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Stefania Owen, Paul Holmes, Charles Shaw, Roger Webb, Simon Bailey, Caroline Singht, John Anderson, Mason Gray, Ralph Dixon, Alexander Powell, Barack Stephenson, Marella De Giorgi, Henry Coventry, James Howard, Charles Stanley, John Byron, Edward Grosvenor, James Cavendish, Charlotte Montagu, Anne Astley, May Capell, Victoria Villiers, Nicholas Wellesley, Michael Fitzland-Howard, Margaret Clifford, Robert Courtenay , Ludovica Pozzi, Patrick White, Valerie Butler, Rita Medici, Sir William Walton, Margot Foubourg, Maggie Langwaltz, Thomas Rossi , Giuseppe Borromeo, Alessandra Rossi, Bianca Doria, Charles O’Sullivan, Marta Marcucci, Nick Tedson, Nick Wurth, Scott Weiner, Lauren Touley, Ludwig von Hohenzollern , Augusta von Waldburg , Friederike von Hohenzollern, Alessandra Borghi, Will Hoffman, Giulia Rossini, Jurgen Wells, Magnus McStuart, Pat Johansson, Luke Smith, Harrison Ludwing Jefferson, Paola Beltrandi, Roland Buguillé, Marlene Schultz, Robbie Krall, Roberta Wurttstrasse, Julie Mulberry, Claude Louis Hector de Villars , Francois de Maiilè, Calire de Gramont, Jacques de Gisors, Friedrich Wilhelm von Steuben , Emmanuel de Croy Giorgio Beltrami, Peggy Sloane, Norbert Karnig, Matteo Bondi, Giorgio Mudd, Stephen Downey, Ludwig Dott, Melanie Gerlis, Laura Verdi, Geoge Johnson, Bernard Ford, Alessia Giorgetti, Mary Boaford, Barbara Beltrandi, Giorgia Zucchi, Alessandro Bersani, Thom Sutton, Charles Cavalieri, Frederick Wilson, Matthew Jones, Richard Taylor, Buck Brown, Cameron Parker, Harriet Taylor, Matilda Wilson, Mary Jones, Diana Brown, John Thompson, Tom White, Maty Smith, Hugh Gordon-Lennox.

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Ambrogio Rossini

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DIGITAL EFFICIENCY

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CORPORATE TRAINING SPECIALIST: Pam Adams, John Star, Rosaria Bellini Giorgia Beltrandi, Silvia Gatti, Patty Ford

AUDIENCE DEVELOPMENT MANAGER : Jeff Barns, CORPORATE EVENTS DIRECTOR : Olga Vultov

CO-BRANDING OPERATIONS : Nathalie Woolworth

INSTITUTIONAL RELATIONS DIRECTOR : Shane Shelby,

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WINTER 2025 | SUMMARY

162 HERITAGE Goodwood Revival

168 AUTOMOTIVE Aston Martin Vanquish

172 AUTOMOTIVE Bentley Traditions

176 AUTOMOTIVE Tesla Cybertruck

178 AUTOMOTIVE Ferrari 1962 Model

182 AUTOMOTIVE Audi ETrail

202 SPORT Rolex Equestrian

218 AVIATION Airbus Corporate Jets

228 AVIATION Turboprop Planes

251 AVIATION Dassault Falcon

260 YACHT M/T Admiral Jas 66m

274 YACHT Lürssen Kismet

280 YACHT Maserati Tridente

284 PHOTOGRAPHY Guillaume Plisson

301 YACHT Rolex and Sailing

324 REAL ESTATE Featured Properties

361 REAL ESTATE Central Park Tower

367 TRAVEL Belmon Cipriani

380 TRAVEL Veela Maldives

394 TRAVEL Belmond Orient Express

398 TRAVEL Alila Kothaifaru

404 TRAVEL Grand Hotel Tremezzo

406 TRAVEL Gritti Palace

412 HERITAGE Cognac Martell L’Or

Cover Credits: Guillaume Plisson photography; Cartier Diamonds; Tom Ford Campaign; Bombardier; Christie’s Louis XVI Table Watch; Lanvin tuxedo campaign; The Ralph Lauren car collection; Dolce & Gabbana eyewear campaign with Miley Cirus

284

160 AUTOMOTIVE Aston Martin DBX707

162 HERITAGE Goodwood Revival

172 AUTOMOTIVE Bentley Traditions

176 AUTOMOTIVE Tesla Cybertruck

178 AUTOMOTIVE Ferrari 1962 Model

182 AUTOMOTIVE Audi ETrail

202 SPORT Rolex Equestrian

218 AVIATION Airbus Corporate Jets

228 AVIATION Turboprop Planes

251 AVIATION Dassault Falcon

264 YACHT Wally Power 165

274 YACHT Lürssen Kismet

280 YACHT Maserati Tridente

284 PHOTOGRAPHY Guillaume Plisson

301 YACHT Rolex and Sailing

321 INTERIORS Best in Show

393 TRAVEL The Dorchester London

398 TRAVEL Alila Kothaifaru

402 TRAVEL Belmond Orient Express

404 TRAVEL Grand Hotel Tremezzo

406 TRAVEL Gritti Palace

409 TRAVEL Belmon Cipriani

413 TRAVEL Four Season Florence

8th / 15th / 22nd february 2026 - st. moritz opening 7th february

white turf family days 14th / 21st february

NOW ETERNAL, KING GIORGIO REIGNS IN HISTORY FOREVER

At LE GRAND MAG we have long regarded Giorgio Armani with something akin to devotion, a reverence that time has only deepened. In these days since his passing, messages, posts and tributes have multiplied into the countless millions—an outpouring of grief and gratitude from every corner of the world. Yet among them all, the most tender, the most luminous, came from his friend and photographer Mario Testino. It read, with disarming simplicity: “Che bella vita, Signor Armani.”

PRELUDE.

The first revelation of beauty came to Giorgio Armani when he was still a boy, scarcely aware of the fate that awaited him. One evening in Piacenza he was taken to the theatre, where Puccini’s La Bohème was staged. As the orchestra unfurled its spell, he beheld the counterfeit snow descending upon the Parisian rooftops, the pale infinity glimpsed from Mimì’s attic window. And when the curtain fell and he stepped back into the night, it was snowing in truth, violently, prodigiously. To the child it seemed an incantation, and that enchantment remained with him all his life. From then on, Armani’s vocation would be nothing less than the tireless re-creation of that original marvel—the fusion of artifice and reality, of illusion and truth, in a single gesture of grace.

The world around him soon dissolved into war, into hunger and ruin; but he, tenacious and inward, preserved within himself the trace of that epiphany. Already then he was able to perceive beauty in what appeared to others inert or bleak: in the treacherous mud of the Trebbia, in the silvery veil of the Po

Valley mists, in the austere stillness of stone. His glacial eyes learned to gather splendour even from desolation. Those early impressions became the elemental pigments of his later art, a palette subdued yet luminous. It was from that landscape that he distilled his singular tone—greige, that whispered amalgam of grey, sand, and beige. Neither ostentatious nor plain, it was the colour of stones weathered by time, of memory itself. In consecrating that hue, Armani invented not merely a fashion but an atmosphere, a manner of seeing: the quintessence of chic as a form of quietude. With it, he crossed the boundaries of his métier, transforming the grammar of elegance into something at once rarer and more enduring.

And in the end, it was in his own words that Giorgio Armani chose to distil his legacy. In his final message, posted on social media against a stark black background, he wrote: “Il segno che spero di lasciare è fatto di impegno, rispetto e attenzione per le persone e la realtà.”

