BLACK BAY 58
THE X5
Every issue is a journey, and this one takes us across landscapes both geographic and artistic. We begin From Provence to the Ocean, where effortless elegance flows through silhouettes inspired by France’s natural beauty. Our fashion pages are Driven by Luxury, a celebration of style in motion, where timeless refinement meets freedom and discovery. Alongside fashion, we meet extraordinary voices shaping today’s cultural narrative. Marysia S. Peres speaks to us about intuition, language, and storytelling, while Lira Bekbolatova invites us inward, exploring vulnerability, belonging, and the practice of self-love. In Paris, Sylvio Giardina’s CAPITOLO I COUTURE blurs structure and fluidity into sculptural couture, while Paisi (Pascal Hierholz) reminds us of ink’s fearless ability to capture human contradiction.
Architecture, too, finds its place in these pages, Amangiri and Camp Sarika offer a dialogue with Utah’s high desert, while E Plus A Atelier’s Lines of Light brings quiet monumentality to Dubai’s Palm Jumeirah. Each project is an expression of how creativity, whether through clothing, art, words, or walls, can shape the way we experience the world.
And because beauty also lies in the details, we’re delighted to have Clarins bringing us their latest innovations, infusing this issue with freshness and vitality that mirrors the season itself. This is an edition about movement and meaning, about elegance, authenticity, and the quiet power of design to transform both surface and soul. Enjoy the journey.
Kay K x
“The further a society drifts from truth the more it will hate those who speak it” – George Orwell
012. FROM PROVENCE TO THE
OCEAN
– A journey of effortless elegance, fluid silhouettes, and natural textiles inspired by French landscapes and summer’s vitality.
014. Q+A: MARYSIA S. PERES
An actor, model, and storyteller—Marysia embraces languages, creativity, and intuition across a boundless, cross-cultural artistic journey.
018. CAPITOLO I COUTURE
Sylvio Giardina returns to Paris with sculptural couture, exploring transformation, instinct, and the dialogue between structure and fluidity.
024. IN DIALOGUE WITH DESERT
Amangiri and Camp Sarika redefine contemporary luxury, merging architecture and landscape in Utah’s vast, elemental high desert.
030. Q+A:THE LANGUAGE OF FLUIDITY
French artist Pascal Hierholz, known as Paisi, explores ink’s fearless contrasts— memory, disruption, humor, and deeply personal truth.
040. THE JOURNEY WITHIN
Lira Bekbolatova on music, writing, and teaching as pathways to honesty, vulnerability, belonging, and selfacceptance.
044. LINES OF LIGHT
On Palm Jumeirah, E Plus A Atelier crafts a villa of precision, atmosphere, and luminous architectural choreography.
054. DRIVEN BY LUXURY
Fashion in motion: elegance, freedom, and refinement echoing journeys, timeless silhouettes, and the enduring power of style.
064. AN ODE TO REINVENTION
A Pune terrace by Purru fuses heritage and modernity, creating a sanctuary of intimacy, craft, and contemporary design in the western Indian state of Maharashtra
070. Q+A EVLYNE OYEDOKUN
An unfiltered portrait of the Black autistic actress whose raw presence, strength, and artistry transcend performance, revealing truth beyond the stage.
Editor
Kay Psaila
Design / Art Direction Vocab®
Photographer
Matthew B Spiteri
Stylist
Robert Walker
Sales Director
Sam: [+356] 7788 0300
Contributors
Ali Mohammadioun
Elnaz Taghaddos
E Plus A Atelier
Emanuel Ungaro
Lira Bekbolatova
Marwan Al-Sayed, Rick Joy, and Wendell Burnett
Marysia S. Peres
Pascal Hierholz
Sylvio Giardina
[ FROM PROVENCE TO THE OCEAN ]
Emanuel Ungaro stood as a testament to enduring creativity, seamlessly blending its rich heritage with contemporary innovation. In June, the brand presented the Spring/Summer 2026 collection that drew inspiration from the landscapes and plant life of Provence, as well as the shores of the Atlantic Ocean. It was a journey through France, from the scrublands of the south to the beaches of the west coast, capturing the essence of ‘élégance décontractée’. Simple nature, simple art, and pure, linear graphics captured the spirit of summer ease. Volumes and comfort were expressed through simple, pure designs that created relaxed silhouettes with fluid textures and precious finishes. The softness and lightness of the materials were key features of this collection, with fresh textiles and natural, pure fibres combined with elegant, sophisticated prints.
Patterns were inspired by olive leaves
and sage, and the graphic outlines of newly blooming flowers, bringing charm and freshness to the collection’s vegetal and rural elements. Seaweed and kelp used shades of blue watercolours, while seashells expressed the height of summer. The work on new sartorial silhouettes was part of the DNA, highlighting double-breasted jackets and suits. More unconstructed and fluid pieces were shown, with lower lapels and large pleated trousers. Textiles were light and essential: ultra-light wools, fine linen blends, and fresh, compact cottons.
For evening parties, sleek and fluid tuxedos were embellished with tonal crystal motifs on lapels and trousers.
The sportswear collection featured fringes, shirt jackets, a crisp coated linen bomber and a double-breasted trench coat, as well as printed, oversized T-shirts and sweatshirts.
LIRA BEKBOLATOVA’S REPORT FROM PARIS FASHION WEEK FOR VAMP MAGAZINE.
MEETING MARYSIA
Photos: Elena Slavova
Living Many Lives: A Conversation with Marysia S. Peres
[ “WITH EXPERIENCE, MY IDEA OF SUCCESS HAS SHIFTED FROM CHASING PERFECTION TO EMBRACING AUTHENTICITY.”]
Actor, model, polyglot, and storyteller, Marysia S. Peres is the kind of artist who moves fluidly between worlds. Whether she’s playing a queen in a historical drama, slipping into the rhythm of a new language, or developing stories behind the camera, there’s a grounded authenticity to everything she does. Her career is marked not by fame-chasing, but by curiosity, discipline, and a deep love of the craft.
VAMP speaks to Marysia about performing in five languages, finding truth in characters, the importance of intuition, and why her next story might just be the one she writes herself.
