GEORGINA BLOOMBERG
BACK IN THE SADDLE
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Tim Lappen
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The Life worth Living
CHAMPION JUMPER GEORGINA BLOOMBERG IS MAKING A COMEBACK AT 43 — BUT WHAT SHE'S COMPETING FOR HAS CHANGED ENTIRELY.
BY LAURA SCHREFFLER
ALBERTO GONZALEZ
SHOT ON LOCATION IN WELLINGTON, FL
PHOTOGRAPHY
STYLING CHARLIE RINCON
HAIR & MAKEUP GINA DIMAGGIO
DRESS: Akris
SHOES: Michael Kors Collection
EARRINGS & WATCH: Cartier
SHIRT, TROUSERS & HANDBAG: Akris SHOES: Ferragamo JEWELRY: Tiffany & Co.
It begins with a small act of rebellion.
Georgina Bloomberg is over Zoom. To be fair, she did try to connect to the camera for our interview, but she's still adamantly opposed to the entire format.
"I'm just morally against having my video camera on," she says, laughing as she settles into the conversation. "I actually like having a phone call with somebody. I just don't see why nowadays we have to see each other."
It's not shyness: it's preference.
Bloomberg belongs to a world where visibility is practically part of the job description — where athletes are brands, meetings are screens, and public figures are expected to curate themselves in real time. But she has never been especially interested in performing for the camera when it isn't necessary.
"I need normal cable on my television," she says. When she orders food, she wants "an actual paper menu" and to call someone to place the order. "So many places you can't even do that anymore."
Technology frustrates her. "I'm just not good with it," she admits. "It makes me very frustrated."
It's a small detail, but it reveals something larger about the way Bloomberg moves through the world. For someone who grew up in the public eye — the daughter of Michael Bloomberg, raised in a household where ambition and achievement were constants — she has always had a surprisingly grounded relationship with visibility. She doesn't chase it. She doesn't curate it.
Which may explain why, when she describes her life today, the conversation turns not to podiums or rankings but to a toddler who has effectively taken over the household.
"It's probably my two-year-old," she says when asked who is actually running things at home. "He really is in charge of everybody."
Sebastian, born in 2023, is what she calls "a bull in a china shop." Her oldest son, Jasper, born in 2013, is already riding in the pony ring, beginning to show the same competitive instincts that have defined much of Bloomberg's own life. He's been competing with Little Lumi, an American Warmblood mare Bloomberg bred out of her former amateur jumper Lumina, and the partnership has already moved into the junior jumpers. Watching him develop in the ring brings back memories of her own early days — she started riding at age four in New York City, eventually earning grand championships and 'Best Child Rider' titles at every major competition on the U.S. East Coast.
And then there is Scarlett, born in June 2025 — Bloomberg's third child and first daughter, arriving at a moment when the athlete and philanthropist was already navigating a complicated new chapter.
Three children. A comeback season. And a sport that rarely
slows down for anyone.
Bloomberg returned to riding this fall after stepping away during her pregnancy, with an ambitious goal: to be back competing at the top level by April, just as the Global Champions League season begins again in Miami Beach. She has been a team owner since the league's debut in 2016, founding the New York Empire — one of the competition's most recognizable teams — and she hopes to once again compete as one of its riders this season. The revolutionary format, which unites squads for competition held in incredible destinations across continents during the Longines Global Champions Tour, has become one of the sport's most exciting innovations, and Bloomberg has been part of it from the beginning.
But if the timeline sounds intense, Bloomberg talks about it with surprising calm. Down in Wellington, where the winter equestrian season unfolds each year, she has intentionally built something looser for her family — a lifestyle that leaves room for dirt bikes, fishing, and children who spend as much time outside as possible.
"I love having kids that are sort of a little bit feral," she says, laughing. "I kind of prioritize family time and sports over school. I make having happy, creative, free-thinking children a priority over them doing their homework and getting good grades."
The philosophy is partly a reaction to the environment she grew up in. "My father was much more the one who was like, you need to get good grades and go to college," she says. Her mother, by contrast, had a different perspective — one shaped by travel, life experience, and curiosity. "She sort of understood the importance of culture and understanding life."
That influence has stayed with her. Bloomberg did eventually go to college — graduating from New York University's Gallatin School of Individualized Study in 2010 with a BA in Individualized Studies with a concentration in Sports Business and Marketing and Studio Arts. She even studied at Parsons Fashion Design College in 2012. But the education she values most came from a broader curriculum: the barn, the road, the experiences that couldn't be measured in grades.
Now, as a mother herself, she finds that the things she once measured her life by have shifted. Not disappeared — but shifted.
Returning to elite sport after a third child is not simply a question of desire. It's a question of time, energy, and trade-offs.
"Finding the time for yourself is the hardest thing," she says. "And then not feeling guilty about it."
There are days when she's exhausted before she even reaches the barn, when the idea of another training session competes with something much simpler — like being at one of her son's activities. "I don't want to take time away from my kids when it's not worth it," she says. "But I also don't want to not make another run at this sport that I love when I can."
That tension — between ambition and presence — is something
she feels acutely. Her biggest fear, she says, isn't losing. "I think my biggest fear is wasting time. I don't want to waste time with my children. But I also don't want to look back and think I could have accomplished something and didn't try."
At 43, she knows that competitive sport has its own clock. "I don't have so much time left to make a comeback in what's a very physical, time-consuming sport."
The sport has been part of her identity for nearly four decades. As a young rider, she earned four medals in three appearances at the North American Young Riders' Championships, including team gold in 2002 and individual gold in 2003. In 2004, she was honored with the Maxine Beard Show Jumping Developing Rider Award, presented by the United States Equestrian Team Foundation — recognition that she was among the country's most promising talents.
Moving onto the international stage, Bloomberg made her first World Cup Final appearance in 2005 in Las Vegas. It was also the year she made her Nations' Cup debut, riding in the Samsung Super League Nations' Cup in La Baule, France, where she was a member of the all-female winning team. Nearly fifteen years later, in 2019, she returned to the World Cup Final in Gothenburg, Sweden, riding Chameur 137 — proof that her competitive fire had never dimmed.
Between those milestones came a steady accumulation of victories and podium finishes. She won the $210,000 Central Park Grand Prix in New York in 2014 and the $127,000 Adequan Grand Prix in Wellington the following year. In 2014, she anchored the U.S. team with double-clear rounds for its win in the Furusiyya Nations Cup in Gijon, Spain. And in her major games debut, Bloomberg helped the U.S. claim the team bronze medal at the 2015 Pan American Games in Toronto, Canada.
For most of her career, success had clear markers — podiums, rankings, major championships. The Olympics and World Championships have, at various moments, felt within reach.