A phrase at once simple and inexhaustible, it stands as the epitaph of a life lived in quiet grandeur: a creed of dedication, of reverence, of unremitting attentiveness to humanity and to truth.

At fifteen he was transplanted to Milan, a city still scarred by conflict. The family possessed little; the air itself was austere. At the Liceo Scientifico he shared a classroom with Enzo Jannacci, who would one day become the troubadour of the Milanese spirit. Armani’s own path, however, veered away from medicine, which he briefly pursued at university, towards the world of images and display. At La Rinascente, the great emporium of Corso Vittorio Emanuele, he began humbly, arranging windows with a meticulous eye. At twenty-one he entered the house of Nino Cerruti, and there another revelation awaited him: the sight of a deconstructed jacket, supple, liberated from rigid form. That garment, still nascent, would become emblematic of his genius. He, shy to the point of invisibility and constitutionally a pessimist, did not yet dare to imagine a destiny of his own. Yet destiny was already at work, weaving its subtle thread through the fabric of his days.

A COMPANY THAT WAS A FAMILY.

Across the vast constellation of the Armani universe—more than 8,700 men and women scattered across continents—his passing has left an immeasurable silence.

They called him, always with reverence, simply Signor Armani. Within the ateliers of Milan, across the showrooms of New York and Paris, in distant offices and boutiques spread throughout the world, his presence was felt as both exacting and tender. For those who served beneath his standard, he was at once master and guardian, a quiet sovereign whose authority never eclipsed his humanity.

To them he was not only the founder, nor merely the architect of an empire of elegance, but the very heart of a family. They loved him for the constancy of his vision, for the rigour that ennobled their daily labours, and for the discreet benevolence with which he bound them to his dream. Today they mourn him not as employees bereft of a leader, but as sons and daughters bereaved of a father—pledging, with solemn devotion, to carry forward what he entrusted to their hands: a house built of integrity, independence, and love.

A SILENT REVOLUTION IN ELEGANCE

Giorgio Armani is dead. With him passes not merely a designer, but a sovereign of silence, a monarch who altered the language of elegance through restraint rather than clamour, through discipline rather than ostentation. Pragmatic, rigorous, and incorruptibly coherent, he forged an art where creativity and discipline were not adversaries but twin pillars. His style—an envelope of ice in midnight and navy—concealed a passion of pure intensity, a fire that admitted no frivolous improvisation. Beyond fleeting vogues, beyond tyrannical absolutes of taste, Armani wrought a whispered revolution that has endured and will endure still.

“In this company we have always felt part of a family. Today, with profound emotion, we feel the void left by the one who founded this family and nurtured it with vision, passion and dedication. Yet it is precisely in his spirit that we, employees and relatives alike, pledge to protect what he has built, and to carry forward his company in his memory, with respect, responsibility and love.”

Thus was his passing announced on 4 September, signed by his family and his 8,700 employees—words that resound less as a communiqué than as a collective elegy.

Armani, the gentle rebel; Armani, the balanced visionary. For him, elegance was intelligence and measure: the transfiguration of the ordinary into the extraordinary, the refusal of ephemeral eccentricities, the quiet dismantling of obsolete codes. He chiselled fabric as a sculptor does marble, wrapping it around the body to honour its proportions and movements. We, he reminded us, wear the garment; the garment does not wear us.

What style, what lesson eternal, was embodied in “King Giorgio”: inventor of the jacket, pioneer of cross-dressing, agitator armed not with slogans but with cloth, who restored to fashion its subversive power to become a message of sheer existence. His aesthetic was not a trend but a creed. He gave women a muscular wardrobe, liberating them professionally and personally; he released men from the armour of the bourgeois suit, dressing them in softness and ease. In his hands, a blazer was no longer a shell but a second skin; a trouser suit was no longer a concession but a proclamation.

Thus he stood at the vanguard of genderless fashion, long before the word was coined. He understood that femininity was not confined to doll-like trappings, that elegance was subtraction, naturalness, an art of restraint; that masculine allure lay not in disguise but in the dialogue between body and cloth, where individuality was revealed, not concealed. To women he gave the trouser suit, tailored with androgynous clarity, anchored by flat shoes that permitted new freedoms. To men he gave the deconstructed jacket, carved from crêpe, gauzy wool, supple blends that caressed the body like air.

Cinema consecrated his vision. It was 1980: American Gigolo unspooled across theatres, Richard Gere immortalised amid an open wardrobe of graded shirts and jackets, nonchalantly tossed across a bed, distilled into a new cartography of male sensuality. Armani ascended to the pantheon of cult. By 1982 he was immortalised on the cover of Time: “Giorgio’s Gorgeous Style”. It was, as he later admitted, a consecration. From there he fashioned a new glamour: obstinate, constant, courageous,

“Giorgio Armani bestowed upon the stars of cinema a contemporary image,” observed Anna Wintour. And who is missing from his roll-call? Only God Himself. How, one wonders, would King George have dressed the Almighty? Neither in double-breasted suit, nor in T-shirt and jeans, but in a blue ensemble—comfortable, celestial. Eternal. As eternal as the Armani style, which shall never fade.

And perhaps the most serene note of all was sounded in his final interview with ELLE, where he declared with crystalline simplicity: “Il rimpianto non mi appartiene. Sono soddisfatto.”

No regrets, only fulfilment: a valediction as poised and unadorned as the man himself.

—Giorgio Armani

born of “a few lines traced on paper, a few elements combined with subtlety”. Simplicity, he taught, was not the point of departure but the point of arrival. Accused of too much coherence, he responded by demonstrating that coherence itself could be endlessly fertile. He was more than power suits and muted palettes; more than greige, black and navy. He was a new grammar of style—logical, supple, mutable—spoken in readyto-wear and whispered in haute couture, proving that sandy hues could converse with burning reds, that stilettos and brogues could walk hand in hand, that a sculptural hat and a tie-necklace were but differing accents in one vast lexicon.

That lexicon embraced exotism and pragmatism, atelier and industry, rigour and sensuality. His sex appeal was cerebral, never crude; suggested, never imposed. “I understood the source of his aesthetic,” wrote Suzy Menkes, recalling photographs of young Giorgio with his mother at the seaside: a silhouette steeped in the clean lines of the 1930s, lean, elongated, austere. It was crystallised in the monochrome campaigns of Aldo Fallai, and in the timeless maxim Armani himself bequeathed: “Dress so that, when you see a photograph of yourself, you cannot ascribe to it a date.”

And so it was, and so it remains: in the deconstructed jacket paired with a pleated skirt, in the leather blousons and jeans marked by the sketched eagle that became a universal emblem of the 1980s. In more than 150 films, Armani’s hand shaped characters as indelibly as dialogue: Richard Gere’s Julian Kay, De Niro’s Malone, Christian Bale’s Patrick Bateman, the gangsters and heroes of an age dressed with a visionary’s eye. “Cinema allows me to work with clothes in a way that supports my vision of style, assisting in the creation of character,” he wrote. “When it succeeds, it grants the most rewarding prize: eternity.”

And eternity is what remains. For if Giorgio Armani is no longer among us, his style—measured, intelligent, implacably human—transcends both time and fashion. He leaves not a void but a creed: a whispered revolution, an indelible sign “made of commitment, respect, and attention to people and reality.”

In the end, his own words remain the surest testament to his creed. Giorgio Armani’s philosophy of elegance was distilled into a handful of lapidary maxims—sentences as pure and chiselled as his silhouettes.

