Dolce Magazine - 2025 Vol.29, Issue 2 by Dolce Media Group

Ultra-Luxury

Worldwide Collection 2026 - 2028

Truly all-inclusive ultra-luxury, in a class of it’s own. When you travel with Scenic you can be confident that every detail has been taken care of, to make your journey truly carefree.

Welcome to a world where ultra-luxury meets discovery.

Soar Above the Horizon

The Scenic Eclipse fleet is equipped with two state-of-the-art Airbus H130-T2 helicopters . Soar above destinations inaccessible by any other means, and take in the glorious views.

Indulgent Spaces

With a 5,920ft2 Senses Spa++, gym, yoga and Pilates studio, state-of-the-art theatre, library, outdoor terraces and pool areas there is space on board to meet every need.

Dive Below the Surface

Our on board submersible, Scenic Neptune , can dive to a depth of up to 328 feet. Scenic Neptune redefines underwater exploration, creating unforgettable and unique experiences.

Premium Beverages, at Any Time

Enjoy premium beverages any time of the day. Choose from over 100 whisky options, top-shelf spirits and world-class fine wines+ .

It’s state-of-the-art technology and a world-class design that delivers unrivalled access across all six continents. More than an ocean cruise, Scenic Eclipse sets the benchmark in all-inclusive ultra-luxury Discovery Yacht cruising. It’s a worldclass culinary journey with up to 10 culinary experiences and wellness facilities to nurture mind, body and soul. It’s Nth Degree service delivered by an expert team, so you can relax knowing everything is taken care of. It’s cultural encounters, immersive excursions, wildlife sightings and exclusive experiences that truly immerse you in your destination. Exclusive Savings available starting at $1,000 per suite plus Premium Economy or Business Class Airfare on select voyages.

Greenland to Hudson Bay & the Canadian Arctic

Indulgent Spaces Dive Below the Surface Premium Beverages, at Any Time Luxurious Suites & Butler Service A Discovery Yacht Experience

Luxurious Suites & Butler Service

Enjoy the world go by from your private verandah or terrace, in your elegantly appointed suite. Dedicated Butler service is available to every guest, with an almost 1:1 staff to guest ratio.

A Discovery Yacht Experience

Scenic Eclipse caters for up to 228 guests, with only 200 in Polar regions. There are nine lounges and bars and a dedicated Observation Lounge & Terrace.

Autumn Foliage of Canada & America’s East Coast Canary Islands, Morocco & Southern Spain

Setting the pace.

Redefined luxury is here.

The all-new Audi Q5 and SQ5 redefine the SUV experience with bold new design, innovative technology, and a seamless blend of performance and utility.

PUBLISHER’S NOTE

Michelle Zerillo-Sosa Publisher/Editor-in-Chief

Zerillo Co-Founder/Creative Director

WHAT IS YOUR GIFT TO GIVE?

“Talent is God-given. Be humble. Fame is man-given. Be grateful. Conceit is self-given. Be careful.”

— John Wooden

Weall have some special gift we have been blessed with — it might be the gift of being creative, or the gift of making people laugh, or the ability to talk, or maybe the (too often underrated!) ability to just listen.

For Gloria Estefan, the special gift she possesses is the ability to sing.

It is thanks to Gloria that Latin music and Latin artists have been accepted in North America and enjoy the popularity that they do around the world. In fact, many people may not know that it all began because of her husband Emilio Estefan’s band, Miami Sound Machine, that they would revolutionize the music industry and convince major labels to allow them to record in Spanish and incorporate musical sounds that were previously classified as too Latin for the Americans and too American for their Latin audiences, and to refuse the music labels’ request to make their sound

more “mainstream” — that is, by stripping songs like “Conga” of their Cuban horns and percussion. “I don’t want to succeed with something that is not us,” she told the doubters. “I’d rather fail at something we believe in.”

That inner conviction served her well. “Conga” became the first song in history to cross over and top four different charts, in R&B, Dance, Pop and Latin.

What is admirable about Gloria is the fact that even with all her successes she remains humble and grateful to have been able to make music with her husband Emilio as her producer for all these years. In an industry where scandals dominate the headlines, their relationship proves that if you stay determined to make it work, and to place your family first and foremost, things will work out.

Gloria’s mission of sharing her gift of singing with the world was not something she set out to do. In fact, she was OK with being just part of

Miami Sound Machine, not its front person or the centre of attention. But Emilio insisted, so she worked on breaking out of her shell and gaining more confidence so that she could share her gift with the world. And isn’t that what we should all search for?

Each of us has a gift, a gift we are meant to share with others, to inspire, empower and enlighten people’s lives. For some, their gifts are apparent early on. For others, it takes years and maybe a lifetime to discover what they are. For those who find their calling or gift early on, that is indeed a blessing. Sometimes, though, our circumstances make finding that gift a bit more difficult — or even impossible to fathom or imagine.

But take the case of Beverly McLachlin, who grew up in a village of 2,000 people outside of Pincher Creek, Alberta, in a log cabin with no running water or electricity, but with the values of hard work and community responsibility. McLachlin’s circumstances were not a deterrent to where she would end up, as the first woman to hold the elevated post of Chief Justice of Canada. In fact, this best-selling author’s childhood appetite for knowledge led her to read every book in her small town’s library and provided her a window to the world.

As two kids who were also born in a small town — in our case located just outside of Naples, Italy — we, too, feel blessed to have been able to find our gift. A gift we, too, do not take lightly. We feel blessed to be able to meet new people every day, to shine a spotlight on individuals who are inspiring through our magazines and books — people like Gloria Estefan, Beverly McLachlin and the long list of others whose stories we have brought to you over the past almost-30 years.

Our gift and our purpose, to publish magazines and books that leave a positive impact on others, have been built on the foundation of hard work, staying humble and our belief that we need to lead by example, not by job title.

The quote from John Wooden above stresses the importance of humility when acknowledging our talents, recognizing that they are gifts and not something to be boastful about. And his words imply that it is how we use our God-given talents, whether they lead to fame or not, that is our own personal choice and responsibility.

We hope you enjoy this edition of Dolce Magazine — we’ve filled with the stories, gorgeous photography and interviews that make life itself such a gift, and ever-so-sweet.

With love & gratitude

Michelle Zerillo-Sosa Publisher/Editor-in-Chief

Fernando Zerillo Co-Founder/Creative Director @dolcemag

/ @amorebagstoronto / @fernandozerillo

Fernando

Step into a world where light, lens, and legend converge—this summer, the art of photography takes centre stage

Izzy Gallery showcases works by renowned contemporary photographers and legendary modern masters. The summer group exhibition features pieces by Herb Ritts, Erwin Olaf, Albert Watson, Deana Nastic, Ellen von Unwerth, Marco Glaviano, Melvin Sokolsky, and Sheila Metzner.

Erwin Olaf

Self Portrait with Alex II

©Erwin Olaf Foundation

Albert Watson

Naomi Shunyada

©Albert Watson

Herb Ritts

K.D. Lang and Cindy Crawford, L.A. 1993

©Herb Ritts Foundation

GLORIA ESTEFAN:

An exclusive interview with one of the most proliﬁc artists of her generation, exploring how she has remained true to her roots, family, and signature sound

CHÂTEAU LAGRANGE:

In the heart of Saint-Julien sits a vineyard with a heartfelt ambiance and a legacy spanning hundreds of years

108

FASHION & JEWELLERY: Elevate every moment with timeless elegance

CASH & ROCKET:

Empowering women and transforming lives one gearshift at a time

WHISKY, WHEELS AND THE WEEKEND OF A LIFETIME: Discover the exclusive Montreal Grand Prix experience

108

FASHION & JEWELLERY: Showcasing the marvellous fashion pieces of INCLOVER and Saiid Kobeisy and more

U31:

Following the success of the “Dream Abode” project, Creative Principal Neil Jonsohn joins us for an exclusive conversation

99 PLAY WITH ICONS: Lacoste’s latest global campaign features its ﬁve global ambassadors embodying the brand’s timeless pieces 105 MAISON BILLECART-SALMON: An innovative residence that beautifully reﬂects the history that inspires its design More stories inside . . .

FRANCK GARANGER NAMED KNIGHT OF THE ORDER OF AGRICULTURAL MERIT

The honour is a testament to Garanger’s culinary excellence and his contributions to French agriculture

WRITTEN BY ISHA SHARMA

Acclaimed American chef Thomas Keller observed that “A recipe has no soul. You as the cook must bring the soul to the recipe.”

Franck Garanger has been bringing soul to his culinary creations for decades. Recently, in recognition of his cooking expertise and contributions to agriculture, the French Ministry of Agriculture and Food Sovereignty has named this master chef a Chevalier de l’Ordre du Mérite Agricole (Knight of the Order of Agricultural Merit).

Garanger’s culinary brilliance reflects creativity, sustainability and craftsmanship. His commitment

to finding and highlighting the best ingredients in his culinary creations has had a profound impact on the food industry not only in France itself but also at sea.

As Head of Culinary at Explora Journeys, a privately owned luxury lifestyle brand of the Geneva-based MSC Group, Garanger has continued to expand his innovative repertoire with a commitment to quality.

“We are incredibly proud of Franck’s achievement,” said Alban Gjoka, Explora Journeys’ vice president of Food & Beverage Operations.

“This distinction reflects not only his personal dedication to the culinary arts but also Explora

Journeys’ commitment to excellence, authenticity and the highest standards in gastronomy.”

The official award ceremony took place in Avrillé, France, on June 5. Avrillé’s deputy mayor, Jean Halligon, and Michel Galloyer, a locally renowned entrepreneur and himself a Legion of Honour recipient, presented the award to Garanger.

The award ceremony was also attended by prominent figures in the culinary industry, including French master chef Jean-François Piège and Jacques Thorel, the chef of a two-Michelinstarred restaurant in Brittany.

www.explorajourneys.com

@explorajourneys

Chef Franck Granger brings world-class culinary artistry to the seas, blending creativity, tradition, and gastronomy in every exquisite dish

HUBLOT’S BIG BANG 20TH ANNIVERSARY

WRITTEN BY MARC CASTALDO

It’shard to describe the impact Hublot had on the watchmaking world when it burst onto the scene in 2005 with the Big Bang — most words simply cannot truly capture how it completely changed traditional ideas of how a watch should be designed. Calling the Big Bang a bold departure doesn’t even come close when you consider that the Big Bang model is a revolutionary combination of steel, ceramic and titanium and that it's styled with six exposed screws on its bezel, an

unconventional case and a rubber strap.

Since then, two decades have gone by in the blink of an eye, and Hublot is proud to introduce the 20th Anniversary Big Bang collection, a limited edition of five Big Bang models reimagined by combining the most emblematic details of the original Big Bang’s design with the current Big Bang Unico, bridging the past, present and future of the Big Bang.

What can you expect when you buy one of these iconic models? A bold, reimagined case design

The five limited-edition models of the Big Bang 20th Anniversary capsule collection fuse the original Big Bang’s iconic design with the Unico movement’s modern power. Featuring (top, left to right) Red Magic, King Gold, as well as (bottom, left to right) Titanium, All Black and Magic Gold

featuring layered construction, pinched lugs and a knurled bezel edge. The iconic Big Bang silhouette is preserved, while the engraved dials showcase a carbon-fibre-inspired relief motif with riveted Arabic numerals and indices filled with SuperLumiNova for optimal visibility. At the heart of each timepiece is the Unico automatic manufacture chronograph movement driving the two sub-dials — small seconds at 9 o’clock and a minute counter at 3 o’clock — with a commemorative gold rotor marking the 20th anniversary. The structured rubber strap, echoing the treaded lozenge pattern of early Big Bangs, offers quick changes thanks to its integrated one-click mechanism. Crafted from materials that reflect Hublot’s legacy of innovation, each edition exemplifies the brand’s mastery in combining performance, heritage and cutting-edge design. These anniversary models redefine modern horology with unmistakable Hublot flair.

“The Hublot Big Bang is undoubtedly one of the modern icons of 21st-century watchmaking,” said Julien Tornare, Hublot CEO. “This year, we’re not only looking back at all that Hublot has achieved through the Big Bang but also looking toward the future and all the potential it still holds and possibilities it offers. I am immensely proud of what the Big Bang 20th Anniversary capsule collection represents by bridging the nostalgia of 20 years ago with the present and future of what the Hublot manufacture is capable of accomplishing. Here’s to the next 20 years!”

www.hublot.com @hublot

EXPLORA JOURNEYS DEBUTS ITS MOST-ANTICIPATED ITINERARIES

From March to November of 2027, guests can experience journeys in the Mediterranean, Northern Europe, Canada, New England in the U.S. — and Alaska, a first for Explora Journeys

WRITTEN BY MARC CASTALDO

EHeadquartered in Geneva and rooted in 300 years of maritime heritage, Explora Journeys is the luxury brand of the MSC Group, created to offer a deeper, more soulful connection to the ocean

xplora Journeys is set to embark on new waters with the launch of EXPLORA IV — a next-generation LNG-powered vessel that redefines the future of luxury ocean travel. Arriving in late spring of 2027, this fourth ship in the brand’s growing fleet promises expanded elegance, reimagined public spaces and one of the highest space-to-guest ratios in the industry.

Guests aboard EXPLORA IV will enjoy an elevated experience through larger outdoor decks and more private residences, designed as serene sanctuaries where comfort meets a profound connection to the ocean.

While EXPLORA IV and her sister ship EXPLORA III will set their courses for new horizons, the inaugural ships EXPLORA I and II will return to their Mediterranean roots. More than 60 curated journeys will trace east and west,

from the cliff-lined shores of Amalfi to the pastel charm of Slovenia’s Koper, pausing in vibrant ports like Croatia’s Trogir and the Casbah of Algiers.

“With the intention to savour every moment, our Summer 2027 journeys have been thoughtfully crafted, as always, to enable flexibility, extended stays and deeper immersion at a gentler pace,” says Explora Journeys president Anna Nash. “We are thrilled to be introducing Alaska for the very first time and to be offering many of our 2027 journeys on two of our ultra-elegant new ships, EXPLORA III and IV.”

For the first time, Explora Journeys will also unveil the raw, epic beauty of Alaska. Aboard EXPLORA III, guests will navigate glacial fjords and forested isles, sail the Whale’s Highway among orcas and humpbacks, and immerse themselves in Indigenous culture and cuisine.

Highlight voyages include an 11-night expedition to Sitka and Endicott Arm and a 14-night journey to the icy expanse of Hubbard Glacier and the storied port of Kodiak.

With EXPLORA IV , the connection to uncharted waters and charming foreign cultures only grows stronger.

Summer 2027 Journeys:

• EXPLORA I: Western Mediterranean

• EXPLORA II: Eastern Mediterranean (including the Adriatic)

• EXPLORA III: Alaska

• EXPLORA IV: Western Europe, Northern Europe, Iceland, Greenland, the East Coast of the United States & Canada, New England

www.explorajourneys.com @explorajourneys

DREAM GLASSWARE IN LIVING COLOUR

Christian Lacroix Maison’s Rêve de Cristal collection debuts

WRITTEN BY KATE BRYNN

An exquisite collection, mouth-blown and hand-cut, honouring the timeless artistry of Bohemian glassmaking

Christian Lacroix Maison turns the ordinary into theatre with Rêve de Cristal, a luminous new collection of hand-cut crystal glassware. After nearly 15 years of porcelain collaborations with Portuguese master Vista Alegre, the Maison now dreams in glass.

Creative Director Sacha Walckhoff imagined crystal not as formality, but as fantasy. The result is a collection that dances with light and colour, marrying Bohemian tradition with modern eccentricity. Tumblers, stemmed glasses, chalices and vases are mouth-blown, sculptural and playfully precise.

The “ Vie Parisienne ” tumbler, lined with jewel-toned crystal in lapis, agate, emerald or tourmaline, becomes a jewel at the table. The “Feria” red wine glass, with its incised white bowl and sapphire-coloured stem, flips into a liqueur glass when turned upside down. A twin silhouette appears in the “Suerte” white wine glass, this time standing on a pool of aquamarine.

The “Soir de Fête” chalice arrives with flair, anchored by a blown-glass foot and a lapislined bowl that catches the sun, like a gem. The “Vuelta” vase, available in lapis or tourmaline pink, finishes the story with sensuous curves and double-stacked whimsy.

For Walckhoff, crystal is less about formality and more about memory. Each piece in Rêve de Cristal invites the eye to linger and the hand to hold. It is glassware not for the cabinet, but for the moment.

Let's raise a beautiful glass to toast to colour, a bloom in motion, a dream made real. christian-lacroix.com

@christianlacroixmaison

ALFA ROMEO’S 2025 TONALE

Maranello Alfa Romeo invites Dolce to an immersive driving experience to feel the versatility, finesse and precision of the Tonale

WRITTEN BY MARC CASTALDO

When I got the invitation to experience Alfa Romeo’s 2025 Tonale Intensa, I anticipated a distinctive encounter befitting the marque’s storied Italian legacy. While names like Ferrari and Maserati often dominate the conversation, the Tonale Intensa asserts its presence with quiet confidence. Its sculpted design and refined performance are not simply luxurious — they are unmistakably Alfa Romeo.

Upon arriving at Maranello Alfa Romeo in Vaughan, Ont., I saw immediately why the dealership maintains its position as a benchmark in the industry. Under the leadership of general manager Anthony Chiaravalloti the experience is marked by an uncompromising standard of service and a deep understanding of the Alfa Romeo legacy. Chiaravalloti’s commitment to matching clients with a vehicle that reflects both their lifestyle and discerning taste is evident in his every interaction.

As I entered the dealership I saw the 2025 “Alfa Black” Tonale Intensa standing out prominently among its Alfa Romeo siblings. I couldn’t help but admire its Italian sophistication: its bold 20inch black wheels that feature a gold-diamond-cut finish and matching black calipers adorned with a light gold Alfa Romeo signature; its glossy black body kit and sleek black mirror caps complete with Italian-flag accent that enhance its sporty appeal; its LED headlamps and daytime running lights that ensure visibility and style; and its sunroof and adaptive suspension that deliver a refined, performance-focused driving experience.

When I finally sat behind the wheel with Chiaravalloti at my side he explained to me the level of consideration that went into designing the interior, from its aesthetic to its display interface’s user-friendliness, all unmatched because of their subtlety and simplicity. Blending luxury with innovation, the Black Alcantara seats and dashboard with tan stitching create a

refined atmosphere, while heated front seats and embroidered headrests add both comfort and style. The car’s two-tone leather-wrapped steering wheel with aluminum paddle shifters enhances driver control. Multicoloured ambient lighting is complemented by the Intensa logo accenting the front centre armrest. Advanced technology includes a 10.25-inch Uconnect touchscreen, 12.3inch cluster, Harman Kardon audio and Level 2 autonomy with Traffic Jam Assist.

How was the driving experience? In a word: exceptional. The car handles smoothly and powerfully while remaining balanced and precise. It’s simply a no-nonsense car that has no unnecessary features. With the 2025 Alfa Romeo Tonale Intensa, you will look and feel your best behind the wheel.

PHOTO COURTESY OF ALFA ROMEO

General manager Anthony Chiaravalloti stands proudly alongside the exemplary Alfa Romeo 2025 Tonale Intensa

Team Revolution is a group of over 175 dedicated cyclists with a passion for staying active and healthy while raising awareness and funds for Humber River Hospital.

