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© Mariano Vivanco



G N I RT 0 A 0 ST 0,0 N A € 19 L -P M F F RO O F




The storm is passing, and the ship is starting to sail again in the magnificent sea that has always welcomed us with love and beauty. And at Force One we are happy to confirm our role as skipper of exclusivity, luxury and joie de vivre. This is also a somewhat special edition, with a slightly reduced number of pages, but with the quality of content that has always been our North Star. The journey begins on the most iconic yacht of the past thirty years: Lady Moura who welcomes us for the last cocktail before the lockdown, an incredible Force One Night. It then continues by stopping by two giants of style: Balenciaga and Gucci. The correspondence with our loved ones is made with the elegant paper (and not only) creations of Pinaider. With a lot of imagination ;-)) we take our boat to the French Alps for the usual partnership with the best hotels and private chalets in Megève and Couchevel. And since this period is so special, and has made us understand even more the importance of time and how we use it, then a stop on our cruise is dedicated to the discovery of the most amazing watches of these months. And if you want a photographic souvenir of this magnificent trip, we may ask our personal photographer Mariano Vivanco... ;-) Have a good trip...

Luca Marotta

Publisher and Creative Director




Publisher and Creative Director Luca Marotta Editorial Director Andrea Dini


Art Director Florent Sammut Cover photo © Mariano Vivanco Red Rose 001 (detail) Fashion Editor Alberto Corrado


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Fashion - Gucci: Culture of the time


Luxury - Pineider, the art of handwriting


Venues - L'Apogée / Cour Venues - Floco n


Venues - Z a

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Jewelry and Watches Editor Laura Canepa Senior Contributor Alice Gardner Editorial Contributors Keith Francis Vicky Morris Manuela Schinaia Photographers Andrea Cabiale Karin Creuzet Bruno De Marquis Valentina de Gaspari Fresh Influence Francis Hammond Mesi Daniele Oberrauch Jean-François Romero Luca Rotondo Jean-Michel Sordello Alex Stephen Teuscher Pierre Thiaville Anne-Emmanuelle Thion Robert Yager Translations Marsglobus open to translation Ltd. Video Lukasz Cholewiak Web Force One Advertising & Development +33 (0)6 40 61 02 05 Colour Separation Thomas Bourgoin ISSN 2271-4111



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THE LADY OF MONACO By Manuela Schinaia

On the 22nd of September 2020, “Force One Night” private cocktail took place on yachting icon M/Y Lady Moura, in the harbour of Monaco. It’s been a very special occasion: for the first time in her 30 years’ history, the prestigious boat has been the site of an event not organized by the owner. During all these years in fact, the yacht has always had the reputation to be somehow “inaccessible”: only those invited by the family have had the chance to visit her. Launched in 1990 by Blohm & Voss, Lady Moura was, at the time, the most expensive and innovative yacht in the world. The 104.85-metre yacht comprises of a hefty beam of 19 metres with a total gross tonnage of 6,359 GT, 20 cabins for 17 guests and 72 crews.

© Bruno De Marquis


But today a new story is going to be written in her diary: she’s now for sale. That’s why it was time to mark this change with a proper celebration. The prestigious Monegasque agency Force One had the privilege to be the co-host of this historical moment, in close partnership with business related B2C event specialist Investor Media Monaco, organizer of an exceptional three-days event, “Private Rendez-vous”, which included a B2C business lunch at Hermitage Hotel, and a business networking dinner at Club39 Montecarlo. About one hundred selected guests have participated to the opening night onboard Lady Moura, of course respecting social distancing and current coronavirus regulation.


Luca Marotta - CEO of Force One said: “A cocktail is not just an occasion to drink champagne and to show our latest outfit. During a cocktail people gather, share thoughts, ideas and experiences; different individuals with different paths exchange their visions. In these difficult times, life can’t be frozen, and ambitions can’t be thrown away. Force One and Investor Media Monaco decided to continue to live, to socialize, and to develop business. It is a choice to still

“dream big” and to prove that, by respecting all the sanitary measures, it is possible to organize a cocktail and to create memories, business deals and to live even more than before.” Investor Media Monaco CEO Andrea Dini and Luca Marotta welcomed, among others, Formula 1 driver Valtteri Bottas, as well as the former prime minister of Spain José Maria Aznar, and other VIP coming from Monaco and abroad: London, Madrid and even the United States. This event

Š Andrea Cabiale


was so worth it, and once in a lifetime moment, that some guests planned uncomfortable trips in order to make it. The soirĂŠe has been made possible thanks to the amazing support of prestigious yacht broker Camper & Nicholsons International, and the sponsorship of green energy investment platform Assetly Investment Partners. They had the occasion to share their values and to deliver their message to an audience representing exactly their target

potential client. Every element played a role in this success: whether is the hosts, the sponsors, the guests, the crew, the food, the music, and the photographs. But more than everything, the real star of the night has been Lady Moura herself, with her beautiful silhouette, stylish interiors, decks and of course her timeless and elegant vibes.




The OceanoScientific Mediterranean Contaminants Expedition 2020 ended on Thursday 29 October at the honorary pontoon of the Yacht Club de Monaco, from which the AMAALA EXPLORER maxi-catamaran set sail on Thursday 15 October thanks to partnerships with AMAALA and Biologique Recherche, as well as to the sponsors of the OceanoScientific France and Monaco associations. That same evening, Yvan Griboval, the initiator and director of the CO2-free oceanographic campaign by sail under the scientific direction of the Institut Français de Recherche pour l'Exploitation de la Mer (Ifremer), took stock of this sailing expedition from Monaco to Porto Cervo (Sardinia), Barcelona (Spain) and La Seyne-sur-Mer (France), during a dinner conference at the Yacht Club de Monaco. At this occasion, the naviator - explorer specified his future objectives as president of the OceanoScientific associations and the OceanoScientific Expeditions director. "When I returned from the OceanoScientific Expedition 2016-2017, I was convinced of the need to adopt a common denominator of Humankind as a means of raising the awareness of the public at large about the imperative need to better understand the Ocean in order to better preserve it. I thought music would be the perfect medium. That was how we first thought of an Anthem

of the Ocean which became LOVE THE OCEAN® written, composed and performed by the young Monegasque artist Olivia Dorato," Yvan Griboval explained during the dinner conference. LOVE THE OCEAN® was broadcast for the first time and presented to the Sovereign Prince at the arrival of the AMAALA EXPLORER maxi-catamaran in Monaco on 28 October.

Š Mesi


"However, since last spring's lockdown and even more at the end of these two weeks of sailing, I am now convinced thatthe best way to make the world population aware of the importance of the Ocean is to help oceanographic and scientific research focusing on the well-being of human beings and their health. We shall continue to collect physico-chemical data at the Ocean - Atmosphere interface, in particular thanks to the new version of the OSC System. But we shall now go much further in the scientific approach during our next OceanoScientific Expeditions by sail without any CO2 emissions or waste. To do so, we are working hard with the Centre Scientifique de Monaco (CSM) and are planning a forthcoming OceanoScientific Expedition - this time on the theme of coral and in the Red Sea - setting sail on the Thursday of the next Monaco Ocean Week, in March 2021".