“Elegance is not about being noticed, but about being remembered.”

“The law of luxury is not addition, but subtraction.”

“Simplicity is never the point of departure, but always the point of arrival.”

“Do not follow trends. Do not allow fashion to possess you; decide for yourself who you are.”

“Beauty begins the moment you decide to be yourself.”

“Style is the courage of one’s choices, and the courage also to say no. It is taste, it is culture.”

“In a society of appearances one must indeed appear, yet being remains a value fundamental.”

“Fashion is what is suggested—and often what ought to be avoided; style is what one possesses, and must preserve for life.”

“I have proved through the years that sexiness is not the body exposed to all eyes, but the art of suggestion, of veiling and revealing.”

“Nothing is certain; one must always take the risk of playing the game. To serve people and to share with them an emotion is the essence of my work.”

Taken together, these lines form not merely a philosophy of dress, but an entire ethic of life: an invitation to live with clarity, sobriety, and measure, and to recognise that true elegance lies in authenticity and restraint. They are the compass he leaves us, guiding us beyond fashion into the timeless realm of style, where memory endures long after the fabric has faded.

Armani entered haute couture as into a final, longed-for duel with time itself. There he proved that restraint could be opulent, that sand and smoke might converse with scarlet fire, and that couture, too, could breathe simplicity transfigured into splendour.

THE CHAMPIONSHIPS, WIMBLEDON

www.wimbledon.com

The Championships, Wimbledon, are still played on grass courts – mowed to exactly 8 mm – just like they were in 1877 for the tournament’s inaugural edition.

Though ever-changing, the Wimbledon rules remain steeped in tradition, highlighting the organizers’ desire to maintain the highest standards of etiquette. Testament to this is the rule that player attire must be predominantly white. With the exceptional playing surface, respect for tradition and a storied past decorated by the greats who made their name on the courts of the All England Lawn Tennis and Croquet Club, Wimbledon is the temple of

lawn tennis. Epic duels in an English garden

The Championships 2025 will take place from 30 June 2025 to 13 July 2025.

The Championships 2026 will take place from 29 June 2026 to 12 July 2026.

The Championships 2027 will take place from 28 June 2027 to 11 July 2027.

The Wimbledon finals occupy a revered place in tennis history. As much as the winners, we recall the thrilling moments that raised the sport’s values to the highest level on Centre Court. We think back to epic encounters between Rod Laver and John Newcombe, Björn Borg and John McEnroe, Chris Evert and Martina Navratilova, Roger Federer and Rafael Nadal, and many others. Over the decades, these clashes have written the legend of Wimbledon, and Rolex has witnessed it all from a frontrow seat. Images by Rolex, Officla Sponsor.

www.rolex.com

A singular vision of watchmaking Since its creation in 1905, Rolex has been on a quest which assembles the skills of many and requires arduous work, day after day, year after year. A demanding, rigorous and perpetual endeavour. The quest for excellence. Rolex’s greatest watchmaking innovations are indelible. They imprint the dial of each watch with new words that, alone, can attest for the unique vision of the brand. With the invention of the word “Rolex”

in 1908, Hans Wilsdorf did not only create a new brand. He immediately affirmed his unique vision of watchmaking and embarked on the quest for excellence that Rolex has unceasingly pursued ever since. Having these exacting standards from the outset meant gradually incorporating all the know-how and every expertise into the manufacture, thus guaranteeing the brand’s autonomy and integrity.

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TOM FORD TRIBUTE TO VIBRANT SHANGHAI

www.tomford.com

om ord s New ollection efects the Magic of hanghai he fashion house s inter 4 campaign captures the essence of one of the world s most cosmopolitan cities. Meng u i displaying a rock star s elegant decadence. orn with confdence and charisma, nonchalance and sincerity, beauty and power, the outfts by om ord e press a common language that transcends individual differences. ashion becomes a bridge between different worlds, bringing together these different stories and people into a single coherent vision. om ord s inter 4 collection, accordingly, is an e ploration of tailoring and modern lu ury. Military inspiration is combined with fowing elements, creating a tension between power and fragility. he materials used add a touch of dark glamour that perfectly suits a city like hanghai.

Tom Ford’s Winter 2024 campaign is a piece of cinematographic storytelling imbued with magic and allure, set in the vibrant city of Shanghai. Affectionately known by its residents as Modu—the “Capital of Magic,” or “Enchanted City”—the metropolis is a combination of hypermodernity and speed, making it the ideal place to stage Tom Ford’s vision for his latest collection of exquisite garments. The campaign, which unfolds in the form of an anthology, tells three stories from the point of view of different characters, each of whom brings a unique perspective. All reflect a blend of dark and light, day and night, ancient and modern. Fei Fei Sun: watching glamorously over the nighttime cityscape High above the city we find Fei Fei Sun standing out against the night sky, a voyeuristic figure in striking glamour. From her lofty living quarters, she watches the stretched-out streets through a wall of glittering windows. She is dressed in a combination of military-inspired couture and

languid, flowing lines, black sequins, and midnight blue velvet. She embodies a balance between strength and fragility that could only be inspired by a city like Shanghai. Her attentive gaze captures the frenetic energy of the city, while her clothes reflect a formidable beauty. Rianne Van Rompaey: transforming her environment with her intensity

Meng Yu Qi, who lives in the heart of Shanghai, taking in its panoramas and soundscapes through an almost psychedelic lens. He represents yet another dimension of the collection, presenting the louche elegance of a rock star.

Rianne Van Rompaey’s character lives life at street level, night and day. In contrast with the previous dark surroundings, her universe is almost artificially bright. Enveloped in plush furs, sinuous sheath dresses, and open embroidered-mesh bodysuits that suggest a powerful, self-confident femininity, she also shows off impeccable jackets and tailored trousers. This is a retro-futuristic heroine who alters her surroundings with her innate intensity, always hovering between light and shade—a visual friction that captures the essence of this city that never sleeps.

PASTEL OPULENCE: MARIE ANTOINETTE IN SPLENDOUR

SofiaCoppola’sMarieAntoinette(2006),withKirstenDunstinhabitingtheroleoftheill-fatedqueen,remainslessahistoricalbiopicthanacinematictableau ofaestheticdaringandformalaudacity.TodescribeitistoinvokethesensoriallexiconofRococopainting:pastelexcess,powderedluminosity,silkrenderedas architecture,andgildedspacestransformedintotheatre.ItselegancederivesnotfromfidelitytotheancienrégimebutfromCoppola’sconfidenceinreshaping Versaillesasallegory—aninteriorisedaestheticmeditationwherecostume,décor,gestureandsoundachievepainterlyequilibrium.Here,narrativeservesaspretext foraestheticcontemplation,andbeautybecomesadiscourseofitsown:fragile,ironic,ephemeral,yetenduring.

To revisit Marie Antoinette is to recognise cinema’s rare capacity for painterly composition, for transposing pigment and brushstroke into light and fabric. Milena Canonero’s costumes, honoured with the Academy Award, function as dramaturgy: brocades structure posture, corsetry dictates movement, and silk hues converse with gilded interiors. Colour becomes narrative syntax: sherbet pinks, pistachio greens and powdered blues articulate the gradual erosion of innocence, translating Rococo frivolity into cinematic temporality and rendering costume as narrative in its own right. Each ensemble not only situates the queen within Versailles’ gilded geometry but also externalises her psychology—youthful exuberance shading into ritualised ennui, splendour calcifying into entrapment.