SINCE OUR INCEPTION WE HAVE RAISED OVER 5 MILLION DOLLARS!

Our focus moving forward is to raise $5M for the Centre of Innovation dedicated to rethinking aging in the digital age. This initiative brings together interdisciplinary experts including engineers, data scientists, nurses, allied sta , physicians and mental health teams to advance care, research, and education focused on supporting people as they age — not just to add years to life, but to add life to those years.

SCAN TO WATCH THE VIDEO! If you are interested in joining Team Revolution and/or supporting Humber River Health Foundation please contact Jenna Gartlan at JGartlan@hrh.ca THETEAMREVOLUTION.CA

ADDING TO BRUCE SPRINGSTEEN’S LEGACY WITH TRACKS II: THE LOST ALBUMS

The upcoming Tracks II: The Lost Albums feature seven unheard records by acclaimed songwriter Bruce Springsteen

WRITTEN BY ISHA SHARMA

Bruce Springsteen’s musical excellence is unparalleled and widely appreciated. So what if I told you that there are still many unheard gems from the famous songwriter, music that can now charm your ears?

Adding to his rich lifetime legacy, Sony Music’s highly anticipated Tracks II : The Lost Albums released seven never-heard albums by Springsteen on June 27. Springsteen collaborated with producer Ron Aniello, engineer Rob Lebret, and supervising producer Jon Landau to compile The Lost Albums at Thrill Hill Recording in New Jersey. Comprising 83 songs, Tracks II is a treat for Springsteen’s fans, providing valuable insights into his life and artistic endeavours while filling in chapters of his long and multifaceted musical career.

on Inyo , orchestra-driven midcentury noir on Twilight Hours and pedal steel on Somewhere North of Nashville. Years before he revealed the albums’ existence Springsteen had said, “I have a box set of five unreleased albums that are basically post-1988,” hinting at the existence of the Tracks II collection. “People look at my work in the ’90s, and they go, ‘The ’90s wasn’t a great decade for Bruce. He was kind of doing this, and he wasn’t in the E Street Band,’” he said. “I actually made a lot of music during that period of time. I actually made albums. For one reason or another — the timing wasn’t right or whatever — I didn’t put them out.”

“The Lost Albums were full records, some of them even to the point of being mixed and not released,” Springsteen explained. “I’ve played this music to myself and often close friends for years now. I’m glad you’ll get a chance to finally hear them. I hope you enjoy them.”

From the drum loop and synthesizer sounds of Streets of Philadelphia Sessions to the lo-fi exploration of LA Garage Sessions ’83, which serves as an essential connection between Nebraska and Born in the U.S.A., The Lost Albums provide an unparalleled look into Springsteen’s prolific songwriting and home recording in the 35 years between 1983 and 2018 and is a testament to his versatility across distinct genres.

Said Springsteen, “The ability to record at home whenever I wanted allowed me to go into a wide variety of different musical directions.” This genre-blending occurs throughout the album collection, in the form of cinematic soundtrack work for an unproduced film on Faithless, country combos with elaborately crafted border tales

I’VE PLAYED THIS MUSIC TO MYSELF AND OFTEN CLOSE FRIENDS FOR YEARS NOW. I’M GLAD YOU’LL GET A CHANCE TO FINALLY HEAR THEM. I HOPE YOU ENJOY THEM

In addition to the unveiling of The Lost Albums, a new single, “Rain in the River,” taken from the missing album Perfect World, was released earlier provide a preview of the collection and highlight the arena-ready E Street vibe of that effort.

The Lost Albums has been released in limitededition nine-LP, seven-CD and digital formats. Each previously unreleased record comes in unique packaging, and a 100-page cloth-bound hardcover book with rare archival photographs, liner notes on each lost album by essayist Erik Flannigan and a statement from Springsteen about the project is also available.

Twenty selections from the collection included in a companion package called “Lost and Found: Selections from The Lost Albums” is also sold as two LPs or one CD.

The album collection undoubtedly comes as a welcome addition to Springsteen’s already incredible contributions to the musical world. Above all, The Lost Albums both celebrate and enhance Springsteen’s legacy by weaving even more unique musical creations into the rich tapestry of his career.

@springsteen

The Lost Albums were compiled by Springsteen with producer Ron Aniello, engineer Rob Lebret and supervising producer Jon Landau at Thrill Hill Recording in New Jersey

CANADA’S WALK OF FAME 2025

A dazzling celebration of national achievement, the star-studded Induction Gala honoured nine extraordinary inductees

WRITTEN BY MARC CASTALDO

Canada’s Walk of Fame 2025, held at the Metro Toronto Convention Centre, brought together Canadian luminaries, industry leaders, artists and other dignitaries to pay tribute to individuals and groups whose contributions have left a lasting impact both at home and abroad. Dolce was honoured to receive an exclusive invitation to attend this unforgettable evening and witness all this Canadian glory.

This year’s inductees included iconic guitarist Liona Boyd, world-renowned cardiac surgeon Dr. Tirone David, acclaimed ﬁlmmaker Shawn Levy, humanitarian Dr. Samantha Nutt, rock legends Our Lady Peace, visionary hotelier and philanthropist Isadore Sharp, golf champion Mike Weir, trailblazing actress and producer Tonya Williams, and the globally celebrated Toronto International Film Festival (TIFF).

Hosted by Arisa Cox and Madison Tevlin, the gala featured red carpet arrivals, emotional tributes and powerful storytelling, punctuated by spectacular performances. Notable guests who took to the stage as presenters included Tom Cochrane, Deepa Mehta, Chantal Kreviazuk, George Stroumboulopoulos and more. Family members and close friends added personal touches to each tribute, while entertainers including Sam Roberts, The Tenors and Canada’s Got Talent alumni the Ivan Flett Memorial Dancers lit up the stage. A standout musical tribute to Liona Boyd by four classical guitarists captivated the audience, while Our Lady Peace closed the evening with a show-stopping performance.

The 2025 Induction Gala was more than a celebration — it was a powerful reminder of the breadth and brilliance of Canadian talent in the arts, sciences, sports and humanitarian ﬁelds. www.canadaswalko ame.com @cwofame

PHOTOS

Tonya Williams

Samantha Nutt

Dr. Tirone David

Raine Maida

Mike Weir

2. [TOP ROW]

Shawn Levy, Tonya Williams, Dr. Samantha Nutt, Raine Maida, Jason Pierce, Steve Mazur

[BOTTOM ROW]

Isadore Sharp, Liona Boyd, Dr. Tirone David, Mike Weir, Duncan Coutts, Cameron Bailey

3. Jeffrey Latimer, Heather Hiscox

Cameron Bailey

FERRI AND FERRARI:

A MATCH MADE IN HEAVEN

e 12Cilindri roars to life at Ferrari of Ontario/Toronto, where passion, legacy and performance converge under Remo Ferri’s leadership WRITTEN BY MARC CASTALDO

Ihave had the great pleasure of covering Ferrarirelated pieces in the past, so when Dolce received an exclusive invitation from Ferrari of Ontario/Toronto to attend the unveiling of the Ferrari 12Cilindri, I was overwhelmed with excitement.

But then there was the added pleasure of speaking to the man who passionately dedicated his life and has contributed to the success of the Ferrari brand. His name is Remo Ferri, and he is the founder and president of R. Ferri Automotive

Group and president of Ferrari of Ontario/ Toronto, Maranello Ferrari Service WNY. When I met Ferri for the ﬁrst time, I couldn’t help but be impressed by his undeniable swagger — a cleancut old-school Italian gentleman serious about his work and motivated by his deep passion for all things automotive. But I quickly learned that among the brands he oﬀers to his clientele, it’s Ferrari above all that has always held a special place in his heart.

“I get asked, ‘You sell Ferraris?’ and I always

PHOTO

Money raised through the silent auction pays for initiatives that have a transformative impact on communities across Canada

GENEROSITY

OnApril 30, 2025, CANFAR hosted its 13th annual Can You Do Lunch? in Toronto, bringing together a passionate community of supporters to advance HIV research and awareness in Canada. The event raised a record-breaking $328,000, with a final stretch goal set at $335,000.

That April afternoon featured powerful moments of advocacy and generosity as guests gathered to champion CANFAR’s mission to end the HIV epidemic. The event concluded on a high note and fundraising efforts extended beyond the luncheon through a luxury silent auction the following day, when bidders had the chance to claim exclusive travel, art, fashion and lifestyle packages.

Every dollar raised supports key initiatives that include Research Cycle 33, which provides six $40,000 grants and the $50,000 Christopher Bunting Memorial Grant to leading Canadian HIV researchers. Funding also fuels strategic implementation projects like Our Healthbox, GeneXpert rapid testing machines and the distribution of 10,000 self-testing kits to priority communities.

Raises Record Funds for HIV Research

The proceeds will also help drive national awareness campaigns in collaboration with CATIE, with a focus on African, Caribbean, Black and Indigenous populations most affected by HIV. Together, these efforts bring Canada one step closer to ending HIV once and for all.

FAMIGLIA ZERILLO IS PROUD TO BRING YOU PREMIUM EXTRA VIRGIN OLIVE OIL FROM THE ADRIATIC COAST OF ITALY.

Zerillo Oil is crafted to perfection by more than three generations of olive growers. Reinforced by the grandeur of the ancient olive trees, Famiglia Zerillo honours our family’s heritage and legacy afforded by its founding members by serving you an elevated farm-to-table experience.

Much more than a brand of olive oil, Famiglia Zerillo symbolizes generational aspiration, passion, connection and humility toward the craft of making olive oil.

BRIDGING THE GAP FROM STRUGGLE TO SCHOLARSHIP

University of the West Indies Bene t Awards empower Caribbean students with over $460,000 raised for education

WRITTEN BY MARC CASTALDO

Ina powerful display of philanthropy and cultural pride, on April 26, 2025, the 16th Annual University of the West Indies (UWI) Toronto Beneﬁt Awards raised more than $460,000 to support scholarships for Caribbean students. The sold-out gala, held at Toronto’s Ritz-Carlton Hotel, brought together nearly 500 guests, including business leaders, public oﬃcials and champions of higher education.

Among the evening’s distinguished attendees was The Honourable Edith Dumont, Lieutenant-Governor of Ontario, who delivered opening remarks praising the awards’ impact. Other notable ﬁgures in attendance included University of Toronto Chancellor Dr. Wesley Hall, TIFF CEO Dr. Cameron Bailey, The Honourable Dr. Jean Augustine, Olympic legend Donovan Bailey and Juno-winning rapper Haviah Mighty.

The Honourable Dr. Jean Augustine, Olympic www.uwitorontogala.org @UWICanada

The life-changing impact of education and the power of community will never fail to uplift the next generation of global scholars.

Ann-Marie Hibbert

Donette Chin-Loy Chang

Cameron Bailey

Ahmed Hussen

Brigette Chang

Mark Garron Wayne Purboo

Nigela Purboo

Leslie Woo

Kardinal Offishall

Barbara Taylor

Patricia DeGuire

Mark Beckles

Jennifer Bernard

Donovan Bailey

Carolynne Bailey

The Honourable Edith Dumont

Kevin Hibbert

Dr. Jean Augustine

Raj Kothari

Shaila Kothari

The Honourable Edith Dumont Dr. Wesley Hall

Dwight Drummond Janice Drummond

SCAN THE QR CODE FOR DOLCE’S EXCLUSIVE FOOTAGE OF OUR INTERVIEW WITH MATTHIEU BORDES

CHÂTEAU LAGRANGE A LEGACY OF PRECISION AND POISE

Where centuries of tradition meet quiet innovation in the heart of Saint-Julien

WRITTEN BY KATE BRYNN | INTERVIEW BY MICHELLE ZERILLO-SOSA

First planted with vines in the early 16th century, the Château Lagrange estate spans 118 hectares in a single, uninterrupted block that has remained unchanged since 1855

Ina quiet corner of Saint-Julien on land that has barely changed since 1855 sits one of Bordeaux’s bestkept secrets. Château Lagrange doesn’t shout — it has never needed to. It has always known exactly what it is.

The vines here have been rooted for more than four centuries. Over the years, the estate has passed through the hands of Bordeaux aristocrats, Revolution-era visionaries and, eventually, a group of Japanese owners with a singular vision. When Suntory purchased Château Lagrange in 1983, they didn’t modernize for show. They restored the land with obsession-level precision and deep respect for everything that came before.

The vineyard spans 118 hectares, planted mostly with Cabernet Sauvignon, Merlot and a touch of Petit Verdot. The average vine is 40

Recognized for its exceptional wines, the estate continues to enhance its reputation and expand into new markets, embracing wine tourism with refined yet simple hospitality evident in its gourmet cuisine and warm welcome

years old. Each plot is harvested separately, tasted obsessively, and vinified in its own custom vat. Nothing is rushed, every decision is exact.

This is wine that builds slowly. Le Grand Vin spends 21 months in oak and carries the signature of the estate in every sip: blackcurrant, black cherry, tobacco, cedar — concentrated, elegant, never overworked, a wine that holds your attention quietly.

But Château Lagrange is more than technique. It is one of the most forward-thinking sustainabilitydriven estates in the Médoc — they were talking about carbon audits and biodiversity long before it was trendy. In some places the land is kept wild, with bees, wildflowers, ponds and hedgerows. There are no chemical herbicides. The packaging is eco-designed. Solar panels help power the estate. Everything matters.

What makes it all work is the people. There are four oenologists who taste and test and talk through every plot. A resident chef designs food pairings that mix French tradition with Japanese soul. Guests are welcomed in quietly luxurious rooms overlooking the vineyard. You do not just taste wine here — you feel something.

Every bottle tells the story of a team that is not chasing trends. They are focused on one thing: expressing their land with absolute clarity. Lagrange does not aim to impress, it just is — grounded, graceful and endlessly committed to getting it right.

In a world full of noise, this is what restraint looks like. And it is unforgettable.

chateau-lagrange.com

@chateaulagrange

General Manager Matthieu Bordes and his team continue a 40-year legacy of excellence through precise vinification, small-crate harvesting, and optical sorting

PHOTOS BY LYCIA WALTER

PHOTO COURTESY OF CHATEAU LAGRANGE

Visiting Château Lagrange is always a memorable experience, providing a chance

ANSWERING THE NEED FOR ARCHITECTURE

PHOTOS BY TOM ARBAN

Alva Roy’s aRA Architects in Toronto brings innovative creativity to the world of architectural design

WRITTEN BY RICK MULLER

INTERVIEW BY MICHELLE ZERILLO-SOSA

The adage “architecture is frozen music,” attributed to the famed German writer Johann Wolfgang von Goethe, is the more well-known half of his more encompassing observation, “Music is liquid architecture; architecture is frozen music.” It’s an elegant statement that highlights the similarities between the two forms of art: both music and architecture employ the use of structure, form and proportion as ways to express harmony. And if Goethe was correct, then the awardwinning architect Alva Roy of Toronto should be considered a maestro. He is a composer and conductor of the highest order, whose drafting pencil is his baton and his materials his orchestra.

“People ask me all the time what is my definition of architecture,” says Roy in a recent interview with Dolce Magazine. “It was a question I often asked myself as I was going through architectural school, and everyone seems to have a different answer. And my definition has changed over the years based upon my stage in life. At this time and at this stage of my life, I would say my definition of architecture is ‘How do you respond to the needs? What is your need? What is your want and how can I help you?’ Architecture is not a problem to solve, it’s not trouble. It is a need that you have, unconsciously, but you are not aware of yet. My role as an architect is to uncover and respond to that need and that response is then found in the form, the floors, the walls and even the materials and all the details.”

Alva (John) Roy, who studied in Tehran and interned in Sharestan, Iran, founded his Toronto-based architectural practice, Alva Roy Architects (aRA) after moving to Canada in 2003. Specializing in both residential and commercial architecture, the firm has consistently pushed the boundaries of architecture through its innovative

use of materials, refined spatial strategies and a deep commitment to meaningful design. Since its founding, aRA has designed residential developments, restaurants, automotive showrooms, exhibition booths and many private residences. As well, the firm has worked on many award-winning institutional and high-rise projects across the Middle East and Europe — in all, more than 131 projects, 40 of which are located in

Ontario, and 89 of which are located in Europe, Asia and the Middle East.

Talking to Roy, you immediately realize that his creativity is on a higher level, like that of a musician or visual artist. He does not just see spaces as places, or form fusing with function, but brings every one of his senses to every creative assignment. “Yes, architecture is about spaces and form and function, but it is also about colours and

From Toronto to Tehran, Roy’s creations are global expressions of thoughtful, lasting architecture

THE GOAL IS TO BRING A COMFORTABLE, BEAUTIFUL SPACE TO THE OWNERS’ LIFE

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smells,” says Roy. “Sometimes, some materials have a distinct smell, like cedar wood, and maybe that sparks your imagination or brings back a good memory from your childhood or from ten years ago. It’s all about how you create a better space and a safer space.”

Although he has designed high-profile projects all over the world, it is often home design that proves to be the most challenging because of the many elements that must work just perfectly together. Besides responding to a client’s needs, another important aspect is responding to the context. Where is the house going to be? Designing a home for the centre of a city will require an entirely different approach than one for a country or suburban property. The aRA goal is to bring everything into harmony.

“The most difficult projects I design are houses, because you have a combination of all spaces in one entity,” says Roy. “You have to create a space for sleep — is it calm? Is it quiet? Is it comfortable? A place to work or study, a place to cook, a place for socializing. All this combination has to work perfectly together. Functionality? Yes. Form? Yes. Space? Yes. But in the end, it is how you feel comfortable in all of those spaces. The goal is to bring a comfortable, beautiful space to the owners’ life.”

The aRA approach to materials is to be as genuine as possible, an idea the firm expresses as “honest materials.” An aluminum panel might be made to look like wood or stone, but there is nothing like the feel of the real thing. Recycled wood or stone, examples of such honest materials, can be kinder to nature, and through various

aRA Architects’ designs fuse honest materials with spatial harmony for unforgettable living environments

processes and treatments can have a much more authentic and distinctive appearance. “With limited resources, all humans need to be very kind to the environment and nature by using more sustainable materials,” says Roy.

Those who have enjoyed success yet still aspire to more are the leaders to be admired. Despite being at the very apex of his profession, with worldwide recognition and many accolades, Roy has kept moving forward and still finds the career he has chosen always stimulating.

“It is the challenge which still excites me and makes me move on to other challenges,” he says. “Cookie-cutter design is not for me. The backand-forth with clients is always interesting. I’m not always educating — sometimes the client educates me. Sometimes I learn something, sometimes I give something. The whole point is the learning process. The learning process is the job that I do, and that is a secret in life — and to me, is the only way to continually get better.”

We may not notice it as we move through our busy lives, but architecture and design are all around us. From our churches to our museums, our schools, public buildings, private homes or open public squares, we are exposed to creative design in every way and around every corner. Great design and architecture are enduring, outlasting all of our lives. Because of that, there is legacy contained in what great architects create. In much the same way that great music lasts for hundreds of years, great art is for the ages.

This sense of legacy is not lost on Alva Roy, who understands and appreciates the impact of his works. “One of the things I always think about, be it a monastery or a church or a public gathering space, is that these are places everyone can enjoy and use, and how they appreciate the calmness, or the peaceful space we provide for them,” says Roy. “For me, it is very important to leave something behind which people find peaceful. That is my intention and that is my end goal.”