"It is too personal an act, even selfish considering the time required for the preparation (over two years), and then sailing (four to six months). Three years and a lot of money to attempt a personal "feat", seems somewhat pointless. It would be three years lost for our oceanographic activities for the benefit of Health, also lost for our thirteen-year-old triplets. They need their father's presence too much at this time of life when their adolescent dreams form the future..."

"The corollary of that decision is that I shall not be able to sail around Antarctica during the Southern Winter as I wanted so much to do!" said Yvan Griboval, not without emotion.

"By having on-board Linn Sekund, the marine biologist of the Team OceanoScientific, we realised the importance of having a scientist by our side to optimise the efficiency of our sailing

Drawing from the lessons learnt during the OceanoScientific Mediterranean Contaminants Expedition 2020, Yvan Griboval insisted on several parameters which will now guide the organisation of the next OceanoScientific sailing expeditions, scheduled to be by catamaran rather than monohull.


expedition. Similarly, the presence of the On Board Reporter (OBR) Manu Valadés Escobar allowed us to send quality photo and video images to the social networks, and then use them for a well-illustrated conference just a few hours after our return to Monaco. It is essential to increase the audience for our adventures and, in doing so increase their impact tenfold to raise awareness about the need to preserve the Ocean". "We dedicated each port call to our local partners so that they could communicate about their own actions to raise awareness about Ocean preservation. We are therefore extremely pleased to have worked with One Ocean Foundation in Porto Cervo; with the Fundación Ecomar chaired by Theresa Zabell and with the Fundació Navegació Oceànica Barcelona (FNOB) in Spain; with the Toulon Provence Mediterranean Metropolitan Authority (TPM) and its eight ports, including that of La Seyne - Brégaillon where the AMAALA EXPLORER was docked. Without forgetting the faithful support of the Prince Albert II of Monaco Foundation, which provided its backing for the exhibition of the plankton fresco produced on the quayside of the Yacht Club de Monaco by the OceanoScientific Monaco with the photos of the underwater photographer Greg Lecœur." On the return to Monaco, AMAALA, the main Partner for the OceanoScientific Mediterranean Contaminants Expedition 2020, was represented by Nick Naples, Chief Executive Officer and Brendan Jack, Chief Sustainability Officer.

Nick Naples said, “We are proud to sponsor the OceanoScientific Expedition. It perfectly aligns with our goal to create a luxury destination that is a global leader in sustainable tourism.” Brendan Jack took the floor to recall: "On the AMAALA site in the Red Sea we have one of the finest remaining coral reefs in the World. However, as with all of the world’s reefs, it too faces the same climate change and human activity based threats, such as sea temperature rise, ocean acidification, and pollution… For these reasons, the importance of the scientific research being carried out by the OceanoScientific team during this Expedition, and the equally important analysis of the collected sample data by Ifremer, cannot be emphasised enough. Our Oceans - the Med and the Red - are connected. We share common issues and we shall share common solutions". On Thursday, 29 October, the line of twelve exclusive products from the LOVE THE OCEAN® collection was unveiled, produced by 727 Sailbags with recycled sails (mainsail, solent and staysail) from the OceanoScientific Explorer BOOGALOO with which Yvan Griboval made his single-handed round-the-world OceanoScientific Expedition 2016-2017, the first oceanographic campaign by sail without CO2 emissions for sixty days under the 40th Southern Parallel.

Photo Š P. Fitte

Chandelier Earrings - Divine Collection White Gold, Diamonds 2,60 ct / Sapphires 43,85 ct

Showroom: 5 Bis Avenue Princess Alice - Monaco +377 93 50 24 26



MARIANO VIVANCO’S 3 “C” By Luca Marotta A meeting with one of the most influential photographers of the last twenty years: Fashion, nudes, nature… photography, video, fine art... creativity has no bounds when you’re a free spirit. I met with Mariano Vivanco during the preparations for his new exhibition at the G&M Design Gallery of Monte Carlo, the black box created by Tina Green in the Principality with the singular aim of, in the proprietor’s words, “exhibiting what we like, choosing only what spurs the senses, not caring for passing fads or commercial promise”. The atmosphere is a mixture of tension and excitement, as you’d expect at that stage of the preparations. People everywhere, the gallery director, her assistants, the fitters taking measurements, drilling holes in walls... even some curious -by like the postman … and a young model who’d heard about the photographer’s arrival and had come in the hope of meeting him. And me too, obviously.

In all the bustle, the calmest, most tranquil “in control” person was just him, Mariano Vivanco. The photographer who’s done celebrated campaigns for Dolce & Gabbana and the Royal Opera House, directed videos for Versace and Lenny Kravitz, isn’t the least bit phased by all the confusion: he’s sending messages, giving instructions about where to put the beautiful Darbyshire frames, dispensing advice and, naturally, answering his interviewer’s questions. F.1.M.: What do you think were the big turning points in your career, in terms of both professional success and artistic development? M.V.: There are no big turning points I believe, it is more like a series of small ones. Professional and artistic developments both go hand in hand. From very early on, even when I first started, I was photographing nudes. I was 18 years old. I would ask my friends and people I knew would be ok with it. I guess in the back of my mind I was already thinking books, and exhibitions. So I’ve always had a link, and to me, when I’m shooting, and a photo resonates, I know it could end up on a wall. It’s a very particular feeling: when I see something and I’m shooting it, it just becomes, like, threedimensional in front of me, and in front of the camera as well, and that’s when I know that that photo is worthy of a longer existence. Throughout my career I’ve been foremost a commercial and advertising photographer. That’s been my bread and butter, and my love and passion. But over the last five years I’ve really focused on photos that could look good on a wall, and photos that people could, perhaps, desire. F.1.M.: So, would you say you prefer art photos now, rather than fashion photography? M.V.: I’m multimedia, I like it all. I sincerely love it all. You can’t have one thing without the other. For example, take the work that I’ve done for a magazine such as Harper’s Bazaar: they gave me a very large budget to create a picture of Rihanna, on top of an airplane in Los Angeles. I did it for a magazine. Can it be a piece of art? Probably not, but what I got out of that is that I’ve learned about big scale photography, to manage a team of fifty to sixty people, a huge budget, amazing research etc. I love doing research for photographs. That was one of the main experiences I had during my Harper’s Bazaar yeas with Glenda Bailey as editor in chief. When she pushed me to a point where we both be ardently debating on the phone. But seriously, we had a great time and I learn a lot from her. Grateful for that experience. Because for example, some art work I will be doing in 2021, will be utilising all that large production experience. Hopefully to create imagery that could be deemed worthy of hanging on a wall. F.1.M.: And what about your movies? Filming is a very different type of work. M.V.: I’ve must say I’m very comfortable with a wide range of media... I’m as comfortable taking pictures with my phone as having a large team of people working with me. F.1.M.: It’s true that phones today have reached such a high level of definition you can do professional work with them. M.V.: Indeed, I met a highly respected art dealer in London, one night at The Arts Club, and she was wearing a coat that looked like a duvet. I said go stand on the wall so I can take a picture and she did this most amazing pose; when I showed her the picture and her office ended up ordering a fine art print of it, so… yes, phones are good! F.1.M.: Tell us about the difference, if you find a difference, between shooting men and women. I’m asking this because it seems to me to find a different approach. It might simply be my personal perception, but do you find a difference from a professional point of view? M.V.: Actually, it’s an interesting question because, you know, being a gay photographer you immediately think “oh, he likes to shoot boys” but again, everything’s got so many layers: there are females that inspire me nude, the same as some boys, I generally like fashion photography with both sexes…Could I say my guy is a tiny bit more “earthy” and could I say my girl is a tiny bit more “glamourous”? Yes. This is how I see things. But I really like everything to be mixed together as well.