Your career spans acting, modelling, language learning, and travel. What inspired you to embrace such a broad artistic journey?
I’ve always had a creative spirit and a strong desire to explore the world while pursuing my dreams. Filmmaking has been my greatest passion from the start, but modeling came into my life early on and opened doors to incredible travel and inspiring collaborations. It taught me patience, self-discipline, and resilience qualities that continue to shape who I am as an artist.
Growing up in a multicultural family gave me a natural affinity for languages. While learning new ones is never easy, it’s a skill that has become incredibly valuable in my acting career, especially when portraying characters from diverse cultural backgrounds. Just this year, I performed with both a Greek and a French accent, and in past projects, I’ve spoken Norwegian and Portuguese on screen, languages I don’t actually speak. I have a good ear for language, which allows me to pick up pronunciation and rhythm quickly and
perform lines naturally.
What I love most about acting is the opportunity to live different lives, create alternate realities, and explore the full spectrum of human emotion. It’s exciting to “play pretend” on such a deep level, each role invites me to research, learn new skills, and push myself further. Acting is life under a microscope, and I find that endlessly fascinating.
You’ve trained in prestigious institutions from LA to London. How have these experiences shaped your approach to interpreting characters?
Acting is an incredibly personal craft, it’s not one-size-fits-all. It’s like learning to play an instrument, except the instrument is your entire self. That’s why I’ve always been drawn to a variety of teachers and techniques. I take what resonates, leave what doesn’t, and constantly adapt to each new role, director, and environment. Every set is different, so being open and flexible is key. I truly believe you never stop learning in this profession.
As a polyglot fluent in five languages and accents, how does this linguistic ability enhance your performances on screen?
Being fluent in several languages opens up a wider range of roles and allows me to bring more authenticity to my characters. It’s not just about speaking lines, it’s about embodying the rhythm, emotion, and nuance of another culture. That said, fluency needs to be maintained. If you don’t use a language, it starts to fade. I try to keep my skills fresh by watching films, reading books, and staying immersed in the sounds of each language.
Your roles have ranged from Queen Isabella in Assassin’s Creed to Carmen in Love to Paradise. Which character
challenged you the most, and why?
Every character presents its own set of challenges. Sometimes it’s the emotional depth of a scene, and other times it’s something more physical, like wearing a heavy costume in extreme weather or swimming in a cold sea. I welcome those challenges. I’m very driven and tend to be most competitive with myself. With every new role, I aim to grow, evolve, and bring something fresh and honest to the screen.
You’ve recently starred in Classified and Hallmark’s The Dancing Detective. What drew you to these particular roles, and how did they challenge or excite you creatively?
Both roles were a joy to play. When you audition, you don’t always know how prominent the part will be, so these turned out to be pleasant surprises. I love portraying mysterious, multi-layered women, and in Classified, I had the chance to work opposite Aaron Eckhart, an actor I’ve long admired for his performances in Erin Brockovich and No Reservations.
The Dancing Detective was pure fun. The cast and crew were a dream to work with, and the set had such a positive energy. I’ve had so many lovely messages from people who enjoyed the film, it really struck a great balance between romance and mystery.
You’ve worked across diverse settings, from blockbuster films to indie projects and commercials. How do you choose what to say ‘yes’ to?
This industry is incredibly competitive, and just getting an audition is often a feat in itself. Auditioning is its own art—it’s a very different skill than acting on set. But over time, I’ve learned to trust my instincts. >>
New C ollection
Blending the classic with the unexpected
When a project is offered directly, I usually know quite quickly if it resonates with me. I’m very intuitive and emotionally driven, and I need to feel a real connection to the story. Of course, I don’t always get it right, but I’ve learned to listen to my gut.
Travel seems central to your career. How does exploring new places influence your creativity both personally and professionally?
Travel is incredibly enriching, though it’s not without its challenges. I’m naturally a bit of a homebody, so I’ve learned how to create a cozy sense of home wherever I go. But I feel so grateful for the chance to experience different countries and cultures. It opens your mind, fuels your creativity, and reminds you that there are so many ways to live, think, and tell stories. I’m always excited to keep exploring, especially for the right project.
The modeling world is highly competitive. How do you maintain resilience and authenticity amid constant pressure?
Like any creative industry, modeling has its challenges. It can sometimes focus heavily on image, which makes it all the more important to stay connected to who you are beyond the surface. I’ve found balance by investing in the things that fulfill me personally, whether that’s time with loved ones, creative exploration, or continuous self-growth. Over the years, I’ve come to genuinely enjoy fashion as a form of expression, and I feel that my work has matured alongside me. With experience, my idea of success has shifted—from chasing perfection to embracing authenticity.
Storytelling is clearly at your core. What’s a story you haven’t told yet, but are eager to bring to life?
There are a few stories I’ve been carrying with me that I’d love to bring to the screen. I’ve started exploring scriptwriting and producing, and I hope to develop those projects in the coming years. At the same time, I’m always inspired by other creatives and eager to help tell their stories, especially when they offer complex, emotionally rich roles. I’m drawn to characters with depth and stories with purpose.
Philanthropy is important to you, you’ve supported sustainability and charitable fashion projects; what gives you that sense of purpose?
I believe meaningful change often starts with small, individual choices. Whether it’s supporting sustainable brands, giving back to your community, or just being kinder and more conscious, it all matters. I try to align myself with causes that reflect my values and create tangible, positive impact. It’s about contributing to a more compassionate and thoughtful world.
Looking ahead, what kind of roles or creative projects are you most excited to take on next?
I always say: I want my next project to be my best yet. That’s my goal, to continue
evolving, taking on richer roles, and collaborating with people who challenge and inspire me. I’m excited for the unknown, and I’m ready to step into whatever comes next with passion and purpose. [ V ]
[...“ACTING IS LIFE UNDER A MICROSCOPE, AND I FIND THAT ENDLESSLY FASCINATING.”...]