It is clear Alva Roy and aRA Architects will be designing and creating beautiful “frozen music” for many years to come, be it a private home, commercial building, church or public gathering space, and for everyone to enjoy.

alvaroy.ca

@alvaroyarchitects

Q: Your firm has a reputation for pushing the boundaries of architecture — what does “meaningful design” mean to you personally?

A: To me, meaningful design is architecture with soul — spaces that don’t just impress, but resonate. It’s not about chasing trends or creating spectacle for its own sake. It’s about intention.

Meaningful design responds to the human experience — it listens to how people live, feel, and move. It balances beauty with purpose, form with function. Whether it’s a home, a mid-rise, or a commercial space, I strive to create work that speaks quietly but deeply, with clarity, honesty and emotion.

When a space makes someone feel something — a sense of belonging, calm, inspiration — that’s when it becomes meaningful. That’s when architecture transcends structure and becomes memory.

Q: With over 131 completed projects globally, how do you approach executing your creative vision while adapting to different cultural environments?

A: Design should never exist in isolation — it must listen, learn and respond to its environment. When working across different cultures, I begin by observing and understanding: the way people move through space, how they gather, their values, their climate, their history.

My creative vision is always rooted in a strong

conceptual foundation, but it’s flexible enough to absorb cultural nuance. I don’t believe in imposing a singular style everywhere. Instead, I aim to create architecture that feels authentic to its place and people — while still carrying my signature clarity, material honesty, and spatial poetry.

Whether in the Middle East, Europe, or North America, my goal is always to find that delicate balance between identity and innovation — so the project not only functions well but feels deeply connected to its cultural context.

Q: Describe for us your version of the sweet life what is your dolce vita?

A: For me, la dolce vita isn’t defined by what we possess — it’s about presence, not possessions. The sweet life lives in the quiet moments: the joy of creating something meaningful, the calm after a day of building, the simple pleasure of being fully present.

It’s found in the light that dances across clean architectural lines, in the balance of form and function, in a well-composed space that invites you to just be. It’s in laughter shared over coffee, or in the silence of staying still within a peaceful room you’ve thoughtfully shaped.

La dolce vita is not about “to have” but “to be.”

To be calm, to be grateful, to be surrounded by beloved people — that’s the true sweetness of life.

Alva Roy blends form and feeling to craft architecture that responds to our unspoken needs

PHOTO BY EMAD MOHAMMADI

Victoria-Maria Geyer, a Brussels-based interior architect and designer, is known for her eclectic, artful style

At every turn, Hotel Marbella bears Victoria-Maria Geyer’s signature: it’s vibrant, eclectic and courageously individual

VICTORIAMARIA CREATES A DREAMWORLD IN THE ANDALUSIAN HILLS

WRITTEN BY BONNIE POP

For interior architect Victoria-Maria Geyer, design has always been a deeply personal act, an instinctive need to reshape the spaces around her. “Even as a child, I was constantly moving furniture in my bedroom,” she recalls. “I’ve always felt the urge to make things mine.” Today, that creative compulsion has found bold new expression in Cortijo Genesis, a once-forgotten ruin reimagined as a colourful boutique hotel in Spain’s Andalusian hills between Marbella and Gibraltar.

Located just outside the village of Gaucín, Cortijo Genesis is Geyer’s latest triumph. The 600-square-metre estate will play the perfect host to intimate, joyful retreats for design lovers.

The garden, landscaped with edible plants and a permaculture plot, is the perfect backdrop for enjoying lazy post-siesta tapas and long sundappled lunches. Here, Geyer channels the sunsoaked aesthetic of Palm Springs with a playful Andalusian twist. Think red-upholstered loungers with white piping, eye-popping mosaic tabletops

and parasols whose blue-and-white stripes are a gentle nod to the nearby Mediterranean. A tiled fountain in the courtyard gurgles quietly, its colours and curves calling to mind a romantic hacienda. The feeling is immediate: You’ve entered a place designed as much for dopamine as for dawdling.

Inside, Geyer tells the hotel’s story room by room. Each bedroom draws its inspiration from a different semi-precious stone — citrine yellow, aventurine green, lapis blue, carnelian red and

Featuring her own Wenceslas sofas, the living room blends warm tones, curated textiles and artistic touches to create a cozy, cosmopolitan retreat

From saffron-yellow tiles and a 1960s Roger Capron table inside to thoughtfully curated outdoor spaces, Geyer’s design balances playful elegance with seamless indoor-outdoor living

morganite pink — while the walls are kept soft and neutral to allow the striking palette to shine through. Nothing she has done here is formulaic. Instead, there’s a sense of discovery at every turn, the kind of surprise-and-delight moments that bring guests back again and again. The rooms’ abundant treasures include woven raffia heads by Natalia Brilli, mid-century lamps by Heaps & Woods, tapestries by Marc Baumann, Élitis rugs underfoot and Pierre Frey blinds that filter the Andalusian sun.

Adjacent to the kitchen, a sun-drenched living room bathed in warm citrus tones has become the heart of the hotel. Here, Wenceslas sofas from Geyer’s own Victoria Maria Heimat collection, dressed in cheerful orange-and-white candy stripes, invite guests to sink in and stay awhile. A 1960s Roger Capron table anchors the room with vintage charm, while saffron-yellow tiles in the

nearby kitchen and a Gordon Hopkins painting, “The Lemon Bowl,” above the fireplace, all add layers of personality. But it’s the 1974 Waldemar Rothe hammock, sourced through Morentz Gallery, that gives the space its final wink, a gentle reminder that this isn’t a hotel in the traditional sense — it’s a home, one where strangers might become friends over a glass of wine, a shared story or the simple pleasure of swinging slowly beneath the Andalusian light.

For Geyer, it’s never just about design — it’s about finding ways to evoke emotion. Her interiors create atmospheres that tell stories. “I like to mix things that shouldn’t necessarily go together,” she once said in an interview. “That’s where the magic happens.” At Cortijo Genesis, that magic is everywhere.

And yet for all its eclecticism, the hotel remains deeply cohesive. Perhaps it’s because every element

— from antique finds to contemporary furnishings — has been chosen with the same clarity of vision. Geyer knows how to use design to lift the mood of anyone in her spaces. That emotional intelligence is echoed in the very foundation of Cortijo Genesis. The family-run agro-tourism retreat is devoted to nourishing guests’ spirit, and is a place where slow travel, local culture and well-being converge. Guests are invited to settle in, breathe deeply and connect with nature, community and themselves.

This is not the kind of hotel you come to for anonymity. You come here to feel something — to sit under striped parasols with glass of rosado in hand and forget what day it is. To be surrounded by beauty that doesn’t take itself too seriously. To live, even for a moment, inside someone else’s dream, and not want to wake up.

Each inside room’s colour palette is inspired by a semi-precious stone: aventurine green, citrine yellow, lapis lazuli blue, carnelian red, and morganite pink. Walls are neutral to maintain calm, with colour added through fabrics, furnishings, and accents

PETER BREMERS & JIM SCHANTZ

Sandra Ainsley highlights two renowned artists whose craft continues to provoke us to be more deeply appreciative and conscious of our human impact on our surroundings

INTERVIEWS BY SANDRA AINSLEY

Q: Your glacier paintings often capture both the beauty and fragility of these landscapes. How do you balance aesthetic representation with environmental commentary?

A: What fascinated me were the compositional possibilities of the formations of the icebergs. The glacial lagoon offers a wealth of compositional and lighting relationships. The fact that these forms are temporal also has significance. I see the icebergs as metaphors for the larger change taking place due to climate change. They are products of the glacier itself gradually melting and disappearing. Vatnajökull is predicted to be half the volume it is today in 75 years. I’ve always felt a connection to the purity of winter imagery in my landscape painting. The icebergs represent strength, endurance and transformation. These are aspects that have emerged from creating this series.

Q: Can you describe your process when painting glaciers? Do you work from photographs, memory or direct observation?

A: While in Iceland, I did some small watercolour studies. The paintings and pastels were created in my studio in the Berkshires in western Massachusetts. I use a series of reference photographs to initiate the work and bring me back to a specific place and moment. Eventually, I let go of the reference and work from memory, where the painting takes on a life of its own. Ultimately, I want to be completely present in that place, capturing the emotional experience.

Q: Peter, your work is known and recognized internationally. How did you begin your career in glass?

A: As a sculptor making light objects, including lenses and prisms from acrylic, being introduced to glassblowing opened completely new possibilities for me. This sexy, magical material has everything to do with light — transparent or translucent! It reflects, deforms and projects light through its intricate qualities. But at the same time, once heated, it can be deformed, blown, bent or even cast without losing any of those qualities. It is a material that allows me to translate my ideas, thoughts and emotions. I am still learning about the best expressive use of it. It’s a material that never loses its attraction as it has so many possibilities. It certainly has its restrictions, too, but understanding it more and more, it keeps opening new doors to be explored.

Q: What impact do you hope your sculpture will have on the viewer?

A: Art can reveal the unspoken, to inspire, comfort and provoke. It can lay bare what is diffused. It tells stories and can touch the viewer emotionally or intellectually. Art is a form of communication. Any response, the viewer’s interpretation, is a continuation of the creative process started by the artist. I try to create things of beauty. As the author Rollo May once wrote, “It is within beauty that we can feel the pulse of mankind.”

Sandra Ainsley Owner of the Sandra Ainsley Gallery

JIM SCHANTZ captures the fleeting beauty of Jökulsárlón’s icebergs in his Glacier Series, inviting viewers to meditate on their grandeur while reflecting on the profound environmental impact of climate change

PETER BREMERS draws inspiration from the full spectrum of life — nature, culture, conversation, and material — translating both the celestial and the mundane into glass sculptures that reflect the intimate and universal complexities of the human experience

REBECCA AL LAHIQ ON ART & RISK

Blending expertise and passion at Great American Insurance Group

INTERVIEW BY MARC CASTALDO

Rebecca Al Lahiq’s path into fine art insurance wasn’t linear, but it was deeply personal and undeniably driven by passion. With a career that began in high-net-worth insurance in Vancouver, a lifealtering cancer diagnosis led her back to her native London, where a chance interview launched her into the world of fine art underwriting. From managing collections aboard yachts to insuring treasures for institutions like the Louvre, Al Lahiq quickly found her calling in the intricate intersection of art and risk.

Now based in Toronto, she leads the fine art practice at Great American Insurance Group in Canada, blending expertise with a genuine love for the art world. Her role allows her to work closely with collectors, museums and galleries, offering tailored coverage solutions while staying immersed in a creative field she finds endlessly inspiring. For Rebecca, insurance isn’t just a job — it’s a meaningful way to protect cultural value and legacy.

Q: With the art world constantly evolving — digitally, legally and culturally — how has Great American Insurance Group adapted to protecting these new forms of art and ownership?

A: Fundamentally, it comes down to sound underwriting. Whether I’m insuring a museum or a private collection, the things I look for are fundamentally the same. How is the collection

being cared for? Is there inventory? How are the values managed? These are indicators of whether the client truly values their collection long-term. It’s true that the Canadian art market is smaller than mega-centers like New York or London. The community here is tight-knit. At Great American Insurance in Canada, we tailor our services specifically to the Canadian market.

We adapt by being flexible with locationspecific needs — whether it’s windstorm exposure in Florida or logistics in rural Ontario. The goal is always to provide coverage that matches the clients’ actual, lived experience as collectors.

Q: Your firm distinguishes itself through boutique service and deep appreciation for the art world. Would you say that’s the defining feature of your work at Great American?

A: Absolutely. You said it very well. It’s one thing to have a financially stable and reputable insurer, but in the art world — especially in Canada — relationships matter. I know many collectors, dealers and galleries. So, when a broker comes to me with a request, chances are I’ve been to that gallery or know how that organization operates.

This makes everything more seamless. I don’t want clients to have to call us every time they need extra coverage for a shipment or a temporary exhibition. If they do, we haven’t structured the policy properly. It should be comprehensive and low-touch, so they can go about their business

confidently. That peace of mind comes from the expertise and relationships we bring, not just underwriting knowledge. Specialization is a core value of Great American’s business.

Q: For someone outside the art world, what’s the most common misconception about art insurance?

A: That it’s expensive, and that you need to have millions of dollars in art to justify insuring it. Art insurance is often more affordable than homeowner’s insurance and gives you more specific protection. Individuals with modest collections — say $50,000 worth — assume they can’t afford insurance or don’t need it. But $50,000 is a significant investment for most people. You don’t have to be a high net worth individual to care deeply about what you collect.

Q: What continues to inspire you about your work in this field?

A: You never know what you’re going to see or experience next. Whether it’s an exhibition or a creative initiative in the community, art constantly evolves. It’s inspiring because it brings new ideas and conversations into our daily lives. It challenges norms and offers perspectives we may not have otherwise encountered. That keeps the work meaningful and exciting. It lifts you out of the everyday routine.

@theartinsurer | rallahiq@gaig.com www.greatamericaninsurancegroup.com

Rebecca Al Lahiq

Fine Art Practice Leader, Great American Insurance Group

DOLCE EMPOWERING WOMEN

Dolce proudly presents its Summer Edition, celebrating the seventh class of women who exemplify an empowerment that transcends personal achievement; it’s about uplifting communities, challenging norms, and forging new paths

TEXT BY MARC CASTALDO

ROSSANA MAGNOTTA

From trailblazers in real estate and beauty to pioneers in entrepreneurship and philanthropy, this distinguished group redeﬁnes leadership with authenticity and purpose. Their narratives are not just stories of success but testaments to the transformative power of determination and passion.

In celebrating these remarkable individuals, Dolce continues its tradition of honouring those who embody the essence of la dolce vita living life with purpose, elegance, and an unwavering commitment to making a diﬀerence.

AMANDA AERIN

CEO and co-founder of Magnotta Winery, Rossana is a trailblazer in Canadian winemaking. A passionate philanthropist and entrepreneur, she champions innovation, quality, and community impact. Through the G. Magnotta Foundation, she advances Lyme disease research, embodying her lifelong mission to lead with purpose, vision, and compassion. www.magnotta.com @magnottawinery

With over 20 years of expertise in interior design, lifestyle products, and construction, Amanda Aerin has become a leading tastemaker in the industry. She’s a former Editor of Reno + Décor Magazine, design expert on the Emmy Award-winning Marilyn Denis Show, and current host of Find My Country Home, airing internationally on CTV Life and A&E. As a Creative Director, TV Host, and mom of five, Amanda has built a loyal following of over 100K by blending luxury design with authentic purpose-driven storytelling. Her lifestyle brand reflects a journey of personal growth, empowering others through design, product development, and candid talks on entrepreneurship and creative diversity. @amanda.aerin.style

SVETLANA ANTONYSHYN

Svetlana Antonyshyn's journey from personal challenges to professional triumphs underscores her unwavering commitment to mental health. As a psychotherapist of 15+ years and founder of InnerSight Psychotherapy Inc., she has cultivated spaces where healing and professional development coexist, inspiring many to pursue better mental well-being. www.psychotherapyclinic.ca @innersight.psychotherapy

TWO SISTERS

Melissa and Angela are co-proprietors of Two Sisters Vineyards, 11th POST on Queen, Stone Eagle Winery, and the future hotel Parliament Oak located in Niagara-on-the-Lake. United by a passion for exceptional wine and hospitality, they champion luxury branding and guest experiences — all while earning awards for their commitment to excellence and community impact. www.twosistersvineyards.com @twosisters_vineyards

DR. SAMRA ZAFAR, M.D.

A visionary leader whose work spans a multitude of disciplines. Dr. Samra Zafar is an award-winning keynote speaker, bestselling author, physician, economist, resilient leader, champion for women’s rights, and one of Canada’s Top 100 Most Powerful Women. Known for challenging outdated status quos, she has dedicated her life to inspiring others, fostering healing and helping people unlock the power within to live boldly, courageously, and with unwavering purpose. @iamsamrazafar

CLAUDINE MONTANO

Founder & CEO of Penthouse Queen Inc., Toronto’s Finest Penthouses and Luxury Properties, delivered with concierge service and expertise, built on AI, technology and scalability. Her brand caters to the lifestyles of CEOs, HNWI, professional athletes and celebrities. Recipient of numerous awards over 18 years, she is also a mother, philanthropist, upcoming author and disruptor, revolutionizing luxury real estate with her passion for digital, tech and white-glove service. www.penthousequeen.com @penthousequeen

DOLCE EMPOWERING WOMEN

ELIZABETH SEMMELHACK

With a background in cultural art history, Elizabeth Semmelhack, Director and Senior Curator of the Bata Shoe Museum, curates exhibitions exploring footwear’s meaning and influence. She has organized over 20 shows, including Obsessed: How Shoes Became Objects of Desire and Out of the Box: The Rise of Sneaker Culture, a popular travelling exhibit. She has been recognized and featured in several media outlets including NBC’s Today Show and Netflix’s Abstract: The Art of Design. Her acclaimed publications and exhibits continue to influence global discussions on fashion, culture, and identity.

@elizabethsemmelhack

VALERIE SIMONE-GEORGIADIS

The owner of Martin Daniel Interiors brings over 25 years of expertise in interior design and space planning. Specializing in Italian and European furnishings, she has reimagined the family business — offering a refined retail experience that blends tradition with modern luxury for loyal clients and a new generation of design lovers. www.martindanielinteriors.com @martindanielinteriors

A seasoned Travel Designer and Certified Sommelier, Angela Marotta is the founder and CEO of Marotta Travel Co. With over 30 years of industry experience and time spent living in Europe and Mexico, Angela shares her in-depth insight, refined taste and rich understanding of these cultures with discerning travellers in Canada and the U.S. Her global perspective and dedication to curating luxurious and culturally immersive experiences ensures that each journey is seamless, personalized and truly enriching.

www.marottatravel.ca

@marottatravel

FEMME WOMEN’S WELLNESS MEDICAL & COSMETICS

Sisters Dr. Donna Gasparro and Candice Raic are the visionary co-founders of Femme Women’s Wellness Medical & Cosmetics — Toronto’s premier destination for integrative healthcare designed for women. With an all-female team and a guiding mantra of "Empowerment Through Health," they’ve created a thoughtfully curated clinic offering personalized care across Femme’s medical, wellness, and cosmetic divisions. Committed to holistic, high-quality care, the sisters have reimagined the healthcare experience — blending clinical excellence with a refined, nurturing approach to support every facet of a woman’s well-being. ExperienceFemme.com @ExperienceFemme

ANGELA MAROTTA

DESIREE FURLONG

Certified personal trainer, actress, and creator of the trademarked Trilates Method, Desiree brings her dynamic energy and deep understanding of movement to every session, blending her background in fitness and performance to offer a workout that’s as efficient as it is effective. Trilates combines the core-strengthening principles of Pilates, the cardiovascular benefits of low-impact cardio, and the muscle-toning power of weight training — all in one session. Desiree empowers her clients to build strength, improve flexibility, and feel confident on and off the mat. trilatesmethod.com @trilates

LAYLA LOREN

ORIETTA POLO

Always involved with fashion and design, her brand OP Collections is the reflection of her passion, creating fashion accessories that follow two core principles: Timeless Designs and Sustainability, all made in Italy with recognized craftsmanship and noble materials. In addition, she is growing her presence as social media influencer for renowned clothing brands. www.oriettapolo.com @orietta.polo

ELLEN CONTARDI

Inspired by her daughter, Milana, Layla Loren created Milana Loren Couture as a love letter to passion, purpose, and artistry. Milana is not just the brand’s namesake — she’s its muse, igniting Loren’s creativity. Today, Layla paves the way for female creatives and entrepreneurs, proving that staying true to your passion can lead to extraordinary, elegant success. @milanalorencouture

President of Waves of Changes for Autism, Ellen Contardi, has been a passionate advocate since 2016, committed to empowering families and serving her community. Under her leadership, the organization continues to grow and make a meaningful impact. This September, Waves of Changes celebrates its 10th gala, a milestone event honouring dedication, support, and transformative change for families affected by autism. wavesofchanges.ca @wavesofchangesforautism

DOLCE EMPOWERING WOMEN

With over 25 years of experience in wealth management, Sabrina Marrelli is a seasoned Financial Planner who specializes in high-net-worth clients. A proud mother of two, she supports numerous charities and leads by example as Vice President of CIBPA Toronto, promoting heritage, business, and education. Her leadership reflects the growing influence of women in finance and inspires future generations.