Lance Acord’s cinematography reframes Versailles not as a museum of the ancien régime but as a living canvas. Natural light, diffused through curtains, operates like brushwork, caressing detail into radiance, while wide compositions juxtapose gilded symmetry with human isolation. Coppola introduces anachronistic soundscapes—post-punk, New Wave and shoegaze infiltrating Baroque halls—creating temporal dissonance that reveals character rather than distorting history. This deliberate counterpoint refuses to reduce the queen to a museum relic; instead, it situates her within an eternal cycle of youth culture, spectacle and collapse. The result is neither costume drama nor revisionist chronicle, but aesthetic allegory: a meditation on beauty’s complicity with decay and on

Through Canonero’s costumes and Acord’s luminous cinematography, Marie Antoinette transforms Rococo opulence into cinematic allegory. Kirsten Dunst embodies fragility within splendour, situating Coppola’s film between period reconstruction and symbolic portraiture—a work closer to Watteau or Fragonard than conventional historical drama.

elegance as fragile condition, perpetually shadowed by impermanence. Kirsten Dunst’s performance is pivotal to this orchestration. She embodies sovereignty as paradox: girlish effervescence dissolving into ceremonial isolation, lightness crushed under the weight of ritual. Her Marie Antoinette is less imitation of a monarch than an embodiment of archetype—the ingénue enthroned and consumed by spectacle. Dunst conveys fragility through posture, ennui through gaze, and ultimately tragedy through silence. Her interpretation resists melodrama; instead, it locates the queen within a continuum of women burdened by visibility, those whose every gesture is both currency and cage. Coppola constructs Versailles as both palace and prison, its endless mirrors reflecting excess and confinement alike. The queen’s fate emerges less from politics than from aesthetics: beauty elevated to tyranny, pastel palettes shading inexorably into melancholy. Coppola captures not simply a reign but a sensibility—the fatal conflation of elegance with destiny, of aesthetics with doom. Here splendour becomes oppressive, magnificence curdles into burden, and the Rococo dissolves into elegy.

Ultimately, Marie Antoinette endures as cinema that transcends narrative function. It is painting in motion, a Rococo canvas translated into time, where beauty becomes discourse, where opulence assumes the authority of language, and where elegance itself is revealed as intoxicating, corrosive and, in its grandeur, tragically inescapable.

NICOLE KIDMAN: THE GRAMMAR OF ELEGANCE

Few contemporary actresses embody the notion of elegance with the consistency, intelligence and depth of Nicole Kidman. Her career, spanning more than four decades, demonstrates not only extraordinary versatility but also a cultivated awareness of image, silhouette and presence. Elegance, in her case, is not a surface quality but an articulation of discipline: the careful calibration of gesture, diction and poise within each role.

On screen, Kidman has repeatedly chosen projects that test the boundaries between fragility and control. From the raw volatility of To Die For to the enigmatic restraint of The Hours—for which she received the Academy Award—her performances are marked by a rare capacity to inhabit both stillness and intensity. This oscillation is mirrored in her public persona: the ability to move seamlessly between the cinematic avant-garde and the ceremonial splendour of Cannes or the Oscars. Clothing, for Kidman, functions less as adornment than as architecture. Whether in Chanel haute couture, Balenciaga minimalism or a sharply tailored Armani column gown, the emphasis lies on line, proportion and a refusal of excess. The elegance she embodies is classical rather than ostentatious,

recalling the composure of Grace Kelly or Ingrid Bergman, yet inflected with a modern sensibility that accepts risk and ambiguity. It is telling that Kidman is as persuasive in austere monochrome as in opulent embroidery; the constant is not the fabric but the posture, the intelligence animating it.

Her elegance extends beyond couture and red carpets into the grammar of her performances. Even in roles demanding rupture—such as Dogville or Birth—there is a precise economy of movement, a sculptural use of silence, that underscores the authority of restraint. Critics often note her willingness to “de-beautify” for a part, but the paradox is that even vulnerability, under her control, becomes a form of elegance.

Nicole Kidman’s elegance lies in proportion, restraint and discipline: a cinematic presence that unites fragility with authority, couture with substance, recalling the lineage of classical screen divas while speaking in a distinctly contemporary, intelligent register.

Nor is her presence limited to cinema. As a producer, philanthropist and cultural interlocutor, Kidman has cultivated a persona that fuses discretion with visibility, classical allure with contemporary agency. She embodies an elegance that is not mere ornament but cultural capital: a language of refinement, rigour and authorship. In an age saturated with spectacle, she reminds us that true elegance is less about visibility than about duration—the ability to remain, intact, across decades.

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$110,000,000 USD 5 Bedrooms

Bathrooms (6 Full 2 Partial) 11,480 Sq Ft.

www. sothebysrealty.com

MIDTOWN

Listed by: Nikki Field + The Field Team of Sotheby’s International Realty – East Side Manhattan Brokerage

The most iconic of all Manhattan addresses is now the location of the grandest residence of all.

Manhattan’s most extraordinary residential offering is located at the crown of 111 West 57th Street, an architectural masterpiece by SHoP Architects with interior architecture by Studio Sofield. Across four floors, Quadplex 80 offers over 11,480 square feet of meticulously designed interior space and 618 square feet of breathtaking south-facing exterior terraces. A private internal elevator and custom circular staircase offers access to a world of refined elegance, where 360° open views reveal the splendor of the perfectly centered views of Central Park, dazzling city skyline, and a river to river experience. Towering ceiling heights of 14 feet, coupled with door-to-ceiling windows, natural light, showcasing the exquisite custom design details throughout. This is a once-in-alifetime purchasing opportunity.

• 360-degree views overlooking Central Park, Manhattan skyline, and river to river

• 2 Private Terraces

• Custom spiral staircase

• Zoned year-round fan coil HVAC system

• Private internal elevator

555 WEST END AVENUE

www. sothebysrealty.com

Upper West Side. - Listed by: Cathy Taub and Michael Miarecki of Sotheby’s International Realty – East Side Manhattan Brokerage

The only new condominium in NYC with 18-½ foot ceilings in a 42-ft long Great Room, with towering arched windows, “The Library” (2W) has 5 bedrooms, 5 en suite baths & a powder room. With a private landing & 3463 SF on two levels, the Library is one of 13 extraordinary, oneof-a-kind residences in Tamarkin Co.’s conversion of this landmarked former school. The kitchen features solid white fumed oak cabinets crafted by Christopher Peacock, with fluted glass cabinet fronts and Nanz hardware, and is open to the 37 ft Great Room providing a relaxed living and dining environment. Additional features in this absolutely gorgeous kitchen include white oak plank floors, polished Arabescato marble slab countertops and backsplash, vented Wolf 48” dual fuel range, Sub-Zero fridge & separate

freezer, wine storage, microwave and warming drawers, two dishwashers, Lefroy Brooks faucets, garbage disposal, pot filler & more. On this floor are 3 en suite bedrooms, a powder room, large pantry, butler’s pantry and laundry room. En suite secondary baths are outfitted with the highest quality stone & hardware.

$9,900,000 USD

5 Bedrooms

Bathrooms (5 Full 1 Partial)

3,463 Sq Ft.

Upstairs, on the mezzanine level, the light-filled, southfacing primary bedroom features two walk-in closets, and a luxurious bath with Calacatta gold marble slabs, custom white oak vanities by Christopher Peacock, double sinks with Lefroy Brooks fixtures, Zuma soaking tub, radiant-heat floors, towel warmers, steam shower & Toto Neorest smart toilet. This level overlooks the Kitchen and Great Room, making for a dramatic double height experience.

