for an unrivalled experience.

KaiserWerft’s quarter century of shipbuilding history speaks for itself within the nautical world. With shipyards in Germany, Turkey and Italy, the dynamic KaiserWerft GmbH group combines engineering skill and successful collective experience in all matters relating to the construction and refitting of mega yachts. Following the company’s reorganization in 2009 by German and Arabic shareholders, the newest production facilities have been relocated to Rostock, Germany and Antalya, Turkey, and the service and refitting centre are in Viareggio and Dubai. Thus, KaiserWerft team has successfully designed, built, and delivered over 100 yachts of up to 70 metres in length, offering its clients more than 70 years of shared experience in the shipbuilding industry. Equally important is the company’s focus on the latest technologies and innovations. The result of this tradition of excellence, craftsmanship and quality is embodied in the Kaiser 85 mega yacht. With this yacht, two German paragons, KaiserWerft and Voith, join together to create an unmatched experience, all the while offering superlative performance an elegant, refined, and tasteful design.



The Kaiser 85 is driven by four diesel electric engines and features a state-of-the-art Voith Schneider propulsion system, made by another internationally renowned German company, Voith. The innovative Voith diesel electric propulsion system reduces vibrations and noise levels, thanks to is electromagnetic propellers and a drastic reduction in fuel consumption. This also makes the system more ecological: it emits relatively low levels of carbon dioxide due to the innovative design of the hulls, which create less drag compared to conventional displacement hulls.

KaiserWerft 56-metre project.

Recently appointed Chief Executive Officer at KaiserWerft GmbH is Maurizio Magri, a well recognized professional in the luxury nautical world, with more than 25 years of experience. He attended the Naval Academy of Livorno, Italy, and the Texas A&M University of Galveston in Maritime Administration. After his studies, Magri played a key role in the further development of a range of Italian shipyards, among them CBI Navi, Admiral Yachts, Tecnomar SpA and Rodriquez Cantieri Navali SpA. 84

design a n d technology.

radiomir tourbillon gmt titanio - 48mm

Available exclusively at Panerai boutiques and select authorized watch specialists.

Inimitable style, modern elegance. The beautiful, sleek, and striking Kaiser 85 sets the standard for innovation in technology and engineering. It is also a fine example of luxury and design in the yachting world. Designed by the Luca Dini Design Studio, the yacht’s rigorously modern and elegant interiors are richly and luxuriously appointed with the finest quality fittings and furnishings. One can note the hand of Luca Dini, a noted Florentine designer with over 26 years of experience, because his artful eye has also governed the design of the exterior spaces of a range of KaiserWerft yachts. Luca Dini’s interiors embody the epitome of contemporary style: featuring gorgeous lines, gleaming surfaces, elegant restraint and exuberant modernity. They are replete with prestigious materials and furnishings of the utmost quality, and are enhanced by richly refined details and luxurious fittings, without ever lapsing into the realm of ostentation,


in keeping with modern sensibilities and the latest trends in interior design. These shipboard spaces— expertly and artfully furnished with pieces from the Baldi Home Jewels collections— are wonderfully soft and inviting while at the same time being exemplars of taste and refinement. The Kaiser 85 is a dream yacht from which to truly enjoy one’s voyage in incomparable style and comfort.


Luca Dini Design Studio. Luca Dini is a Florentine designer who has worked in nautical design for 27 years. Specializing in super yachts, his career that began in 1987, culminating in 1996 when he opened the Luca Dini Design Studio in Florence. Dini works in various sectors, such as residential, automobile (including a collaboration with Lancia for the Delta Yacht Design Concept) and aeromotive, in which he has designed interiors for private jets. His studio is behind the design of numerous yachts built in the world’s most important shipyards, among them Cantieri Navali Lavagna–Admiral, Cantiere Mariotti and Cantiere Mondomarine, as well as KaiserWerft, a name that in the past 25 years has come to symbolize unparalleled excellence. Dini frequently travels around the world from his home base in Florence. However, over the years and the evolution of design concepts, his attitude has never changed—he has remained enthusiastic, authentic, levelheaded and extremely professional when facing each new challenge. “At the beginning of my career, I designed completely different things, like the dashboard of the Lamborghini Diablo, chairs, houses, clocks … But, the nautical world has always been my greatest love: the sea is my passion, not just sailboats but motors, nautical technology.”