CAPITOLO 1 COUTURE
In a world where haute couture often teeters between nostalgia and novelty, Sylvio Giardina carves out a space that feels entirely his own. With CAPITOLO I COUTURE, the Roman designer returns to Paris not to stage a spectacle, but to orchestrate an encounter, an intimate dialogue between craftsmanship, sculpture, and the human form. His Fall/Winter 2025–26 collection is less a series of garments than a narrative in motion: a study of transformation, instinct, and the poetic tension between structure and fluidity. Set against the refined backdrop of a Haussmann apartment, Giardina’s creations unfold like fragments of an unfinished story, bold, delicate, and alive with possibility.
Recognised as one of the most original voices in contemporary high fashion, Roman designer Sylvio Giardina returns to Paris to present his Fall/Winter 2025–26 collection. In the heart of the city, he has chosen a classic Haussmann-style apartment to host a refined and intimate showcase: ten haute couture pieces where experimentation comes to life through sculptural shapes, bold outlines, and a delicate precision in craftsmanship. Each garment reveals the designer’s technical skill, in the play of transparency, the surprise of metallic details, and the movement of fringe and raised textures.
Each creation carries its own identity, imagined as a moving scene that follows the body’s rhythm. Together, they tell a story of change and transformation, suggesting the beauty of something unfinished and always evolving. Velvet petals become tassel-like patchworks, while crystals bloom like rare, exotic flowers. >>
[ BY SYLVIO GIARDINA ]
[“EACH
CREATION IS IMAGINED
AS A
MOVING SCENE — ALIVE WITH TRANSFORMATION, UNFINISHED YET ALWAYS
EVOLVING.”]
Giardina describes the collection as a tribute to his “inner animals” symbols of his creative process, which he calls instinctive, wild, and deeply driven. These inner forces, he says, help him unlock his full artistic potential.
The color palette, black and white, the glowing gold, the richness of amethyst, and the calm of ecru, reflects a blend of precision and imagination. Working with lace, metallic plissé organza, cady, linen, and metallic gauze, Giardina treats fabric like sculpture. He molds, layers,
and reshapes it, balancing structure with softness to create pieces that feel almost weightless, like a delicate mist. Experimentation has always been central to Giardina’s work. Over the years, he has naturally blended fashion with the language of contemporary art. For him, performance, installation, and video are not just ways to present fashion, they are part of the creative process itself. This new collection follows that tradition, taking it further by highlighting the essential, expressive power of each piece.
The collection also connects to Giardina’s recent reflections on myth and transformation, seen in his past projects at Palazzo Farnese (/gal-le-rì-a/) and the Baths of Diocletian (SI/LENZIO). These themes appear again in small but powerful details, animal-inspired accessories that feel both ancient and modern, echoing masks, memories, and symbolic meanings. [ V ]
IN DIALOGUE WITH DESERT
Amangiri, set against the raw beauty of Southern Utah’s desert, distills luxury to its most elemental form. With Camp Sarika, the resort expands this vision, creating a seamless conversation between architecture and landscape—where the desert is not a backdrop, but the star.
Southern Utah’s high desert is a landscape of improbable drama: vast plateaus dissolving into deep slot canyons, sheer cliffs painted in gradations of ochre, rust, and cream, and skies so unbroken they appear to curve endlessly overhead. It is here, in Canyon Point on the Colorado Plateau, that Amangiri has quietly established itself as one of the world’s most compelling resorts.
Since opening in 2009, the property has become a reference point for a particular strain of contemporary luxury, one in which architecture is stripped back to its essence, where context dictates form, and where the true protagonist is not the building but the land that cradles it. With the 2020 addition of Camp Sarika, a tented retreat set apart from the main complex, the resort has extended its dialogue with the desert even further, offering a vision of hospitality that is as much about immersion as indulgence.
Designed by Marwan Al-Sayed, Rick Joy, and Wendell Burnett, Amangiri is an essay in restraint. The resort occupies over 900 acres yet feels almost invisible from a distance. Low, angular volumes of pale concrete are set against the cliffs in a language of horizontality that echoes the surrounding geology. >>
“AMANGIRI & CAMP SARIKA SUCCEED PRECISELY BECAUSE THEY ALLOW THE LAND TO LEAD, & IN
The material palette—raw concrete, stone, and glass, feels less imported than quarried from the site itself.
Inside, the 34 suites are studies in minimalism. Earth tones dominate, surfaces are unadorned, and ornamentation is conspicuously absent. Instead, the architecture frames: each suite directs the gaze toward a cliff face, a horizon line, or the shifting play of light across the desert floor. Private terraces, plunge pools, and fire pits offer intimacy without severing the connection to the landscape.
The result is not ostentation but stillness. Luxury here resides not in accumulation
but in calibration, the precise alignment of window with escarpment, of water with rock, of silence with sky.
Camp Sarika: The Desert, Intensified
If Amangiri is about monumental quiet, Camp Sarika is about elemental closeness. Conceived as an extension rather than an annex, Sarika comprises ten tented pavilions, five one-bedroom and five two-bedroom, spread across 55 hectares of wild desert terrain. Each pavilion is anchored by a heated plunge pool and private terrace, with interiors lined in canvas, timber, and warm textiles that soften the austerity of the desert.
The design deliberately blurs the threshold between inside and out. Canvas walls filter desert light, private firepits flicker against the immensity of night, and sound carries with clarity rare in the modern world. Unlike the often fragile glamping tents of Instagram aspiration, Sarika is engineered for permanence. The structures are built to withstand the extremes of desert climate, searing sun, sudden winds, even snow, without surrendering their sense of weightless transience.
At the heart of the camp lies a communal pavilion containing a restaurant, lounge, and spa suites. The architecture is modest in scale, conceived less as a focal point
Amangiri’s dining terrace set on a scenic desert backdrop in Southern Utah
DOING SO, REMIND US THAT THE HIGHEST FORM OF DESIGN IS NOT IMPOSITION BUT DEFERENCE.”
than as an anchor, around which the life of the camp circulates.
Experience: Between Adventure and Contemplation
To stay at Amangiri or Camp Sarika is to oscillate between activity and stillness. For those drawn to movement, the desert offers a playground: hiking among slot canyons, via ferrata climbs across sheer sandstone, horseback rides along dry riverbeds. Guides are on hand, but the terrain requires little embellishment; its drama speaks for itself.