@sabrina_marrelli

Fashion’s next luminary, ELLE-educated Maddison Lynn, the visionary behind Maddison & Company and Models of Canada, she has guided 1,400+ talents and influenced over 20,000 lives. Her platform restores authenticity and amplifies Canadian voices, nearing half a million organic impressions while reshaping the industry through empathy, strategy, and bold leadership. In Maddison’s hands, fashion isn’t just led, it’s reimagined. www.maddisonandcompany.com @maddison.and.company www.modelsofcanada.com @themodelsofcanada

THE LIFE OF THE PARTY

SABRINA MARRELLI

MADDISON LYNN

DOLCE VITA

Here are a few of the things that make “the Magic City” magical

WRITTEN BY MARC CASTALDO

1. JONA CERWINSKE

Miami’s beloved favourite graffiti artist is debuting a solo exhibition at the Museum of Graffiti titled Dog Ate My Homework. museumofgraffiti.com @jonacerwinske @museumofgraffiti

2. CARPACCIO

Since 1994, Carpaccio Restaurant has offered elegant Italian dining in Bal Harbour with indoor charm and outdoor allure. carpaccioatbalharbour.com @carpacciobalharbour

3. CREMIEUX

Crafted in Italy, this double-breasted blazer exudes timeless elegance and refined texture.

www.balharbourshops.com @balharbourshops

4. LINEA TOTEM BUTTERFLY BAG

Homage to the classic Ophidia, featuring Gucci’s Web stripe and butterfly clasp. midtownauthentic.com @midtownauthenticmiami

5. BRICKELL COSMETIC CENTER

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BEYONCÉ’S COWBOY CARTER TOUR BEEN COUNTRY

A genre-defying, record-breaking triumph — Beyoncé reclaims legacy, honours Black heritage, and ushers in a new generation on a tour that reshapes culture itself

PHOTOS BY JULIAN DAKDOUK & MASON POOLE

WRITTEN BY MASSIMO SOSA

Beyoncé wearing custom Dolce&Gabbana outfit for her opening number at night two in Los Angeles, California

There was a lot of talk — and plenty of skepticism — surrounding Texan nativeturned-global-pop-and-R&B superstar Beyoncé, speciﬁcally in anticipation of her latest stadium tour for the Grammy Awardwinning Album of the Year: Cowboy Carter

The tour’s announcement left much of the internet asking the question, “Could a countryled tour by an artist of her genre command the mainstage?”

While Beyoncé may not be primarily categorized as a country artist, she is no stranger to embracing her Texan roots and playing in the key of the Wild West — cleverly coining the phrase “Been Country” found across tour memorabilia, marketing and stage props. In her own right — as she so often does — Miss Carter has proven to the world that this is not a country tour, this is a Beyoncé tour — and an incomparable one at that!

She kicked oﬀ her Cowboy Carter Tour in Inglewood, California, its ﬁve sold-out nights at the SoFi Stadium, hauled in a whopping USD 55.7 million. Her visit to East Rutherford’s MetLife Stadium would solidify the “Texas Hold’Em” vocalist’s place in history as the only tour by a Black musician to gross $100 million in just nine shows, a record that topped Kendrick Lamar and SZA’s Grand National Tour, whose 10th show achieved this accolade.

Beyoncé is no stranger to scrutiny, but with Cowboy Carter, she delivers more than a genredefying album — she reclaims a space in American music long denied to Black voices. The Cowboy Carter Tour, and more importantly, the body of work which she has delivered, stand as a bold reclamation of country music’s Black heritage and a redeﬁnition of American cultural identity.

Forged out of rejection, Cowboy Carter is her response to the controversy sparked by her performance alongside The Dixie Chicks (now The

Chicks) at the 2016 Country Music Awards. Her presence alone challenged artists and ampliﬁed the pushback felt in the white-dominated genre. Years in the making and originally slotted to debut in 2023 ahead of Renaissance, the album now stands as Act II in a three-part musical saga, cementing Beyoncé’s vision not just as an artist, but also as a cultural architect.

Each album seeks to reclaim a lost genre historically rooted in Black artistry, yet long stripped of its origins. From the vibrant tempo of ballroom and house in Renaissance to the Southern swagger of country and Americana in Cowboy Carter, Beyoncé is not merely experimenting with sound — she’s restoring credit where it’s due. With two acts unveiled, many now speculate that rock & roll — another genre born of Black expression — may be the ﬁnal sound for Queen Bey to liberate.

Beyoncé opened the Cowboy Carter Tour with “Ameriican Requiem,” the album’s lead track — a sweeping anthem rich in metaphor and layered with poignant commentary on the shifting landscape of American patriotism. Her harmonies paused only to welcome Angelenos to the show before gently segueing into a soulful performance of “Blackbiird,” laying the groundwork for an electrifying rendition of Jimi Hendrix’s “The Star-Spangled Banner.”

It all unfolded atop a larger-than-life star-shaped guitar stage gilded in gold, where the phrase

“Never ask permission for something that already belongs to you” ﬂashed across the screen — a powerful precursor to the echoing chant of “Freedom” oﬀ her Lemonade album, a song licensed to the Harris-Walz presidential campaign. It was a moment that blurred the lines between art and activism — bold, unapologetic, and unmistakably Beyoncé.

From the very first note, Beyoncé reaffirms what many already know to be true — she is not only one of the greatest performers of our time, but a definitive

icon in the history of music. With a mastery of the craft so refined it would take a trained eye to spot a flaw, Miss Carter handles even the rarest of mishaps with poise and professionalism — her on-stage interactions with fans are candid and undeniably real, all while she maintains the effortless ebb and flow of her set.

As cult favourite “Ya Ya” rang out across SoFi, the energy among the 38,000-plus crowd in attendance was electric. Cowboy hats and heeled boots reigned supreme as fans arriving dressed to the nines in their Western best embraced the tour’s country aesthetic. Then, in a moment that sparked a collective gasp followed by thunderous applause, one very special dance member took centre stage, emerging from the seamless formation of other dancers — it was like seeing double, the resemblance was uncanny — Beyoncé’s ﬁrstborn, Blue Ivy Carter.

At just 13 years old, Blue has oﬃcially joined her mother’s entourage on stage — no longer as a surprise cameo but a fully integrated member of the show. With iconic solo performances and memorable dance breaks, Blue Ivy commands the stage with incomparable poise and grounded conﬁdence, leaving fans in awe and beaming with pride.

Accompanying this family aﬀair, youngest daughter Rumi Carter joins her mother and sister onstage for “Protector,” a ballad bursting with vulnerability that visually translates to audiences.

With the Cowboy Carter Tour, Beyoncé oﬀers more than just a show — she delivers a masterwork of identity, reclamation and generational continuity. From honouring her roots to sharing the stage with her daughters, every moment is a carefully composed declaration of presence, power and permanence. And if Cowboy Carter is any indication of what’s still to come, Act III won’t just close a trilogy — it will complete a cultural renovation.

Beyonce.com @beyonce

Over 38,000 fans joined the rodeo for a sold-out night at SoFi Stadium, lighting up each section in their western best for Beyoncé’s Cowboy Carter Tour

THE ART OF STAY: INSIDE THE MAYBOURNE BEVERLY HILLS

A closer look at one of L.A.’s most distinguished addresses — where timeless elegance, curated design and five-star comfort converge.

WRITTEN BY MASSIMO SOSA

There are hotels that impress, and then there are hotels that stay with you. The Maybourne Beverly Hills is decidedly the latter. Nestled in the heart of Beverly Hills’ iconic Golden Triangle, this property does not simply play host to luxury — it redefines it.

For four unforgettable nights, Dolce had the opportunity to experience what can only be described as a master class in hospitality, elegance, culture and Californian charm.

Upon stepping into The Maybourne’s grand foyer, seasonal blooms greet you with a burst of colour and soft fragrance, accentuating the European charm of this contemporary home away from home. It’s a space that immediately envelops you with warmth — luxurious yet inviting, polished yet personal.

Our stay began with a visit to The Maybourne Spa, one of the largest and most tranquil wellness destinations in Los Angeles. Assigned its own wing, the spa is a sanctuary of stillness, offering a curated menu of facials, massages and therapeutic treatments. After a long travel day, slipping into a plush robe and letting the stress melt away under the hands of expert therapists was the perfect welcome to Beverly Hills.

Each morning started with breakfast at The Terrace, overlooking the lush, palm-lined Beverly Cañon Gardens. The California sunshine, paired with locally sourced ingredients and seasonal menus, made each meal feel effortless and fresh. From buttery avocado toast to artfully brewed cappuccinos, The Terrace combines European ambience with California ease: the perfect morning ritual.

By evening, we found ourselves atop the city at Dante Beverly Hills, the West Coast outpost of the legendary New York bar. With sweeping views of the Hollywood Hills and a buzzing rooftop energy, Dante effortlessly captures the spirit of aperitivo hour. Their award-winning cocktails — including the world-famous Garibaldi and a lavender-infused Negroni — are thoughtfully crafted and beautifully presented. Paired with wood-fired Mediterranean fare, each dinner felt like a stylish, star-lit occasion.

Our third day was all about soaking in the sun. The rooftop pool is a private paradise, lined with cabanas and panoramic views. From fresh-pressed juices to rosé on ice, every detail is designed for leisure. We shared a few light bites and let the day drift by under swaying palms, the hum of the city below feeling miles away.

One of the hotel’s most charming touches? It’s pet-friendly. Small dogs are treated with as much care as any celebrity guest, complete with plush bedding, gourmet treats and access to nearby green spaces. It’s this thoughtfulness that makes The Maybourne feel less like a hotel and more like a luxury residence you’ll never want to leave.

The Maybourne features 204 guest rooms, including 57 elegantly designed suites — each one a serene, light-filled retreat. Designed by Bryan O’Sullivan, the rooms blend bespoke furniture with soft Californian pastels, custom art and refined finishes. Ours included a private balcony that opened up to views of the gardens and golden skyline, offering a peaceful place to sip morning coffee or wind down in the evening.

The sense of space is notable, especially in Los

Angeles. Large bathrooms with marble finishes, walk-in closets and expansive living areas create a suite that feels not just luxurious but livable. Whether for a long weekend or an extended stay, there’s room to breathe, unpack and feel at home.

The Maybourne Beverly Hills is more than just a beautiful stay — it’s a space with history. Formerly the Montage Beverly Hills, the property was reimagined and reopened under the esteemed Maybourne Hotel Group, which includes Claridge’s, The Connaught, The Berkeley and The Maybourne Riviera. With that legacy, there is an unparalleled attention to detail and a commitment to timeless luxury.

Throughout our stay, we noticed something rare — a genuine sense of welcome. From the concierge, to spa therapists, bar staff and, of course, housekeeping, every interaction felt sincere. Even with its A-list reputation (and yes, the occasional celebrity sighting), the true star of The Maybourne is its ability to make every guest feel like one.

At The Maybourne Beverly Hills, time slows, senses awaken, and every detail feels considered. It’s not just a place to stay — it’s a place to feel something. And in a city of fleeting moments, that’s the kind of luxury that endures.

www.maybournebeverlyhills.com

@themaybournebh

The Maybourne blends European charm with laid-back California style. From standout dining to spacious stays and a rooftop made for golden hour, this hotel captures everything there is to love about L.A. living

Deana Nastic

IN BLACK AND WHITE MEANING COMES TO LIGHT

The internationally renowned photographer opens the doors to her work at Toronto’s Izzy Gallery

WRITTEN BY MARC CASTALDO

Deana Nastic stands in front of her project “Angel,” part of her In Between Light and Shadow collection

Walking through Toronto’s Yorkville, home to fashion, fine dining and all things first-class, is always an experience that is second to none. But when I step into the Izzy Gallery, time slows down and everything outside those front doors ceases to exist. It seems as if I have stepped into a time capsule containing different moments in time. As I look at the photographs on display, I quickly feel the impact that photography can have on the soul. With just one click of the shutter, a moment in a greater story has been captured forever.

As I am appreciating how one piece has captured the motion of the human figure, Deana Nastic, the artist herself, welcomes me with a beautiful and warm smile. Although I can tell she is excited to share her story and her work in an exclusive interview with Dolce, I detect a hint of nervousness — the acclaimed photographer has now herself become the subject. Exposing the raw, mysterious and sensual human condition is more in Nastic’s comfort zone than discussing her art itself or the philosophy behind her subject matter — a common trait of a genuine artist.

From an early age, Nastic was drawn to artistic expression. “As a kid, I was always drawing, painting and making collages,” she recalls. “Around Grade 3 or 4 in elementary school, I got an award for a drawing, and I think that encouraged me to pursue art further.”

I’M LOOKING FOR THESE HIDDEN SPONTANEOUS MOMENTS AND MOODS AND LOOKING AT WHAT IS BEHIND THE SMILE ‘‘ ‘‘

Today, photography is her chosen language and she speaks it fluently, with her work represented at Izzy Gallery in Toronto and exhibited internationally — from New York’s Space Gallery to Immagis in Munich, and she has signed a contract with the Galerie Gadcollection in Paris. Her reputation as a thought-provoking photographer is built on the emotional response her extraordinarily unique work evokes, her creative process is as instinctive as it is immersive. Pre-production planning for photo shoots is thrown out the window. Instead, Nastic shows up at the studio and instructs the subject then and there. Her style of photography does not consist of staging or precision but in the spontaneity of the moment — so much so that when she looks at the finished photo, recapturing it or replicating the shot in any way is nearly impossible.

“Photography is not representational. I’m looking for these hidden spontaneous moments and moods and looking at what is behind the smile,” she explains.

Nastic’s use of long exposures is her signature technique, a method that evokes a sense of slowing down time and getting lost in the moment.

Looking at Nastic’s work up close with her standing next to me, an undeniably surreal moment, I shared my thoughts with her. “Your work captures a singular motion that feels chaotic but also smooth at the same time,” I say.

She smiles and nods. “I’m always thinking about how people feel, and whether there is anything that we can see from outside, and what the subject is feeling on the inside,” she replies. “What are their thoughts, their moods? I’m looking for these hidden moments and trying to make them visible.”

As for what lies ahead, Nastic remains open to evolving on her terms and is excited to announce her upcoming exhibition in Greece this summer at the Rarity Gallery in Mykonos, where she will debut her Silhouettes collection.

“I’m excited about the show,” she says. “I want to continue sharing my art with other people and provoke feelings in them when they look at my art.”

My conversation with Nastic has allowed her to reflect on the entirety of her career, including those parts of it when she has not been behind the camera lens but in the classroom, as an educator. She has taught at the Art Gallery of Ontario and the College of Art in Athens, where she encouraged students to find their signature style.

She has not mapped out the next phase of her journey, instead remaining true to the same spontaneity and originality that have shaped her artistry. “For now, I will stay with photography. I might experiment even more, but my tool will be a camera,” she says, smiling.

When asked about her dolce vita, her response is simple: “To keep dreaming and dancing.”

@deana.nastic

Nastic believes that black-and-white photography offers more depth, complexity and nostalgia, drawing viewers closer to the subject and its hidden emotion

Series title: Weight of My Memory

LONDON CALLING WITH PREMIUM TRAVEL EXPERIENCES

Amex Concierge services make enjoying one of the worldʼs greatest cities convenient, exclusive and accessible

WRITTEN BY RICK MULLER | JOURNEYED BY FERNANDO ZERILLO

London is one of the world’s most popular tourist destinations, attracting millions of visitors every year. As a result, gaining access to some of its most popular restaurants, bars, hotels and world-famous sites and events can sometimes be a challenge — and that’s why Amex’s Concierge services can be so valuable even to the most experienced travellers.

Designed to provide a seamless, elevated travel experience for Amex Premium cardholders, Amex concierge services make ground transport, premium hotel and restaurant reservations and tickets to exclusive events convenient, exclusive and accessible.

Dolce co-founder and Creative Director Fernando Zerillo had the pleasure of experiencing the full range of the Amex concierge services

on a recent trip to the U.K., which began when he checked in at the Air Canada business class desk and a representative escorted him to the Air Canada lounge.

After enjoying the premium on-board service of Air Canada business class and arriving at Heathrow, Zerillo stopped first at the Fairmont Windsor Park Hotel in Windsor, a pleasant drive that took only 20 minutes from the airport, as opposed to the two hours it might take to transfer from city airport to country in any major North American city.

The Fairmont Windsor, a splendid hotel situated in a enchanted park-like forest of lush foliage and mature trees, is just steps away from Windsor Deer Park and its hundreds of deer, adjacent to Windsor Castle. Members of the Royal Family are

known to occasionally be spotted enjoying the private tennis courts at Windsor Park.

Located on the edge of the historic Windsor Great Park, this luxury spa hotel is surrounded by 40 acres of open green space and beside a tranquil lake. Having an exquisite dinner on the patio overlooking the backdrop of the building’s majestic brickwork and the beautifully landscaped courtyard is the perfect way to drink in the English countryside. The spacious guest rooms are charming in every way, from their large circular windows overlooking the impressive, manicured grounds to the rooms’ wallpaper accents that bring the spirit of the foliage inside.

After two peaceful days of carriage rides and sightseeing some of Windsor’s historic sites, Zerillo’s next stop was the vibrant city of London,

SCAN THE QR CODE FOR DOLCE’S EXCLUSIVE TRAVEL FOOTAGE

Nestled beside Windsor Great Park, Fairmont Windsor Park offers a refined escape where classic country-house charm meets modern luxury

From tranquil spa treatments to scenic walks across 40 acres of serene grounds, Fairmont Windsor Park blends personalized wellness with British elegance just moments from Heathrow and central London

a place that can seem so familiar to the rest of the world because we see so much of it on television. Whether through royal weddings, state funerals or the recent coronation of King Charles, we know the places, monuments and buildings of the capital, including the Parliament Buildings, Buckingham Palace, Big Ben and Trafalgar Square, even if we’ve never set foot there. But that is the “grand” London, buildings and places designed and built to convey the power of the British Empire. The city itself, however, is a patchwork collection of small villages and neighbourhoods — some famous, such as Mayfair, Sloane Square, Knightsbridge and Notting Hill, and some not so famous, such as the adorable Frog Hollow, a small collection of streets and quaint shops near Kensington Gate.