A world of enchantment: Enzo Galardi and the new perfumes for Baldi. Sophisticated, alluring, incomparably unique and a deep sensory pleasure for the discriminating connoisseur of the finer things in life: this is what Baldi and Enzo Galardi are proudly presenting to lovers of exclusive Made in Italy craftsmanship, in the form of four utterly exquisite and elegant fragrances. Only the very best will do, which is why Master Galardi achieves a perfect symphony of scent using only the finest essences that Nature has to offer: vanilla from Madagascar, Indonesian patchouli, bergamot from Calabria, Andalusian saffron. These exotic essences are expertly complemented by flowers that have beguiled mankind since time immemorial. 92



Enzo Galardi. Master perfumer Enzo Galardi is a visionary with over 30 years of experience in creating captivating, beguiling scents. His artistry is legendary and unparalleled in the world of fine fragrances. Along with the house of Baldi’s long and venerable tradition of Made in Italy luxury and unmatched quality craftsmanship, Master Galardi has found the perfect inspiration. The four unique, premium perfumes of this new collection have been crafted with passion and a deep knowledge of the alluring power of fine essences, and each artisan-crafted bottle expresses the incomparable beauty of everything that the very best of Italy embodies. Enzo Galardi is an artist whose ability to blend the finest essences culled from the exotic and far-flung corners of the world has earned him justifiable fame. And yet his passion for continuing to create, innovate and express the mastery that has so long characterized the finest that Italy has to offer has not diminished; rather, as he has discovered in his partnership with Baldi that his inspiration for crafting exclusive and precious fragrances has soared to new heights, enabling him to achieve—in these four utterly glamorous and charismatic perfumes—a level of artistry that is guaranteed to enchant all lovers of luxury.



Four fragrances for igniting the soul – Eau de Parfum 100 ml. Ametista, Malachite, Occhio di Tigre and Lapislazzuli: four luxurious perfumes created to enrapture the senses. Thick, etched glass, smooth wengÊ wood and cool precious stone inlay are both elegant to the touch and beautiful objects for the eye to behold; the fragrances themselves charm all those who come under their spell, exquisitely exuding only the finest exotic and precious essences culled from around the world. Evocations of Italy, of Africa, and of the Far East are embodied in scents that utterly delight, ranging from refreshing citrus to velvety musk and seductive, exotic spice. Voluptuous, beguiling floral notes and hypnotic blends of mysterious, oriental essences such as myrrh, amber, clove and sandalwood wrap one in a cloak of sensual charm.


Message in a Bottle: the Passion of Artistic Expression Eau de Parfum 100 ml. One hundred and fifty stunning limited edition bottles were created by the unparalleled artistry of renowned Florentine sculptor Giorgio Butini. Each fluid, expressive piece is cast using the ancient lost-wax method and is finished expertly by the hands of the artist himself, thus rendering each individual bottle a unique example of fine craftsmanship. Moreover, each bottle is numbered, rendering it a certified original work of art. The Muse has long guided Butini in his pursuit of artistic perfection in a variety of mediums. In his capable hands, these static, raw materials are transformed into that which conjures the eternal. Thus, through the exquisite alchemy of fine fragrance, artistic passion and Baldi luxury, a true Made in Italy work of art is born.


Sartorial splendor. In the world of high fashion, the name Kiton has come to symbolize a triumvirate of excellence: rigorously handmade in Italy, expert artisan tailoring and innovation in style and materials. Classic, elegant, and sophisticated, Kiton garments are worn by discriminating metropolitan men and women of eclectic taste. Uncompromising quality, supreme wearability, with every detail artfully curated: these are the brand’s hallmarks. The finest cashmere, linen, wool and cotton—in rich, sober, classic colour or in the exuberant sorbet and jewel tones of the Mediterranean—are transformed by a unique sartorial magic into something timeless. 98



Tradition and innovation. The story of the unique Italian mastery over the fine art of bespoke tailoring is one with deep roots in tradition; in a word, it is part of the very fabric of Italian history. Italian fashion has long been renowned for its expert tailoring, creating garments that are incomparable in terms of fluidity, dynamism, harmony and distinctive style. For centuries, Naples in particular has been the locus of the highest expression of the tailoring craft, achieving near cult status in the world for the quality and execution of its handmade creations. Members of the Aragon and Bourbon courts enjoyed the distinctive garments of these Neapolitan artisans, as do today’s connoisseurs of timelessly beautiful clothing. The hallmarks of the Made in Italy sartorial tradition have always been that of paying rigorous attention to every detail and the use of highly skilled artisans who work each garment entirely by hand. Cutting, stitching, button selection and placement—nothing is left to chance and nothing is left to machines. The result is something unsurpassed in today’s ready-made world: the luxury of the personal fit.