The pinnacle of sartorial elegance is the art of combining exquisite materials, masterful craftsmanship, and timeless design to create uni uely refned and sophisticated garments.

GIORGIO ARMANI

www.armani.com

Giorgio Armani’s Made to Order service exemplifies luxury, utilising the finest materials—sumptuous cashmere, premium silks, and exclusive wools—crafted with precision to create garments that embody timeless sophistication and unparalleled elegance.

In the early 1980s, Giorgio Armani’s creative genius gave birth to new ways of interpreting the female wardrobe and silhouette. Clothing is designed using simple, effective ideas to meet the needs of women and bestow confidence, as well as a sense of freedom and naturalness. The result is a dialogue between Giorgio Armani and women, from which perfect, long-lasting, personal pieces emerge. An innovative digital experience that allows you to customise every last detail, from the choice of fabric and the cut of the model to the lining and the type of buttons, ensuring your garment is truly one of a kind. A virtual design process and exclusive service that embodies both the stylistic codes of Giorgio Armani and Italian sartorial excellence. From the moment you enter the store for

Presence, style, charm: the Made to Measure service for men and Made to order for women embody the distinctive features of the Giorgio Armani style. Created with individual changes to make them comfortable and practical, our suits work well not only for special occasions but also for a dynamic lifestyle. To meet the needs of a sophisticated, demanding clientele who want their clothes to truly refect and enhance their strong personality.

Credits:Nathaniel Goldberg

HU RAC Á N STER RATO

B EYON D T H E CO N CRET E

Voted “No 1 Best Resort Hotel in Europe” by readers of Conde Nast Traveler 2010

• 13th Century Castle hidden from the World amidst 350 acres of its own private estate

• Located on the 2nd largest lake in Ireland Lough Corrib, 30 minutes from Galway city

• Easy driving distance from Dublin and Shannon airports

• Luxury hotel since 1939

• 83 individually designed bedrooms

• Once the country estate of Lord Ardilaun and the Guinness family

• Three dining options available to suit all guests

• A host of activities from Golf to the Ancient Art of Falconry available on the estate

The Li s

OPERA SEASON 2025 • 2026

LADY MACBETH OF MTSENSK by Dmitrij Šostakóvič from 7 to 30 December 2025

GÖTTERDÄMMERUNG by Richard Wagner

DER RING DES NIBELUNGEN by Richard Wagner by Claude Debussy

TURANDOT by Giacomo Puccini

from 1 to 17 February 2026 1-7 March (1st cycle) / 10-15 March (2nd cycle) from 1 to 29 April 2026

PELLÉAS ET MÉLISANDE NABUCCO by Giuseppe Verdi

CARMEN LUCIA DI LAMMERMOOR by Gaetano Donizetti by Georges Bizet

from 22 April to 9 May 2026 from 16 May to 9 June 2026 from 8 to 27 June 2026 from 26 June to 17 July 2026

L'ELISIR D'AMORE by Gaetano Donizetti

LA TRAVIATA by Giuseppe Verdi

FAUST by Charles Gounod

from 5 to 16 September 2026 from 19 September to 15 October 2026 from 20 October to 8 November 2026

BALLET SEASON 2025 • 2026

SLEEPING BEAUTY di Rudolf Nureyev from 18 December 2025 to 13 January 2026

MCGREGOR / MAILLOT / NAHARIN by Wayne McGregor, Jean-Christophe Maillot, Ohad Naharin from 18 to 28 March 2026

DON QUIXOTTE by Rudolf Nureyev

FRACCI GALA Fifth Edition

from 31 January to 3 February 2026

ALICE'S ADVENTURES IN WONDERLAND by Christopher Wheeldon

from 21 to 30 May 2026 from 2 to 16 July 2026

GISELLE by Jean Coralli / Jules Perrot from 1 to 23 October 2026

BALANCHINE BAUSCH STRAVINSKY from 7 to 21 November 2026

For more details on performances, subscriptions and tickets visit www.teatroallascala.org

“True elegance is effortless, born from the harmony of impeccable craftsmanship and a touch of provocation.” Tom Ford

TOM FORD RESORT

www.tomford.com

Tom Ford’s Resort SS2025 collection radiates timeless sophistication, balancing sharp tailoring with fluid silhouettes. Embodying Ford’s signature luxe aesthetic, the pieces boast meticulous craftsmanship with an edge of sensuality. Jewel tones, opulent fabrics, and unexpected details command attention, catering to a clientele fluent in the language of high fashion. This collection reiterates Ford’s mastery of modern glamour.This latest addition in black ceramic was presented in Gabrielle Chanel’s apartment on Rue Cambon, while the campaign was shot in Chanel’s other Parisian home, the Ritz Paris. Captured in black and white, it follows models Soo Joo Park, Nozomi Iijima, Alice Dellal and Alma Jodorowsky behind the scenes inside the hotel as they nonchalantly go about their sojourn highlighting the allure of the timepiece.This new model makes a sophisticated addition to the Code Coco Collection which now has five variations: stainless steel or black ceramic with the Maison’s signature quilted pattern. These two versions are available with or without a diamond encrusted bezel set with 52 brilliantcut diamonds. A final variation, dubbed Baselstar, is made in 18-carat white gold and is completely covered in diamonds for a total weight of 56.47 carats and is limited to only 20 timepieces.

Tom Ford’s Resort SS2025 Collection is a testament to his mastery of understated glamour and provocative sophistication. This season, the collection embraces fuid silhouettes and tailored precision, merging jewel tones with neutral palettes. Luxurious fabrics—silk, satin, and cashmere—are enhanced with metallic accents, while plunging necklines and bold cutouts add sensuality. Key pieces include fowing ma i dresses, sharply tailored blazers, and statement accessories like oversized sunglasses and sculptural jewellery. Ford’s signature attention to detail is evident in the intricate stitching and innovative textures. Perfectly balancing timeless elegance and contemporary edge, the collection caters to the confdent, styleconscious global elite.

Renowned photographer Alasdair McLellan captures the campaign’s refned aesthetic, blending cinematic intimacy with timeless olce Gabbana sophistication.

DOLCE & GABBANA

www.dolcegabbana.com

Dolce & Gabbana’s campaign featuring Colin Farrell elevates made-tomeasure menswear, celebrating timeless craftsmanship and refined masculinity. The collaboration bridges cinematic elegance with sartorial artistry, embodying the essence of contemporary Italian sophistication.

Colin Farrell, the face of Dolce & Gabbana’s latest campaign, epitomizes the allure of bespoke tailoring. Shot against minimalist backdrops, the campaign underscores the precision and artistry of the brand’s madeto-measure creations. Farrell’s effortless charisma complements the meticulous craftsmanship, creating a visual narrative that celebrates individuality and style. The campaign redefines modern elegance, portraying luxury as a personal journey deeply rooted in heritage and the highest standards of tailoring.

Dolce & Gabbana’s made-tomeasure ser ice exempli es Italian excellence, o ering hand-selected fabrics such as super ne wools, silks, and cashmeres sourced from renowned mills. Each garment is metculously cra ed by master artsans, ensuring unparalleled a enton to detail, from hand sttched lapels and custom linings to precisely measured cuts. The process, tailored entrely to each client, celebrates indi iduality while preser ing the brand’s commitment to heritage. Combining traditonal techni ues with contemporary inno atons, these creatons blend tmeless style, superior cra smanship, and the precision of a awless t, ele atng tailoring to an art form.