For others, the appeal lies in surrender.
The 25,000-square-foot Aman Spa at Amangiri offers a sequence of water pavilions, steam rooms, saunas, and treatment terraces. Therapies draw on local minerals and botanicals, clay, sand, salt, while yoga and meditation programmes situate practice within the vast silence of the plateau. Dining, too, is a reflection of context: ingredients sourced locally, menus attuned to seasonal rhythms, dishes that balance international refinement with regional influence.
Evenings at Camp Sarika are perhaps the most memorable: fires crackling under a canopy of stars, the desert air cooling rapidly as constellations sharpen overhead.
It is here that the sense of scale becomes most apparent, guests dwarfed by geology, their private luxuries framed by the immensity of the natural world.
Architecture as Deference
What makes Amangiri and Sarika compelling is not simply their beauty, nor their exclusivity, but their refusal to dominate the land. In contrast to resorts that treat landscape as a backdrop for spectacle, these properties invert the hierarchy. The architecture is deferential, almost recessive. It frames, shelters, and supports, but never overwhelms. >>
A private plunge pool at Camp Sarika offers uninterrupted views of Utah’s sculpted canyon walls
This is not to suggest that the project is free of contradiction. To introduce high-end hospitality into such a fragile ecosystem is to engage in a complex negotiation between preservation and consumption, between exclusivity and access. Yet compared with the generic sprawl of many resort developments, Amangiri feels unusually thoughtful. Its low density, its material honesty, and its conscious alignment with geology all suggest a model in which luxury can coexist with restraint.
A Benchmark for Contemporary Retreats
In the years since its opening, Amangiri has become a touchstone for a new typology of resort, one that eschews ornament in favour of elemental form, one that treats landscape not as scenery but as substance. Camp Sarika extends this typology, demonstrating how even temporary-seeming structures can achieve permanence, comfort, and cultural resonance.
For guests, the appeal is straightforward: privacy, beauty, and a sense of detachment from the everyday. But for designers and critics, the project’s significance lies in its methodology. It shows that architecture, when disciplined by context, can heighten rather than diminish the experience of place.
Enduring Lessons
More than a decade after its debut, Amangiri remains less a resort than an argument: that luxury need not be loud, that minimalism can be sensuous, and that the most profound amenity is the landscape itself. Camp Sarika reinforces this argument, offering an experience that is both more intimate and more exposed, reminding guests that comfort and wilderness are not mutually exclusive.
In the silence of Utah’s desert, among cliffs weathered over millennia, the work of
architecture is modest. It need not invent drama, only frame it. Amangiri and Camp Sarika succeed precisely because they understand this, because they allow the land to lead, and in doing so, remind us that the highest form of design is not imposition but deference. [ V ]
[“LUXURY HERE RESIDES NOT IN ACCUMULATION BUT IN CALIBRATION— THE PRECISE ALIGNMENT OF WINDOW WITH ESCARPMENT, OF WATER WITH ROCK, OF SILENCE WITH SKY.”]
THE LANGUAGE OF FLUIDITY.
French artist and illustrator Pascal Hierholz, known in the art world as Paisi, speaks in ink. His work is fluid, fearless, and filled with contrasts: between memory and moment, tradition and disruption, the sacred and the mundane. Based in Bali, with a background in advertising and a lifelong habit of observation, Paisi’s art reads like a visual diary of human contradiction, poetic, political, humorous, and deeply personal.
VAMP speaks to Paisi about the discipline of ink, the beauty of imperfection, and why, sometimes, a splash of black on paper can say more than a thousand words.
IN
French artist and illustrator Pascal Hierholz — known in the art world as Paisi — speaks in ink. His work is fluid, fearless, and filled with contrasts: between memory and moment, tradition and disruption, the sacred and the mundane. Based in Bali, with a background in advertising and a lifelong habit of observation, Paisi’s art reads like a visual diary of human contradiction — poetic, political, humorous, and deeply personal.
ty into a dream world. Hahaha. You know “Pleasantville” style… I always thought advertising was a good training for ideas. Looking for the best contrast, for impact, combinations of words and images, etc. I guess it can still be felt in some of my work.
Q: Your lines are confident, rarely hesitant. Would you consider this a result of discipline, or instinct?
Discipline at the beginning: Learning to know the tool properly, how to hold it, master it, press it, release it, try to control the flow… Fail a lot, then, with time, eventually comes the right feeling. Fluidly, and sometimes beautiful accidents on paper.
[“ MAYBE WE ALL LIVE
TO GRASP THE
A DREAM… I SKETCH
FEELING OF THE MOMENT. ”]
Q: There’s a persistence in your use of black ink, a kind of certainty. What is it about ink that continues to speak for you?
True, I have been using Chinese ink (or Indian ink) for a very long time. It has had a great influence on me. Its fluidity, its depth or lightness depending on the stokes, its agility. Chinese art and calligraphy are based on ink, they breathe words and landscapes of ink. I found this very beautiful, inspiring, and also quite hard to master…
Q: Much of your work feels like memory in motion, like walking through a dream that isn’t yours. Do you ever return to a piece and find it says something new?
Maybe we all live in a dream… When I sketch I usually try to grasp the feeling of the moment. Sometimes it can be just the light, or something weird on the street. It can be people, how they look, how they behave. Or something I cannot say.
When I look at them even years later, I usually remember what that was.
Q: You’ve worked for decades in advertising, an industry built on clarity. Yet your art seems to embrace ambiguity. Is that a conscious departure?
Clarity? Really? I thought the creative business in advertising was to blur the reali-
Q: Indonesia, and Bali in particular, appear again and again in your work, not as an escape, but as an ecosystem. What does this place reveal to you?