But the calculation has changed. Because for all the ambition that still drives her, there is one role she never questioned.
"I always knew I wanted to be a mother," she says. "Even when I was a kid."
She loves the messiness of it, the chaos, the Saturdays filled with sports games and horse shows. "I get as much pleasure out of being there as doing anything else," she says. "If this was the only role I'm ever going to have, I'd still feel pretty good about my life and what I accomplished."
JACKET & SKIRT: Akris
BOOTS: Hermès JEWELRY: Tiffany & Co.
That sense of purpose extends beyond her own family. For Bloomberg, success was never meant to exist in isolation.
"My parents always instilled in us that it's important to give back," she says. "And not just be writing a check for something, but to actually be hands-on."
She remembers being taken to work in soup kitchens as a child — not as a symbolic exercise but as something tangible. "You actually have to see things and help. Just because you can help financially doesn't mean you shouldn't be there doing something."
That idea — that privilege carries responsibility — followed her into the upper levels of international sport. Her father's advice was famously concise: "He always says, 'Don't screw it up,'" she says, smiling. "That's kind of his line."
It's not complicated advice. But it's the kind that echoes. "I feel like I say it to myself a lot. Like in his voice."
In the ring, the phrase might apply to a single moment — a jump, a distance, a decision made in a split second. But in life, the meaning has widened.
A recent experience made that clear. A close friend's daughter had been diagnosed with brain cancer. The family was scrambling to get to North Carolina for an appointment with a specialist at Duke. Travel logistics were complicated. Time felt urgent. Bloomberg mentioned the situation to her father. He flew them.
"They were so insanely grateful," she says. "And I was like, this is the greatest luxury in life — being able to help the people that you care about and make a difference."
That philosophy has quietly shaped many of her decisions. In 2006, Bloomberg founded The Rider's Closet, a program that collects riding apparel donations and redistributes them free of charge to equestrian charities, scholastic riding programs, pony clubs, camps, and individual riders in need. This year, 2026, marks the 20 th anniversary of the initiative — now a program of the EQUUS Foundation — which continues to expand access to a sport that can otherwise feel inaccessible. For Bloomberg, the milestone is particularly meaningful. If she loved horses and riding had shaped her life so profoundly, others should have the opportunity to experience it too, regardless of financial barriers.
It's one of the accomplishments she's most proud of, and it reflects a broader commitment to making the equestrian world more inclusive. She serves as an EQUUStar for the EQUUS Foundation, a role that allows her to advocate for equine welfare and access on a larger scale.
Animals have always been central to that worldview. "I've always loved animals," she says. "That's always sort of been my thing."
At her North Salem, New York farm, sport horses share space with retired horses — including a former New York City carriage horse she rescued — along with rescue dogs, goats, rabbits, miniature horses, mules, and Wilbur, the pig who occasionally steals the spotlight. Her advocacy extends well beyond her own property. Bloomberg serves on the Board of Directors of the Humane Society of the United States and chairs Humane Generation New York, a program operated by HSUS that seeks to cultivate the engagement of young leaders with humane work. She also serves as Vice President of Animal Aid USA. In 2016, the Humane Society recognized her work with its Compassion in Action Award.
Her commitment to service extends into other areas as well. She sits on the boards of the Emma and Georgina Bloomberg Foundation, the Bloomberg Family Foundation, the American Museum of Natural History, the Hampton Classic Horse Show, and the Board of Trustees of the United States Equestrian Team. It's a dizzying array of responsibilities, but Bloomberg approaches each with the same hands-on philosophy her parents instilled in her.
Yet she rarely frames philanthropy as something separate from
her life. Instead, it exists as part of the larger example she hopes to set — especially for her children.
Bloomberg has also explored other creative outlets over the years. In 2011, she co-authored The A Circuit, a young adult novel set in the horse show world. Three more books followed in the series, allowing her to share the culture and drama of competitive riding with a broader audience. The project tapped into her multifaceted interests — the same curiosity that led her to study fashion design at Parsons after graduating from NYU.
When asked what she hopes her children might feel one day when they inevitably Google her, her answer is thoughtful and a little playful.
"I hope the first thing that pops up is maybe something about me doing something good in the world," she says. "Or work that I've done with animals." Then she laughs. "I also kind of want them to think I'm cool."
She hopes her daughter will see strength and style. She hopes her sons will feel proud when their friends discover the stories behind her career — the World Cup Finals, the Nations Cup victories, the Pan American Games medal, the grand prix wins. But more than anything, she hopes they see a life lived with intention.
It's a striking perspective from someone whose résumé spans decades of international competition, leadership roles in some of the sport's most prestigious organizations, and a commitment to animal welfare that has earned national recognition.
But perhaps that's exactly the point.
Because today, Bloomberg's definition of success is no longer measured only in podiums or rankings. It's measured in moments — her son on the course with Little Lumi, the pride in his face as he completes a round. Her daughter watching from the stands, learning what it looks like to pursue something with discipline and joy. An evening at the North Salem farm with all three kids, the rescue dogs and goats and Wilbur the pig moving through the property like it's their kingdom, everyone exactly where they want to be.
That younger version of herself — the one who needed to prove something, who felt the weight of expectation and ambition pressing down — she was real and necessary. But she's not the same person anymore. The hunger hasn't disappeared; it's just been redirected. Now it's about building a life where everything she values coexists. Where she can be a world-class athlete and a present mother. Where she can compete at the highest level and still have time to sit on the porch and watch the sunset. Where success means having it all, not by sacrificing one thing for another, but by refusing to choose.
She is still riding. Still training. Still preparing for another Global Champions League season with the New York Empire, set to kick off in Miami Beach in early April. The format has always appealed to her — the team element, the global destinations, the way it brings together riders from different countries under one banner. As both owner and rider, she has a unique perspective on what the Empire represents. She founded the team in 2016 when the league launched, and competing on her own squad at 43 carries a different weight than it did in her twenties. There's something clarifying about returning to elite sport after stepping away — not because she has to prove anything, but because she still wants to. The question isn't whether she can compete at the highest level again. It's whether she can do it on her own terms, with her family intact and her priorities clear. Still leaving open the possibility that she may yet reach the very top level of the sport again.
But the pursuit now exists within a much larger life.
One shaped by the advice she grew up hearing.
Don't screw it up.
Not the jump.
Not the result.
The life.
A small act of rebellion — repeated every day.
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RADIANT BY NATURE Rare by Design
INSIDE THE EXTRAORDINARY YLANG-YLANG AT THE HEART OF J'ADORE INTENSE.