La Dolce Style. Without doubt, Italy possesses unique style: whether in architecture, art, gastronomy or fashion, Italy charms. The Italian approach to life is one of casual elegance, a deep appreciation of quality and genuineness, and the slowing down to savor one’s relationships, surroundings and the finer things in life. This inimitable Italian way of living, by virtue of its allure and the enthusiasm of countless visitors, has transcended its own borders and gone forth into the world as a kind of ambassador of style. Italy—and Made in Italy in particular—has become synonymous with a kind of matchless quality, a paragon of design, traditional craftsmanship and a certain timeless essence not often found in today’s world. To live the Italian way is to always cut a bella figura— to make the best impression—bringing something of beauty and artfulness to one’s every day existence.


From Naples, with love. Born in the 1960s, Kiton grew out of the desire of its founder, Ciro Paone, to introduce the quality of traditional Neapolitan bespoke tailoring to a discriminating worldwide clientele. With its historic headquarters in Naples and a team of over 400 master tailors, the company has successfully grown over the years. Today Kiton exports across the world and boasts more than 40 monographic boutiques in major international cities, including a flagship store in New York.

Kiton: Timeless Elegance. The Ciro Paone S.p.A. Group continues to record a steady and significant growth in sales volume. We asked CEO, Dr. Antonio De Matteis, for the reason why, from 2009 to 2012 in particular, in the context of an international economic crisis that has struck even the luxury market, Kiton seems impermeable to these upsets. “In the context of an undoubted decrease in consumption, even at the higher level, eventual clients have decided to spend less but to spend better. I think this has rewarded our strategy of always pursuing quality and not the more ephemeral trends that often guide the fashion world. Our philosophy has always been that repeated by our founder, Mr. Ciro Paone: ‘A Kiton garment must always be the best of the best, plus 1’. We do not define ourselves as a luxury company but rather as a quality company. To this end, we have acquired the woolen mill of Carlo Barbera, founded the Scuola di Alta Sartoria Kiton (Kiton Tailoring School), and we continue to give importance to everything, from the moment a garment is created to the smallest detail … This makes each of our garments truly exclusive.” The Kiton elegance is often defined as “a timeless elegance”. How does one combine this perception with a world that is ever more quickly changing? Timeless elegance is an expression born out of a Kiton garment’s ability to last even ten years or more and not only due to its intrinsic value, but also for its ability to listen, feel and interpret the evolution of the world’s customs and lifestyles. Our clients and admirers appreciate precisely due to the distinguishing factor of timeless elegance.” 104


The Call of the Sea. In the 1930s, the Italian Navy wanted a watch to place on the wrist of their divers. Many well-established producers held a competition for who could create the perfect watch: the most waterproof, the most robust, and the most luminescent as possible. The sea trials ultimately demonstrated that the best of them all was that of Panerai. It was also the most beautiful, as is fitting for a Maison born in Florence, only a stone’s throw from the famous Ponte Vecchio. In the city of Michelangelo, Leonardo, and Benvenuto Cellini, where the taste and talent of a globally unique handicraft manufacturing tradition has been passed down for centuries. Steel, gold, bronze… one can change the type of metal forming the case that today encloses the perfected mechanisms produced by the Panerai Manufacturing Centre in Neuchâtel: but Panerai’s style and passion remain unique and inimitable. Radiomir 1940 oro rosso 42 mm 106



Ponte alle Grazie in Florence, the first headquarters of the Panerai workshop, in a photograph taken before its reconstruction.

Officine Panerai.

When one speaks of the great watchmaking brands of the world, one’s thoughts immediately turn to the Swiss. But there’s an exception to every rule, and this one is extraordinary: we are talking about Officine Panerai, whose manufacturing centre is today found in Neuchâtel, Switzerland, but whose tradition surprisingly speaks Italian. The story begins in 1860 in Florence, where Giovanni Panerai opened his first watchmaking atelier: shop, workshop, and even a school for watchmakers. The first headquarters was in one of the little characteristic houses that sprung up on Ponte alle Grazie, the bridge located next to the famous Ponte Vecchio; but soon after, 108

The window of the Panerai boutique in Piazza del Duomo of Florence, in an image from the period.

the workshop, which was known as Orologeria Svizzera at the time, moved to a very prestigious location in Piazza del Duomo, where the Officine Panerai boutique is still found today. As a result of its unparalleled expertise, the company became the supplier for the Italian Navy. And it was for the Italian Navy that, in 1916, the founder’s son, Guido, invented a system for illuminating the quadrants of compasses and other instruments used by the military. This same system was applied to watches 20 years later. Baptized as the Radiomir, the watch was exclusively created for the heroic Navy divers, or “frogmen,” a group of men who were the protagonists of legendary missions in the Second World War. Continuously undergoing enhancements, this watch, which already possessed many characteristics synonymous with the Panerai name, is considered by many to be the first underwater model in history for its ability to keep ticking in depths of up to 200 metres. Its fame was such that the Egyptian Navy also later equipped its specialists with a watch from this series, known to collectors as the Egyptian Radiomir. Meanwhile, in 1949, Panerai patented a new luminescent material, which had the enormous advantage of not being radioactive. And it was the Luminor—the name given to an infinitely successful series of watches—that became the true icon of the brand; these watches are equipped