White Hibiscus 2015 - FB Silver Gelatin - 115x142 cm

F.1.M.: And going on with the game of comparison: I see that, except for commercial, humans are always black and white pictures, while your flowers for example, are mostly in colour. M.V.: It really depends, at the end of the day I just want to make the most beautiful image possible. The “Russian Hats” for example, they had to be in colour. Yeah, that was a really interesting shoot. We were doing a shoot for Russian Vogue, and the shoot had ended, the car was ready to pick me up for the airport. Then I looked, on the table, and there were these gorgeous, gorgeous Russian hats, and I said to the fashion editor, Ekaterina Mukhina, what are these for? She said she’d brought them just in case we wanted to try them out. I had thirty minutes or else I’d be late for my flight. We quickly hung a backdrop next to a window. One of the dresses we even put on backwards, and I only did about tten frames of each picture. But it was a great moment, when the skies opened up and let me capture that. It was really really special. And they had to be in colour of course. Photos have a life of their own... F.1.M.: Do you see your coming years moving towards more artistic work, rather than commercial? M.V.: Not really. I think it’s healthy to go with your vibes. I love doing fashion photography, I love doing portraits, I love doing still lives, I love nudes, I don’t want any confinements, I just want to do as I feel.

Lonely Brain 2015 - GiclĂŠe print on Epson Semi-Gloss - 62x76 cm


Russian Hat V 2011 - Inkjet on Hahnemuhle Fine Art Baryta - 122x156 cm


Santeria XIV 2017 - FB Silver Gelatin - 116x90 cm

F.1.M.: And how do you see the current situation? It’s almost a year now that it’s been so hard to do any work. Do you think this crisis will have an impact on the creativity? Maybe the reduction of the budgets will force us to raise our creativity? M.V.: I don’t want to be annoyingly optimistic, but I do believe there’s something good in everything. This year has tested every one of us, to the ground. I’ve lost a bunch of big jobs. I lost them, but my partner said 'don’t worry, we’re okay'. So at the beginning of the confinement I just retouched a job , you know that kept me going, kept me sane, and spent a lot more time with my family. You have to stick to the good things you have in life… When the lockdown eased, a friend of mine, a famous nightclub performer from London Daniel Lismore, suggested I watch a movie on Steven Arnold, a Los Angeles photographer, most famous in the eighties, and I discovered his work, and I loved it and I got inspired again! So when King Kong magazine told me to shoot whatever I wanted, we shot a work loosely based on his photography. So to answer your question: this is a moment when creatives have, I feel, been to some low depths, and now, hopefully, will do more what We feel, more what We want, and what is important to us.

The interview ended with a visit to the exhibition, the ritual selfies, a few words of advice to the model, and for me the feeling of having met someone who still communicates, real, sincere emotions. And that everything’s going to be fine, you just have to be yourself...

25 BY MARIANO VIVANCO Until 30th of January 2021 - G&M Design Gallery 11 avenue Princesse Grace - 98000 Monaco



NEWTON By Keith Francis

On the occasion of the centenary of the birth of Helmut Newton, TASCHEN books celebrates one of fashion photography’s most controversial and original figures in a limited BABY SUMO edition of the celebrated 1999 SUMO.

▲ Shoe, Monte Carlo, 1983 Helmut Newton © The Helmut Newton Estate / Maconochie Photography

▼ Willi, Fashion Mansfield, British Vogue, London, 1967 Helmut Newton © The Helmut Newton Estate / Maconochie Photography

He was born Helmut Neustädter, into a middle-class family in Weimar republic Berlin, where decadence and smoky nostalgia were the order of every film, poster, song or cabaret of the day. In love with Marlene Dietrich, so he said, from the time he attended the American School, where he went at the age of 12, he met her years later when they were both in New York and he was to take her portrait. Newton was known for a signature style of photography. His images, often in stark black and white, were calculated to shock, featuring tall, blond, sometimes naked women in heels, perhaps illuminated by headlights or trapped in a dark alley. Bondage, sadomasochism, voyeurism, murder, pornography, prostitution: each was exploited and explored in his photos over the years. Models were depicted in ways that few readers expected: in orthopaedic corsets, or in wheelchairs, or on all fours wearing a dog collar. That transgressive female icon became Newton’s brand, his boilerplate. He photographed women for Vogue, worked for mainstream erotic magazines like Playboy, and published books of nudes that brought high prices once their limited editions sold out. His photographs challenged what was commercially publishable in the 1960s, and when fashion needed some frisson, he could usually provide it. Some female critics, including well-known German feminist Alice Schwarzer, decried Newton's nude women photographs as "sexist to the point of racist and fascist." His detractors gave him the monikers "King of Kink" and "Prince of Porn". Guided by a passion for the strength and allure of the female form and an unquenchable taste for the risqué, Mr. Newton reflected the sexual revolution of the 1960's and 70's, which coincided with his rise to fame. He photographed some of the most beautiful women in the world in poses that emphasized their sexuality, often with an accompanying sense of danger and violence.

© Luca Rotondo


Iman, American Vogue, Hotel Negresco, Nice, 1989 Helmut Newton © The Helmut Newton Estate / Maconochie Photography

By 1975, Newton was exhibiting his fashion portraits, both in colour and blackand-white, in New York, Paris and Amsterdam. Japan soon followed, and the popularisation of his particular fetishistic interests extended to global tours. The meticulous quality of his work, and his success in crossing fashion with transgression, guaranteed Newton's inclusion in major collections such as London's Victoria and Albert museum, the Bibliothèque Nationale and the Musée d'Art Moderne in Paris, the Nikon Photo Gallery, Zurich, and New York's Museum of Modern Art and the Fashion Institute of Technology. In the US, Newton was represented by the gallerist Xavier Moreau, whom he took - in a rare portrait of a man - swathed in a large black coat and behind black sunglasses, his "girlfriend" across his lap, naked but for her black bra and stilettos. Newton, 83, died on January 23, 2004 in Los Angeles when he apparently lost control of his car and it crashed into a wall. He was laid to rest in the Friedenau cemetery in his native Schöneberg district, just four plots away from where screen legend and fellow Berliner, Marlene Dietrich, is buried.