Of course, I have been living and working in Indonesia for quite a long time now. It is the country where I have been the longest in my life actually. Bali in particular has a special resonance to me. My wife is Balinese. It is a place with a special heritage. I like its temples, the delicate balance between the people, the religion and the culture. It is a world in itself. Deep, sometimes dark, threatened by modern life and mass tourism. Its beauty needs to be protected, to be preserved, but overdevelopment and greed are lurking. >>
[“ INK HAS ITS OWN DISCIPLINE: FAIL A LOT , THEN EVENTUALLY COMES THE RIGHT FEELING. ”]
Q: When you begin a piece, do you start with an idea, or with a line? Does meaning come first, or form?
I guess it always starts with some form of idea, but that idea can evolve along with the lines, follows the flow and sometimes arrives somewhere else.
Q: Some of your works, No More Refugees, In God We Trust, feel unflinching, urgent. Do you see your art as a form of commentary, or simply reflection?
These are works inspired by the moment, the craziness of the world, wars, conflicts or capitalistic extremes. They come straight from my background as an adman. I guess. A madman. >>
[“WHY IS THAT GIRL CHECKING HER PHONE WHEN THE VOLCANO BEHIND HER IS ERUPTING? CONTRASTS ARE EVERYWHERE — THE SACRED AND THE MUNDANE, HUMOUR AND TRAGEDY, BEAUTY AND DESTRUCTION.”]
Q: There’s mythology in your subjects, but also motorbikes and mobile phones. Do you see the divine and the mundane as coexisting in your practice?
Contrasts again. These scenes provide food for thought. Why is that girl checking her phone when obviously the volcano behind her is erupting? Is she blind, or the phone more important? Why is that person risking her life in front of the volcano, just to take a selfie? The world is moving and changing fast in front of our eyes. Motorbikes with priests, traffic jams, pollution. All taken with a zest of humor.
Q: You’ve moved between drawing, painting, publishing, and exhibition. Each a different kind of platform. Do they serve different voices within you?
Same voice, same song, but different instruments. It all started with travelling,
travel sketches, impressions, short stories, ideas, contrasts, cultures, different materials, more stories, more impressions…
Q: Is completion a feeling for you, or a decision?
Excellent question! When you work with watercolor and Chinese ink, you have to learn control. And that is hard. You need to feel when is the moment to stop, not to add anything, any stroke, any line, otherwise the work can be ruined. Believe me, it is hard…
(I have so many ruined sketches to prove it)
Q: Has your work ever surprised you, by what it became, or what it revealed?
When a line flows perfectly. When a splash of ink or color stops at the very right place… Amazing!
Q: You describe yourself as a communicator. But art often speaks where language doesn’t reach. Has your work ever said something you couldn’t?
Hmmm… I always try to combine words and pictures (from the adman’s syndrome) but you are right, it doesn’t work perfectly just like that. I guess using symbols sometimes speak louder than words. For example the silhouettes of Indonesian shadow puppets in the background of the “Bhinneka Tunggal Ika” artwork, showing the first president struggling with the problems of the country. This reads “United we stand” but the visual tells something a bit more shaky. [ V ]
Lira Bekbolatova moves between music, writing and teaching, yet she resists being defined by any single role. Her work is bound by a search for honesty, for small moments of light that help people reconnect with themselves. Whether in her children’s books on self-acceptance, in songs that explore the many shades
of love, or in the safe spaces she creates for her students, Lira returns again and again to the themes of vulnerability and belonging. In this conversation, she speaks openly about self-doubt, the daily practice of self-love, and her wish for art to be less about performance and more about truth.
Q: Lira, you are a musician, writer, and educator. Beyond these roles, how do you define yourself as an artist?
As an artist, I want to remind people of the beauty that already exists within them. My goal is to create spaces where they can reconnect with their inner world through creativity. I believe art should reflect truth, even when that truth feels raw or imperfect and that often requires vulnerability, both for the artist and for those who engage with the work. For me, creating is also a way of making sense of the daily chaos that surrounds me. >>
[“My role is not to impress but to express. Art is not about being liked – it’s about being real.”]
Q: You often speak about self-love and vulnerability. Why are these themes so important to you?
Because I’ve struggled with them myself. For a long time, I thought self-love was something you achieve once and for all, but I’ve learned it’s really a daily practice. Vulnerability, to me, feels like a new kind of luxury. In today’s world, people often feel pressured to project perfection out of fear of rejection for simply being who they are. This fear creates isolation, making it harder to create and maintain authentic connections. By embracing vulnerability, we open the door to deeper, more meaningful relationships, which is why I try to infuse
my work with raw, honest emotions.
Q: Your books, Bella’s Adventure and My Secret Wolf, explore mental health and self-acceptance. How do they reflect your own journey?
These books are very personal, even though they are written for children. I wanted to create stories that encourage self-acceptance and emotional awareness from an early age. I believe that the way we speak to ourselves as adults is shaped in childhood, so if I can help young minds develop kindness toward themselves, that’s incredibly meaningful.
Q: Your EP, Sfumature d’Amore, is centered around different forms of love. What drew you to this theme?
Love is often reduced to a romance, but it’s so much more than that. There’s the love between a parent and child, the love we cultivate within ourselves, the connection we feel with nature, and even the kind of love that asks nothing in return. Each track on the EP explores a different shade of love, showing that it is not a single emotion but a spectrum of experiences. And I wanted to honor that.
Q: What impact do you hope your work has on your audience?
Through my art, I want people to feel seen, understood and appreciated..
Q: Many artists struggle with self-doubt. How do you deal with moments of insecurity? And how do you maintain creative confidence?
I don’t think confidence means the absence of doubt, it means moving forward despite it. There are days when I question myself, my abilities, or feel I’m not good enough. But art isn’t about perfection; it’s about sincerity and vulnerability. It’s easy to get caught up in external validation — in other words, chasing an ego boost. At the end of the day, what matters most is how I feel about my work, what it means to me and whether I enjoy it. I try to approach creativity with curiosity rather than pressure.
Q: You also teach and coach others in creative expression. What is your main message to your students?
That their voices matter. Whether they express themselves through performing arts, music or any other creative form, their perspective is unique and valuable. I noticed that nowadays people hesitate to express themselves because they fear judgment. And that’s why I try to create an environment where my students or people I work with feel safe to explore, to make mistakes, to be vulnerable. Creativity thrives in freedom, not in restriction.