And each of these neighbourhoods seems to have a grand hotel. Zerillo’s next stop upon his return to London was to stay at Raffles London, located in the heart of Whitehall at The Old War Office (OWO). Raffles London, like so many of London’s grandest hotels, features a grand central lobby. As is the tradition here, before Zerillo ascended the grand staircase he was careful to touch the lion’s head, which is said to bring good luck — and in London, you adhere to traditions!

This incredible marble masterpiece is one of the original Edwardian features of Raffles London at The OWO, originally designed by British architect William Young. Built in 1906, the building is one of the finest examples of the Edwardian Age and has a fascinating history. It contains many kilometres of storied corridors paced by Winston Churchill and his War Cabinet, which occupied a grand suite of offices in the building during the darkest days of the Second World War as they led the fight to save

WHEN IN ENGLAND...

1. The majestic exterior of Highclere Castle, best known as the cinematic home of Downton Abbey 2. An artful blend of nature and design, the sculptural courtyard at Fairmont Windsor Park invites moments of quiet reflection

3. A decadent chocolate masterpiece served at 1215 Restaurant

Fernando Zerillo outside the storied Churchill Suite 231, once a haven for statesmen and dignitaries

5. With Windsor Castle as his backdrop, Fernando Zerillo takes the reins of a traditional carriage, channelling timeless British charm 6. Bathed in golden light, the serene courtyard of Raffles London at The OWO Hotel offers a tranquil escape in the heart of the city 7. Fernando Zerillo stands at the sleek, secretive entrance of SPY BAR 007 8. A discreet map marks the path to SPY BAR, complete with a privacy sticker placed over phone cameras upon entry, adding

Andrea Bocelli captivates the crowd during his unforgettable 30th Anniversary Concert performance

AMEX CONCIERGE SERVICES PROVIDES A SEAMLESS, ELEVATED TRAVEL EXPERIENCE

the free world. T. E. Lawrence, famously known as Lawrence of Arabia, was also a regular visitor.

Another fascinating backstory of The Old War Office is that it was where Sir Ian Fleming conjured up the idea for his James Bond character, inspired by the building’s resident spies during the war. In tribute, Raffles London contains the ultra-exclusive Spy Bar, hidden in the basement of The Old War Office — behind door number 007, of course! Here you can sip a martini — shaken, not stirred — where the Bond legend began, but not before your mobile device is inspected by a doorman, who will apply a discreet sticker over your phone’s camera to protect the privacy of the high-profile guests.

The hotel is also home to Mauro Colagreco, the famed chef’s signature Michelin-starred restaurant. It is only one of the city’s 85 Michelinstarred restaurants, which makes London fifth on the list of world cities with the most Michelinstarred restaurants. It’s a long way from fish & chips and mushy peas.

Zerillo’s London adventure finished on a high note when Amex box-seating services helped him procure a ticket to famed Italian tenor Andrea Bocelli’s 30th anniversary concert. And whether it be restaurant, bar, or hotel reservations, ground transportation services or tickets to special events and concerts, an elevated London travel experience awaits Premium cardholders through Amex concierge services, making one of the world’s greatest cities even more enjoyable, and accessible.

@americanexpress

@fairmontwp

@raffleslondon.theowo

Set within a grand Edwardian Baroque landmark in Whitehall, Raffles London at The OWO merges historic prestige with modern sophistication, steps from London’s royal landmarks, theatres, and vibrant nightlife

STAYING TRUE TO HER ROOTS Gloria Estefan

With her new album Raíces, Gloria Estefan explores her roots once again, combining authentic Cuban rhythms, Spanish lyrics and a modern sound. But family — Emilio, her husband of nearly 50 years, their kids and grandkids — always comes first

INTERVIEW AND WRITTEN BY CEZAR GREIF

These days, we take it for granted that J Balvin can dominate the charts, Jennifer Lopez can grab the headlines with her life on- and offstage and Bad Bunny can conquer audiences worldwide. But such wasn’t always the case. When Gloria Estefan started out in the mid-seventies as the singer for Miami Sound Machine, there were very few places a Latin musical artist could go. As a pioneer of the “Miami Sound,” she opened the doors for countless musical artists to walk through and sold more than 100 million records worldwide. Having success both in English and Spanish while staying true to her Cuban roots (there’s Cuban percussion in almost all of her songs), Gloria and her husband, Emilio Estefan — also her manager, songwriter and producer — have done it all, including a 2015 Broadway musical based on her life titled On Your Feet! In 2025, Gloria is releasing a new record, Raíces, that is entirely in Spanish and proudly showcases her Cuban influences.

In person Gloria is very warm and friendly, but you can also feel her determination and takecharge attitude. Her husband, Emilio, was with her as we spoke, and the two kept trading jokes and stories like a well-oiled comedy duo. She’s done it all but still wants more. Eventually, her rhythm is going to get you!

Q: Your family was musical on your father’s side. Was there a lot of music at home when you were growing up?

A: There was a lot of music, but it was actually from my mother’s side because [although] my father had two brothers who were musicians, my mom was like the triple threat of her school. She won a contest to be Shirley Temple’s double when she was a small child, and for that reason I think it stayed in her life even though she wasn’t able to do it as a business or as show business because her father didn’t allow her to go to Hollywood. She was

the star of her school. The only way she could get a diaper on me was to sing to me and I would just melt, and she would play all her mom’s records and the records that she had. So music was around me the whole time.

Q: You arrived in the United States when you were little and grew up as a child of immigrants. What do you remember from growing up in Miami while your parents had to adjust to a new country?

A: I was a toddler — so I was, like, two and a half — but I was very precocious, and I completely knew what was going on around me. My dad came first. He took the ferry from Cuba to Key West to try to look for a job, and then as soon as he had one we stayed at his sister’s house. His sister had moved out, had left Cuba, and we were staying with her temporarily. My mom and I flew on a Pan Am — I still have the round-trip

The song “La Vecina” (“The Neighbour” in Spanish) was released as the first single from Gloria Estefan’s new album, Raíces (“Roots”)

“ THIS IS YOUR GIFT, AND I HOPE YOU REALIZE THAT IF YOU DON’T SHARE IT, YOU’RE NOT GOING TO BE HAPPY,”

MY GRANDMA ONCE TOLD ME

ticket — they were planning on going back. That was their thought: “We’re going to leave Cuba for a little while.” And my dad immediately got involved with the Bay of Pigs project, without my mom knowing. He joined the brigade because he had been a police officer in Cuba. He was a part of it because of all his connections — they were all friends, they were going to try to overthrow the government. Meanwhile, my mom and I came to Miami, and everywhere we would look to try to rent an apartment, they had signs that said “No children, no pets, no Cubans.” Everybody was so afraid of there being a massive influx. And it was still the Deep South, there was a lot of prejudice in many different ways. My mom found this one place that was brand new, two little apartment strips facing each other. She asked the landlord if she could fill them for him. So she brought all her friends and family, who were young women with small children, whose husbands had all become a part of the Bay of Pigs movement. We grew up kind of like in a little commune. I remember going with my mom from church to church, and rosary group to rosary group, praying for the men that were in jail. They became political prisoners in Cuba. My mom was 29 years old, and she had lived a life in Cuba … she was like the princess of the family! And suddenly here she was with a small child in a new place. She had visited Miami on vacation with her dad when she was 15 years old, they would come and stay in hotels, and as a tourist it was one thing, but now, suddenly with nothing, as an immigrant, it was a completely different experience.

Q: Was there a particular singer who influenced your singing style, who was your singing idol or your inspiration?

A: My very first crush was this young Spanish singer — because when we came to Miami and my grandparents eventually made it out, my grandfather would save up and take me to movies

— his name was Joselito and he had this angelic voice. He was six years old, I was four. And he made movies and sang from the time he was a little kid. So [my grandfather] would get me his record, and I knew all his songs. I would sing them — I would memorize them and sing them, even when I was a young child. And then, after that, my grandma slowly had been sending my mom her record collection stashed in a box of mango baby food, which was the only baby food I would eat. And my grandma would go to the airport monthly with a box full of baby food and a record or two that she could put in there, and go up to the pilots of Cubana de Aviación and just give them my mom’s address.

And I don’t know how she convinced them, but there would be a knock at the door of our apartment, and there’d be a pilot standing there with a box of baby food and records inside. So those records were Cachao, Celia Cruz, Olga Guillot, eventually Johnny Mathis. My mother loved Nat King Cole, which started my love for Nat King Cole early in my life. And those were my first influences.

And then, later on, when I started listening to the radio on my own, I was in love with the Beatles, Stevie Wonder, Elton John, and Carole King, who became my idol when she put out that record, because there weren’t a lot of women at all at that time — when I was a young teenager and heard Carole King’s album Tapestry, that completely threw me for a loop. I wore out that record and would read every lyric and read every credit on the album. It really had a huge impact on me. I was very, very blessed when I got to sing with Carole on more than one occasion later in life. She was a big influence.

Q: In the ’70s, you formed Miami Sound Machine, which was a very original band mixing different influences. What do you remember

about that time — joining a band, being in a band together with other musicians?

A: It all happened by accident. When I joined, it was called Miami Latin Boys. It was Emilio’s band — he had put it together. They were like a wedding band, and they played gigs all over the city. They had just played for the mayor. I had met Emilio at a mutual friend’s house in May of ’75, right after high school. One of my friends called me and said, “Hey, I would love for you to sing for this one gig. My dad has invited this guy to come over and give us pointers on how to do it ” — it was Emilio. He came with his accordion, he heard us sing, he gave us pointers and he left. Then, in July, I believe it was, I walk into this wedding and I see a guy in a tuxedo with his band, little band, and he was playing “Do the Hustle” on the accordion, and I recognized him from that time at my friend’s house. And he recognized me and he goes, “Hey, you know, why don’t you sit in with the band and do a couple songs?” And I go, “Well, what do you know? I know old Cuban standards.”

And he said, “Yeah, we do those.” So I sang “Sabor a Mí” and “Tú Me Acostumbraste,” these two really old Cuban standards. And then, that night, he said, “Hey, you know, there’s no girl singers in any bands in Miami. Would you like to join us?”

And I go, “Look, I can’t. I have two jobs as it is. I’m starting school in September as a sophomore, so I have to catch up. And my mom’s really not going to like this.”

Two weeks later, he tracked down my phone number and he called me again. And he said, “Look, I do this for fun, too. I have a full-time job at Bacardí — I promise you I won’t let it get in the way of whatever you’re doing, but I think it’d be really cool.” And I really wanted to do it.

My grandma had told me once that when I was a kid she would have me sing for her people. She had started a little restaurant in her house and she would make me sing for the people that went there. And I would say, “Well, I don’t like being the centre

Rapid-Fire

Hot or sweet? Hot.

Last purchase on your American Express? Lunch today.

Favourite restaurant in Miami?

It’s a tough one … yeah, that’s a very tough one. Probably Il Gabbiano — Italian, on the river, beautiful!

Favourite place to play a show?

I remember one of my favourite gigs I ever did was at the Olympia, a classic venue in Paris, right before they remodelled it. That was a superspecial concert.

Favourite book?

Many Lives, Many Masters by Brian Weiss.

Favourite movie? Wizard of Oz.

What is the one thing you cannot do without?

My babies, my pets. I have four dogs I’m down to four dogs. At one point, I had, like, 14. My bulldog had puppies, so I had my dogs and then eight puppies. I ended up with three of them I kept three of them, but now I have four, and they’re like my kids — because my kids are out the door!

“Whenever I played shows in Canada, I always enjoyed the audiences’ reaction,” says Gloria

Gloria Estefan’s 2020 record Brazil305 was a rerecording of biggest hits, but using Brazilian rhythms

of attention. This is not me.” And she’d go, “Well, this is your gift, and I hope you realize that if you don’t share it, you’re not going to be happy. One day it’s going to land in your lap, and I hope you’re smart enough to recognize it.” So then when I got that call, she said, “You see what I told you? Don’t worry about what your mom says. You’re going to be 18 in a couple of months. You’ve got to do what you think is right.” And I really wanted to join because I thought it would be so much fun. So I did, I joined the band.

And my favourite stuff was the rehearsals, putting together arrangements, mixing genres. I brought the influence of ballads. I convinced Emilio to do Brazilian tunes because I used to sing on my guitar “Corcovado,” “Desafinado,” “Chica de Ipanema.” And I told him that I thought this would really open up our avenues as a band. And then we learned disco songs. And so me entering the band really brought a whole different kind of genre to what the band used to do — they’d only played Latin music. And then, in ’76, we went to do our own album, because Emilio wanted to do a unique album. And that’s when we started mixing all these rhythms that were a part of our vocabulary. And it was exciting for me — I loved the behind-the-scenes way more, I had to get used to being the front man. I took some dance lessons and things that would kind of break me out of my shell because I wanted to do the best job I could, but I always enjoyed the creation of the music even more than the actual performing.

Q: The first time I heard your music, it was your hit “Conga” — it really was groundbreaking. There are big parts of the song that are just Cuban percussion. Was it easy to convince the record company to release it? Or did you guys have to fight for it?

A: Oh hell, no, it was not easy! We knew, all right, we were a gig band. And before we even recorded “Conga,” we arranged it and were performing it. And people would react as if they were hearing a hit. They had never heard that song before, yet they would respond. They’d run to the dance floor — it was incredible. We knew that this would work, but convincing the record company was a whole other thing. We had just convinced our record company to let us record in English and to do an album in English. And they only allowed that because “Dr. Beat” had become such a big hit in Europe, a song that we had snuck onto our previous Spanishlanguage album, along with another song, called “I Need a Man.”

There were two songs in English — and they were selling millions of records. They had never done that in the Latin market because that market wasn’t as big. So when we told them, “Look, we really want to do an all-English album,” they allowed us to do it. But the budget they gave us was still for a Latin album. So Emilio and I had to put in all our life savings into making that album that had

“Conga” on it, it was called Primitive Love, making it as good as it could be. Emilio and I did a 12-inch remix of “Conga” and did the same thing we had done with “Dr. Beat” — we took it to the record pools. It went to Europe and then it came back into the United States as if it was from Europe.

And then people were trying to sign us, like Epic Records called us to sign us. And we go, “We’re already signed to you on your international label, on Discos CBS!” And it took a year for “Conga” to reach Top 10, but then it crossed four different charts and it topped the charts in R&B, Dance, Pop and Latin. It was the first time in history that any song had done that.

They had told us, “No, no, no, it’s too American for the Latins, it’s too Latin for the Americans. You’ve got to lose the horns, lose the percussion.” We’re going, “But that’s who we are!” I don’t want to succeed with something that’s not us. I’d rather fail at something that we really believe in. But we knew it wasn’t going to fail — it was just about getting past the gatekeepers.

Q: A few years after that you went solo, and instead of Miami Sound Machine it was your name on the album covers instead of the band’s. Did it take time to adjust to being a solo artist or was that an easy adjustment for you?

A: By the time the name got changed I didn’t want to do it. My husband, who was Miami Sound Machine, was the one who added my name under the band’s name. I went, “We’re already a band, everybody knows us, that’s our brand — why do you need to add my name?” And he goes, “Okay, look, you just got asked by Placido Domingo to do a song with him on his record. What’s he going to put? ‘Placido sings with a girl from Miami Sound Machine’?” He goes, “You’re the focus. Everybody is looking at you as it is — I want to add your name so people know it.” Eventually, we put out a couple of albums with Miami Sound Machine. But then he said, “I’d rather focus on you,” because he was really Miami Sound Machine. It wasn’t like a band that came together — he put the band together. It was always his idea, his musical vision. And he was the one that owned the name. So, reluctantly, I said okay. But by that time, I was already used to doing what I was doing, because as Miami Sound Machine we travelled the world. We were already doing stadiums and big venues. That part wasn’t any different, it was just that now people really had a name to attach to the image. And that was his plan all along.

Q: In 1993, you released your first Spanishlanguage album, Mi Tierra. It was also a hit. And I was wondering, can you explain the difference between writing and singing in English and in Spanish? Because you’ve had hits in both. How different is it for you, the whole process?

A: I say that Spanish is the language of my heart and English is the language of my head. They wouldn’t

let me take Spanish in school when I was young because I knew too much Spanish for the courses that they taught at that time. In Spanish there’s no way you can be too sweet or too passionate. It’s accepted you can really give free rein to your emotions. In English, and especially in ballads and love songs, it tends to be more cerebral and more contained. And the way that the language works, it just sounds different — Spanish has more soft sounds, English has more hard consonants. Spanish, you need more melody to be able to complete an idea because it takes more words to complete a thought in Spanish, and English is more succinct. I feel completely at home in both languages, but it is a different approach. Whenever I’m going to write a song in both languages, I don’t just translate it. I approach it from the new language and try to express the same emotions or ideas that I’m expressing in its original language. So, take a song like “Don’t Wanna Lose You”: in English, it means “I don’t want to lose you now.”

But in Spanish it’s called “Si Voy A Perderte,” which means “If I’m going to lose you, that’s it for me.” It’s a bit different. And I feel very fortunate that I am completely bilingual and can do that, express those nuances.

Spanish is a Romance language. It has a different root, it’s the Latin root, which gives you more. There are more words to express emotion in Spanish, like love. We have cariño, we have amor In English, “love” is just one word. We have more nuanced ways to describe emotions in Spanish, and it makes it very interesting for me.

Q: Cuban music is a big influence on your songwriting. Cuba is a small island but its musical culture is now known all over the world. How would you explain Cuban music to someone who doesn’t know what it is?

A: Cuban music has many different rhythms. You have the conga, which is a wild expression, very African-influenced. Africa is at the core, really, of all Cuban music and of music in general. The rhythms have come from Africa, and depending on where they went, whether it was Europe or different parts of Latin America, they took on the flavour of whatever European influences were there. In Cuba, the French were the first to get there after the discovery of the island. And then the English were there and then the Spaniards. From the French, we got this court music that kind of turned into dance song when it mixed with the African root. Then you have Spanish influences in there as well, depending on the different rhythms, like mambo, which was created by Cachao — he had 12 bassists who played in the Cuban Symphony, he was in the Cuban Symphony at age 12. He also played on Mi Tierra — he’s a very famous player. He invented the mambo, but then Pérez Prado was the one who globalized it, and the mambo became huge all over the world. It was in American movies, it was in movies all over the world. So that was a first

big wave of Cuban music, and that’s a very specific rhythm. The cha-cha is another Cuban rhythm, also very syncopated, very percussive, danced in a different way.

Q: Can you talk about the new record you’re releasing this year, Raíces? I can hear a strong Cuban influence in the music.

A: I had been working for three years with my daughter on a new musical based on the Recycled Orchestra of Cateura, Paraguay, about these kids who live next to a landfill — they make their instruments out of trash and have done an amazing thing — it talks about finding hope and beauty in one of the most difficult places on earth. Emilio came to me a couple of years ago. He goes, “Look at the song I wrote, ‘Raíces.’” I knew that he was working on different albums with different people, tenors, Usi, this guy from Colombia, one from Mexico. “I wrote this song,” he said, “but I really, in my heart, want you to record it.” And I go, “But babe, I don’t have a project happening right now. I can’t divert from writing for this.” And he said, “Do you trust me?” I go, “Absolutely.” He goes, “Would you mind if I wrote stuff for you?” And I go, “Go for it — I love it.” And he did. He wrote most of this album either alone or with other people. And when he started bringing me the demos, I went, “Oh, my God, this is incredible!” So it is very much about Cuban music.