Luminor Submersible 1950 3 Days Power Reserve Automatic bronze. 47 mm case, P.9002 automatic movement. 109

Officine Panerai Manufacturing Centre was inaugurated in 2002 in Neuchâtel, Switzerland and, in 2005, the P.2002, inspired by the Angelus mechanisms of the 1940s, celebrated the birth of the first Officine Panerai movement; and this was only the first in a long series. International jet setters also caught “Panerai fever,” and there are many VIPs who would think twice before turning down a Luminor, the emblem of Panerai that is known across the world. Among the new products presented at this year’s Geneva Salon, the Radiomir 1940 drew particular admiration; it is a watch that recalls the form of the period model, presenting itself, however, as being much softer and more wearable—thanks to a certain reshaping of the case—and allows for a glimpse of the prestigious hand-cranked movement in crystal on the back side. The Radiomir also boasts a surprisingly Italian history, expressing the identity of a respected and valued label, giving life to watches that are the perfect union between the Italian style and the perfection of Swiss manufacturing.

The Officine Panerai Manufacturing Centre in Neuchâtel, Switzerland.

with a characteristic mechanism that seals the crown, making them watertight. After the considerable success resulting from the development and creation of these military models, in 1993 Officine Panerai launched a collection geared toward the general public. Made as limited editions, the watches—baptized as the Luminor Marina and the Mare Nostrum—immediately reveal the inspiration of the military models that made history. Collected enthusiastically by watch-lovers, they reinstated the historic fascination of the Florentine brand, unleashing a veritable “Panerai fever,” which, among other things, made the prices of the period models soar to the stars at the auctions. The request for the new watches also soared, surpassing by far the productive capacity of the small maison; an obstacle that would be overcome four years later, when the Florentine company was acquired by the Richemont Group, proprietor of Cartier, IWC, Montblanc and other labels of stellar fame. Officine Panerai was then able to transform itself into a true label, offering a wide selection of products: finally distributed throughout the globe, the 110

Luminor 1950 Regatta 3 Days Chrono Flyback titanium. 47 mm case, P.9100/R calibre, automatic movement.

Radiomir 1940 with a 42 mm case, P.999/1 calibre, hand-wound movement. 111

Fabrics in Art and Interior Design. Study the works of Masaccio, Masolino, Pontormo and Piero della Francesca and lo and behold, you’ll find their protagonists dressed in lively, light-reflecting fabrics much like those still produced today at the Antico Setificio Fiorentino. Florence’s ancient silk mill in the Oltrarno district, produces exclusive fabrics such as Ermisino the Renaissance taffeta made in pure silk that often appears in the city’s most famed frescos. Today, this magical fabric is used for draperies in splendid historical homes and palaces throughout the world. Aficionados will find other breath taking choices, including Turkish satin, heavy silk and the typically Florentine saia fiorentina. 112



Antico Setificio Fiorentino A traditional workshop where silk-making is an art form.

Popular legend suggests that the art of producing silk became popular throughout the Italian peninsula when a princess from the Far East was betrothed to a European nobleman. She imported magnificent fabrics as part of her dowry, which also included a significant number of silk worms. Historical sources suggest that the silk industry developed around 1100 thanks to Catholic missionaries returning from China. The silk trade flourished in Tuscany and in particularly Florence as early as the fourteenth century, reaching its apex during the Medici dynasty when the Grand Duke Cosimo had the city streets carpeted in “precious tapestries and draperies‌.workshop failed to make a spectacle of the craftsmanship each produced in sumptuous silk and goldâ€?. 114


The workshop has made its name abroad supplying fabrics for Denmark’s Royal Palace, Copenhagen’s Amailienborg Palace and the Kremlin’s Grand Palais in Moscow. In the 1950s, marquis Emilio Pucci di Barsento became the company’s major partner which opened new doors for the traditional workshop, as it began creating interior designs for the international jet-set and Italian nobility. In 2010, the Antico Setificio Fiorentino was purchased by STEFANO RICCI S.p.A. This acquisition and the development of the STEFANO RICCI Royal Suite Collection has increased the public’s growing interest for this expert workshop and its historical craft.