Q: What’s a common misconception people have about you?
That I always have clarity, that I know exactly what I’m doing. The truth is, I’m often overwhelmed by the fear of the unknown, but I choose to face it and explore anyway. I think that’s what life is really about: figuring things out as you go.
Q: What’s next for you?
I want to continue evolving, both as a person and as an artist. I want to try and learn new things, step out of my comfort zone, challenge myself,while also contributing to society. I hope to keep offering people a sense of belonging through my art. If my creative work can bring even a fleeting moment of self-acceptance, hope, or joy, or help someone experience vulnerability, then I’ve fulfilled the purpose I hoped to achieve. [ V ]
LINES O
A new landmark in Dubai reimagines beachfront living with restraint , light , and sculptural clarity
F LIGHT
Dubai, UAE – 13 May 2025 —
On the outer crescent of Palm Jumeirah, a new villa by E Plus A Atelier takes its place between water and sky with an assurance that is both monumental and restrained. The Dubai-based practice, founded by , has developed a reputation for clarity of line, exacting detail, and an almost painterly approach to materials. Here, those qualities converge in a house that feels as much installation as dwelling, a space where architecture becomes choreography, and
daily life is elevated into atmosphere.
From the street, the house reads as a composition of weight and light. Broad planes of travertine interlock with walls of stone, their mass offset by fine seams of illumination cut into the surface like incisions. The overhangs are deep, the reveals emphatic, giving the architecture a permanence rare on the Palm. Yet a single gesture , a cantilevered beam that releases a veil of water into a turquoise pool, lightens the mass, offering a prelude to what lies with-
in: a language of minimal means used for maximum effect.
Entry is less arrival than procession. The villa is organised not as a floor plan but as a sequence, unfolding one space at a time. At its heart, a triple-height atrium draws the eye upward, binding the levels around a sculptural stair and a glass lift that gleams like a vertical spine. Light floods in from clerestories and skylights above, cascading down timber fins and polished stone. >>
The effect is operatic yet measured, a stage where everyday movement, ascending, descending, pausing, becomes a performance in light and shadow.
Other spaces reveal themselves in contrast. The dining hall is double in height, softened by the vertical rhythm of timber louvres. Suspended above, a kinetic artwork adds a sense of gentle motion, its play of balance countering the mass of the surrounding stone. Beyond, the kitchen, a composition of walnut and marble, opens directly onto the garden. Here the geometry dissolves into the horizon, with the infinity pool extending toward the shoreline so seamlessly it appears to merge with the Gulf itself.
Light is the architecture’s most carefully handled material. By day, it is directed, filtered, and grazed across surfaces; by night, the villa transforms into a glowing vessel. Passages and corridors — too often overlooked, are given particular intensity. Arched niches are haloed with light, turning transitional spaces into miniature galleries. Vaults and recesses reveal a concern not just with utility but with experience. Nothing is incidental.
The palette is rich but never indulgent. Bronze glints against oak; travertine carries from exterior to interior in unin-
terrupted sheets; lacquered panels reflect softened illumination. Every junction, seam, and reveal has been worked to precision. Bathrooms become meditations in stone and water, their freestanding tubs placed as sculptural objects beneath indirect light. Even the smallest powder rooms are conceived as set pieces, where basins and mirrors appear as installations of form and finish.
The private quarters take on a different character. Where the public rooms dramatise scale, the bedrooms lean toward intimacy. Walls are wrapped in timber and fabric, softening acoustics and touch. Colours shift to muted warmth; surfaces invite rather than impress. Here the architecture withdraws into discretion, offering sanctuary rather than spectacle.
Landscape design extends the building’s geometry outward. Plantings of palm, cactus, and baobab are placed with sculptural intent, punctuating views while preserving privacy. Raised planters and stone paths continue the travertine grid into the garden, merging built and natural with subtle continuity. The garden, like the architecture, is not ornamental but structural: a living extension of form.
What distinguishes the villa is its rejection of excess. On Palm Jumeirah, a context often associated with flamboyance, it speaks in a quieter, more deliberate tone. Its drama comes not from showmanship but from atmosphere. Every space feels tuned, as though calibrated to hold a precise balance of light, texture, and proportion. Luxury here is not defined by what is added, but by what is refined.
Of course, such precision invites tension. A house so carefully composed risks perfection at the expense of spontaneity. Yet this is also its strength: the insistence that domestic life can be heightened by architecture, that the rituals of walking a corridor, dining at a table, or bathing in stone can be transformed into experiences of resonance. The villa is not a backdrop for life; it is a stage where life and design are inseparable.
For E Plus A Atelier, established only in 2019 and already building across the UAE, Europe, Asia, and Africa, the project signals a confident evolution. It demonstrates that Dubai’s architecture can move beyond spectacle and into a more considered modernism, one that values restraint as much as scale, tactility as much as technology, permanence as much as novelty. >>
The villa’s success lies in its duality: monumental from a distance, intimate within; rigorous in detail, fluid in sequence; a house that is both residence and sculpture. Set against the engineered geometry of Palm Jumeirah and the shifting expanse of the Gulf, it feels at once of its place and beyond it.
More than a private home, it is a manifesto. It argues that atmosphere can be architecture’s greatest luxury, that refinement is more enduring than flamboyance, and that true permanence lies not in scale but in craft. In a city where spectacle often overshadows subtlety, this villa proves that quietness, too, can be powerful. And in doing so, it sets a new benchmark for what domestic architecture in Dubai might aspire to be. [ V ]
DISTINCTION DEFINED
Hair: Kain
Make-up: Nicola Powell
Styling: Robert Walker
Model: Sacha
Wardrobe: Massimo Dutti, The Point, Sliema, / The Shoreline Mall, Kalkara
Photography: Matthew B. Spiteri
Make-up:
Styling:
Model: Sacha
Wardrobe:
Photography: Matthew B. Spiteri Hair: Kain
Nicola Powell
Robert Walker
Massimo Dutti, The Point, Sliema, / The Shoreline Mall, Kalkara
An Ode to Reinvention
Design: Purru Location: Pune Photography: Ekansh Chaurasia
Perched above the bustle of Pune, the Modern Indian Terrace by Purru redefines what it means to live with heritage in a contemporary world. This 500 sq. ft. residential terrace landscape, completed in October 2024, is not merely an outdoor extension of the home—it’s a carefully curated sanctuary where modern comfort converses with the
timeless poetry of Indian design.