BY ADRIENNE FAUROTE PHOTOGRAPHY COURTESY
There are ingredients, and then there are obsessions. For Francis Kurkdjian and the house of Dior, the ylang-ylang flower falls squarely into the latter. Sourced from the volcanic slopes of northwestern Madagascar, the ylang at the heart of J'adore Intense is one of the reasons the fragrance exists the way it does. Solar, sensual, and luminous in a way that few raw materials in perfumery can claim, this particular extract was chosen not only for what it smells like, but for how it is grown, harvested, and brought to life. The result is a fragrance that carries the warmth of a tropical flower and the conscience of a house that takes both beauty and responsibility seriously.
The ylang-ylang flower has captivated the world for centuries. An evergreen tree native to the Maluku islands of eastern Indonesia — known botanically as Cananga Odorata — it grows in shaded, nutrientrich soil among the tropical rainforests of Southeast Asia, northern Madagascar, and the Comoros archipelago. In Tagalog, the Filipino language, it is called the "flower of flowers." Sensual, sweet, and slightly spicy, the flower's rich fragrance releases captivating hints of jasmine and monoi, and its soothing, therapeutic qualities were prized by Asian princes who scented their palaces with it for centuries.
Distilled for the first time in 1860 in Manila by a navigator named Albert Schwenger, the ylang flower yields an essential oil of exceptional richness. To produce a single pound of ylang essential oil, harvesters must pick and distill between 40 and 50 pounds of flowers. That ratio alone explains why this ingredient is treated with the reverence it is.
The ylang-ylang selected for J'adore Intense has been grown in northwestern Madagascar since 1997, in the fertile plains of the Sambirano River at Ambanja, where volcanic soil and a tropical climate create optimal conditions for the flower to reach its fullest aromatic potential. It is cultivated there by families of producers whose knowledge of the flower and its land runs deep.
What makes this particular ylang extraordinary — both as a raw material and as a story — is the complete distillation process that Dior Perfumes employs. Rather than fractioning the essence, the process preserves every facet of the flower. The fruity banana accents that can characterize ylang in lesser extractions are minimized. What shines through instead is solar radiance — the luminous, warm quality that defines J'adore Intense and makes it unlike any other interpretation of the flower.
The flowers themselves are fragile. They are handpicked every day and distilled immediately after harvest to preserve the full richness of their aromatic profile. After distillation, the flowers are not discarded. Instead, they are composted and spread back across the fields as fertilizer. The distilled vetiver roots grown on these same farms are used as mulch. Every element of the process circles back to sustain the land and the community that tends it. It is a supply chain that functions as an ecosystem — one that guarantees the quality of future harvests by treating the current one with respect.
The ylang extract at the heart of J'adore Intense guarantees a unique luminous and sensual signature — one that could only have come from this specific flower, grown in this specific place, handled in this specific way. Madagascar supplies exceptional natural materials, and the ylang from the Sambirano River plains is among the finest examples of what this island produces when expertise, ethics, and extraordinary terroir align.
Francis Kurkdjian, who created J'adore Intense, understood from the outset that the fragrance required the most beautiful, the most solar, and the most potently voluptuous ylang flowers available. The search ended in Madagascar. The result — a fragrance of warmth, radiance, and depth — is the fullest possible expression of a flower that has been called the flower of flowers for good reason.
J'adore Intense is, at its core, a story about devotion — to a flower, to a place, to a standard of craft that refuses to compromise at any stage of the process. Some ingredients are chosen, but this one was pursued across continents and through decades of cultivation, guided by an ethical framework that ensures the flower and the people who tend it will be there for generations to come.
PHOTOS COURTESY OF DIOR
Ferrari 12Cilindri Spider
They do make ‘em like they used to… thankfully.
BY TIM LAPPEN
THE FIRST THING YOU NOTICE WHEN FIRST EXPERIENCING THE Ferrari 12Cilindri Spider (or, as Ferrari often denotes it, “Ferrari Dodici Cilindri“, which means “Ferraro 12 Cylinder” in Italian) is its overall shape -- the car’s outline greatly resembles the legendary and world-dominating mid-century Ferrari road rockets, those of hood (“bonnet”) long and tail (“boot”) short, all the better to ensconce the lucky driver and passenger and their luggage while being motivated by a prodigious V-12 motor. Ah, that sweetly sonorous engine: to some tifosi (“rabid fans”), that’s truly the automotive ASMR creator. Ferrari points out that the concept behind this new machine “draws inspiration from opentopped Ferrari Gran Turismo models of the 1950s and ‘60s” -- how beautifully they have brought that concept to life.
Please note that Ferrari named it with no space between “12” and “Cilindri”, as they have done with other models on several occasions. Maybe, like the cars that they create, they’re always in a hurry. Regardless of the genesis of that nomenclature, this car is no poseur
as it has all of the class, nimbleness and oomph required to be a toptier two-seater grand touring convertible.
This is the part of the story where I typically would mention the supercharger or the twin-turbo and all of the power and torque which comes from that set-up. However, this is a naturally aspirated car, meaning that it breathes unfettered and unboosted air. That allows for a much more responsive accelerator pedal and a more appealing sound, unmuffled by any blockage of the intake or exhaust sounds. And when you buy a Ferrari, the sound alone is worth the price of admission so why not enjoy it, especially when this twelve-pot engine can redline at 9,500 RPM. It has the scream of the banshees, and I mean that in a good way. Some cars foreshadow their arrival with clever grilles, fancy headlights and multi-straked running lights. Ferraris arrive with great aplomb, being at once gorgeously elegant and menacingly snarling. The 12Cilindri does all that and more, especially at a time when all-electric seems to be the current moteur de jour. This is a car that joyously lights up any scene (and tire).
Now it’s time for the fun facts:
Horsepower – about 820
Displacement – 6.5 liters
Torque – 500 ft-lbs
Redline – 9,500 0-60 mph – Under 3 seconds
Those stats, when coupled with the looks and sound of this primo machine, typically bring the buyer home. The looks and performance of this machine are next-level.
As much as Ferrari is highly (and so deservedly) proud of its heritage, it’s also on the cutting edge of innovation and execution, thanks in no small part to its legendary racing heritage. For example, the torque of the prodigious engine actually is modified automatically, depending upon the transmission gear that the driver has chosen. This is a remarkable feat of software engineering, present for the very first time in a car with a naturallyaspirated engine, and it provides smooth and almost seamless acceleration as the driver accelerates through the gears. As is their wont, Ferrari also has included the most sophisticated emissions-reduction system ever to comply with the always-more-stringent air quality standards.