Leonardo’s loom. Once past the wrought iron gate, you’ll reach Via Bartolini 4 nestled in the historic Florentine neighborhood of San Frediano. Upon entering the Antico Setificio Fiorentino, you’ll find an enchanted world where master weavers preserve and uphold the ancient Florentine art of silk-making, using the workshop’s twelve looms. Six of the hand looms were created in the 1700s, the most important of which was built on a design by renaissance man Leonardo da Vinci. The workshop’s other six mechanical looms were created in the 1800s. A smaller loom from the 1600s is used to create made-to-measure fringes or employed for restoration projects. The fabric designs are jealously stored in the company’s private archives. In addition to currently produced patterns, clients can request personalized and bespoke creations.

For many years, the Antico Setificio Fiorentino has created costumes for Siena’s contradas as well as banners for the city’s world-renowned Palio. The banners are still fashioned with iridescent Renaissance silk taffeta called ‘Ermisino’. The antique silk mill has also restored prestigious costumes including the funeral attire worn by the wife of Cosimo I de’ Medici, Eleonora di Toledo, woven with golden thread. In the museum world, the Antico Setificio Fiorentino has outfitted various keynote exhibitions such as ‘Biedermeier’ in Vienna and ‘the Magnificence of the Medici Court’ at Palazzo Pitti. Products manufactured by the prestigious company have also appeared in cinema and theatre including Lucchino Visconti’s famed film The Leopard and various plays at Milan’s La Scala. Top designers Jeanne Lanvin and Roberto Capucci are also known for purchasing these coveted fabrics to create their unique fashion designs.


Modern elegance, inspired by the past.

Across the Arno River, in a historic area of Florence, there is an incredible world that unites past and present. It is a world in which coloured crystals, gilded bronze elements and semi-precious stones meet the magic of silk. It is an installation of the Baldi Home Jewels collection in the historic “showroom� of the Antico Setificio Fiorentino. Here, among the Renaissance silk damasks, satins, pure silk gros, Turkish satins, and other hand-woven fabrics and silks, are some of the most representative pieces of Baldi’s collection.

On a red background, the elegant Vanessa Statue supports an elaborate light in featuring gilded bronze floral motifs and crystal teardrops. 118


The bright glided bronze decorative elements further intensify the incredible luminosity of the aquamarine crystal of the Gilda Cup, Cornelia Bottle and Cupola Vase.




Set in one of the historic rooms of the Antico Setificio Fiorentino, amongst the splendid handmade silks, is a selection Baldi Home Jewels in lapis lazuli and gilded bronze motifs. An elegant putto in bronze featuring floral decorations stands in the background, off to the side. 123


Drawing on the soft colours of the pink and yellow silk, these the Baldi Home Jewels are in perfect harmony with the silks. The unique handmade cuts of the crystal pieces also work to intensify the interplay between light and colour.


Boasting modern yet classic lines, this table lamp in red crystal, with a rock crystal base, sits next to a clear crystal large Round Cup with gilded bronze base.


A colourful selection of crystal pieces from Baldi’s Joy Romance Collection.


Like Butterflies in Flight. Airiness, and the delicate flutter of wings, are the fonts of inspiration for the Butterfly jewellery collection. Authentic masterpieces in white gold, multi-coloured sapphires, and diamonds: these precious butterflies can be worn as pendants, as brooches, or set in a refined ring. The extraordinary mastery of Damiani has given life to jewellery that can separate and be combined in many ways, so as to be worn in a new and personal manner. 128



Sharon Stone with Guido and Giorgio Damiani. Eva Longoria wears Damiani at the 65th Cannes Film Festival. Gwyneth Paltrow wearing the Damiani Vulcania necklace.


The Prestige of the Brand.

The history of the Damiani maison began in 1924 in Valenza Po, the small Italian city destined to become the capital of high-quality international jewellery. It was here that Enrico Grassi Damiani, the forefather of this jewellery dynasty, created his first masterpieces in gold and diamonds, conquering the esteem and trust of the most important local families, and laying the foundations for an extraordinary endeavour. Already by Enrico’s time, the jewellery of the maison had effectively distinguished itself for its classic style and design. But it was only afterwards that, thanks to the talent and business sense of his son, Damiano, the family saw their name transformed into a renowned brand. Despite this, Damiani would never betray its vocation as a great jeweller: instead of designing a series of products unfaithful to the family’s history, the company maintained its specialization of stylistic excellence and craftsmanship to its clients. It is a skill and vocation that has evolved naturally, bringing it closer to the idea of watches as fine jewellery. This competence, from 1976 onward, has been proven by the company’s reception of 18 Diamond International Awards (an unequalled record). In 1996, when the third generation took the helm–Guido, Giorgio, and Silvia–Damiani was already a large company; approximately 200 people worked in the proprietary manufacturing centre and among them were the world’s best in the inlaying of precious