Dear Helmut, the layout finalized by June looks terrific. It will be the coolest photobook ever published… and it will be a milestone for generations of photographers… Benedikt Taschen’s Email to Hehlmut Newton

Created on the occasion of the centenary of Helmut Newton’s birth and TASCHEN’s 40th anniversary, this spectacular new edition edited by June Newton is now available. Shrunk to exactly half the size of the famous 1999 original, the “BABY SUMO” is no less glamorous: With more than 400 breath-taking images, reproduced and printed to the latest standards, it still has all the scope of a private exhibition of photographs. It is likewise published in a limited edition of 10,000 copies and comes with a detailed booklet documenting the making of this major publishing event. Philippe Starck has once again designed the accompanying book stand, this time including a pedestal, as an ideal way to display the volume.

Helmut Newton Baby Sumo Hardcover, 35.8 x 50 cm, 9,80 kg, 464 pages, with bookstand and pedestal, 74 cm

TASCHEN Store 2 rue de Buci 75006 Paris Tél : +33 01 40 51 79 22


Othelo Gervacio "Bleu" 2019, Oil on linen 152,4 121,9 cm


PAVE Contemporary is a new division of HOFA Gallery and will be dedicated exclusively to supporting global emerging talent, with its key objective to promote diversity and inclusivity, whilst providing a platform for artists to create and exhibit across HOFA Gallery's international galleries in London and Mykonos.

CURATED is a new art exhibition series presented by HOFA Gallery and PAVE Contemporary designed to put a spotlight on hand-picked seasoned art collectors and provide a platform for the emerging artists. At the heart of CURATED is a deep appreciation of the symbiotic relationship between artists and art collectors, and the seismic benefits that flow from it. PAVE Contemporary recognise both the artist and art collector as visionaries who by creating and projecting art enrich societies and cultures, catalysing change, evolution, and awareness.

CURATED joines forces with art collectors selected for their dedication, foresight and support of emerging artist careers. Following the success of the first exhibition "Inner Escapes", the second exhibition in the series is "American Roots", lead by an American art collector Francesco Bena. Bena is fascinated by the diversity of the American culture and the polar opposition coexisting within its emerging art scene. The exhibition American Roots will explore the rich and complex tapestry of the country through the works of four chosen artists.


UFO907 "Triple rush" 2020, Aerosol spray on canvas 193 x168 cm

Mark Posey, "Guilty pleasures with fern" 2020, Acrylic and spray painting paint on canvas 152,4 x 137,2 cm

KC Ortiz "Savage beast" 2020, Acrylic paint on canvas 100 x 100 cm

26 ▼ Anette Bjerke Friedly (Norway)

▼ Fern Ferreo (Zimbabwe)

▲ Bruna Treves (Brazil)

MONACO MOTHERS ILLUSTRATE THE ART OF FAMILY LIFE IN THE PRINCIPALITY By Vicky Morris One of the things that people rarely talk about is how family-oriented the Principality of Monaco is. It may be known as a destination for those seeking the pinnacle of luxury lifestyle and glamour, but it has also been chosen as a home by many families from all around the world. It is a place to enjoy life to the full but also an educational, safe and exciting place to bring up a child. The pleasant climate encourages outdoor living, the historically close relationship with the sea can’t fail to stir an interest in sailing and marine life, and the proximity to France and Italy offers the chance to explore other cultures. Childhood in this beautiful part of the world can be extra-special. Now, this less well-known side of Monaco has been encapsulated in a book, “International Mothers of Monaco” by the photographer Valentina Selvaggia de Gaspari, a mother herself, that brings together 5 years of work in 50 portraits of mothers and their children. There are 140 different nationalities living in this tiny country and many of them are represented here, which in turn highlights the diversity of Monaco’s culture and daily life that attracts the kind of family that is often fortunate enough to be able to choose anywhere in the world to live.

The economy is very dynamic and is always looking to the future, thanks to the government of H.S.H. Prince Albert II. Monaco has been renowned for years for its actions to protect the environment and, in recent years, the Prince has committed to transforming the Principality into a Smart City. A balance is struck between history and progress, as life here respects the old traditions whilst also emphasizing the need to move forward with technology and innovation. This approach caters for the various generations of a family and helps create a lifestyle that enriches and appeals to mother and child alike. Valentina explains her motivation for this book and her desire to promote the ‘art of family life’ as practised in Monaco: “Living with my family in the Principality, I was able to appreciate the art of family living that Monaco offered. I worked with mothers of many nationalities that are represented here, and who were, like me, very happy

© Valentina de Gaspari

▲ Sooyun Kim (South-Korea) Alexandra Schuck (USA) ►

to raise their children in this magnificent country that offers us a great quality of life, numerous sports and cultural activities, first-rate schools, safety and a wonderful openness when it comes to thinking internationally.” “International Mothers of Monaco” is a photographic art book, produced with the support of the Monaco Tourist Board and a host of prestigious sponsors, to highlight the multicultural environment of the Principality of Monaco through 50 magnificent portraits of mothers of different nationalities with their children living in Monaco. The book will be launched in March 2021 and you can pre-order a copy before 31st January 2021

Pre-order the book :



© Robert Yager



A FASHION THAT TAKES CARE OF ITSELF By Alberto Corrado Both dystopia and utopia are human constructs, and as such can be dealt with on a human level by a creative spirit who can either exacerbate them or contemplate how they could be transformed. This is the source of Demna Gavsalia’s awareness of the need to create collections with strong ties to reality, leaving no space for the aesthetic loopholes of fashion. Notwithstanding our collective efforts, when we look at the word around us the landscape looks very different to what we’d like. The dream of fashion rising, rising again and then falling over the last twenty years, has given way to an omnipresent, insistent fear. That ours is a reality short of expedients sufficiently convincing to mitigate its hardship. At this point, the utopia of fashion we first defined then obsessively followed through the aesthetic trends we attempted to create, has revealed

itself a dystopia. An intrusion to be avoided. Finding a vein of optimism in what we’re being offered during this extended period of lockdown, or a ray of hope to distract our gaze even for a moment, has become a systematically impossible challenge. The fashion houses themselves and their marketeering systems strive to force interactions with customers through captivating promotions, but often to no avail.