The way we looked at it is that we’re no longer constrained by the sound or the instruments or the type of arrangements or lyrics that would have been used back in the day. We’re free now. We can play in our Cuban musical playground and are able to create new and modern-sounding things with the punchiness and the amazing sound that we have available now.

And that’s how it turned out. By the time I went in to sing it, because I had been listening to the demos and the tracks for two years it was very much under my skin, like no other album, really, that I have done. Because usually when I write stuff, you go in, you’re creating in the studio and it’s new. But by the time I went to sing these songs, they felt like they were mine.

Q: How do you reflect on your legacy as an artist?

A: Well, you know, it’s funny, because Emilio and I never think in those terms, but sometimes when you’re getting an award somewhere and they put together those retrospectives of what you’ve done, I go, “Damn, we worked hard!” But we always look forward, Emilio and I. We still love music, it still makes us excited. That’s the only reason that we go into the studio. Producing new music for other artists is exciting for him. For me, to write a musical or create this new album, it’s a different point in my life. And your life becomes a part of your performance and how you look at music and look at things. So we tend to always look ahead and forward. But we feel very blessed and so lucky to

Gloria Estefan retired from touring in 2009 but has been releasing new records on a regular basis

“I TRY TO BE VERY HELPFUL WITH ANYTHING THAT HAS TO DO WITH CHILDREN AND EDUCATION AS WELL AS WITH ANIMALS AND PETS, AND I CAN CUT A CHECK IMMEDIATELY. I DON’T HAVE TO GO THROUGH A BOARD LIKE

have been able to make a life making music and continue to do so.

To have done something to promote our culture and our music is a blessing and a privilege that we don’t take lightly. And it makes us very happy, especially for our grandson. He has a legacy of music for his future and for his kids. He will know that his grandparents really loved every moment of their life.

Q: It’s amazing that you managed to stay married to Emilio for so long while working with him.

A: Well, you know what? It’s funny, because Emilio and I are very different personality-wise, which is a good balance, but we rarely differ on musical things. And we know the rule — if it’s something that I am going to be responsible for or I am going to be promoting or singing, or is going to be something of mine, I will always listen to him. But he knows that the buck stops with me. Likewise, when he’s doing stuff for other people, if he asks for my opinion, I will give it very honestly. But I also know that it’s his decision to make because he’s the one producing it. There’s always been that deep respect for those spaces because he is my manager. Really, we’ve been blessed. I know that it’s not an easy thing — our situation is not something that I would recommend to everyone. But it works for us because we’ve been able to be together. And another problem being a musician that can happen is if you’re away from your partner for extended periods of time — that just makes trouble, it creates all kinds of situations that are tempting or put pressure on a relationship. That thing about “absence making the heart grow fonder” is only short-lived. Generally, what that does is tear you apart. So, we’ve been very fortunate that we’ve been able to continue to make our life together and to bring our family with us. Because, as a mother, I also would not have left my kids behind. And the fact that we’ve been able to do it together has made everything we’ve done possible.

Q: How did the tour bus accident you had in the ’90s change your perspective on life and your career?

A: It gave me a new-found appreciation and love for what I was doing. It went from just being a career to being a very personal communion with the audience, through their prayers that I could feel when I was recovering in the hospital — they helped me through one of the most difficult moments of my life.

And then that tour became more about thanking them, and showing them that everybody goes through tough things. And it’s a matter of how you face it, what you decide to do with it that makes a difference — it just added all these incredible layers. And I remember that that tour after the accident I would see people for, like, two and a half hours after the show. Because they had seen my comeback as nothing short of miraculous, and they

wanted to be close to me, touch me, hug me, talk to me. People came in wheelchairs, people who had been diagnosed with terrible diseases — one night, even in an iron lung somebody came to the show. I felt so blessed to be able to do something beyond just get up there and dance and sing — to them my recovery had meant something so much more, and it just added so much nuance and beauty to what I already loved.

Q: Education in South Florida is very important to you. Your foundation, the Gloria Estefan Foundation, is very involved locally. Could you talk about your foundation’s goal?

A: When I came back, I started the foundation because I was very involved with The Miami Project. My dream is to be a part of finding a cure for paralysis, and I work very closely with them. But I also try to be present for things that slip through the cracks. My mom was a teacher. I try to be very helpful with anything that has to do with children and education, as well as with animals and pets, and I can cut a cheque immediately. I don’t have to go through a board. I don’t have to do things that most big foundations take time to be able to do. I love to be of service, so that’s what I try to do. I try to help in whatever way I can and be there for people who might have a tougher time finding help somewhere else. It’s one of the things that makes me the happiest.

Q: What qualities do you admire the most in people?

A: Honesty, integrity, perseverance.

Q: And if you had the power to change anything in the world, what would it be?

A: That there would be no poverty, that there would be no child that went to bed hungry, and that we could all coexist beautifully.

Q: Our magazine is named Dolce, which is short for Dolce Vita — in English it means the “good life.” What is your personal definition of the dolce vita?

A: I know very well what dolce vita means. I’m learning Italian because my grandson is fluent! The OGs, the other grandparents, are Italian. I’m living the dolce vita, and to me that means doing what you love for your work, having beautiful relationships with family and being healthy. That’s the dolce vita to me.

Q: If you could give one piece of advice to your 18-year-old self, what would that be?

A: I would say be more in the moment, enjoy it — don’t fret so much, don’t worry so much. Just enjoy the moment you’re living right there and absorb it and connect in every possible way that you can, because it’s going to go by very fast.

www.gloriaestefan.com @gloriaestefan

WHISKY, WHEELS, AND THE WEEKEND OF A LIFETIME

Inside our exclusive Montreal Grand Prix experience with Glenfiddich and the Aston Martin Formula One Team

For racing enthusiast Fernando Zerillo, co-founder of Dolce Media Group, Montreal in mid-June was a kind of personal Mecca. As a guest of Glenfiddich and the Aston Martin Formula One Team, Zerillo had rare behind-thescenes access to one of the most exciting events in motorsport, the 2025 Formula 1 Grand Prix. From trackside views to exclusive dinners and a deep dive into the paddock, Zerillo’s weekend was packed with once-in-a-lifetime experiences. It was a dream come true for any racing fan, made even

better by the style, speed, and high quality Scotch that defined every moment.

From the rooftop terrace above the Aston Martin Team Garages, Zerillo could see it all — the blur of cars down the straightaway, the precision of pit crews, the heartbeat of the race just metres below. VIP access meant he wasn’t just watching Formula 1, he was inside it. The atmosphere was electric: engines roaring, crowds buzzing, champagne flutes clinking. In hand, a Glenfiddich “1959 Spritz” — crafted with single malt and pear liqueur — cut through the summer

heat as he soaked in the view, part of an ultraexclusive group seeing the sport from a vantage point few ever do.

Saturday night brought a change of pace and attire as Zerillo suited up and stepped into the Four Seasons Hotel Montreal for Club 1959, Glenfiddich’s invitation-only dinner celebrating its partnership with Aston Martin. Set inside Marcus Restaurant, the evening kicked off with a welcome cocktail that hinted at what was to come: a deep dive into decades-old Scotch, served alongside one seriously indulgent meal.

WRITTEN BY BONNIE POP | JOURNEYED BY FERNANDO ZERILLO

Glenfiddich and the Aston Martin Formula One Team made a bold Canadian debut at the 2025 Formula 1 Grand Prix in Montreal, treating fans to exclusive experiences like the “Club 1959” lounge and VIP hospitality suites that fused the worlds of whisky and motorsport

Tables were dressed in Aston Martin’s signature deep green, softened by cream-toned accents and bursts of fresh florals. Candlelight flickered across cut crystal glasses and glinting silverware, casting a warm glow that made the whole affair feel like an event at a private club.

Each course came with a different Glenfiddich single malt, and as the pairings escalated from the crisp 12-year-old to a rich 30-year-old you could feel the room getting a little looser, a little louder. Somewhere between the flamecharred octopus and the lobster with truffle

fries, table conversation had moved from polite introductions to full-throated laughter and affable toasts across the linen. By the time dessert hit — towering fruit platters and something called “single malt billionaires” — no one was counting courses anymore. It wasn’t just about the whisky or the food; it was about the rare pleasure of slowing down and savouring the good life with good people in the middle of a weekend built for speed.

From pit-lane access to top-shelf Scotch, Zerillo’s weekend felt like someone had taken his

motorsport bucket list and checked every box … then added lobster and whisky for good measure. It was a rare blend of adrenaline and indulgence, engineered with the kind of attention to detail both Glenfiddich and Aston Martin are known for. As far as race weekends go, this one might be hard to top — unless, of course, you’re Fernando Zerillo and they invite you back next year.

glenfiddich.com astonmartinf1.com @glenfiddichwhisky @astonmartinf1

365 days of driving

THE CHOICE OF EXOTIC LUXURY

Vancouver Luxury Car Club is a novel concept that allows exotic car enthusiasts to drive whatever they want, whenever they want

WRITTEN BY RICK MULLER | INTERVIEW BY MICHELLE ZERILLO-SOSA

Exotic-automobile owners are wellknown for their dedication to their favourite make of car. Some may be Porsche people, others Ferrari fanatics, but what they all have in common is a passion for the so-called exotic supercars. Regardless of the make or model, any type of exotic car always seems to catch their eye.

Those enthusiasts who happen to have the

good fortune to live in Vancouver can now indulge their passion with a full range of exotic vehicles through a membership in the Vancouver Luxury Car Club, a new concept in luxury automobile ownership that opened this past June.

The premise of the Car Club is quite simple: why restrict yourself to one luxury vehicle when you can have your choice from among a fleet of 70 exotic cars?

Mark Cheng, the founder and CEO of Vancouver Luxury Car Club, has had a lifelong passion for exotic vehicles and has been an avid Porsche enthusiast and collector for the past 35 years. Previously an auto dealer, Cheng started this club for fellow wealthy car lovers who aren’t ready to commit to just one supercar.

The concept is new not just to Canada, said Cheng in an interview when the Vancouver club

PHOTOS BY

opened. “There’s nothing like this that I can find in North America and, in reality, nothing I could find in the Middle East or in Asian countries,” he said.

The club is private by design, with membership intentionally limited to just 50 people, to ensure a truly private and bespoke experience. Memberships cost approximately $66,000 per year, and while that is certainly substantial, similar clubs in the United Kingdom cost about $300,000 per year. “The price is hefty if you’re comparing it to buying a Honda Civic, but if you compare it to purchasing a Lamborghini or a Ferrari or a Bentley or a Range Rover, then it’s very reasonable,” said Cheng.

The club gives members access to all of those types of vehicles, as well as to Maseratis, Porsches

and many more, including luxury SUVs and luxury sedans. Members can reserve and have access to any car they want whenever they want it and they can drive any of the vehicles in the impressive fleet 365 days or the year, with no blackout dates or complicated systems.

“You can book a Ferrari for three days and, after that, when you want to go up to Whistler you can take the Land Rover Defender,” explained Cheng. “You then might say, ‘Oh, I’ve got clients coming from overseas for my business, and I want to wine and dine them.’ So, you take the Bentley Flying Spur or the Mercedes S Class.”

Over time, the fleet will be renewed, with cars sold off and new vehicles added each year or so. Cheng noted that supercar drivers usually take their cars out for only 21 or so days per year and often want to get a replacement in a year or two, so having several to choose from — as a member of this new-concept automobile-ownership club — is ideal.

The Vancouver Luxury Car Club is perfect for those who are in the market for a supercar but can’t decide which type to choose. The booking system is straightforward and there are essentially no limits on car use.

As Cheng was quick to point out, members are responsible for gas and any tickets or fines they incur. But most of the major costs of automobile ownership, including taxes, insurance and maintenance, are taken care of by the Vancouver Luxury Car Club. If members live near Vancouver, a valet will even deliver the cars. Members can also pick up cars at the club’s luxury showroom and clubhouse, which also includes private boardrooms and leisure spaces, all designed to elevate the complete driving experience both on and off the road.

This venture is the latest in a series of business successes that have marked Cheng’s career. If it is successful, he may open similar clubs in Calgary and Toronto. His philosophy of success includes having a genuine passion for something, having vision, being hardworking and not being pretentious. “Always do what you say and do not overprice,” he stated.

For those who share his passion for driving, connections and curated lifestyle experiences, the Vancouver Luxury Car Club is the private community worth the wait.

www.vancouverluxurycarclub.com @vlcc.yvr

From private rallies to exclusive socials, experience a curated world of connection, speed, and sophistication — all with a lifetime membership

CASH & ROCKET: DRIVING THE CHANGE

Under Julie Brangstrup’s leadership, empowering women and transforming lives in the process is a routine occurrence for CASH & ROCKET

INTERVIEW BY MARC CASTALDO

Rooted in a childhood spent between the natural landscapes of Denmark and Switzerland, Julie Brangstrup’s path to entrepreneurship was shaped early by a blend of freedom and discipline. Growing up in a large close-knit family, she was taught to dream ambitiously while remaining grounded — an ethos that continues to guide her both personally and

professionally. Along the way, she learned a tough but lasting lesson: not everyone will understand your vision, and that’s okay. The quiet resolve to keep moving forward even in the face of doubt or failure became a defining force in her life.

With a background in finance and a track record of co-founding successful ventures, Brangstrup developed not only a keen understanding of risk and

opportunity but also a leadership style grounded in empathy, collaboration, and emotional intelligence. Now, as the founder and CEO of CASH & ROCKET, she leads with purpose and clarity, channelling the same values that shaped her early life into every decision she makes.

Q: You launched CASH & ROCKET to unite

Julie Brangstrup set out to transform the conversation about the social and economic challenges facing women, mothers, and children globally by launching the CASH & ROCKET Tour, which unites women of all ages, backgrounds, nationalities, and professions in a powerful display of unity and purpose

influential women in support of global causes. What was the moment that crystallized this mission for you?

A: It was during a charity event in South Africa, watching women on the ground doing extraordinary work with minimal resources. I realized that if we could unite inﬂuential women with access, drive and visibility, we could become a global force for real, lasting change.

Q: As a mother of six and a socialimpact entrepreneur, how do you strike a balance between personal fulfillment and professional passion?

A: It’s a dance, not a formula. I’ve learned to be present in the moment — whether I’m with my children or leading a global initiative. I don’t strive for perfection. I strive for presence, purpose and letting go of guilt when things don’t align perfectly.

Q:The CASH & ROCKET Tour is a blend of luxury, purpose and empowerment. How did this one-of-a-kind concept come to life?

A: I wanted to disrupt the idea that philanthropy had to be solemn. Why not make it exhilarating? The tour was born from a desire to turn heads, raise funds and redefine what it means to give back. It’s about joy in service — and doing good while having an unforgettable experience.

Q: With over £4.7 million raised, what do you believe is the secret to successfully mobilizing women behind a shared philanthropic cause?

A: It’s about connection and authenticity. When women feel seen, heard and part of something larger than themselves, they become unstoppable. We’re not just writing cheques — we’re rewriting

I WANTED TO DISRUPT THE IDEA THAT PHILANTHROPY HAD TO BE SOLEMN. WHY NOT MAKE IT EXHILARATING? THE TOUR WAS BORN FROM A DESIRE TO TURN HEADS, RAISE FUNDS AND REDEFINE WHAT IT MEANS TO GIVE BACK

the narrative of what women can do when they lift each other up.

Q: Among the many journeys and moments on tour, what is one of the most inspiring or unexpected stories that has stayed with you?

A: There was a moment in South Africa when one of our ambassadors met the girls from a local NGO we support. They shared stories, laughter, even dance. Language wasn’t a barrier — humanity was the bridge. That moment reminded me why we do this. It’s about real connection.

Q: The collective is called a “powerhouse sisterhood of unstoppable women.” What does sisterhood mean to you, personally and professionally?

A: Sisterhood is solidarity. It’s knowing someone has your back, even when they don’t benefit directly. Professionally, it creates resilience and innovation. Personally, it’s a lifeline. I wouldn’t be where I am without the women who believed in me when I doubted myself.

Q: Looking ahead, how do you envision CASH & ROCKET evolving over the next five years, particularly in terms of its global footprint and social impact?

A: Our vision is to scale globally — new continents, new voices, new causes. But always with the same heart. We’re also investing in tech to create yearround engagement and impact beyond the tour. The future is digital, inclusive and borderless — and so is our sisterhood.

Q: What is one of the biggest misconceptions about philanthropy today — and how is CASH & ROCKET challenging that narrative?

A: That it’s reserved for the wealthy or out of reach for everyday people. At CASH & ROCKET, we challenge that by making giving vibrant, participatory and accessible. Philanthropy should feel empowering, not exclusive.

Q: How do you personally define success?

A: Success, for me, is freedom. The freedom to create, to give, to be present with my children, and to know that my work is leaving a legacy that extends beyond myself.

Q: Do you have a daily mantra or ritual that helps you live with gratitude and joy, no matter how hectic life becomes?

A: “Gratitude over perfection.” Every morning, I write two things down that I’m grateful for, even if the day ahead looks chaotic. It grounds me in what’s real and keeps me aligned with joy.

Q: If you could offer one piece of advice to a woman at the beginning of her entrepreneurial or philanthropic path, what would it be?

A: Start before you’re ready. The world needs your vision now — not when it’s perfect. Surround yourself with people who elevate your voice, not echo your fears.

Q: Finally, what is your version of la dolce vita?

A: La dolce vita is having family dinner with my children after a day of full-on work, surrounded by laughter, love and the quiet knowledge that I’ve made a diﬀerence.

TRAVEL STORIES BY ANGELA MAROTTA

Boutique services courtesy of Marotta Travel Co. can deliver an unforgettable visit to the historic Valpolicella winery of Tenuta Santa Maria di Gaetano Bertani, where authentic Italian charm awaits

With travel and wedding seasons both underway, and whether you’re travelling to discover a new place or planning to celebrate a special event, Verona, a UNESCO World Heritage site and the romantic setting for William Shakespeare’s tragic love story, Romeo and Juliet, is well worth visiting. Beyond Verona in the nearby Novare Valley, another family’s rich legacy unfolds in a place where celebrating beautiful stories has become their business.

My latest adventure begins when I disembark at the Verona train station. Romina, Events Director of Villa Mosconi Bertani and her English setter, Romeo, greet me warmly and we set out for Villa Mosconi Bertani, just outside of Verona in the heart of the legendary Valpolicella wine region. It’s absolutely fitting that this complex, whose 18th-century neoclassical estate has captured the interest of so many wine enthusiasts, is home to one of the most historic wineries in Valpolicella, Tenuta Santa Maria di Gaetano Bertani.

Arriving at Villa Mosconi Bertani and stepping through its gates is like walking into a storybook where history, art and nature are exquisitely intertwined. The majestic and quietly elegant villa is nothing short of breathtaking. Its neoclassical façade, set against its verdant landscape, is a proud emblem of centuries past, and behind the main villa a secret garden unfolds. The garden, a muchsought-after location for wedding and event planners from around the world, is a masterpiece of natural beauty and the perfect backdrop for a fairy-tale weddings, corporate gatherings and photo shoots.