Back to the original concept of the look of this wonderous machine, the stance is like a tiger getting ready to pounce, emphasized by the long nose/short tail and further enhanced by the stately 21” wheels which, depending upon the buyer’s desire, can be shod with low-profile tires framing colored-to-order brake calipers (“mine” wore gold, thank
you very much). And while we’re on the topic of the build sheet, take a gander at carbon fiber bits and pieces (engine covers, filter box cover, front spoiler, etc.), which added another five large to the total. Starting with a base price of $507,00 and change, my ride ended up with a total of $661,364 and; I thought that each of those options provided the perfect complement to an awesome car.
Did I love my multi-day loan? If you’re read this far, can there be any doubt? Sliding into the driver’s seat of a new Ferrari is an experience not to be missed. A few tweaks of the Manettino (the Formula One-inspired switch on the steering wheel to adjust settings like throttle response, traction control, sound and so forth) and then the start button brings the dragon out of its lair. The sound of a V12 Ferrari start-up is second only to the sound of a V12 Ferrari at full honk (but if you keep that sound going for too long, you’ll hear other sounds coming up from behind you). Going through the hills around Malibu, accelerating through sweepers, calling forth the immaculate throttle-blip-enhanced downshifts, the cornering as precise as a hot knife through butter… what’s not to like? Yet with all of the swagger and performance of a track car, the 12Cilindri knows how to behave. It's perfectly docile, even in stop-and-go traffic (this is Los Angeles, after all, so no road test would be complete without that slog). And with a convertible hard top that can disappear and reappear in mere seconds, it truly is a car for all reasons and for all seasons.
THE WATCH BUILT FOR TRAVEL
BY ADRIENNE FAUROTE
Louis Vuitton’s Escale collection arrives at a new destination — and it’s worth the journey.
THERE IS A WORD THAT LOUIS VUITTON HAS CARRIED WITH IT FOR over a century, stitched into the lining of every trunk, embossed onto every case clasp, implicit in every journey the House has ever equipped. That word is “escale” — French for stopover, for the moment between departure and arrival, for the pause that makes the journey meaningful. It is a word that contains within it the entire philosophy of a House built on the romance of travel: that the destination matters, but so does everything in between.
The Louis Vuitton Escale watch collection was born from that philosophy. Since its debut, it has existed as a horological extension of the House’s oldest and most essential story — the idea that time, like travel, deserves to be experienced with intention, elegance, and a certain reverence for craft. Now, in 2026, the Escale begins what Jean Arnault, director of Louis Vuitton Watches, calls a new chapter. It is a chapter defined by four new in-house calibers, five new additions to the permanent collection, and a decisive step forward into the world of haute horlogerie complications. It is, by any measure, the most ambitious iteration of the Escale yet.
THE FOUNDATION
To understand where the Escale is going, it helps to understand where it came from — and what it has always represented within the Louis Vuitton watch universe.
The collection was born from the House’s identity as the original authority on the art of travel. Louis Vuitton has been equipping journeys since 1854, and the Escale was conceived as a direct horological expression of that heritage. Its design language draws explicitly from the House’s legendary trunks: the instantly recognizable lugs, inspired by the brass brackets and corners of
historical trunks, give the Escale its architectural identity in a way that no other watch collection in the world replicates. The connection between object and heritage is not symbolic alone — each Escale is delivered in a specially designed presentation trunk, a refined homage to the House’s storied travel history that makes the unboxing experience as considered as the watch itself.
Relaunched in 2024 with a refined design language and a time-only configuration, the collection established a new visual standard for the Escale before expanding into the territory it now occupies. The 2026 additions — four new in-house movements, five new references — represent not just a departure from that standard, but an evolution of it. “This new chapter for Escale is aligned with the transformation we have been going through over the last four years,” Arnault explains. “The challenge for us was to elevate historical icons like the Worldtime to our new craftsmanship standard, and the difference is incredible. Details around the case, dial, movement finishing — all the details were carefully thought through.”
The thread connecting every new piece is what Arnault calls a search for coherence among movement, purpose, and design. It is a simple idea, and a demanding one. In watchmaking, coherence of this kind — where every element of a watch justifies its presence by serving the whole — is far rarer than it should be. In the new Escale collection, it is everywhere.
At La Fabrique du Temps Louis Vuitton, the atelier at the heart of the House’s watchmaking ambitions, master watchmaker Michel Navas frames it in equally direct terms. “The new Escale represents functional watchmaking at its finest. Each caliber was designed with clarity and precision in mind — complications that truly serve the traveler, finished to the highest standards of haute horlogerie.” It is a statement of intent, and the watches deliver on it.
“The challenge for us was to elevate historical icons like the Worldtime to our new craftsmanship standard, and the difference is incredible. Details around the case, dial, movement finishing — all the details were carefully thought through.” — Jean Arnault
THE ESCALE WORLDTIME
The Escale Worldtime has been a defining model for the collection since its debut in 2014. Its return in 2026 — in two new platinum references — is, as Matthieu Hegi, artistic director of La Fabrique du Temps Louis Vuitton, puts it: “The Worldtime is where the Escale story truly began. Bringing it back wasn’t just a choice — it was essential.”
The first reference, W3PTA1, features a miniature-painted worldtime ring and a grained blue center dial powered by the new in-house LFT VO 12.01 caliber. A jumping hour disc improves legibility across all 24 time zones simultaneously and is adjustable via the crown. The 288-component selfwinding movement delivers a 62-hour power reserve.
The second, the Escale Worldtime Tourbillon (W3PT41), heightens the artistry considerably. The flags encircling the dial are rendered in grand feu enamel rather than miniature paint, and a central flying tourbillon — shaped as a Monogram flower, making one revolution every sixty seconds — transforms the heart of the dial into visible, perpetual motion. Powered by the 337-component LFT VO 05.01 caliber, it is one of the most visually extraordinary watches La Fabrique du Temps has produced. Both models are offered in platinum for the first time, each featuring an open caseback set with a saffroncoloured sapphire — the House’s quiet signature in precious stone.
The Worldtime dial is a work of art, and understanding how it is made changes the way you look at it. Each of the 24 flags representing major cities is individually hand-painted by a single artisan working from start to finish on that dial alone. Thirty-five colors are applied one by one with a fine-tipped brush; the dial is dried in an oven between each application. It takes an entire week to complete a single dial. The flags draw their forms from historical Louis Vuitton motifs — the malletage trunk lining, the Damier canvas, the Monogram Flowers pattern — making the Worldtime dial a visual atlas of the House’s own history.
For the Tourbillon, the flags are executed in grand feu enamel across more than 40 firings in five layers at temperatures ranging from 730° to 840°C, requiring over 80 hours of work by a Master Enameller. “Every Escale Worldtime dial is the work of a single artisan, who works one brushstroke at a time from start to finish,” says Hegi. “Each flag embodies a fragment of our history.”