30 At this conjuncture, the answers we’ve been seeking in these years of obsessive accumulation of clothing, much of which forgotten on the shelves of wardrobe, could be found in the illogical realm of creativity, long considered the antithesis of reason and fashion’s utopian alternatives. On the battlefield of fashion, this acute imbalance is confronted in every creative process; processes, as everyone knows, not moments of abstraction but of total immersion in the reality that surrounds us. Indeed, ever more often the final concept of a collection, as presented at the moment of the show, bears little resemblance to the original concept, proposed as the first step in a series of activities, of which only the next step is known. Demna Gvsalia, Balenciaga’s creative director, is perhaps spokesperson of an underground style that sees this dystopia simply as a latter-day deviation to be mitigated, re-formed and encapsulated into a composite creativity that pays tribute to the fashion’s very origins by covering the evident, ultimately disorienting chaos the customer is normally subjected to. His creative process is based on forward-looking vision and pure art, where both utopia and dystopia are human constructs, and as such necessarily relative to the imaginary, the concept of abstraction. Abstraction wouldn’t be so hard if we could choose to abstract in a negative or positive sense, and it’s on this choice that Demna works, offering precise results with due concession to art and the need to dress, to create a present capable of transposition into a future. Playing with the proportions of the garments, taking them to extremes, distorting them, altering them always with veiled but incontrovertible pragmatism, Demna Gvsalia for Balenciaga brings the weapons of freedom, synthesis, imagination and free will to bear on the temptation of boredom, confusion and celebration of a non-existent aesthetic. “I'd like to see our garments in the wardrobes of women who don't care about fashion, but about themselves and their own needs,” says Gvasalia, who’s already delivered the collection to the best international boutiques. Though heavily stylized on the catwalk, his approach is in fact contrary to the absolute styling currently prevailing everywhere: hence he doesn’t focus on the assembly but the individual piece. His clients are those who dress in paroxysmal jackets and cowboy thigh-boots, Amazons in oversize overcoats and patched jeans, proud and defiant, ready for the night of any city. The key lies in terse authenticity, fruit of stubborn independence, both methodological and material, of the reality we live and perceive, which can only be faced with a vein of optimism and creative madness, coarse perhaps but certainly encouraging; in the pure creative hope that only an art form like fashion can inspire freedom in an uncertain future.


© Daniele Oberrauch



CULTURE OF THE TIME By Alberto Corrado

The concept of sensuality is increasingly linked with what a person is capable of creating, and no longer to just a look. With Alessandro Michele, Gucci senses this need to express individuality not simply through pure aesthetics, but through a code of communication that mirrors the intellectual and cultural sector within which it operates, delineating an intellectual elite, capable finally of dictating style. The culture of fashion as value. Intelligence as a tool. Intellectualism as an icon. After a grave period of disavowal during this isolation, these concepts are regaining global value. Let’s start with the easy definition of culture. More often than not what first springs to mind is an image of an old library, or the silent corridors of a gallery. Places where everything has a cost far greater than its practical value, left to a Wildean reminiscence. Yet every day in this weird period of limbo, it seems that rediscovering the values of the days of yore has become something of a trend, like the floral shirts of the ‘seventies, pantsuits of the ‘eighties and biker jackets of the ‘nineties. Risky comparisons, to be sure. But all with an element in common: every decade has its distinctive inclination that expresses, represents and exorcises the fears of society, in any given epoch.


© Daniele Oberrauch


That’s the way it’s always been, and the very history of custom teaches it. The interesting aspect of this period, this intense moment in human terms, is that the few have finally understood the importance of a knowledge of culture, intended as the capacity to learn. Mental openness to the variety of possible experiences, against the useless, sterile notionality typical of those who look but can’t see, listen but can’t hear. Suddenly the blank sheet and the pen, cycling or jogging in nature, a book read in the silence of a room, have replaced the toned body fresh from the gym, the bodacious breast enhanced by a clingy dress. The concept of sexiness, attraction, has always been linked with what a person is capable of doing, creating, and can no longer be mere appearance. Here we have Alessandro Michele, creative director of Gucci, who’s now conquering an increasingly wide audience, not only in numerical terms, but also in terms of social standing and age. Perhaps creatives, too, are feeling that need to express their individuality no simply through purely aesthetic instruments, but using a code of communication that follows the intellectual and cultural sector within which they operate. It seems, in this case, Alessandro Michele wants to give fashion education and culture the importance it deserves. And he’s not afraid to declare

this intent, both openly in interviews and implicitly in his collections and how they’re presented. A creative who’s survived a highly unsettling economic crisis, profiling the need for depth in the creation of fashion through an over-exposure of artisan culture in the sartorial cut. And with a brand philosophy no longer seasonal but with a depth in time, the time of people: from youth to old age. A new, ironic and fresh way of expressing a style embracing both the imaginary and the concrete discovery of the everyday. We witnessed the first act of this woke approach in February this year, when Gucci celebrated the magical ritual of the fashion show: a sacred, irreplaceable liturgy transubstantiating creative thought into product offered up to a community of emancipated spectators. Of this ritual we’d like to show what he loves to hide. Indeed, he threw over the tables and brought the models to centre stage: that collective intelligence, inspired and sensitive, that makes the enchantment of beauty possible. The second act took shape during the May advertising campaign, in yet another effort to overturn the routine mechanisms of fashion. A radical experiment in which Alessandro Michele let himself go to the idea that beauty could manifest, in an unpredictable and marvellously imperfect way, in the absence of control. He abdicated his role as the obsessive director, loosened his grip and


abandoned the construction of the scene and the action, letting the models themselves create their own image, playing photographers, story-tellers, producers and set designers. Then came the epilogue, sealing the closure of this trilogy of love. This final movement gyrated around yet another short-circuit: the clothes were worn by the designers. The designers, who share the everyday burden of creation, became the actors of a new story retaking possession of the poetry they contributed to forging. Staging what each one of us dreams or imagines. An operation that, once again, saw the roles turned. Distance eliminated. The creative act itself expository practise. The interior projected outward. The intangible taking solid form, exploding outward as if by self-combustion. And more, all with the aim of pushing this analysis of the mechanisms governing the world of fashion to the very limit. An unusual way of communicating without falling into the obsessive eccentric, thus dedicated to the aware consumer, attentive and with a desire to appreciate the particularity, though subtle, of an original, cultured product. Vintage references and symbolisms alternating between Dada and the Renaissance draw the traits of an intellectual elite, which founding its premises on a flourishing cultural capacity, finally dictates style.


By Alberto Corrado Through its manifesto, Pineider shows how time can be sung by a chorus of whispering pens, on reams of luxurious paper.

The space we dedicate to handwriting in our everyday lives has increased enormously during the course of this strange pandemic, bringing us back somehow to our origins through the use of pen and paper. Even among digital natives for whom technology is now the consolidated norm, with the gradual erosion of motor skills and visual-motor memory and the implicit consequences this has on creative capacity, we’re seeing an increased awareness of the need to safeguard access to this creative gesture, and encourage the good practise of handwriting.