Principal designer Kushagra Tyagi envisioned the terrace as a personal retreat, one that balances manageability with the layered richness of tradition. The result is a space that is as functional as it is evocative, marrying minimalist restraint with the joy of vibrant Indian décor.
The terrace’s soaring double-height ceiling set the stage for dramatic design gestures. Instead of amplifying the vastness, Purru opted for intimacy: a false ceiling was introduced to soften proportions and integrate ambient lighting. By day, the terrace is bathed in natural sunlight; by night, it glows with a warm, golden radiance from statement fixtures.
The flooring, a deliberate choice, marks one of the terrace’s boldest moves. The original wooden deck gave way to patterned Spanish tiles in deep Indigo and warm Ochre—a palette that evokes Rajasthani courtyards yet feels undeniably current. This tactile underfoot vibrancy instantly anchors the space in tradition while remaining easy to maintain for contemporary living.
The terrace celebrates the “Modern Indian”
ethos not by denying the old but by folding it gracefully into the present. Antique elements find pride of place, each carrying its own whisper of history.
A brass statue of Lord Krishna, perched on a custom pedestal, holds court as the spiritual and visual focal point. Flanked by two traditional brass Samais, it transforms the terrace into a contemplative zone as much as a social one. Overhead, wrought iron chandeliers suspended from brass
chains sway gently, infusing the evenings with an almost cinematic glow.
Artistry thrives in the details: a handpainted pillar and framed Tikri art pieces infuse craft into the architecture, layering the space with stories of Indian heritage. To amplify volume and light, two oversized mirrors reflect the décor, dissolving boundaries and opening the terrace visually. >>
[“THIS ABILITY TO JUGGLE ENERGY WITH CAL
MNESS IS WHAT MAKES THE DESIGN SING.”]
The heart of the terrace is undeniably the handcrafted teak-wood daybed. Echoing the design of traditional charpoys but elevated with ornamental pillars, it’s a piece that invites lingering—whether over a lazy morning coffee or a twilight conversation. Upholstered with textiles in bold fuchsia and sunny yellow, the daybed strikes a playful yet refined chord, infusing vibrancy without overpowering the serenity.
This ability to juggle energy with calmness is what makes the design sing. On one hand, there’s the exuberance of color, pattern, and history. On the other, there’s a clarity and restraint that prevents visual clutter. The terrace feels “lived in” but never crowded—luxurious yet effortlessly manageable.
No terrace is complete without its dialogue with the outdoors. Here, biophilic design
ensures that greenery isn’t an afterthought but an integral layer of the experience. Potted palms, climbers, and carefully placed foliage create a lush fringe that softens edges and seamlessly ties the terrace to the surrounding landscape. The result is a cocoon of green, framing every decorative flourish with freshness and calm.
The Modern Indian Terrace speaks to a broader design movement—one where cultural identity and modern lifestyles find balance. Instead of defaulting to sterile minimalism or ornamental excess, Purru’s design embraces duality. It acknowledges the nostalgia of old-world charm while confidently rooting itself in contemporary needs.
This is a terrace that tells a story: of mornings that begin with birdsong and
filtered sunlight, of evenings illuminated by chandeliers and laughter, of timeless rituals reimagined for today’s pace. It’s not just a physical space but an emotional landscape—one that nurtures comfort, culture, and connection.
In the hands of Kushagra Tyagi and his team at Purru, this Pune terrace becomes more than design—it becomes identity made tangible. It’s a home extension, yes, but also a meditation on how we live, remember, and celebrate.
With its thoughtful balance of minimalist manageability and the indulgent luxury of Indian décor, the Modern Indian Terrace is not just a balcony—it’s an invitation. An invitation to slow down, to belong, and to embrace the timeless charm of living beautifully. [ V ]
EVLYNE _ Q+A
Words: Lira Bekbolatova
When I first saw Evlyne Oyedokun perform in Blackbird Hour at London’s Bush Theatre, I was electrified. The play - a haunting meditation on grief, identity, and healing - centered on the experience of a queer Black woman. But it was Evlyne’s performance that stayed with me long after I returned to Rome. Her truth, her vulnerability, her quiet strength. There was no separation between her and the role. She didn’t act. She let us in. Her performance stayed with me long after the lights were out and even back in Rome.
Evlyne Oyedokun is a Black autistic actress. That truth is woven into everything she is - her art, her presence, her way of navigating the world. It’s not a label she wears, but it shapes her experience and the way she shows up, unapologetically. We met in a quiet café on a surprisingly sunny day for London. I came with a notebook full of prepared questions but I didn’t ask a single one. My questions didn’t matter anymore - she had already decided how this story would be told.
What followed were hours of trying to capture Evlyne’s essence in words. But no interview format could hold the complexity of her spirit. So I’m stepping away from traditional storytelling to offer you a glimpse into Evlyne’s world as it really is: raw, vibrant, and beautifully unfiltered. Here’s to meeting her on her own terms - the way she thinks, the way she feels, the way she lives. >>
OYEDOKUN
“I wasn’t good at communicating at school. I was always by myself and couldn’t speak to people. I struggled even with my family. At Christmas, I’d hide under the stairsthat was my comfort zone. I had imaginary friends - not real ones, but I’d use objects and imagine them as something else. My teachers said I lacked confidence. So my mother encouraged me to join a youth club in Camden, the Young Persons Theatre Company. I emailed them, and they said they were holding auditions. They asked if I could do a monologue. I had no idea what that was, so I Googled it. And I wrote one about my brother who passed away when I was five.
When I performed it in front of the director, something came over me. I had all these emotions and I thought: “Why am I crying? What’s going on?”. I’d never experienced that before. Never. The director started crying too. When my mum came in, she cried - not because I was crying, but because it was the first time I’d spoken fluently to a stranger. She said she’d never heard me talk like that.