stones. And, in the words of Guido Damiani, president and administrator of the Damiani Group, it is easy to detect a note of legitimate pride when he declares with conviction that jewellery should be “a concentration of research, the highest quality materials, and impeccable workmanship.” These same values have accompanied the Maison in its evolution from an Italian phenomenon to a worldwide brand, a transformation that was strongly desired by its founder. This is a true example of internationalization, which went hand-in-hand with the opening of boutiques on the world’s most elegant streets. As a result, Damiani can be purchased in the world’s best jewellery stores, but also, and especially, at the company’s 83 monographic stores and boutiques. Approximately 65 of these store windows boast the exclusive Damiani emblem, and, additionally, in 2012, they recorded a more than 25 percent increase in sales. Therefore, one cannot be too surprised to learn that two stores were recently opened in Hong Kong, followed by others that have opened in Singapore;

Bubbles earrings in rose gold with Australian pearls, diamonds, and smoky quartzes.

Suzhou, in Shanghai; and in Moscow; and preparations are already underway for new openings in Beijing and Tokyo.

Ring in rose gold and white agate with diamonds. Ring in white gold with diamonds and onyx. From the D.Lace collection.

The flagship stores permit one to admire a truly wide selection of jewellery, including those collections dedicated to the younger clients, while still offering splendid masterpieces—unique pieces or created as part of a limited series—that attract its VIP clientele; such masterpieces are also, at times, created or personalized by the maison upon the special request of the client. Among the most recent, we can find those belonging to the Eden collection, 131

inspired by the famous bracelet for which Damiani was awarded the Diamond International Award of 2000. Then, there is the splendid Butterfly line—created in white gold, multi-coloured sapphires, and diamonds—where the spotlight is on the precious and versatile butterflies, each of which can be worn either as a pendant or as a brooch, or can be mounted on a ring and “fly” on your finger. Thanks to the beauty of its collections, Damiani has found its way into the hearts of such celebrities as Sophia Loren, Brad Pitt (who, a few years ago, designed a collection together with Damiani), Gwyneth Paltrow, Milla Jovovich, Jennifer Aniston, and many others. Also among these is Sharon Stone, Damiani’s partner in an important humanitarian initiative. Called Clean Water, the project has already established 50 wells of water in Africa, and culminated in the Hollywood actress’s trip to Uganda, accompanied by Giorgio Damiani, Vice President of the Group. Meanwhile, a similar initiative was launched in 2011, “Damiani for Japan,” a project that seeked to help women affected by the earthquake and that was made possible by profits from the sale of select pieces of Damiani jewellery.

Damiani Boutique in Place Vendôme in Paris.

A fabulous Damiani masterpiece: the Butterfly ring, in white gold with diamonds and topazes.

One can truly say that the success of this Italian jeweller was born out of a passion for the art of goldsmithing, one that was passed down from father to son. Additionally, as Guido Damiani stresses, although the Damiani Group is listed in the Milan Stock Exchange, “the control of the company rests in the hands of the family.”

The Eden bracelet, winner of the International Diamond Award of 2000, created with 900 diamonds for a total of 94.45 carats. 132

Bubbles ring in white gold with a Tahitian pearl, diamonds, sapphires, and topazes.

Firenze 1867

Bathing in style.


IN THE SPOTLIGHT Design Luca Bojola 135


We all love a warm bath; the soft water lapping at our bodies and light bubbles floating over the surface bring a relaxation hard to find elsewhere. Baldi and designer Luca Bojola have created three magnificent bathtubs, the likes of which have never been seen before, which have transformed the way we think about this bathroom item. Soft violet light meets the smooth crystal surfaces, and the gentle flow of water creates a magical and delicate tranquillity which seems to infiltrate not just our bodies but our very minds and souls.

A bath fit

for a prince. The third of Baldi’s magnificent rock crystal bathtubs was displayed at Milan’s Salone del Mobile in 2012, an exhibit that showed off to great advantage the beautiful light and colour of the bath. The magnificent display was such a success that the tub was bought by one of Baldi’s most important admirers in Qatar. The contrast between the roughly hewn raw outer sides of the bath and the almost impossibly smooth and subtle inner bowl, the beauty of the dancing lights and gentle colours, and the aura of luxury that surrounds the bath and basins enchanted visitors to the show and ensured the ongoing prestige of the Baldi style.




Design Luca Bojola 140

Like the rock crystal tub, the natural rough texture of these two wash basins was left unfinished to create a suggestive contrast between the crystal rock, the base in semi - precious stone and the sharp cut lines of the lead crystal.