The world does not divide neatly into 24 standard time zones. India adds 30 minutes. Nepal adds 45. Neither world time complications nor conventional GMT watches account for these offsets with complete accuracy. The Escale Twin Zone does.
From left to right: Louis Vuitton Escale Worldtime W3PTA1, Louis Vuitton Escale Worldtime Tourbillon W3PT41, and Louis Vuitton Escale Twin Zone W3PT61
References W3PT61 and W3PG71 feature two sets of hands on a single axis — an architecture unprecedented in GMT watches. An independently adjustable minute hand allows precise to-the-minute adjustment across every global time zone, including those with non-standard offsets. Full-bodied hands indicate local time; skeleton hands indicate home time. When at home, the skeleton hands can be hidden entirely, giving the dial the calm legibility of a time-only watch.
“The idea was to make a travel watch that works for everyone, not just those in the usual 24 time zones,” says Navas. “The Twin Zone allows for half-hour and quarter-hour offsets without adding complexity for the wearer.”
The rose gold reference W3PT61 features a silvery sunburst satin-finished globe dial engraved with meridians and parallels, its opaline flange punctuated with gold studs recalling the nails of Louis Vuitton trunk bindings. The platinum haute joaillerie reference W3PG71 carries the same movement within an entirely different aesthetic — an aventurine center dial alive with light, surrounded by 120 baguette-cut diamonds on the flange, 170 on the case and bezel, and more than 300 diamonds in total. “The gemsetting is executed with the same precision and intent as the movement itself,” says Hegi.
Both references are powered by the in-house LFT VO 15.01 — a 201-component self-winding caliber with 68 hours of power reserve.
“The idea was to make a travel watch that works for everyone, not just those in the usual 24 time zones.” — Michel Navas
THE ESCALE MINUTE REPEATER
The Escale Minute Repeater is the complication that stands apart from the others: not because it is technically more demanding, though it is, but because it operates in a dimension the others do not. It speaks.
Reference W3PGA0 houses the caliber LFT SO 13.01, a manually wound movement born from the shared heritage of La Fabrique du Temps Louis Vuitton and Gérald Genta. Michel Navas and Enrico Barbasini — both of whom worked with Gérald Genta in the 1990s — developed the 432-component caliber, which requires over four weeks to assemble and finish, and delivers an 80-hour power reserve.
The combination of a minute repeater with jumping hours and retrograde minutes is a rare accomplishment in modern watchmaking, requiring the synchronization of two independent time-calculation systems — one for the striking mechanism, one for the jumping display — with perfect reliability and energy efficiency. The black-polished hammers and gongs are hand-shaped and tuned by ear to achieve a crystalline chime of remarkable clarity. A nearly silent centrifugal governor, secured by an octagonal bridge recalling Genta’s inimitable aesthetic, ensures the sound carries cleanly.
The center dial is hand-guilloché on a traditional rose engine — a flammé pattern requiring up to 60 hours of savoir-faire — while the repeater slide is integrated into the lugs themselves, a subtle departure from convention. “Hiding the slide within the lug was a deliberate gesture,” explains Hegi. “It makes the activation of the repeater an almost private act — the complication is revealed only to the wearer.”
Adds Navas, “From the outset, we wanted the complication to feel effortless. It’s a contemporary way of expressing a very traditional complication.”
Louis Vuitton Escale Répétition Minutes W3PGA0
The Worldtime paints a map of memory in color and light. The Twin Zone tracks the world with unprecedented precision. The Minute Repeater gives time a voice. Together, they represent what La Fabrique du Temps Louis Vuitton is capable of when the brief is: make watches worthy of the journey.
PHOTOS
INTERSTELLAR
A HAUTE LOOK AT THE NEW OMEGA CONSTELLATION OBSERVATORY COLLECTION.
PHOTOGRAPHY JEFFREY WESTBROOK
PROP STYLING MIAKO KATOH
CREATIVE & FASHION DIRECTOR ADRIENNE FAUROTE
PRODUCTION SHELBY COMROE
THE SENTIMENT OF CREATION
DIOR'S ROSE DES VENTS COLLECTION RETURNS WITH NEW ONYX CREATIONS, WHITE GOLD ÉTOILE DES VENTS PIECES, AND A LONG CHARM NECKLACE THAT READS LIKE A PERSONAL TALISMAN. IT IS JEWELRY CONCEIVED NOT MERELY TO BE WORN, BUT TO HOLD GREAT SENTIMENT. “ROSE DES VENTS IS A METAPHOR FOR CREATION,” VICTOIRE DE CASTELLANE, THE ARTISTIC DIRECTOR OF DIOR JOAILLERIE, ELOQUENTLY NOTES. “CREATING MEANS TO SEARCH AND GO ROUND IN CIRCLES BEFORE FINDING YOUR BEARINGS AND SETTING OFF ON A JOURNEY. CREATION IS THE IMPRINT OF A MOTIONLESS JOURNEY.”
Dior Fine Jewelry Rose des Vents necklaces and bracelets
Dior Fine Jewelry Rose des Vents necklace and earring
RELICS Revived
DIOR MEN'S FALL 2026 ACCESSORIES TELL THE FULL STORY — DIORETTE CHARMS WITH ROCOCO FLOURISHES, SOFT MESSENGER BAGS, AND LOAFERS AND SNEAKERS AGED WITH THE EASE OF A WELLTRAVELED WARDROBE. EVERY PIECE FEELS LIKE A FOUND OBJECT WITH A HISTORY WORTH KNOWING.
BY ADRIENNE
FAUROTE
Louis Vuitton Is Building a Better World
THE HOUSE THAT INVENTED THE ART OF TRAVEL IS NOW REIMAGINING WHAT IT MEANS TO BE A RESPONSIBLE GLOBAL CITIZEN — AND THE RESULTS ARE EXTRAORDINARY.
BY ADRIENNE FAUROTE & SHELBY COMROE PHOTOGRAPHY COURTESY OF LOUIS VUITTON
At the heart of Louis Vuitton lies a simple truth that has been there since the first travel trunk was made: the world is meant to be explored. But a world worth exploring demands care. As climate change, biodiversity loss, and water scarcity increasingly define the landscape of our time, Louis Vuitton is doing something that requires more than good intentions — it requires science, innovation, and the full weight of a 170-yearold institution moving in a single direction. That direction is regeneration.
With the launch of Regeneration 2030, Louis Vuitton has introduced its most ambitious environmental roadmap to date — a program that moves deliberately beyond preservation and into the active work of restoring the ecosystems and communities that make the world worth returning to. Guided by Louis Vuitton's Creative Circularity approach and structured around three pillars — contributing positively to environmental transition, deploying Circular Creativity, and innovating in sustainable operations — the program is applied across the full life cycle of every creation the House produces. This is not a pivot; it is an evolution, and it has been building for years.