We’re going back, looking for the beautiful fountain pens we used in our schooldays, and rediscovering special qualities of papers and intimate moments of communion with the rules of beauty and harmony governing the form of the letters. Writing is good, helps the memory, relaxes and trains both hand and mind and gives us the chance to leave a unique sign of our existence here on this earth. Over these months of isolation we’ve reacquainted ourselves with writing as an art form worthy of saving, and


gone looking for a company currently undergoing a radical reorganisation of its entire structure to create a new line in fine pens, paper and leather. We’re talking about Pineider, the historic workshop established in Florence at the behest of Francesco Pineider in 1774 and ever since synonymous with exclusivity and craftsmanship in paper, leather goods and writing instruments, now back in the spotlight after being acquired by the Rovagnati family. Three years of investments in business organisation, communication and design have gone into developing a

powerhouse of experience and ideas, bringing together retail, wholesale and marketing in an all-encompassing vision of the world of bespoke stationery and luxury writing instruments, to rekindle the deep bonds between the brand and its customers. Guiding the changes, director general Giuseppe Rossi, along with Matteo Maresi and Anna Costabile, both part of his team. We spoke long with them about the comeback calligraphy is making, and the enormous creative potential contained in the act of leaving an intelligible mark on a sheet of paper. “If I hadn’t studied International Economics


I would have studied geology so I could work in prospecting for minerals or oil or something” explains Giuseppe Rossi, “while in reality the only thing that really interested me as a child was the idea of travel, I read adventure books a lot which led me to write and dream. But as you can see, half of my dreams have come true through my work in fashion and design that’s allowed me to travel all over the world”. When he took the reins of Pineider in March 2017 he also took on a mission, a professional challenge to give new voice to the ancient art of writing, so rich in values and traditions it would be such a crime to lose. An ongoing project that's beginning to bear fruit. “A success dictated above all by the passion of our shareholders” assures Giuseppe Rossi “and the methodical research of our workgroup in rediscovering the values of Pineider, not to mention the talent of our designers who’ve done a great job reinterpreting the significance of excellence in personalised writing paper, calling cards and wedding invitations

accompanying our pens, watches and leather items”. Always a truly top-end brand, the customers of Pineider’s celebrated letter paper included many illustrious names, from Eleonora Duse, Maria Callas, Gabriele D’Annunzio and Luigi Pirandello, to Henry Ford, Marlene Dietrich, Rudolf Nureiev, Luchino Visconti and Elizabeth Taylor who – so the story goes – ordered a certain kind of watermarked paper in the violet hue of her incredible eyes. Another value the company puts great emphasis on is communication, and the two fundamental concepts expressed by the words consistence and solidity, both of which play a key role in the world of writing instruments and calligraphy. As Matteo Maresi, Pineider’s MKT explains, “Consistence and solidity, in writing understood as calligraphy, go hand in hand. The former has to do with the syntax, and the latter the lexicon. Although it immediately catches the eye, the calligraphy shouldn’t distract from the text, but entice the reader into it. When calligraphic, a


consistent, solid manuscript has a structure that while simple is rich in detail, filled with clear, defined and not vaporous words, capable of drawing the reader into the content, the plot”, adding “consistent, solid writing doesn’t create the ellipsis, but clearly delineates every sense expressed in it”. Just a thought, which maybe gives us a better insight into the character of writing on paper and the reason for its return to popularity in this digital age, “because every one of us has a desire to express free, irreducible thoughts” concludes Matteo Maresi “without the sadness of knowing they’re destined to become lost in the immense flows of “big data”. This is perhaps another positive aspect of the lockdowns, which Anna Costabile, E-commerce Store Manager also confirms: “In these difficult times for everyone, I see immense introspective, pedagogical power in writing. It’s a means for approaching the most intimate parts of ourselves through the repetition of gestures and the silence it requires. It’s a tool for building one’s personal identity. A classic example of this

is your personal diary”. So what new horizons are opening up for writing? “One full of wonderful surprises we’ll never abandon for the intangible, fleeting nature of the digital” concludes Anna Costabile “One big surprise is that so many digital natives are rediscovering the art of writing and its potential thanks also to so many young artists in the Italian music scene, rap especially, who make particular use of the written word to express their ideas.” A project inspired on the spirit of humanity that raises the interiority of each individual and gives the power to shape a personal future, coupled with an elegance that goes beyond fashion and convention, designed to make a statement. Writing is magical, a magical gateway to the world hidden within us. The written word indeed has the power to fire the imagination, bring light to the dark and hope for a better future.



L’Apogée Courchevel is the perfect destination for a winter season full of snowy adventures and warm hospitality in the French Alps. Perched on the most picturesque peak of Courchevel’s Jardin Alpin, Oetker Collection’s luxurious ski chalet welcomes its guests for another exquisite season in one of the world’s largest and most elite ski destinations. Adventures to cherish The L’ Apogée Courchevel team is planning a host of activities providing guests with the opportunity to explore the snowy wonderland in a multitude of ways. Head Chef Jean-Luc Lefrançois, expert on the slopes as well as in the kitchen, will offer a full-day adventure that begins with a morning of skiing and a break for a surprise lunch on a mountaintop. Then, as the sun sets, everyone gathers back together at the hotel kitchen for a cooking demonstration and tasting of the Chef’s signature dish. A truly exclusive experience for food-loving skiers. And for a thrill that goes beyond downhill skiing, adventure seekers are encouraged to swap their skis for flippers and try ice diving or take a detour from the slopes on a mountain bike equipped with snow tires for a true adrenaline rush. Less daring but just as much fun, a dogsled or snowmobile ride around the valley or a gentle snowshoe hike are all delightful ways to spend the days in Courchevel. An intimate Alpine retreat This winter season, L’ Apogée Courchevel is perfectly equipped for hosting families and friends for private getaways in its two magnificent chalets: L’ Amarante and L’ Alpensia. Featuring bespoke interior décor by renowned interior designer India Mahdavi, the expansive chalets each boast 550 square metres (5920 square feet) of luxurious space set over five floors. Sleeping up to eleven guests, both have five large bedrooms and a private spa and cinema for ultimate relaxation and on-demand entertainment. The chalets’ opulent dining rooms are ideal for private dining or lavish gastronomic experiences prepared by a private chef, available upon request. Located just steps from the hotel, L’ Amarante and L’ Alpensia offer direct access to the slopes as well as to all the hotel amenities. Chalet guests also benefit from the care and attention of their own butler. This season L’ Apogée Courchevel holds the key to winter bliss.

© Pierre Thiaville



© Fresh Influence

© Francis Hammond

© Anne-Emmanuelle Thion



DE SEL The heights of Megève are majestic and you can really lose yourself in the surroundings, while looking for the perfect place of respite. With the blue glaciers of the Mont Blanc Massif and the mountain pasture farmhouse staring you in the face, you are lost in the clouds. Your eyes halt on a resplendent establishment opened by Kristine and Emmanuel Renaut fourteen years ago, and eureka, you know you have found it..