Astounding the public. Before being transported to its new owner’s palace, the bath was displayed in the Pearl Mall in Doha, hypnotising passers by and creating a stir in the local population, which flocked to the mall to view the incredible work. The bathtub’s translucent light and calm magnificence, the synthesis of greatness and subtlety, ancient rock and innovative design: these are the elements which made visitors draw breath and gaze in astonished wonder at the tub’s tranquil grandeur and beauty.



History Reborn. The heart of Il Borro Resort, Spa & Winery in Tuscany has always been its small and lovely medieval village, perched on the rocky outcrop of the “borro,” or ravine formed from a meandering stream’s bed. Restored by the Ferragamo family after its destruction during the Second World War, this picturesque village dates from 1039 and, like a proud phoenix risen from the ashes, continues to enchant and charm all those who wander its stone paths. 144



Il Borro: a medieval village

offering a unique hospitality experience.

Nestled in the world-renowned, beautiful Tuscan countryside, a unique hospitality adventure awaits the discerning connoisseur. Il Borro’s transformation into a luxury farm holiday destination has been carried out with all the style, elegance and attention to detail that one might expect from one of Florence’s most famous families of fashion and good taste: the Ferragamos. The Estate offers countless activities and wellness opportunities for guests willing to give themselves over to the finest things that Tuscany has to offer: unparalleled gastronomy and wines, art, elegant landscaping and tasteful surroundings, and furnishings that bespeak the long artisan tradition of the region.


Il Borro is an estate in which guests can relax in complete comfort and tranquility. Undulating vineyards of ripening fruit, expanses of flowers and blossoming trees, vistas that please the eye and feed the soul—all of this awaits those who sojourn here. The Ferragamo family continues to assure its guests of an unforgettable experience. In addition to the extensive renovations undertaken by Ferruccio Ferragamo, and in particular his son Salvatore, the family has expertly produced fine wine over the years, garnering considerable critical acclaim for the excellent quality of the wines produced on the Il Borro Estate. In addition to wine, the estate produces high-quality extra virgin olive oil, an excellent grappa from the skins of the very best grapes, and a fine Vin Santo, called “Occhio di Pernice.”

At Il Borro, choices abound: one may visit the artisan workshops of the medieval village, take courses in traditional Tuscan cuisine, participate in wine tastings, indulge in myriad spa and wellness offerings, go on organized cultural tours and shopping excursions—in addition to sports such as horseback riding, tennis, golf, mountain-biking and hiking, among others. All of this, among the enchanting scenery and surroundings, makes for a dream holiday.


Luxury as a Style of Life. With the venerable imprimatur of Relais & Chateaux, Il Borro assures the finest that hospitality has to offer. From luxury villas to suites inside the medieval village, Il Borro offers something unique for every exigency. These elegant accommodations, as well as the general décor of the entire Estate, are superbly enhanced by splendid, locally-crafted artisan furnishings. The stately grounds are maintained as a jewel set into the lovely crown of the surrounding Tuscan countryside. It is sublimely apparent that an eye for beauty and design—long a hallmark of the Ferragamo family—shapes every aspect of Il Borro. The Wellness Centre is an oasis of tranquility, providing guests with all they’ll need to rejuvenate body and soul: a fitness area where design and the latest technology meet; a luxurious Turkish bath; deeply relaxing hydromassage; and a lounge area for sipping herbal tea or winding down over a bit of reading. 148

The estate also boasts the Osteria del Borro and the VinCafÊ Restaurant, ideal spots for a bit of culinary indulgence or a welcome aperitif after a lovely day, full of activities. And naturally, the Cantina beckons with its promise of excellent wines for the tasting. Surrounded by beautiful greenery and immersed in rich history, Il Borro della Sala offers a slice of Tuscany in a way that enchants all of the senses. It is a unique place that hearkens up the venerable traditions of Italy at its best; a place where history, art, culture and the sensual pleasures marry and live happily ever after—a place whose resplendent grandeur and inimitable style promises an equally unmatched holiday experience for each and every guest.