Inspired by Neo-Gothic ornamentation and the rising influence of Japonism, the Monogram was initially created to safeguard the authenticity of Louis Vuitton’s creations. Registered as a patent on January 11, 1897, it countered rampant imitations while forging a bold identity — one of the earliest modern logos.
The design quickly transcended its protective origins to become something far greater — a defining signature and hallmark of Louis Vuitton’s spirit. Georges envisioned an emblem that did not merely adorn objects but became a status symbol for luxury. Throughout its 130-year history, the Monogram has united generations of creators, collectors, and cultural icons. It has guided the hands of the House’s master artisans and shaped the vision of its creative directors.
Nicolas Ghesquière, artistic director of women’s collections since 2013, has continually reinterpreted its codes with poetic precision. Pharrell Williams, men’s creative director since 2022, brings fresh energy to its legacy. Earlier visionaries include Marc Jacobs, who served as artistic director of women’s and men’s collections from 1997 to 2013, and Virgil Abloh, who served as artistic director of men’s collections from 2018 to 2021.
The Monogram has also inspired exceptional collaborations with leading artists such as Takashi Murakami, Yayoi Kusama, and Richard Prince, each adding new layers to its cultural resonance.
On climate, Louis Vuitton established a formal trajectory in 2021 to reduce greenhouse gas emissions, validated by the Science-Based Target Initiative in 2025, and aligned with the Paris Agreement. The main contributors to the House's carbon footprint are raw materials, transportation, and energy, and Louis Vuitton's action plan addresses all three directly.
In its workshops, energy consumption decreased by 30 percent between 2021 and 2025 following the implementation of a comprehensive reduction plan. The l'Oratoire workshop in central France — one of the most recent additions to the House's manufacturing network — was designed using a bioclimatic approach that achieves up to 40 percent greater energy efficiency compared with earlier facilities. Ten workshops and logistics sites are now fully equipped with photovoltaic panels. In 2025, 95 percent of the electricity consumed in workshops came from renewable sources, up from 69 percent in 2020. Beyond the workshops, 91 percent of Louis Vuitton stores now have energy-efficient LED lighting systems, up from 32 percent in 2020.
Transportation presents one of the most compelling innovation stories in the entire program. In partnership with French startup Grain de Sail, Louis Vuitton is testing transatlantic shipping solutions using sailing cargo vessels, a mode of transport that reduces CO2 emissions by 90 percent compared to conventional cargo. Nine crossings were completed between 2024 and 2025. It is the kind of initiative that reads as visionary until you consider that ocean liners were, once upon a time, exactly how a Louis Vuitton trunk made its way around the world. There is something deeply fitting about the House returning to wind.
Circular Creativity is the principle that connects Louis Vuitton's environmental ambitions to its creative process — the idea that how a product is designed, made, used, and renewed is inseparable from its value as an object. Since 2025, every product category has integrated environmental criteria at the design stage. The result is a House that considers the end of a product's life from the very beginning of its creation.
The Boro Landscape Denim collection, presented during the Men's Fall Winter 2026 fashion show, reinterpreted iconic bags — the Speedy, Keepall, and Neverfull — using denim panels sourced from existing stock, nearly two miles of material that might otherwise have remained unused. It is fashion as resourcefulness, with no compromise on craft.
All fragrances and products from the La Beauté Louis Vuitton lines are designed to be refillable. The Care & Repair service covers every product category, with nearly 600,000 items restored each year by 400 artisans across 11 ateliers in eight countries. Repair has been part of Louis Vuitton's heritage since its founding — each creation designed not merely for elegance and utility but as a lasting legacy meant to be preserved, cared for, and passed down.
The numbers behind Circular Creativity in events are equally striking. In 2025, 97 percent of materials used in fashion shows were reused or recycled. For the Cruise 2026 show in Avignon, 96 percent of materials were reused, recycled, or donated. For the Men Spring-Summer 2026 show at Center Pompidou in Paris, more than half of all materials were rented. The Monogram has transcended generations. Now it is transcending waste.
The most personally resonant dimension of Regeneration 2030 is also one of its least expected: a five-year partnership with People For Wildlife, a conservation charity supporting biodiversity regeneration in Northeast Australia, launched in February 2023.
The partnership protects and restores biodiversity across nearly one million acres — a landscape hosting approximately 4,300 species of flora and fauna, 293 of which are classified as endangered, including the Jardine River turtle, the saltwater crocodile, and the palm cockatoo. Each year, 60 miles of fire breaks are established to protect some 740,000 acres of land from wildfire, including up to 173,000 acres of sensitive wetland habitat.
People For Wildlife's model enables local communities to generate sustainable income through responsible harvesting of natural resources
— making conservation a source of livelihood rather than a constraint on it. Indigenous-owned businesses are established as part of the process. The results are extraordinary in their specificity. Monitoring has identified three previously undocumented species — two chanterelle mushroom species likely endemic to the Apudthama region and a grey and brown python. In September 2024, efforts began to support the palm cockatoo, one of Australia's most endangered birds, through the installation of artificial nesting hollows made from fallen trees. In December 2025, the first successful breeding in one of those hollows was recorded. In October 2025, People For Wildlife received the prestigious Australian Geographic Award for Nature in recognition of this work. The initiative contributes to LVMH's objective of rehabilitating more than 12 million acres of flora and fauna habitat by 2030.
Looking at the full scope of Regeneration 2030 — from the Rivoli sneaker to the sailing cargo vessels, from the grand feu enamel dials to the palm cockatoo hollow in Apudthama — what becomes clear is that Louis Vuitton is not treating sustainability as a separate initiative running alongside its creative work: it is treating it as the same work. The world is meant to be explored. Louis Vuitton intends to make sure it still can be.
DRESSING WITH INTENTION
PHARRELL WILLIAMS HAS ALWAYS UNDERSTOOD THAT LOUIS VUITTON IS, AT ITS CORE, A HOUSE OF TRAVEL. FOR MEN’S SPRING-SUMMER 2026, HE TAKES THAT CONVICTION TO ITS MOST EXPANSIVE CONCLUSION YET, DRAWING ON THE SARTORIAL RICHNESS OF MODERN INDIA TO REDEFINE WHAT IT MEANS TO DRESS WITH INTENTION. THE COLLECTION THAT EMERGED IS RICH IN TEXTURE, COLOR, AND CRAFT — A WARDROBE THAT MOVES AS FLUIDLY BETWEEN THE STREETS OF NEW YORK AND THE BOULEVARDS OF PARIS AS THE MAN WHO WEARS IT.