The spacious 5-star Flocons de Sel, equipped with modern conveniences, boasts all the charm of high-altitude chalets, and is the ideal destination for mountain enthusiasts accustomed to elegant surroundings and a friendly atmosphere. The hotel’s 6 rooms, 2 privates chalets, 2 Suites, and 2 luxury apartments, are all decorated in a refined and sober style, and you quickly acquiesce to being at home. Emmanuel Renaut, holder of the prestigious "Meilleur Ouvrier de France" (winner of a second Michelin Star in 2008), created the Flocons de Sel gastronomic restaurant and the Flocons Village Bistro, at the village center. In February 2012, Emmanuel Renaut was consecrated with a third Michelin star! You should really plan to stay over several days in order to enjoy the exquisite cuisine. Try spending a week in a private chalet, or a one night in a top-of-the-range apartment to soak in the atmosphere; or simply drop in for a relaxing massage. Either way, you are sure to appreciate the perfect combination of luxury and space of the Flocons de Sel.


Chalet Gentianes

Chalet Edelweiss

Chalet Razzie

The ultimate in comfort

Europe’s most luxurious private Chalet

Opulence on the slopes

For more informations or for a reservation :

Tel. : + 33 (0) 6 62 99 80 29 / E-mail : /

© Alex Stephen Teuscher



LE CHALET Expressing the same purity and simplicity as the pristine white peaks of the Mont Blanc mountain range, three-alpine chalets include 12 exceptionally large suites, gourmet restaurant and wellness spa, perched above the breathtaking setting of Megève. Wintertime pursuits for beginners, the more adventurous or families are tailored by a dedicated ski concierge. Leonardo Da Vinci’s quote “Simplicity is the ultimate sophistication” perfectly sums up Zannier Hotels Le Chalet, with its simple yet luxurious décor, authentic and convivial atmosphere and dedicated staff. Freshly revamped and with a new menu, restaurant La Ferme de Mon Père will be one of the highlight of your stay, offering the possibility to taste local farmers’ produce. You’ll be able to share a unique moment in an authentic setting whilst celebrating the richness of the French Terroir. Throughout the season the restaurant’s menu features local produce, fresh organic fruit & veg, meat from the alpine pastures and local dairy products. After a tiring day on the slopes, from 4pm to 6 pm you

can enjoy afternoon tea with fresh pastries served by the fireplace. It’s the perfect way to end a day of skiing and to begin a relaxing night. To finish the day off you can return to your cosy room or suite, with its minimalist design and breathtaking views over the village, for a well-deserved rest. Why not try the well-being break which includes a 45-minute body massage and access to the relaxation area and pool, as well as a lunch, afternoon tea or aperitif? To make the most of your break, take advantage of our luxury car to tour the village - Zannier Hotels Le Chalet is the only hotel in Megève to offer this service!


© Constance Clavel



Conceived as a traditional savoyard chalet and ideally located in the heart of the village, the hotel embodies the true spirit of Megève: refinement and warm welcome.

The 300sqm Spa by Clarins, invites you to relax and dive into a world of pleasure. The Spa offers a swimming-pool with counter-current swimming, a fitness center, Jacuzzi, sauna and a hammam carved into the rocks. Plus 4 massage rooms including one for couples and one with an alpha quartz sand treatment table, exclusive in Megeve.

The M’s Restaurant welcomes this year two Michelin-star Chef Edouard LOUBET, who will create the restaurant and bar menus for an authentic culinary adventure. At Le M’s Bar you’re invited to discover a selection of hot cocktails to change from the traditional mulled wine, including the Signature Cocktail: Le “M”ojito. At Les Grands Crus de Fondues you can create your own fondue with truly special cheeses at with the help of a fromagier.

© Karin Creuzet

With its 42 Rooms and Suites decorated in the Savoyard tradition and contemporary style - each one offering a private balcony - the M de Megève is one of the most comfortable establishement in the famous Haute-Savoie capital of ski. This member of the Small Luxury Hotels of the World™ is just 200 m from the ski lifts. The relatively small size of the structure is a guarantee of discretion, attention to your needs, care for detail and extremely high quality of service.

© Jean-Michel Sordello


That's the name of the new private beach on the Croisette, created by the Hôtel Barrière Le Gray d’Albion to the delight of all. It's elegant, cheeky and bursting with bohemian personality. The Mediterranean menu is prepared by chef Pierrick Cizeron in a spirit of sharing and a mix of flavours. The barbecue grill adds even more scope to the creative cuisine of the Mademoiselle Gray beach, which takes inspiration from sun-blessed Mediterranean shores. Fresh, flavoursome food with the aromas of the Lebanon. Like the whole grilled lobster with saffron, the spiced lamb chops, the tomato salad with aniseed and Escragnolles goat cheese, and the grilled vegetable salad with coriander and aniseed. At the bar they compete to concoct the most unusual multi-coloured cocktails.

HÔTEL BARRIERE LE GRAY D'ALBION 38, rue des Serbes - Cannes +33 (0)1 73 600 111

© Jean-François Romero

© Jean-Michel Sordello

The atmosphere varies between festively musical and lazily mellow. Sunny furniture, wood-framed sunshades, woven rope chairs and wickerwork stools form a modern, natural decor, with woven rush mats scattered here and there and a decorative collection of straw hats on the wall. The whole effect is an invitation to a good day's lazy escapism in the Cannes sunshine, the spectacle of the sunset over the Esterel hills and a late evening with stars twinkling above and lights sparkling on the sea before you. Mademoiselle Gray is a pretty lady by day and a night bird after dark, awake from morning to night for sunbathing to music, taking a dip when you like, flavoursome moments in between and delicious evenings all year round.





THE NEW SOURCE OF INSPIRATION FOR WATCH COLLECTORS The collectible watch market has never stopped. Not even with the pandemic. The true collector knows that it is always best to compare the opinions of different experts to understand where the value really lies. Watchessentially® is certainly one of the authoritative voices to watch out for.