Baldi comes to Jeddah. The ancient city of Jeddah in western Saudi Arabia has a rich history and a highly sophisticated population. It has all the colour of a port city and is gateway to the holy cities of Makkah and Medina. Today, its growing skyline is testimony to the fact that it has become one of the richest cities in the world. Boasting a designer shopping district, top-quality restaurants and breathtaking hotels, Jeddah is an important city in the Middle East, serving as a gateway between West and the Arab world. So, it was only a matter of time before Baldi set up shop there. The impressive Jeddah flagship boutique opened in January 2012, bringing the fine quality and Florentine craftsmanship of the Baldi style to this corner of the Middle East. 150



Welcome to Jeddah,

home to the largest Baldi boutique in the world. The Baldi boutique in Jeddah’s exclusive Talia Street extends over an impressive 400 square metres, making it the company’s largest store in the world. A bustling district, Talia Street is home to the city’s most fashionable shops and the boutique rubs shoulders with the best brands from Italy and the world, such as Panerai, Van Cleef & Arpels and Bulgari. The stunning Baldi boutique came into being thanks to the close friendship between Luca Baldi and local businessman, Bader Binladin–a friendship strengthened by their shared passion for beauty and for not being able to resist a challenge. Bader Binladin comes from one of the most important business families in Saudi Arabia. With an annual turnover of 10 billion dollars, the Binladin group operates in various sectors of


the economy, especially the construction sector, in which they take on both large-scale public building projects and small-scale private luxury residences. They have built hospitals and airports, villas and palaces, and have been appointed to head the most important expansion projects in the cities of Makkah and Medina, which will allow these cities to welcome more than double the number of pilgrims at any given time. The group was also contracted to build the immense tower currently under construction in Jeddah, which, when completed, will be the tallest skyscraper in the world and will put Jeddah–and the Binladin group–firmly on the map. The Baldi boutique in Jeddah was designed by Luca Bojola, the same creative mind behind all of Baldi’s boutiques. The vast scale of the Jeddah boutique meant that Bojola was able to create a stunning concept store that highlights the exquisite craftsmanship and bold design for which the Baldi name is famous. The ornate and rich pieces scattered around the boutique are set in stark contrast to the sleek and modern lines and style of the store itself.


Bespoke Baldi: more than a luxury retail experience. This boutique is more than a place to admire the Baldi Home Jewels collections or test a luxurious sofa. Clients can also request custommade pieces to be designed and made using the artisan skills of Baldi in Florence. Clients can request custom pieces, or entire interior design solutions, and the company’s bold style and quality workmanship can satisfy even the most exacting clients and requests. Indeed, the boutique in Jeddah already works with several royal families. Thanks to the partnership with Bader Binladin and the demand for luxury goods in Saudi Arabia, there are plans for another boutique in Ryhad. 154

Bader Binladin and Leonardi Boni in the Baldi residence in Chianti.



Design Luca Bojola

It was an enormous privilege and a pleasure for Baldi to take part in a charity auction at London’s Park Lane Intercontinental Hotel earlier this February. The evening was to raise money for the St Clare’s Foundation ‘Home of Hope’ orphanage in Kisumu, Kenya, a cause that Baldi feels strongly about. The orphanage was opened five years ago and is home to around 100 children. A crystal caviar dish with bronze detailing was donated by the company and it is hoped that enough money was raised by this and other artefacts to build a new 100 bed dormitory for the orphanage. Also participating at the auction were Samuel L. Jackson and Michelin starred chef Theo Randall.


A Valentine’s ball for charity



di San Marino at the Arezzo Equestrian Centre.

The CSIO di San Marino 2013 will be the most important international equestrian event in Italy this year. The Arezzo Equestrian Centre is extremely proud to be hosting the event and the Baldi family, which has taken an active role at prestigious cultural events such as the GT3 Cup Challenge in Saudi Arabia, are thrilled to participate, both as sponsors and also by furnishing the lounge bar area in classic Baldi style.


BBNEWS The CSIO will be held on the first weekend of September, from Thursday 5th to Sunday 8th. This glamorous event is sure to attract many of the top names in horse riding from around the world, as well as hundreds of spectators waiting to be wowed by the races and take part in the many fascinating fringe events. The Arezzo Equestrian Centre itself was opened in 1999 by horse riding enthusiast, Ita Marzotto, and has since grown from a one-hectare riding centre into one of the largest and most important show grounds in the world. Thanks to its second-to-none facilities, the centre already hosts many exclusive equestrian events. Baldi has long taken an interest in the world of culture and will bring a touch of Baldi magic to the lounge bar area with the company’s luxurious and ornate Florentine furnishings.


Living in style Medea



Luca Dini

















Stefano Ricci




BBSPIRIT is a commercial publication, distributed for free by Baldi srl, via Cassia 65h, 50023 Tavarnuzze, Impruneta (Firenze) - Italy BBSPIRIT - concept, planning and advertising by WHITE , RED & GREEN - Italy - We would like to thank all the advertisers appearing in this issue for their kind concession of the use of their brands, editorial content and photographic material, which is of their property. The photographs by Baldi were shot by Alessio Balleri and Luca Visentini.



Firenze 1867

A few drops of Italian charm.


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