BY ADRIENNE FAUROTE
PHOTOGRAPHY CODY LIDTKE
STYLING SEPPE TIRABASSI
GROOMING ANGELLA VALENTINE AT SEE MANAGEMENT
MODEL AIDAN SCOUT AT KEV MGMT
SENIOR FASHION CONTRIBUTOR SHELBY COMROE
DP KENNETH MARTELL
1ST PHOTO ASSISTANT ANDREW WOMACK
STYLING ASSISTANT AMANDA ESTRADA
ALL CLOTHING & ACCESSORIES BY LOUIS VUITTON MEN
SHOT ON LOCATION AT THE PARK LANE HOTEL NEW YORK
Cartier LOVE Unlimited bracelet in 18k yellow gold, $9,400; available at Cartier boutiques nationwide, cartier.com, and 1-800-227-8437
Fendi FF Diamonds Wallet On Chain in anemone purple leather, $1,350; fendi.com
Bvlgari Serpenti Tubogas watch, 35mm in 18k yellow gold with curved case set with diamonds, $57,000; bulgari.com and 1-800-285-4274
Dior J’adior Solid Perfume L’Or de J’adore, $109; dior.com
Mother's Day IN LUXURY
Van Cleef & Arpels “Lucky Spring” earrings featuring white mother-of-pearl and 18k yellow gold, $5,350; available at Van Cleef & Arpels, vancleefarpels.com, and 1-877-826-2533
FASHION’S MOST LUXURIOUS MOTHER'S DAY GIFTS THIS SEASON — FOR THE WOMAN WHO HAS EVERYTHING AND DESERVES EVEN MORE.
BY ADRIENNE FAUROTE
Tiffany & Co. Tiffany HardWear Graduated Link necklace in yellow gold with pavé diamonds, $59,000; available at select Tiffany & Co. locations, tiffany.com, and 800-843-3269
Dior Ribbon sneaker, $650; available at Dior boutiques nationwide and 1-800-929-3467
Gucci Paparazzo medium top handle bag in GG Canvas, $3,250; available at select Gucci stores nationwide and gucci.com
CHANEL Coco Beach 2026 sunglasses, $950; available at select CHANEL boutiques nationwide and 800-550-0005
CHANEL Fine Jewelry Coco Crush supple choker in quilted motif, flexible design, and 18k white gold and diamonds, price upon request; available at select CHANEL boutiques nationwide and 800-550-0005
Louis Vuitton Eau de Parfum miniature set, $405; available at select Louis Vuitton stores, louisvuitton.com, and 1-866-884-8866
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leslies.modell@sothebys.realty modellteam.com
Eugenia C. Foxworth
Market: Uptown, New York Foxworth Realty
212.368.4902
eugenia@foxworthrealtyonline.com foxworthrealtyonline.com
Moira E. Holley
Market: Seattle, WA Realogics | Sotheby’s International Realty
206.612.5771
moira@moirapresents.com moirapresents.com
Blue Zone Realty
International - Tim Fenton
Market: Utiva Puntarenas, Costa Rica
415.251.2332
tim@bluezonerealty.com bluezonerealty.com
LUXE Forbes Global
Properties
Market: Lake Oswego / Portland / West Linn / Bend, OR
503.389.2112
info@luxeoregon.com luxeoregon.com
Robert F. Davey
Market: Costa Rica / Nicaragua Christie’s International Real Estate Costa Rica
506.8870.8870
bob@bdavey.com costaricachristiesrealestate.com
Jorge A. Guillén
Market: Puerto Vallarta, Mexico Tropicasa Realty
322.306.0535 jorge@tropicasa.com tropicasa.com
The premier list of the world’s most exclusive properties by some of the most renowned real estate development companies.
Group
305.669.5160 | theballigroup.com info@theballigroup.com
Binst Architects, Luc
+32.3.213.61.61 mail@binstarchitects.be
954.609.7113 | dawn@dawneliseinteriors.com dawneliseinteriors.com
917.309.4354 | karen@aspreastudio.com aspreastudio.com
THE COLONY: PALM BEACH’S MOST ICONIC PINK ADDRESS
THERE IS NO PLACE IN PALM BEACH QUITE LIKE THE COLONY.
With one foot in the sand and one foot on Worth Avenue, the Pink Paradise has been the epicenter of Palm Beach social life for decades — and under the ownership of Sarah and Andrew Wetenhall, who purchased the property in December 2016, it has never been more alive. The Wetenhalls have spent nearly a decade carefully restoring and reinvigorating the historic hotel, turning it into something that feels equally nostalgic and entirely of the moment. When Colony team members greet their guests, they say two words: “Welcome home.” It is never just a pleasantry.
The lobby — known as the Living Room — sets the tone immediately. Featuring bespoke de Gournay wallpaper designed exclusively for the property and décor by Kemble Interiors, it is Sarah Wetenhall’s love letter to Palm Beach, rendered in soft seating and conversational furniture that make arrival feel less like checking in and more like walking into the world’s most stylish private residence. Every Wednesday from October through May, the space hosts Palm Beach’s Living Room Series, an intimate gathering featuring tastings, book signings, and conversations with tastemakers across art, design, and fashion. It has become the most sophisticated mid-week social fixture in town.
The Colony’s 14 villas and bungalows are where the property’s design vision reaches its fullest expression. The Cabana Bungalow, conceived with Cabana founder Martina Mondadori and designer Ashley Hicks, pays homage to iconic decorators including Yves Saint Laurent and David Hicks. The goop Villa, designed by Ronen Lev in collaboration with Gwyneth Paltrow and her goop team, features goop x Fromental botanical wallpaper and bathrooms stocked with goop’s cult-favorite Micoderm Instant Glow Exfoliator. Villa Jasmine by Aerin — curated by Aerin Lauder — opens onto a fountained courtyard through French doors, its palette of pale pinks, greens, and blues evoking the coastal landscape. Villa Aralia by Mark D. Sikes delivers the designer’s signature blue-and-white interiors in a space as timeless as Palm Beach itself.
As Palm Beach continues to evolve rapidly, The Colony has remained a tue icon.
Clockwise from top: Hotel exterior, pool area, and living room
SHAN CELEBRATES 40 YEARS AT THE ST. REGIS RESIDENCES, SUNNY ISLES BEACH, MIAMI
1. Israel Kreps, Caroline Underwood Burman, Sebastian Sagranichne, Chanel Iman, and John James Muller
2. Marcela Velasquez, Alex Jovanich, Bridget Halanski, Celeste Martinez, and Nathan Gilbert
3. Isabella Holguin and Luisa Fernandez 4. Iman
5. Adriana De Moura and April Donelson
6. Gilbert and Chantal Levesque
7. A Presidente Bar mixologist crafting signature Campari cocktails
CANADIAN LUXURY FASHION HOUSE SHAN MARKED ITS 40th anniversary at the oceanfront sales gallery of The St. Regis Residences, Sunny Isles Beach, with an immersive retrospective blending couture craftsmanship and coastal glamour. Hosted by developers Fortune International Group and Château Group, presented with Haute Living as the exclusive media partner, the evening brought together fashion insiders, media leaders, and industry tastemakers.