FASTEST TOUCHDOWN TO DOWNTOWN

“A holy grail for any collector, with a classic and elegant design typical of Bulgari that emphasizes the beauty and extraordinariness of the gem.”

Benoît Repellin, Worldwide Head of Jewellery, Phillips

A GEM MIRACLE

www.phillips.com

hillips to offer a Magnifcent apphire and Diamond Necklace by ulgari - a work of art that embodies a miraculous and singular occurrence in nature, savoir faire from an illustrious talian jewelry house, and the utmost caliber of a rare gemstone collection.

The Magnificent Sapphire and Diamond Necklace by Bulgari was realised in 2004, after the House came into possession of an exceptional and rare ‘Royal Blue’ sapphire from Sri Lanka. Coming to the auction market for the very first time from an esteemed private collection, the unheated cushion-shaped sapphire weighing 118.35 carats is among the largest sapphires ever offered at auctions in the past three decades. Accompanied by SSEF and Gübelin gemological reports and appendix letters expressing the rarity and exceptionality of the stone, this sapphire was awarded 98 out of 100 Gübelin Points, which places it on the highest ‘Exceptional’ grade. Moreover, it received the ‘Royal Blue’ colour grading by Gübelin Gem Lab, promising an even saturation rarely seen in unheated blue sapphire of this size. The rich and homogenous colour is the first thing that draws one’s eyes towards it, yet upon closer inspection, its high transparency easily inspires awed admiration from the most seasoned connoisseurs.

The necklace assumes absolute symmetry that reminds of classic noble and royal jewels. Centring on a single coloured gemstone of impressive size, the diamondset necklace employs a stone arrangement that is found in earlier orks from the thirties to the ffties. Each circular link is formed by carefully selected tapered baguette diamonds instead of brilliant-cut diamonds, connected by pearshaped diamonds at their points to afford the lightness of an otherwise substantial necklace. The repeating circular links are typical of Bulgari’s ‘modulo’ jewellery designs, where a single element is produced in series and then connected to each other. The Parentesi Collection, inspired by details of the Eternal City pavements, is one of the house’s most successful modular designs.

The unusual horizontal setting gives it timelessa modern appeal

THE WORLD’S LEADING DEPARTMENT STORE

www.harrods.com

Opened by Charles Henry Harrod, an East End grocer and tea merchant, in 1834, relocating to Knightsbridge in 1849, our store is recognised globally as a symbol of excellence. It was after a fateful evening in 1883 that our defining moment came. On this night, despite the store burning down, we still managed to fulfil all Christmas orders on time and exceeded all of our original trade targets. Since this event and the unswerving determination of our people that followed, the desire to make the impossible possible became embedded in our culture. At Harrods, the mission is to make Anything Possible. It is truly unique - a house of maisons, a modern atelier, a workshop of wonders, a convener, patron and a celebrator of the world’s finest. Known around the world as one of the great luxury

Since 2017, our Owner Qatar Investment Authority (QIA) has supported our decision to invest into the evolution of the store. From Fashion Designer rooms to extended beauty Halls, food halls and restaurants, every aspect of the store is being re-imagined to optimise the customer experience and enable us maintain our place as the masters of luxury and the experts of exceptional.

emporiums, it offers a transformative experience to customers who know that true value of exceptional goods and services lies beyond price. They are committed to excellence and artistry, inspired to reinvent and surprise, ensuring the position as a leader in the category. Every year, over 60 million domestic and international visitors connect with us online and through our stores in Knightsbridge, Heathrow and Gatwick airports as they wish to experience something unique that is quintessentially British. This can only be possible with the dedication of our people. Speaking in Mandarin, Arabic, French or English (just to name a few), our people are our strength. their unique personalities and their desire to exceed expectations are what enable us to make anything possible for our customers.

FERRARI 499P MODIFICATA

he P odifcata, designed for a very select clientele, represents a new kind of project for Ferrari a track-only model developed directly from a racing car rather than a production model, but without the limitations imposed by technical regulations.

errari presented the 4 Modifcata, a strictly limited-series car for non-competitive track use, at the errari orld inals at the Mugello ircuit to celebrate the company s historic return to the top class of endurance racing in the season. he 4 Modifcata is a substantially modifed version of the 4 that triumphed in the entenary edition of the 4 ours of Le Mans in June and aims at setting a new benchmark for track driving thrills.

While the 499P Modificata is based on the 499P, not having to comply with FIA WEC sporting and technical parameters has allowed Ferrari’s engineering team to introduce many significant modifications that enhance driving thrills and make the car’s performance more accessible.

The major technical modifications between the 499P Modificata and the 499P include the electric axle and fourwheel drive that can be activated even at low speeds; the “Push to Pass” function, which offers drivers the option of an extra 120 kW of power; specific tyres developed by Pirelli; and a complete recalibration of the suspension set-up, electronic controllers, and engine mappings.

The 499P Modificata retains the cockpit with its singleseater layout and ergonomics of the 499P, providing clients with the same driving experience as the crews who

21-24 AUGUST 2025

AIRBUS CORPORATE JETS WHERE IT MATTERS, WHEN IT MATTERS.

An impactful action requires presence, Airbus orporate Jets A J provides connectivity solutions to bring people seeking to leverage their role in society to make positive change happen to the right spaces, supported by our best-in-class technology and a network of trusted partners. imply run your business without compromise. perience space, facilities and comfort like no other aircraft, stimulating creativity, innovation and effciency.

Airbus orporate Jets provides e clusive aircraft for private, corporate, and governmental use. Our state-of-the-art feet offers the highest levels of comfort, safety, and reliability. ith tailored confgurations, cabin sizes, and features, our aircraft are customized to meet your specifc needs. rom long-haul international fights to shorter fights, Airbus orporate Jets delivers a unique fying e perience.

A unique fying e perience

A J offer the most modern corporate jet family, with customizable, spacious cabins, letting customers choose the comfort they want in the size they need.

Ultimate comfort. No place is comfier than your home and we have truly endorsed this and brought it to our products. Whichever ACJ you choose, that feeling of ultimate comfort and wellbeing for you, your families and business partners is paramount and constantly present. Intercontinental range ACJ understand how important freedom and flexibility is for you. Which is why when you select ACJ, you choose flying anywhere you desire non-stop, without compromising on everything you love to do. Pioneering technology ACJ design and make our products at the forefront of innovation so you can experience state of the art flying that is tailored around your needs.

Wednesday May 21 – Thursday May 22, 2025

www.concoursonsavilerow.com

Two days of the greatest cars and the finest tailoring in the heart of Mayfair. Free to visit, 10am – 8pm

PHOTOGRAPHY: MATT HOWELL

BODYGUARD

DÉL I C IE U SE M E N T P AR ISIE N

Intemporalité, service & élégance, The Peninsula Paris vous ouvre ses portes. Pour plus d’informations : peninsula.com/paris.

www.lurssen.com

“The Owner wanted an exceptional design that makes you travel through time and space,” says Pascale Reymond of Reymond Langton Design. “KISMET is not just a yacht or a home, she is a journey where all your passion and senses are challenged. The main idea is that, as the vessel is very large, the Owners and guests should find their way and recognise each area by the design, and they should experience many different journeys. KISMET is a time capsule, from the glorious parties of Versailles under Le Roi Soleil, Louis XIV, in the Gallery des Glasses, to the matinee theatre of the roaring twenties Art Deco Hollywood area.”

Lürssen delivered Project JAG, now renamed KISMET, to her delighted Owners. The yacht is the third for this experienced and long-standing Lürssen client, and with their previous becoming an immediate fan favourite, the launch of Project JAG was eagerly anticipated.