The Bertani family’s attention to detail is evident in every corner of the estate. Guests are warmly invited to discover Villa Mosconi Bertani and Tenuta Santa Maria firsthand through organized guided tours and tastings — immersive experiences that encompass tours of the estate, the winery and its monumental wine cellars, along with traditional culinary offerings and tastings of their acclaimed wines.

The Gaetano Bertani family and Tenuta Santa Maria: a rich heritage of innovation

The Bertani family can trace its viticulture roots back to the 1500s; with formal operations starting in 1735, they are Verona’s oldest winemakers and among the oldest in Italy. The family’s vision was simple: quality over quantity would be the future of Valpolicella wines. They were pioneers in transitioning to bottled wine and exporting at scale worldwide. Almost a hundred years ago the family’s winery also broke from convention in another way by producing Acinaticum 1928, of which only a few bottles have survived and are still available. This wine is considered the father of what is known as Amarone — the Bertani family’s contribution to Veneto wine-making is so significant that today, Tenuta Santa Maria and Amarone have become synonymous.

The story of the villa begins in the 16th century. It evolved and changed hands until the family purchased and restored it in the mid-20th century, making it the home of their Valpolicella Classica production. Today, Bertani brothers Giovanni and Guglielmo are the stewards of the legacy and carry on their commitment to the Valpolicella region, sustainable agriculture and ongoing research and development. Their exceptional wines are exported around the world, including to Canada, winning enthusiastic appreciation from wine lovers.

Tenuta Santa Maria is more than a winery or estate. It is a living legacy deeply woven into the fabric of Valpolicella and its community. It is a beacon of Italian winemaking excellence and a destination where history, nature and hospitality come together to create beautiful and unforgettable experiences.

www.marottatravel.ca

@marottatravel

I explored

Tenuta Santa Maria, experiencing tastings and unforgettable events while surrounded by vineyards, art and the timeless charm of Italy

Angela Marotta CEO and Founder of Marotta Travel Co.

INSIDE U31’S DREAM ABODE PROJECT

A conversation with Neil

about process, partnership and the power of passion

INTERVIEW BY MARC CASTALDO | WRITTEN BY KATE BRYNN

Jonsohn

PHOTOS BY GILLIAN JACKSON

For Neil Jonsohn, good design begins with listening. As principal of U31, a Toronto-based interior design studio known for both commercial and residential work, Jonsohn approaches every project by asking the right questions: What do clients actually need? How do they live? And what would it mean for them to feel truly at home?

The Dream Abode project, completed for repeat clients and situated on a sloped ravine lot, was built around those questions. From the very beginning, Jonsohn and his team worked closely with the architect and builder to shape the entire experience. There was no pre-set floor plan, no handed-down design. U31 helped define the structure, the layout and the emotional tone of the home.

“The site felt almost like a fairy tale,” Jonsohn explains. “It made sense to create a layout that felt like a journey. Instead of a centre hall, you enter at one end of the house and walk through it. The spaces reveal themselves slowly.”

That idea of slow discovery informed everything. The house begins in a modest foyer before opening into a double-height stairwell. From there, each room leads to the next with clarity and calm. The transitions are intentional. Materials repeat in subtle ways. There are no harsh moments. Instead, the layout guides you through the house like a well-paced conversation.

“You don’t want everything to hit at once,” he says. “It is like jewelry. If you wear too much, none of it stands out. Design is the same — you need focus.”

Working with returning clients allowed Jonsohn to build on an existing relationship. He already knew how the family moved through space, what

Neil Jonsohn, Principal, Creative at U31

PHOTO BY LISMERY LOYOLA

SCAN THIS QR CODE FOR DOLCE’S EXCLUSIVE FOOTAGE OF OUR INTERVIEW WITH NEIL JONSOHN

mattered to them and what did not. But even then, the process remained collaborative and personal.

“I always try to visit clients in their current home,” he says. “You learn how they live — if they cook, if they host, if they hate clutter. That shapes everything.” In the Dream Abode, that meant designing a kitchen that looked elegant but worked for the way the family used it. It meant making adjustments as they went, reworking ideas and staying open to feedback.

“We start with a general plan but we refine it constantly,” Jonsohn says. “You cannot know everything about someone from one meeting — it takes time.”

There is a sense of formality to the Dream Abode, but also warmth. It is not minimal, but it is controlled. The house balances structure with softness. Details repeat, but never in the same way.

“It is a family home,” he says. “It needed to have personality but not feel chaotic.”

One of the unique aspects of the project was the early integration of design, architecture and construction. Jonsohn credits that dynamic for the home’s cohesive feel. “We were involved from the first sketch to the final spoon,” he says. “That kind of collaboration is rare. It makes a huge difference.”

That collaborative energy also extends to his team. U31 has a wide range of designers, some who have been with the firm for over 20 years. The diversity of thought, Jonsohn explains, helps the studio remain agile. They work across styles and sectors, from sleek condo lobbies to richly layered private residences.

“I am not designing for myself,” he says. “I am designing for someone else — It has to reflect them. I still need to be proud of the work, but it is not my home.”

What defines U31, according to Jonsohn, is its commitment to process. The team cares about how things work. They pay attention to craft and they never stop learning. Jonsohn regularly visits job sites, speaks with tradespeople and asks why something can or cannot be done. That curiosity, he says, keeps the work honest.

When asked what makes a design successful, he points to flexibility. “You need vision, but you also need to adapt,” he says. “The world on paper is perfect, but construction is real life — there are delays, limits, new discoveries. If you cannot adjust, the whole thing falls apart.”

And while U31 has won industry recognition for its work, Jonsohn remains focused on the human side. “It is nice to win awards,” he says, “but what matters most is that the client feels understood. That is the goal.”

When asked what la dolce vita means to him, Jonsohn answers simply. “Appreciation,” he says. “Not chasing more. Just noticing what is already in front of you.”

u31design

Rich material contrasts — graphic marble, reeded glass and warm metallics — bring texture, rhythm, and elegance to every corner of the residence

Curves, scale, and unexpected craftsmanship come together to create a home whose design language is both playful and timeless

BEVERLEY MCLACHLIN’S EXTRAORDINARY JOURNEY

Former Canadian Supreme Court Chief Justice and bestselling novelist Beverley McLachlin has set precedents both in and out of the courtroom

WRITTEN BY CECE M. SCOTT

Beverley McLachlin, former Chief Justice of the Supreme Court of Canada and bestselling author, laughingly acknowledges that it is a big ask when she’s challenged to describe herself.

For our Zoom call, McLachlin sports a black sweater overlaid with a snazzy blackand-white checkered jacket and two silver necklaces, one adorned with an elegant drop pearl. Her crown of snowy-white hair and squared red glasses complete the portrait of a woman who is stylish, sophisticated and deliciously intriguing.

The first thing I notice is her delightful and approachable smile, one that must have given those on trial in her courtrooms a sense of quiet hope for redemption.

As she leans into the interview, her comportment is thoughtful and unhurried, and as she reflects on her upbringing in rural Alberta it is obvious that she is enjoying the memories, expressing her thanks here and there for my questions.

“I have a pretty normal life, with a great husband and son, and I have a strong work-life balance,” McLachlin says. “I love working with words and my imagination and I am always thinking about writing. I walk my dog a lot and I stay active. Pretty ordinary stuff, really.”

Which is hardly the case considering the accomplishments and firsts that McLachlin has achieved in her 81 years.

Indeed, the only “ordinary” thing about this former jurist is her own assessment — that she considers her extraordinary biography ordinary.

In her 2019 memoir, Truth Be Told: My Journey Through Life and the Law (Simon & Schuster Canada), McLachlin shares the details of growing up in a log house without electricity or running water in a rural area outside of Pincher Creek, Alberta, a town of two thousand souls built beside the narrow stream that flowed down from the Rocky Mountains.

McLachlin says that she was brought up with the values of hard work and community responsibility. “We were taught that nothing would be given to us on a silver platter, that we had

to work for it. And while we lived miles away from our neighbours, we helped each other out whenever there was a need. The sense of community was strong, and everyone had a role to play within it. What the community thought of you was very important,” McLachlin says. “We learned to turn our hand to anything, and that is probably why I am willing to try most everything.”

She garnered a “don’t mess with Beverley” reputation when she was a young girl after riding her bike over the leg of a boy who had stuck it out in front of her, and McLachlin absorbed that distinction into her psyche, determined that if anyone tried to stop her, she would go around them and carry on with what she intended to do.

While there was little money for the extras in her small community, it was quite literary, according to McLachlin, an environment that nurtured her voracious and ongoing love for books.

“We had a lovely library which I read my way through,” McLachlin says. “The local women collected money for books, which provided me and the other kids with a window onto the world. It is where I learned to read and write, which were the core essentials and the ultimate basis for me getting into university and then the law.”

After being called to the Alberta Bar in 1969, McLachlin practiced law in both Alberta and British Columbia and taught law for seven years as an associate professor at the Faculty of Law at the University of British Columbia. Numerous appointments followed, including to the Vancouver County Court, the Supreme Court of

McLachlin’s creativity and dedication to community has served her well — from the Rocky Mountain foothills to Canada’s highest court

PHOTO BY JEAN-MARC CARISSE

British Columbia and the British Columbia Court of Appeal. McLachlin was Chief Justice of the Supreme Court of British Columbia when Brian Mulroney appointed her to the Supreme Court of Canada in 1989. In January of 2000, McLachlin was appointed Chief Justice of the Supreme Court of Canada, the first woman to hold this post. McLachlin is also the longest-serving jurist in that position.

Reminiscent of the Tim McGraw song, “Humble and Kind,” whose lyrics tell us to feel pride in our hard work while staying humble and kind, McLachlin thanks Canada in her memoir for allowing her to realize her dreams. “Only in this country could a country girl of no consequence have risen to the summit of the judiciary,” McLachlin writes.

Because she grew up without any expectations of becoming successful or famous, McLachlin says that at times she has felt like an imposter.

“I would start out with a lot of self-doubt and then I would manage to surprise myself,” she says. “It was a combination of brash courage and low expectations. When you do better than you expect of yourself, you feel good about it, and it encourages you forward. I never dreamed I would be a judge or a Chief Justice or a bestselling author. But I’ve always experienced these big surprises, which makes me very happy.”

While McLachlin is a powerful example in her own right, on her journey there have been women she has met and admired who have enriched her own life.

One woman in particular stands out. As a young girl, McLachlin had a crush on Queen Elizabeth II, and was obsessed with the photos and press coverage related to the young princess’s crowning. In fact, McLachlin kept a scrapbook with all the magazine and newspaper articles she could find about the Queen’s coronation. Decades later, McLachlin’s infatuation was gratified when she sat beside the Queen at an Ottawa gala and got to spend time chatting with her ideal.

“The Queen shared a lot with me about her personal life growing up. It was fascinating, and something you don’t usually get from royalty,” McLachlin says. “Having been a huge fan of hers growing up, I knew all the details about her dogs and horses, about her sister and what they did during the war. I knew enough that she could treat me like a confidant. It was quite a surprise and quite an amazing experience in my life.”

Ruth Bader Ginsburg, the first Jewish woman to serve on the United States Supreme Court and a fierce advocate for gender equality and women’s rights, was also a person who had an impact on McLachlin. “Ruth was very brave and plucky with a lovely sense of humour,” McLachlin says, recalling their meeting over lunch in the Gatineau Hills. “Ruth’s passion was the furtherance of women’s rights through jurisprudential developments such as voting, property and the right to control one’s

body, advances which have experienced recent reverses in the United States,” she says.

In 2017, after serving on the bench for decades, McLachlin decided to retire nine months before the mandatory age of seventy-five. “I thought I was happy with the decision, but it was very hard for a while. I missed having people around me, my colleagues and my support staff, who used to manage my schedules and tasks for me. As such, my life skills were not well-honed,” McLachlin says with a wry laugh. “But retirement is a transitive verb. Life moves on and you find other interests. I am involved in some international arbitration processes and am also writing fiction, which is my biggest surprise, the fun of creating characters

ONE OF THE GREAT PLEASURES IN LIFE IS GETTING TO MEET NEW PEOPLE AND FINDING OUT WHAT MAKES THEM TICK

and situations. As a judge you don’t get much opportunity to be creative, so writing fiction is fun for me.”

Indeed, McLachlin’s three legal thrillers, published by Simon & Schuster Canada, include Full Disclosure (2018), which was a national bestseller, and Denial (2021) and Proof (2024), both of which also achieved recognition. In 2020, Truth Be Told: My Journey Through Life and the Law won the Writers’ Trust Shaughnessy Cohen Prize for Political Writing and the Ottawa Book Award for Nonfiction.

Any additional challenges of retirement for McLachlin have been mitigated by the people she meets, especially in Vancouver, where she now lives.

“One of the great pleasures in life is getting to meet new people and finding out what makes them tick,” McLachlin says. “One day when I was on the bus, a young man came and sat beside me and thanked me for saving the Insite injection sites.”

Family is also of immense importance to McLachlin. In fact, her smile takes on a whole new glow when she talks about her son, Angus McLachlin.

“I told Angus that I didn’t feel like I was a very

good parent,” McLachlin says. “And Angus said to me, ‘Even if you weren’t in the room, I knew you were there, that you had my back all the time.’ And that is what is important. If you as parent and child are solid together, it carries through to different experiences and into different phases of your life together, which is a beautiful thing.”

While McLachlin states that “judges can’t have agendas, but we can make things better for people,” there are particular experiences throughout her career as a jurist that she considers to have had a powerful impact. These include helping to delineate Indigenous rights, something she identifies as a privilege to have been a part of.

“It is critical to recognize the past wrongs that have been made and not bury them,” McLachlin says. “Women’s rights, being cognizant of the ordinary plight of human beings and how we can alleviate the suffering of others is key. I also worked very hard on the MAID (Medical Assistance in Dying) legislation, for which my decisions stand up well legally. People stop me on the street to talk about how important and uplifting the right to having help when their loved ones are dying has been. MAID has brought comfort to families and loved ones and has eased their suffering. I understand that there is still controversy around this, but I get a lot of gratification knowing that we have helped people.”

For McLachlin, living the dolce vita includes both immersing herself in nature and fulfilling her personal potential each day.

“I like to seek out places that give me a geographic release, where I can take walks in the woods and go canoeing — activities that allow me to rise above the mundane troubles of life. I loved riding horses when I was young, and I miss that sense of elation and freedom. However, at this stage of my life, I have been told that it is not a good idea,” McLachlin says, with a laugh that is charmingly contagious.

“I also believe that as we get older we need to appreciate the sense of preciousness in every day. We need to keep learning, keep being creative, keep being active and keep developing. It is never too late to learn new things.”

To that end, McLachlin is part of an in-person lecture series on democracy and the law, where she shares her thoughts on the resilience of Canada’s judicial system in the face of populism, mistrust, misinformation, and political polarization, as well as the role of courts in safeguarding democracy.

As we sign off (not with the bang of a judge’s gavel, which McLachlin laughingly reminds me does not happen in Canada), she shares that she is off to Antigua with her 96-year-old husband, Frank McArdle.

And the warmth of her beaming smile as McLachlin expresses her thanks for our chat could rival any of the sunny destinations she so robustly enjoys.

www.simonandschuster.ca

A NEW HOME FOR THE FINEST IN SCOTCH WHISK Y

The opening of Gatsby’s in Calgary marks the restaurant’s appointment as the first Canadian home of the House of Hazelwood’s rare whiskies

House of Hazelwood is a collection of the world’s oldest and rarest Scotch whiskies

PHOTO

JOHN PAUL

WRITTEN BY RICK MULLER

True connoisseurs of the finer things in life seemingly have no problem travelling to original sources to indulge in their particular passions: coffee lovers will go to Istanbul, cigar aficionados will journey to Havana, fans of maple syrup will venture to Quebec and those who seek the finest in Scotch whisky will go to one place and one place only, the hills of Scotland.

Specifically, they will seek out the House of Hazelwood, where for almost one hundred years, generations of the Gordon family have carefully laid down stocks of the rarest whisky for special occasions and personal consumption, and where every cask is aged at least 45 years. The original Hazelwood House, the Gordon family’s Dufftown, Scotland home, was where Charles Gordon, a legend within the Scottish whisky community, spent much of his youth. It was he who was instrumental in laying down some of the earliest stock for what became the House of Hazelwood rarest flights, among the most prized Scotch whiskies in the world.

The ability to savour House of Hazelwood Scotch whisky became much easier in May with the opening of Gatsby’s in Calgary, the Vintage Group’s newest ultra-fine dining restaurant, which has been officially appointed the first Canadian home of the

House of Hazelwood’s exceptionally rare flights.

“We are very proud that Gatsby’s has become an official home of our rare and aged House of Hazelwood collection,” said director Phil Keene. “These whisky flights showcase the best of the best and I know, given the reputation of the wider Vintage Group, the new venue and staff are ideally placed to be ambassadors of what are arguably the world’s most coveted rare Scottish whisky collections.”

Gatsby’s appointment as the first-ever Canadian House of Hazelwood Keyholder account grants it early access to exclusive whiskies, tastings and curated customer offerings. To mark the restaurant’s opening, House of Hazelwood has made the only remaining bottles of The Old Confectioner’s, a 44-year-old blended malt, exclusively available to Gatsby’s. They have also curated two whisky flights which together offer 281 years of whisky heritage.

The Charles Gordon Flight, priced at $1,000, celebrates the legend himself, who laid down the oldest whiskies in the House of Hazelwood collection. The flight comprises The Old Confectioner’s, The Cask Trials, a 53-year-old single-grain Scotch whisky, and The Lost Estate, a 43-year-old blended-grain Scotch whisky.

A Flight Through the Decade, priced at $700, takes connoisseurs on a journey back in time

through the 1960s to the ’90s. This flight comprises The Long Marriage, a 56-year-old blended Scotch, The Spirit of Scotland, a 46-year-old blended Scotch, and Sunshine of Speyside, a 39-year-old blended malt.

Today, the House of Hazelwood collection has grown to become the greatest inventory of aged Scotch whiskies held anywhere in the world. Spanning decades of craftsmanship and commitment and gathered from every corner of Scotland, the diverse whiskies held in its casks embody the essence of remarkable places, redolent of the stories to be heard in pubs throughout Scotland, from its smallest village to its biggest cities.

The House of Hazelwood inventory is held in carefully selected warehouses across Scotland, with fresh stock laid down each year. Prior to bottling, a small portion of the whisky is aged in traditional dunnage warehousing near Dufftown in Speyside, where it is carefully monitored and sampled ahead of release.

Gatsby’s seems like the perfect place for the House of Hazelwood to call its first home in Canada. Located in the dynamic heart of downtown Calgary, Gatsby’s pays homage to the extravagant spirit of the Roaring Twenties, blending its meticulously designed Art Deco interiors with the contemporary sophistication that marks today’s fine dining and an immersive, guest-first service philosophy.

“Gatsby’s is the culmination of everything Vintage Group stands for: exceptional hospitality, elevated cuisine and an atmosphere that invites celebration,” says Lance Hurtubise, founder and president of Vintage Group. “We’ve created something rare and unforgettable. Gatsby’s goal is to be the ultimate experience in fine dining.”