Every epochal crisis has always generated new art, just think of the Renaissance following the Middle Ages. Well in recent months, forced to slow down due to the lockdown we have witnessed the return of the Italian genius, a revival of creativity expressed by products like sub-adapted masks for the pulmonary ventilator passing through the related accessories Printed in 3d, not to mention the many MasterClasses and Webinars dedicated to every theme of human scibile. Among these initiatives, two watch enthusiasts have thought of reassessing an ancient passion - very successful in every economic crisis, in which the rare watches becomes "anti-cyclical" investments - creating "Watchessentially®️", a newsletter or digital FanZine that weekly highlights a collectible watch... "an object that can certainly be owned but that you can enjoy in many other ways starting from just looking at it on papers or social medias " says marketing expert and founder of the initiative Nick Santoro; "we want to show these real works of art to those who love the meaning and beauty that a watch represents" adds Co-founder Mr. A Fanciulli. Here then are rare Rolexes of the forties, as well as even rarer Patek Philippe, Audemars Piguet, VacheronConstantin, perhaps in glazed, lacquered versions, marked by time even on precious metals such as platinum, characterized by the "patina" that time leaves on everything, are analyzed and proposed together with their history and the incredible results made at the Geneva, Monte Carlo, Hong Kong, New York Auctions. "There is no investment capable of generating returns such as those of some vintage, rare and collectible watches. Watchessentially introduces links to industry events every week, including those of Phillips, Christie's, Sotheby's, MLG, and other well-known brands in the industry . A separate section is dedicated to Shopping, with links dedicated to manufacturers of accessories and technical spare parts ranging from straps to watch cases through kit cards, memorabilia and, above all, specialized books, also ca va sans dire collectible. Available only on Invitation to, this original and synthetic specialized publication is distributed via Whatsapp, a kind of free-press for those who do not want to stop dreaming.

Press contacts: @watchessentially


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"EXCALIBUR SPIDER HURACAN STO" BY ROGER DUBUIS The second calibre developped for the partnership with Lamborghini SC. This engine offers a 12° angle balance escapement with an automatic winding mechanism displaying a rim-like rotor. The upper calibre features a strut-bar designed bridge recalling the ones of the V10 engine of the Lamborghini Huracán super car. Limited edition of 88 pieces.

" BIG BANG UNICO BERLUTI COLD BROWN" BY HUBLOT The Hublot Big Bang Unico Berluti Cold Brown watch fuses the heritage of the men’s fashion house Berluti, and the mastery of materials of the Hublot Manufacture. Whereas on previous editions, it was only reserved for the strap and the dial, the Venezia leather in Cold Brown patina also features on the watch’s bezel. Limited edition of 100 pieces.


CLASSIQUE DOUBLE TOURBILLON "QUAI DE L’HORLOGE" BY BREGUET Wristwatch in 950 platinum, with twin rotating tourbillons. Two independent tourbillons affixed by a bridge to a centre plate completing a rotation in 12 hours. Balance springs with Breguet overcoil. Manually engraved hand-wound movement.

"SKY-DWELLER" BY ROLEX The Oyster Perpetual Sky-Dweller in 18 ct yellow gold with a bright black dial and an Oysterflex bracelet. Characterized by a second time zone display on an off-centre disc on the dial


"KALEIDOSCOPE" BY HARRY WINSTON A sparkling explosion of colour and depth. Model in this picture: 185 brilliant-cut diamonds (approx. 0.73 carat), 20 brilliant-cut paraĂ­ba tourmalines (approx. 0.83 carat), 20 pear-cut diamonds (approx. 2.56 cts), 10 pear-cut blue sapphires (approx. 3.09 cts), 10 pear-cut tsavorites (approx. 2.82 cts), 5 marquise-cut diamonds (approx. 1.42 cts), 5 marquise-cut pink sapphires (approx. 1.66 cts)

"RM 71-02" BY RICHARD MILLE Automatic Tourbillon Talisman in a limited edition comprising 7 sets of 10 models each. In this picture: model "Diana": Sapphires, rubies, diamonds, lapis lazuli, white mother-of-pear, turquoise 915 stones, 5,59 cts

51 "THE DIAMOND" BY THE UNNAMED SOCIETY X L’ÉPÉE 1839 A unique table clock, 2518 diamonds with 21 different sizes (78,26 cts), over 300 hours of "snow spirit" gem setting. International premiere at Art In Time Monte Carlo

"STATIC" BY LORENZ LIMITED EDITION FOR PISA GIOIELLERIA MILANO The iconic timepiece designed by Richard Sapper in 1960, in a special rosé edition with Pisa 1940 logo.



CHRISTIAN LOUBOUTIN So Rouge, the lipstick created strictly in limited edition by Christian Louboutin Beauty.

GIUSEPPE ZANOTTI SIUXSIE: Flame red patent sandals with covered heel and ankle strap, finished with a matching “Rosa” detail. Stiletto and ankle strap.


Georgette and lace dress under peak lapel tuxedo jacket

MOJIPOWER Powerbank distributed by the L10 group leader in high-tech accessories.



Strictly multi-pocket zippered jumpsuit with stand-fall collar and belt

Mini handbag in red plain leather with profiled flap embellished with a brass clasp.

Shopping Her


16R EcoFur ” 16R is a wool coat designed by Romina Caponi . EcoFur is in silk lining, totally handmade, with fringes cut one by one and attached by hand on the total knitwear coat

BOGNER A luxurious interpretation of the classic down jacket with its matte sheen finish and wide stand-up collar is a key feminine piece for the winter season. A timeless quilted design with lightweight down padding gives this essential piece an exclusive feeling of comfort and warmth - complemented by ruthenium zips with logo for an elegant look.



FUTURIST HERITAGE urban jacket with form and fabric drawn from the world of skiing.

AFTERSHOKZ earphones.

ASICS NOVABLAST - Trainers perfect for runner looking for a neutral base when running. Thanks to the new Flytefoam Blast™ intersole foam each step is damped but without absorbing elastic energy for the next step


Shopping Him


KREISCOUTURE Ironic unisex Fedora hat. CANALI Big bag in tumbled leather with quilted fabric inserts. Interior with two zipped pockets. Removable fabric shoulder and trolley strap.

GANT Sweater with soft lambswool collar and vintage coat-of-arms.



Leather and printed silk two-tone evening lace-ups.

Ivory double-breasted overcoat designed for the 75th anniversary of Brioni. Broad labels in prized Alashan cashmere and exclusive albino horn buttons

LACOSTE Men’s aviator sunglasses from the Lacoste Paris Collection.

DOCKERS A special collaboration between Dockers® and Waves for Water, an organisation whose goal is to bring clean water to everyone in the world. SMITH Aerocore Mold Ultralight Structure with adjustable Koroyd Climatiser and low-profile 10-hole ventilation system, MIPS System, available in all colours, VaporFit size adjustment system, high-performance XT2 anti-bacterial internal lining, Air Evac removable ear muffs compatible with audio system


Quilted velvet uppers, insole printed with the traditional Onitsuka Tiger logo and “Happy Holidays” as a festive detail.

In Paris TATRAS revealed its new Fall/Winter 2020 collection in collaboration with RIOT HILL. The result is a collection created from the perfect mix of the highest quality Japanese materials and the contemporary cultural styles of Australia and L.A


ENGINE A highly original OIL INCLUSIVE kit for making your own fresh cocktails. The kit includes: 1 metal bottle of 100% biological ENGINE Gin (500 ml), 1 ENGINE metal Ice bucket and 5 ENGINE metal cups

1 2 0 2 s e u s 2 s p e c i a l i s I O N : 1 m ay T I D E R O T C er b C OL L E m e v o n 1 : AL I C E P S R E T WIN



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