Following in the footsteps of such an iconic yacht was always going to be a challenge, but with the technical expertise of the Lürssen shipyard and the distinguished

design mastery from Nuvolari Lenard on the exterior and Reymond Langton Design on the interior, the yacht has exceeded all expectations and has embarked on her long-awaited maiden voyage. “To execute such a comprehensive project, an excellent team is necessary,” says Managing Partner, Peter Lürssen.

“We are very proud of KISMET as yet another statement of Lürssen’s ability and desire to build yachts that meet all of our exacting Owners’ requirements, guided by our core focus of expert engineering, beautiful design and being at the forefront in developing sustainable technologies.”

“KISMET was a lovely project for us because it was made for an Owner with considerable technical knowledge and a great passion,” says Carlo Nuvolari of Nuvolari Lenard. “This was important because it allowed us to make proposals knowing that they would be understood from all points of view: functional, stylistic and technical. In all its external details – the stairs, the details, the furnishings – KISMET is a boat rich in shapes and choice of materials.”

KISMET has a length of 122 metres and just squeezes in under 5,000 GT at 4,918 GT. She represents the pinnacle of engineering with many pioneering features, including an innovative propulsion system that allows for 15 minutes cruising on electrical power alone. She also features a 4.9 x 1.3 metre single pane of glass – by far the largest single piece of structural glazing ever fitted on a yacht’s transom.

Guillaume Plisson

PHOTOGRAPHE

PROVENCE-ALPES-CÔTE D’AZUR, FRANCE

CUTTING EDGE TECHNOLOGY

www.savills.com

“The Point”, An Unparalleled Waterfront Estate. From the gated entrance to the porte-cochere covered front door, this spectacular home was designed and built for enjoying the Hamptons lifestyle. A southfacing 2-acre parcel with 380 feet of bulkheaded frontage with a large boat dock on Moriches Bay including panoramic views and sunrises to sunsets. Conceived by talented architect Craig Arm with lush interiors by Bunny Williams sets the stage for this masterpiece of a residence to take life. Whether entertaining family or friends, this home has rooms that view to the bay from walls of glass while at the same time providing a quiet luxury that the fortunate new owner will understand and embrace. Over 10,000 square feet of the highest quality construction on two floors in the main house which includes an open floor plan as well was a guest house of two bedrooms and two-bathrooms. The 50 x 24 gunite pool and spa was built by master pool builder John Tortorella and provides for the best of seaside summer living while enjoying the ocean breezes and viewing the action on the water while the sun goes down and the lights appear on the shore line. Close proximity to Ocean Beaches, World Class golf, as well as the wonderful restaurants of the village and surrounding communities.

The lights of the Spring/ Summer 2025 Armani Privé collection shine in the new Armani building in Paris.

“For Van Cleef & Arpels, each creation tells a story, blending poetry and beauty to create timeless elegance.” – Van Cleef & Arpels

VAN CLEEF & ARPELS

www.vancleefarpels.com

Culminating on the wrist or hanging from the neck, Van Cleef & Arpels precious watches combine jewelry know-how and watchmaking expertise to offer time an elegant setting. The pieces reinterpret the emblematic of the Perlée® jewelry collection in a bold and contemporary way, giving rise to new combinations of materials, carefully chosen for their color and quality. At the crossroads of watchmaking and jewelry

The Van Cleef & Arpels Perlée Toi & Moi Secret Watch exemplifies feminine elegance and playful ingenuity. Featuring two delicate golden bead motifs, the watch integrates a concealed dial beneath a hinged cabochon. This design, marrying form and function, allows for discreet timekeeping. Equipped with a Swiss quartz movement, the watch ensures precise timekeeping. Its harmonious aesthetic and technical mastery highlight the Maison’s dedication to blending artisanal expertise with a timeless, contemporary vision.

Cra ed with precision, the erl e Toi oi Secret atch showcases an Cleef rpels’ commitment to exceptonal materials and cra smanship. The bracelet and se ngs feature 1 - arat yellow or rose gold, adorned with the aison’s signature golden beads, metculously polished to achieve their lustrous nish. Some variatons include pav -set diamonds, selected for their clarity and brilliance, enhancing the watch’s luxurious appeal.

The concealed dial, a hallmar of secret watches, is protected by a hinged gemstone cabochon or gold bead motf, blending practcality with artstry. owered by a reliable Swiss uart movement, the watch ensures consistent and precise performance. Each component, from the hidden mechanism to the ex uisite nishing, re ects an Cleef rpels’ dedicaton to tmeless uality and innovatve ewelry cra smanship.

www.graff.com

The year 2025 heralds the golden jubilee of the Graff Butterfly—an enduring icon, ever in flight, a silhouette that has come to embody the very essence of the House of Graff.From its inception in 1975, when it first emerged as an exquisite yet understated diamond pendant, to its later incarnation as a brooch capturing the ethereal creature in a moment of delicate repose—alighting upon the revival of the legendary Hair and Jewel composition in 2013—this emblematic motif has continually transformed. It has taken myriad forms, each iteration a testament to

its infinite metamorphosis, including its expression in Graff’s horological creations, where the passage of time is enshrined in the flutter of its diamond-set wings. Every Graff Butterfly is conceived and crafted with an artistry that elevates its wings mid-flight—a fleeting instant of nature’s poetry, transfigured into an eternal vision of scintillating brilliance. Today, this exquisite motif is universally revered, a beacon of transformation, empowerment, and beauty, inspiring a new generation of jewellery connoisseurs and collectors drawn to its timeless allure.

First featured in the 2.55 handbag, the turnlock had disappeared and it was not until Karl Lagerfeld came onboard the maison in the 1980s that it made a reappearance, acquiring the name Mademoiselle Lock.First featured in the 2.55 handbag, the turnlock had disappeared and it was not until Karl Lagerfeld came onboard the maison in the 1980s that it made a reappearance, acquiring the name Mademndbag, the turnlock had disappeared and it was not until Karl Lagerfeld came onboard the maison in the 1980s that it made a reappearance, acquiring the name MademoiselleLock.

ift

THE 12TH SAUT HERMÈS

www.sauthermes.com

During the high point of the Saut Hermès, the 25,500 Prix Hermès Sellier CSI 5*, the accumulator competition with jumps measuring 1m50, there were 22 clear rounds out of the 53 competing horse and rider pairings. Swiss rider Martin Fuchs (SUI) took the win as the only competitor to go clear in a sub-57-second time (56’’94). The recent European team champion and world No. 3 partnered with The Sinner, a 14-year-old gelding. “It was a bit of a tricky course with some very tight bends. When walking the course, I didn’t think there would be so many riders taking all the options. However, wearing No. 28, I was able to see the rounds posted by several riders before me and I knew that I’d have to take the bends as tight as possible to win it! My horse Sinner was fabulous today. I’m delighted to take the win here at the Saut Hermès. I love this competition!”

COURSES DESIGNED BY the Spaniard Santago arela llastres, in charge of the Saut erm s at the Grand alais courses.

DEFENDING CHAMPION mong the compettors are the renchman Simon elestre and his gelding erm s yan, who together won the Grand rix erm s two years in a row.

YOUNG RIDERS ennifer ochstadter LIE , 1 , Lily twood G , 20, eanne Sadran , 20, Sanne Ti ssen E , 2 and arry Charles G , 22.