Move over, Istanbul, Havana, and Quebec true connoisseurs of the rarest of Scotch whiskies can now add Calgary to their list of places to go when they want to enjoy the finest life can offer.

www.houseofhazelwood.com

@houseofhazelwoodscotch

All of House of Hazelwood’s whiskies are rare and tell special stories about whisky heritage and the Gordon family, who collected them over the last seven decades

Phil Keene, director, celebrates alongside guests as they sip on House of Hazelwood Whisky flights and revel in a night of lively festivities and elegant charm

PHOTOS COURTESY OF HOUSE OF HAZELWOOD

Crane Beach, with its calm turquoise waters and pinktinged sand, is the crown jewel of Barbados’ southeast coast — and home to The Crane, the island’s first and most iconic luxury resort

HOSPITALITY

PEACE, SERENITY AND LUXURY IN THE CARIBBEAN

The Crane Resort and Private Residences in Barbados may be the perfect escape when we need one the most

WRITTEN BY RICK MULLER | JOURNEYED BY MICHELLE ZERILLO-SOSA

Inthese volatile times, when the world is being buffeted by changing international relationships, loud political rhetoric and widespread economic uncertainty, serene environments are more important, and more sought out, than ever before.

Canadian travel to the U.S. alone dropped by 32 per cent in March 2025 in what might just be the beginning of a trend. Citizens of Canada and the U.K. especially are seeking safe and secure destinations for warm holidays and/or property ownership outside of the United States, and other countries and destinations are aggressively moving to fill the gap.

Barbados, just such a calm environment, is home to one of the Caribbean’s most famous and exceptional properties, The Crane Resort and Private Residences on world-famous Crane Beach. The Crane is garnering even more attention during these turbulent times just when the world needs it most and is once again emerging as a first-class oasis of luxury, privacy and service.

The Crane, situated on Crane Beach in the Parish of Saint Philip on the island’s southeast coast not far from the capital of Bridgetown, was founded as

Barbados’ first resort in 1887 on the site of a small commercial port that had been established in the mid-18th century by the island’s plantation owners, who’d been attracted to the beach because of its cool breezes. Crane Beach and its surrounding area assumed the moniker of its most recognizable feature — named not after the bird, but for the quay cranes raising and lowering cargo in and out of the port’s ships.

With calm waters, unspoiled sand, spectacular scenery and enchanting coves, Crane Beach is one of the finest beaches in the world. It has earned many accolades, including as “Best Caribbean Beach” in 2015 by USA Today, one of the “Top 10 Beaches Worldwide” by Destinology in 2013, and CNN’s Number 23 on its list of “Top 100 Beaches in the World.”

Set against this backdrop, The Crane is a luxury resort community with few peers in the Caribbean. Featuring an enviable range of world-class amenities and services, outstanding accommodations and some of the Caribbean’s finest cuisine, The Crane has perfected the art of island living.

Guests can enjoy ultra-spacious suites designed in styles that honour the island’s history while featuring every modern amenity luxuriously

realized. Suites offer 21 different options, some including rooftop or garden pools, plunge pools — in one case a 28-foot pool.

Besides the ultra-luxurious spa and wellness facilities, sports and fitness amenities, day trips and other activities arranged to stimulate the soul, guests can enjoy shopping, entertainment and more in The Village, the hub of The Crane community, surrounded by cascading pools. The Crane is also home to some of the Caribbean’s finest cuisine, highlighted by Zen Restaurant overlooking the beach, Barbados’ No. 1 Zagat-rated dining experience, a remarkable fusion of Japanese and Thai cuisine, and L’Azure Restaurant, which offers contemporary Caribbean specialities. The resort also features two historic bars, both with beachside and poolside grills. Just across the resort, you will find Le Shack, owned and managed by Chef JeanJacques Carquillat, where you’ll be wowed by a combination of traditional and unexpected recipes prepared by Chef and his incredibly skilled team.

The Crane Private Residences offer property owners the luxuries of a resort with all the comforts of a home. Its in-house team and resources include full architectural and construction experts who can build any dream home in one of the world’s top locations, bypassing third-party suppliers to dramatically reduce initial development costs.

Following development, property owners benefit from Crane Resorts’ participation in the Barbados Tourism Development Act, which enables investors in tourism projects to benefit from writing off capital expenditure and 150 per cent of interest.

In addition to these financial advantages and in order to maximize revenue, owners of The Crane

Residences benefit from members of the resort staff’s more than 20 years of sales and marketing experience and proven rental success. The Crane provides all the necessary services and support to owners should they want to rent out their homes for any length of time, including facilitating bookings and guest stays. The resort works with more than 150 tour operators worldwide.

The time to escape noise and mayhem may

never be more urgent than today. When you’re indulging at The Crane Resort by relaxing on the beach, indulging in holistic healing at the full spa or plunging in your private pool, the confusing world will seem very far away. The title of Barbados’ national anthem, “In Plenty and in Time of Need,” may never be so perfectly appropriate as now. www.thecrane.com @cranebarbados

Perched above the world-renowned Crane Beach, The Crane Resort blends

old-world charm with modern luxury, offering a tranquil escape just when the world needs it most

Celebrating style and strong personalities with Lacoste’s PLAY WITH ICONS

Lacoste’s latest global campaign, PLAY WITH ICONS, features its five global ambassadors embodying the brand’s timeless pieces

WRITTEN BY ISHA SHARMA

Premium brand Lacoste has never failed to impress people with its unique styles and timeless trends. Continuing its legacy of presenting the best of style, its latest global campaign, PLAY WITH ICONS, is all about fashion exemplified by some incredible personalities.

In 2024, the brand showcased its ambassadors and Crocodile emblem in a spectacular manner with the PLAY BIG campaign. With this year’s campaign, they have delivered a creative new interpretation of Lacoste’s core DNA through a series of stylized pictures and films. The campaign also explores the special

relationship that exists between five Lacoste ambassadors and some of the brand’s famous designs. Each of these collaborations has been reimagined from an artistic, lively and playful perspective.

It features tennis legends Novak Djokovic and Venus Williams, French actors Adèle Exarchopoulos and Pierre Niney, and global superstar Wang Yibo in Lacoste’s timeless collection.

What adds distinct charm to this campaign is its crisp, vibrant and avant-garde vision. It was shot and directed by Tyler Mitchell, known for his pictorial approach to documenting culture.

Imruh Asha did the styling, and Poppy Bartlett designed the sets.

Each video is a slow-motion tableau set to a fun tune by French composer Émile Sornin that seems to stretch and bend and add the perfect magic of a playful spirit.

A few noteworthy moments include Exarchopoulos wearing the Lenglen bag as a pleated skirt, bringing Lacoste’s tennis and fashion traditions together, and Djokovic wearing a golden tennis-net cape to celebrate his GOAT status.

One video also features Niney radiating subtle elegance while relaxing on a sculptured sofa that

Pierre Niney exudes subtle elegance while relaxing on a sculptural sofa shaped like the brand’s iconic emblem

PLAY WITH ICONS IS A WONDERFUL WAY TO HONOUR THE TIMELESS ‘‘ ‘‘

mimics the brand’s distinctive logo. This clever and simple composition brings the emblem to life.

We behold Williams rising like a goddess from a sculptural pleated shell, a testament to Lacoste’s inventive savoir-faire, and watch as singer, actor, and worldwide sensation Yibo is presented with Lacoste’s polos as a token of appreciation for his unique charm and the classic appeal of the brand’s emblem.

Every ambassador-iconic-piece combination, therefore, turns into a contemporary myth, a timeless fashion tale preserved in a memorable image.

Developed in association with the creative firm BETC, Lacoste’s campaign takes a step forward to create a surprising and unforgettable fresh take on the brand’s incredible legacy.

PLAY WITH ICONS, is a wonderfully tongue-in-cheek way to celebrate the timeless all-purpose pieces that are the foundation of the brand today, as well as the fearless individuals who don them on a regular basis.

www.lacoste.com

@lacoste

Adèle Exarchopoulos posing with the Lenglen bag as a pleated skirt, blending Lacoste’s tennis roots with high fashion

Wang Yibo with a bouquet of Lacoste polos, highlighting his unique charisma and the evergreen charm of the brand’s main piece

Venus Williams emerges like a goddess from a sculptural pleated fabric shell that pays homage both to Lacoste’s innovative craftsmanship and Botticelli’s Birth of Venus

Novak Djokovic adorned with a golden tennis net cape that celebrates his GOAT status and enhances the Lacoste polo

LA DOLCE VITA

What’s buzzing in the city that never sleeps?

WRITTEN BY MARC CASTALDO

1. GUCCI GALLERIA

A century of Gucci unfolds — celebrating iconic Italian craftsmanship, creativity, and evolution from 1921 to today. palazzogucci.gucci.com @gucci

2. SEAHORSE

A vibrant statement in texture and contrast, featuring sapphires, moonstones, diamonds, and bold seahorse design. www.tiffany.com @tiffanyandco

3. UNIQUE PRIVATE EVENTS

Host your private Victorian event steps from Broadway or Union Square — two iconic locations endless possibilities await. www.lilliesnyc.com @lilliesvictorian

4. HAMPTONS HEIGHTS

Experience a customizable Hamptons escape with private helicopter transfers, luxury transport, and upscale dining. www.fourseasons.com @fourseasons

ATMOSPHERE INTERIOR DESIGN: THE POWER OF PARTNERSHIP AND PLACE

Atmosphere Interior Design is led by two kings, Curtis Elmy and Trevor Ciona, who live and breathe design — a passion that has earned them widespread recognition and praise

WRITTEN BY BONNIE POP INTERVIEW BY MARC CASTALDO

Saskatoon, an urban island set amid Saskatchewan’s endless prairie fields and plains under its wide-open skies, is not the place you’d expect to find one of Canada’s most cutting-edge interior design studios. Yet it’s here that Curtis Elmy and Trevor Ciona decided to bring their vision to life. As founders of Atmosphere Interior Design, they’ve turned the quiet prairie city into a destination for bold, sophisticated interiors — and the design world has taken notice. Their studio’s name says it all: this isn’t just about decorating, it’s about changing the way spaces feel.

“We were crazy,” Elmy says, laughing. “Everyone thought we were crazy, 100%.” Starting a boutique design firm in a city not known for its design scene might have looked like a risk. But for Elmy and Ciona, it was a calling. The name “Atmosphere” wasn’t a branding move — it was a placeholder for possibility.

“We wanted something that wasn’t going to limit us in a way, something we wouldn’t get tired of,” Elmy explains. What began as a leap of faith quickly became a nationally recognized brand. Today,

Atmosphere Interior Design is among Western Canada’s most influential studios, with its work featured in House + Home, ELLE Decor and Western Living, among others. They’ve been crowned Saskatoon’s “Kings of Style” — a title that has been earned, not just claimed.

What sets Elmy and Ciona’s work apart isn’t just talent, it’s their tandem vision. Ciona leads with instinct and hand-drawn sketches, Elmy complements with technical precision and business acumen. Trevor hates computers, Elmy admits. “He loves just getting in with his pencils and his markers. He starts the old-fashioned way by drawing and sketching. And when clients see someone’s work that they’ve done by hand, they just covet it.”

The duo’s story is a study in creative chemistry. Partners in life and work, they share more than just studio space. “We live together, we work together, we have one car, one personal trainer — we do everything together,” Elmy says. Their design dialogue is constant, flowing from morning coffee to client presentations.

“We pick apart each other’s work in a positive

WE WERE PROBABLY ONE OF THE FIRST MALE COUPLES THAT STARTED A DESIGN BUSINESS HERE ‘‘ ‘‘

Curtis Elmy

way,” says Elmy. “But you need that really strong relationship, so that you can have those very creative and sometimes difficult conversations when you’re trying to get a design project over a hurdle.”

That closeness is a strength. It allows for tough feedback, honest collaboration and the kind of mutual support that pushes work from good to great. “There’s nothing better than fuelling your partner in living their dreams,” says Elmy. “That’s something you don’t always stop to think about.”

But Atmosphere wasn’t built overnight. Elmy explains how the pair of them left school with nothing, motivated only by the dream in their heads. Instead of following a more predictable path, they leaned into uncertainty, driven by the question “What’s the worst that could happen?”

That fearless energy translated into bold

aesthetics — what Elmy describes as “masculine lux,” a refined yet daring signature that caught people’s attention. “We started using accents of gold, maybe a little bit before the curve. And we were bold — wallpaper in places people didn’t think about, grey when everything was still brown.”

From new builds to full-scale renovations, their work layers classic proportion with editorial polish. Whether it’s a minimalist penthouse or a rustic retreat, Atmosphere’s spaces are always, in Elmy’s words, “tailored, refined and elevated.”

Despite the accolades, the duo stays grounded. Their Saskatoon roots run deep. “We were probably one of the first male couples that started a design business here. That, in itself, gave us a little bit of a leg up,” Elmy reflects. “And we made a decision to come back from a bigger city. I think a lot of

people respected that.”

Ask Elmy for his advice to young designers and his answer is raw and real: “Coming up with ideas is easy. It’s the refinement and editing of all those ideas to create something that stands alone — that’s the hard part.”

Looking ahead, he envisions la dolce vita in a slower key: “I’m hoping to be [at] a vacation property somewhere in the middle of winter … to turn a new page and see the design side in a more relaxed and less pressured way.”

Until then, Elmy and Ciona remain right where they belong — at the centre of a creative studio that has, in its own way, changed the design atmosphere of Western Canada.

atmosphereid.ca @mrcurtiselmy

Curtis Elmy (left) and Trevor Ciona strive to provide exceptional design and to remain true to themselves so that they always serve their clients with honesty and originality

IN CHAMPAGNE, BILLECART-SALMON LETS TIME DO THE TALKING

An innovative Maison inspired by nature, wine and heritage

Inthe village of Mareuil-sur-Aÿ, surrounded by Champagne’s sunlit Grand Cru vineyards, Maison Billecart-Salmon has been perfecting the art of its region’s eponymous bubbly for over two centuries. Founded in 1818 through the

marriage of Nicolas François Billecart and Elisabeth Salmon, the Maison remains one of the few Champagne houses still independently owned and operated by its founding family. Seven generations in, it is still guided by the same conviction: prioritize quality, pursue excellence and let the terroir speak through each sip.

As arriving guests drive along the tree-lined roads to its entrance, they are greeted by the heady scent of tilled earth and ripening vines. In the Maison’s garden, the 100-year-old horse chestnut tree scattering sun-dappled light across the lawn has

WRITTEN BY BONNIE POP | JOURNEYED BY MICHELLE ZERILLO-SOSA

Welcome to the heart of 200 years of history in Mareuil-sur-Aÿ

been a silent witness to generations of winemakers. If the limestone walls of Billecart-Salmon could speak, they’d say that they’ve been privy to priceless winemaking knowledge that has been passed down through each family member for two centuries. The grounds include historic cellars and working vineyards that reflect both tradition and a commitment to sustainability. Here you won’t find flashy luxury but rather a deliberate, detail-oriented approach to every part of the Champagne-making process. It’s this quiet consistency and refusal to compromise that sets Billecart-Salmon apart.

This ethos shines through in Billecart-Salmon’s newly unveiled reception spaces, a series of guest rooms and tasting salons that blur the lines between art installation, design showcase, and sensory journey. Brought to life by FrenchAmerican interior designer Elliott Barnes and architect Vincent Fierfort, the spaces are rooted in the textures of the terroir. The walls are lined with custom pomace paper made from grape skins

ITS QUIET CONSISTENCY AND REFUSAL TO COMPROMISE SETS BILLECARTSALMON APART

harvested in Le Clos Saint-Hilaire, there’s a coffee table built from reclaimed vine branches, and the gleaming glass that tops its tables is from recycled Champagne bottles.

These sustainable elements are only part of the story. Just steps away, 100 hectares of estategrown vines, alongside the additional 200 hectares sourced from trusted growers, are tended daily with deep respect for nature’s rhythms. Billecart-

Salmon, where workhorses and sheep manure now replace tractors and chemical treatments, was ahead of its time in returning to ancestral winemaking practices at Le Clos Saint-Hilaire. Beyond fostering a flourishing biodiversity,

The design integrates unexpected natural materials, crafting a palette of natural eco-friendly colours uniquely developed for the Maison

For Michelle Zerillo-Sosa, every travel experience tells a story — each moment captured becomes a memory cherished forever, etched in the heart

the benefits of these practices can be tasted in each bottle.

The wine here is fermented at cooler temperatures than usual, which help bring out light, fresh flavours. Instead of mixing everything together, each batch of grapes is handled separately to allow the unique qualities of each vineyard and grape variety to shine through. That’s what gives Billecart-Salmon Champagnes their clean, elegant taste. The aging process happens in a quiet part of the estate filled with more than 400 oak barrels. This peaceful space, called the chai à foudres, or barrel cellar, is

where the wine slowly develops its character over time. Nothing is rushed. The team knows that great Champagne takes patience, sometimes even years. In the case of their rare Cuvée Le Clos Saint-Hilaire, made from a single vineyard and released in small, numbered batches, that patience yields something truly exceptional.

To sip a glass of Billecart-Salmon wine is to experience more than just la méthode champenoise (“the Champagne method,” in which a secondary fermentation is key) — it is to taste a family’s devotion to land, lineage and legacy. It is to encounter

Champagne not as an industry but as an art form. And now, thanks to the Maison’s newly imagined reception area, that experience begins the moment you step through the doors.

In a world that so often equates luxury with speed, Billecart-Salmon offers something else: the simple glamour of time well spent, of slowly stepping through picturesque vineyards, of pairing a sip of artful bubbly with warm sunshine on your face. Here, Champagne is poured not to impress, but to savour. www.champagne-billecart.fr

@champagne_billecart_salmon

IN MOTION: JEWELRY AND COUTURE

An exquisite fusion of visionary couture and masterful jewellery design, where each piece — from sculpted dresses to dazzling diamonds — tells a story of transformation, resilience, and timeless elegance

bulgari.com

Bulgari Bulgari watch in rose gold with icyblue marble dial, diamond indexes, and alligator strap.

timeless blend of elegance, sparkle and sophistication

A flowing piece in soft pink evokes a mystical evening sky, foreshadowing the quiet magic of morning snowfall — an ethereal vision from Gaziza Shabdarbaeva’s fairytaleinspired couture

A radiant ode to feminine grace: Bulgari Divas’ Dream earrings in 18 K rose gold shimmer with pavé diamonds and mother-of-pearl bulgari.com

SAIID KOBEISY

This spectacular 4.95 carat oval peridot and diamond ring in 9K yellow gold adds a vivid green brilliance that enhances the dress’s bold presence and refined allure 1stdibs.com

The Warrior collection by Saiid

is a tribute to transformation, quiet strength and the power of becoming

Kobeisy

Each silhouette in this collection unfolds like a chapter in the soul’s awakening, where every contour and detail reflect a moment of transformation and inner truth

An exquisite Graf pavé butterfly diamond necklace with a total weight of 15.64 carats becomes the perfect counterpart to this transformative dress graff.com

Between stillness and motion, reflection and resilience, Saiid Kobeisy crafts couture as armour for the soul: dignified, defiant, luminous

A domed pavé diamond bangle bracelet by Humbertown Jewellers beautifully complements the dress’s luminous strength humbertownjewellers.com

The sculpted lines of this dress embody inner strength, transforming fabric into a bold statement of resilience and power

Bulgari’s Serpenti diamond wrap necklace is crafted in Italy from luminous 18K white gold and adorned with 75 carats of brilliant diamonds bulgari.com