Guests were welcomed with Champagne Lallier and signature cocktails from Campari in collaboration with Presidente Bar. Supermodel Chanel Iman made a special appearance as Ford Models Miami presented archival designs dating from 1985 alongside pieces from Shan’s Cruise 2026 Collection, highlighting the brand’s evolution over four decades. Founded by Chantal Levesque and now creatively led by her son Nathan Gilbert, Shan remains family-run, with every piece designed and produced at its Montreal atelier.
The setting added to the evening’s momentum: The St. Regis Residences recently secured a $418.3 million construction loan, with the South Tower sold out and the North Tower set to break ground this summer.
HAUTE LIVING AND EXECUTIVE RETAIL SHOPS
CELEBRATE
ROBERT HERJAVEC AT AIR MODERN FRENCH
ASIAN BY SEASPICE
HAUTE LIVING, IN PARTNERSHIP WITH EXECUTIVE RETAIL SHOPS, convened an exclusive gathering in Miami to honor Robert Herjavec at Air Modern French Asian by Seaspice. Set along the waterfront, the soirée assembled industry luminaries and cultural tastemakers in recognition of Herjavec’s latest Haute Living cover feature, ‘Robert Herjavec and the Meaning of Light,’ a meditation on ambition, legacy, and genuine achievement.
Executive Retail Shops, the evening’s principal partner, brings curated luxury retail to private jet terminals across the Americas — a sensibility that mirrored the soirée’s discerning crowd.
Herjavec commands recognition as a preeminent cybersecurity authority, international business architect, bestselling author, and executive producer on ABC’s Emmy Award-winning Shark Tank. His reach extends across Canada, Australia, and America on the franchise, yet the evening maintained an atmosphere of intimacy and authenticity distinguished by effortless discourse.
Air presented a contemporary French Asian gastronomic experience through a seasonally curated tasting menu anchored in technical precision and culinary innovation. Drawing inspiration from luxury yachts, the dining salon showcased refined maritime accents and sweeping vistas of the riverfront, evoking the sensation of boarding a private vessel.
CEO and founder of Haute Living Kamal Hotchandani and president of Executive Retail Shops James Mullaney offered toasts celebrating Herjavec’s cover. The evening featured libations from Telmont Champagne and Louis XIII Cognac, while distinguished attendees included Adriana de Moura, Guerdy Abraira, Fernanda Sosa, and Aymeric Bianchi.
4.
5.
1. Robert Herjavec’s Haute Living cover
2. Herjavec, Aymeric Bianchi, April Donelson, and Kamal Hotchandani
3. Donelson, Fernanda Sosa, James Mullaney, Kiki Barth, and Philippe Dray
Don Londrés Blanco and Reposado
Herjavec, Adriana de Moura, and Guerdy Abraira
HAUTE LEADERS GATHER FOR AN ELEGANT BRUNCH AT ROSE CAFÉ IN SUNNY ISLES
3.
4.
5.
HAUTE LIVING BROUGHT TOGETHER AN INTIMATE CIRCLE of industry leaders and visionaries for a refined brunch at Rose Café in Sunny Isles. The sun-drenched gathering united beauty and real estate tastemakers for a morning of elevated conversation, warm hospitality, and Italian-inspired indulgence.
Conceived by philanthropist Alexandra Milton and designed by Heather Ashton, Rose Café’s Art Deco-inspired, pastel-toned interior offered a chic, light-filled setting as thoughtful as its guests. The Mediterranean-inspired menu, rooted in nourishment and simplicity, made for an ideal backdrop for the Haute Leaders brunch — a signature brand touchpoint for fostering genuine connection.
The menu was a love letter to Italian craftsmanship: Piatto di Frutta, uovo reale al tartufo, casseruola al forno, cornetto incredibile, parmigiana, and a velvety homemade pistachio gelato — with mimosas and coffee flowing throughout.
Among those assembled were beauty partners Marissa Dalla Rizza, Dr. Condé Green, and Lana Mar of Cellebration; real estate partners Carsa Craighton and Romaello D’Franco, Bozana Cavar, and Elisa Lipton; and Haute Black partners Leah and Alex Sajovits, and Jeffrey Puppo. The gathering reflected Haute Living’s commitment to curating community across its luxury verticals — where beauty, lifestyle, and real estate converge over exceptional food and meaningful exchange.
1. Omar Sow, Lana Mar, and Elisa Lipton
2. Dasha Danekyants, Leah Sajovits, and Marissa Dalla Rizza
Jeffrey Pupo, Nelly Gellar, Carsa Craighton, and Romaello D’Franco
April Donelson addresses the room
An exquisite spread curated for the afternoon
6. Haute Leaders brunch at Rose Café, Sunny Isles Beach
BEHIND THE SCENES AT HAUTE LIVING’S SPRING TRAINING KICKOFF WITH MLB ICONS
1. Ferrari of
an
evening of culture and community 2. Vincent Fiori, Clarke Schmidt, José Berríos, George Springer, Christopher Bell, and Scott Effross 3. Berríos and Jay Collins 4. April Donelson addresses the crowd 5. The signature Louis XIII toast 6. Wines by Silver Oak
LIVING MARKED THE BEGINNING OF SPRING TRAINING
with an intimate private dinner hosted alongside Rockefeller Global Family Office and DBT Wealth Partners, with Ferrari of Tampa Bay joining as a featured partner. The dinner took place at the home of Toronto Blue Jays pitcher José Berríos, bringing together MLB greats including George Springer, Clarke Schmidt, Javier Báez, Alejandro Kirk, Fernando Cruz, and Scott Effross.
Lt. Governor Jay Collins landed from Jacksonville to join the evening, officially ushering in spring training in Tampa. Berríos continues to invest deeply in impact beyond the field through La Makina Foundation, his philanthropic initiative dedicated to empowering communities through sports, education, and inspiration, particularly in Puerto Rico.
Rather than a traditional social affair, the evening reflected a growing shift in how leaders across sports, finance, and luxury engage with one another. Conversations moved beyond performance on the field and into long-term vision, legacy planning, and the evolving role athletes hold as entrepreneurs, investors, and cultural decision makers.
Guests enjoyed a rare Louis XIII toast while enjoying wines by Silver Oak, marking the official start of spring training in Tampa with understated elegance and refinement.
Tampa Bay hosts
elite
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