COCO CHANEL

www.chanel.com

The highlight of Chanel’s unprecedented high jewellery collection is an emblematic and exceptional necklace set with a 55.55-carat diamond, stated Patrice Leguéreau, Director of the Chanel Fine Jewellery Creation Studio.

To celebrate the 100th year of the N°5 perfume’s fame, Patrice Leguéreau, Director of the Chanel Fine Jewellery Creation Studio, has imagined the “Collection N°5”, the first High Jewelry collection ever to be dedicated to a perfume. From the bottle to the sillage, these 123 extraordinary pieces express the different facets of the N°5 perfume. In 1921, the first “perfume for women with the scent of a woman” composed by Ernest Beaux and Gabrielle Chanel made a sound of commotion. The modernity of the fragrance, the purity of the bottle and the mystery of the name, the N°5 perfume was nothing short of a revolution. In 1932, Mademoiselle shattered the codes of French High Jewelry with her one and only collection in platinum and diamonds. These “Bijoux de Diamants” introduced new ways of wearing jewelry and took jewelry into a new realm... that of allure. In 2021, Leguéreau decided to bring these two domains together with the Collection N°5. “Gabrielle Chanel approached these two universes with the same visionary values, focusing on audacity and the quest for excellence. I wanted to rediscover that creative gesture with this collection, which has been conceived like a journey through the meanderings of the N°5 perfume’s soul, from the architecture of the bottle to the olfactive explosion of the fragrance. The highlight of this unprecedented collection is an emblematic and exceptional necklace set with a 55.55-carat diamond.” The Creation Studio magnifies five of the N°5 perfume’s identifying elements through compositions of rare and exceptional gemstones. With 100 years of fame behind it, only a rich, unique and mysterious perfume like the N°5 perfume could inspire such a majestic collection of High Jewellery.

BEACH CABIN ON THE BALTIC SEA

www.kuczia.com

Nestled in the temperate climate zone of northern Poland, the awardwinning Beach Cabin by architect Peter Kuczia offers a harmonious blend of modern design and ecological sustainability. This minimalist building consists of two distinct areas: an opaque part with windows and a fully glazed winter garden. The transparent glass structure, which accounts for one-third of the building, not only provides panoramic views of the sea, coast, and sky but also passively harnesses solar energy to improve indoor comfort in the cooler climate of northern Poland.

In the colder seasons, the conservatory acts as a large air collector, using the sun’s rays to supplement heating with a heat pump system. This eco-friendly design not only

The Beach Cabin on the Baltic Sea winter garden utilizes the SOLARLUX winter garden system, featuring woodaluminum construction. The applied thermo-insulating glass also has sun protection properties.

enhances the scenic landscape but also offers ecological benefits. The striking contrast between the two parts of the building is highlighted both during the day and at night, with the interior of the winter garden warmly lit and welcoming guests into its tranquil ambience. Raised on stilts, the cabin gently floats above the sandy terrain, preserving the natural landscape while offering unobstructed views of the surroundings. The conservatory’s system construction, characterised by slender aluminium profiles, creates a delicate effect that enhances the cabin’s purist elegance. The Beach Cabin by Peter Kuczia is a testament to architectural innovation and environmental protection, offering users an immersive experience that blends seamlessly into the coastal environment.

THE HOTEL BOOK

FROM STORIED GRAND DAMES TO AUDACIOUS CONTEMPORARY OPENINGS, THE FINEST EXPRESSIONS OF HOSPITALITY ASSEMBLE WITHIN LE GRAND MAG’S TRAVEL BOOK. NOT A CATALOGUE BUT A CONSTELLATION—EACH HOTEL A LUMINOUS EMBLEM OF ELEGANCE, EACH PAGE A TRIBUTE TO WHAT WE CALL THE EXTREMELY WELL LIVING.

THE GRITTI PALACE

www.marriott.com

The Gritti Palace, poised along the curve of the Grand Canal, is less a hotel than a Venetian palimpsest, a palazzo in which centuries of power, art and intrigue have been distilled into a singular atmosphere. Commissioned in the early sixteenth century by the Doge Andrea Gritti, it was conceived not as ostentation but as permanence: carved facades watching over the city’s liquid thoroughfare, frescoed interiors designed to impress both foreign envoys and domestic rivals. Over the centuries, its salons welcomed ambassadors, aristocrats and the restless elite of the Grand Tour, all seduced by its patrician gravitas.

To cross its threshold today is to step into a salon where epochs converse. The piano nobile remains adorned with tapestries, Murano chandeliers and antique mirrors that refract both candlelight and lagoonal shimmer. Restoration has

preserved the patina of centuries while introducing the discreet modernities that a cultivated guest now expects. The result is not a museum but a choreography of memory—each gesture, each space, calibrated to maintain Venice’s elusive balance of grandeur and intimacy.

Its suites, many named after illustrious former guests, have acquired a mythology of their own. Ernest Hemingway wintered here in the 1940s, composing pages later woven into Across the River and Into the Trees. Peggy Guggenheim sought refuge amid its damask-draped salons. The Hemingway Suite, still crowned by his writing desk, retains the aura of creative exile, the sense of a private theatre suspended above the Canal.

The rituals of hospitality unfold with Venetian theatricality. At the Club del Doge restaurant, lagoonal produce and Adriatic flavours are elevated into

www.sacher.com/de/wien/

Founded in 1876, the Hotel Sacher Wien is Vienna distilled: chandeliers and velvet, mirrors and discreet ritual, where imperial memory and contemporary refinement converge in a theatre of culture, diplomacy and gastronomic legend.

The Hotel Sacher Wien, opposite the State Opera, is not simply a place to reside; it is an extension of the city’s cultural stage. Founded by Eduard Sacher in 1876, it carries within its walls the inheritance of empire and modernity alike. Its interiors—velvet, crystal, mirrors—compose a mise-enscène where Vienna’s past is neither embalmed nor imitated but continuously enacted. Rooms and suites embody a domestic grandeur: brocaded fabrics, antique marquetry, and contemporary comfort composed with curatorial precision. Views unfold onto the Opera or the Albertina, staging the city itself as ornament. Within, atmosphere is not designed but inherited, each space carrying the resonance of decades of sojourns. Dining forms part of the Sacher mythology. The Rote Bar and Grüne Bar combine culinary elegance with a sense of theatrical intimacy. At the café, the Sachertorte, first served in 1832, continues to symbolise Vienna’s ability to

Behind the façade on Philharmonikerstrasse lies a salon of memory. Gustav Mahler and Marlene Dietrich, John F. Kennedy and Queen Elizabeth II—all found in the Sacher not extravagance but poise. Its chandeliers still refract the same light upon mirrored halls, its staff enact rituals as precise as court ceremony. The famous Sachertorte, guarded by recipe and myth, remains both dessert and icon. To dine here is to participate in Vienna’s most enduring performance: the marriage of indulgence and restraint.

transform indulgence into ritual. Here, chocolate becomes culture, and culture continuity. The Sacher has long been a nexus of history. Diplomats and dignitaries found in it the discretion required for encounters; artists and performers discovered an atmosphere attuned to their theatrical sensibility. Its allure lies not in novelty but permanence.

To enter the Sacher is to join a performance that began in the nineteenth century and shows no sign of ending—a performance where hospitality is indistinguishable from civilisation itself.

A lot happened in 1897: Queen Victoria celebrated her diamond jubilee; the Blackwall Tunnel opened; and the novel Dracula was published. It was also when Harrods Estates opened.

Since then, we’ve assisted the residents of Knightsbridge and surrounding areas with luxury properties – always providing the highest level of service. Here’s to the next 125 years.