At the time, I hadn’t been diagnosed with autism - we just thought I’d grow out of my speaking difficulties. And that’s how I got into theatre”.
“I used to whisper a lot. If someone was right next to me, I didn’t see why I had to speak loudly. I didn’t understand that others needed to hear you - it wasn’t just about the person in front of you. I always sounded like I was apologising because I didn’t want anyone to be mad at me. Or misunderstand what I was saying. There were lots of things I had to figure out. People said I had a five-year-old voice. I’m tall, but my voice didn’t match my body. I thought, it doesn’t matter, you can still understand me. If you couldn’t hear me, that was even better. That’s how I used to be. So it took me ages to get out of that. The first time I ever heard myself speaking in voice - I cried.
I wasn’t in control of the vibrations, the power of sound was happening. Embracing myself as an instrument - it was a weird feeling. To have this big bass sound - it was overwhelming, but also empowering.
Then one day in a sight-reading class, we were reading The Curious Incident of the Dog in the Night-Time. They were analysing the boy who had autism. But when I read it, I thought, there’s nothing wrong with him. Why don’t they see that? I thought they were analysing me. I needed to leave the room - I didn’t know what was happening. At that time, they thought I had OCD because of my repetitive behaviours. But then they referred me to another mental health centre that specializes in adult autism. By the time I was in my second year at RADA, I was diagnosed with autism. And suddenly, everything made sense. I could finally understand myself. And RADA was able to create a safe space for me once they knew what my needs were. I could leave the room if I needed to. Loud sounds would make me fall to the floor. It’s like when cats or animals hear a loud noise. Even during rehearsals, when someone had to shout, I’d just drop to the floor if I wasn’t ready. I can’t explain thisit’s just what my body does.
Honestly, finding out I’m autistic was the best thing ever. It explained why I keep >>
[...“MAYBE THAT IS WHAT IT IS, EMOTIONAL INTELLIGENCE
— NOTICING THE CLUES, THE DETAILS, AND HOW EVERYTHING CONNECTS.”...]
doing the things I do. It finally made sense. Before that, people tried to self-diagnose me, saying it was a bit of this or that - but I knew there was something more. When I was younger, I used to think everyone else was crazy and that I was the only sane person in the world”.
The Hidden Language of Emotions “I didn’t know how to express emotions. I’d probably be more able to describe emotion in colours: I’m feeling purple, blue, pink, yellow. They exist, but I’ve never experienced them. Theatre helped me to understand what they are.
When I first got to drama school, all I knew was “happy” and “sad”. But I never really knew what I was learning about because you never experienced that. I used to think that I was really silly. But then one of my teachers said, “There’s also emotional intelligence.” And then I thought: “Maybe that is what it is.”
I think emotional intelligence just came with experiencing loads from a young age and just watching people. Seeing how people’s reactions and the effects
people have, the effects of words. Because everything has a cause and effect. And how everything is all connected in this big thing. Just knowing that makes me always aware that everybody’s always got a “different temperature”. And that temperature can always change. I always get worried about meeting someone and then, for instance, meeting them in a week or a month or two. Are our temperatures gonna align? Are we gonna be alright? I don’t know what they’ve been through. How are we gonna start this conversation?
I’ve had to sort of get over that, because a lot of times the temperatures are fine. There’s nothing to worry about. And you just sort of pick up where you left off.
“People say things they don’t actually mean, and that’s really weird to me, because I always say things that I mean. My mind’s not the usual way… People don’t always think like I do, and I can’t be upset about that. I had to learn that, because I kept wondering why others didn’t carry on this big-picture way of looking at the world. A lot of times, I already knew why someone was upset - because I’d noticed things
throughout the day. I’d piece together a story from what I’d seen. Like, maybe they didn’t eat their salad today, but they did yesterday. It sounds silly, but all those little details paint a picture, and suddenly I realize “Oh, that makes sense.”
In my head, I’m just linking all the clues, like knitting or like in a detective movie - threading everything together. I used to think it was being nosy, but it’s not. My mind just needs to solve the puzzle of the situation. Once it’s done, it moves on to the next. Sometimes it gets tiring because the more I socialize, the more puzzles I have to solve. And then I sleep. A lot.
A lot of the time, I didn’t understand what others were saying either. I didn’t get jokes. I’d laugh at how people reacted to them - not the joke itself. Being by myself so much, I had to find humour in many things. I watch people, I observe, and make my own narrative in my head. I spent a lot of time in my head, learning from everyone around me. Each person taught me something, even if I’m not close to them now”.
Living Between The Worlds “Acting helps with my autism. When I’m not acting, I don’t really talk to anyone. I’m too scared. I don’t know who they are. Without drama school and classes, you’re just alone with the walls. Acting feels safer - there’s a beginning, middle, and end. You can play with it. But in the real world, you can’t play like that. Nothing’s safe. You never know what’s coming. That’s the scariest part - the unknown.
But on stage, in theatre, film, or screen - whatever the platform - you can be free. It’s safe. You can explore the unknown within that safety. Most of the time, I’m living on stage more than I’m living in real life. Real life is more like acting, while on stage - I am real. And that’s why I love acting so much. Because you know what’s going to happen. And then you can forget about it and play with it. You can’t do that in real life”.
“ I thought that I would always play the victim, the timid person, because that’s all I knew. And all of a sudden, they taught me about my voice and the depth and being grounded and I realized: “There’s another version of me!” And now they’re giving me auditions for people like Catania and >>
[...“EVERY
ROLE TEACHES ME SOMETHING ABOUT MYSELF. THEATRE IS THERAPEUTIC”...]
Cleopatra. They already knew that I could do it. I didn’t think I could do it. I’d say: “What do you see in me? Just because I’m tall? Wait, let me shrink a little bit”. So that’s what I wanted. I wanted to shrink, to play the victim, because I think probably for my past. Because I didn’t think I could be strong. I was scared to be strong. I wanted to hide because I didn’t understand things. I used that as a way to disappear. And, I’m glad that I came out of that”.
“I have so many different personalities. Not in a bad way. I’m not one thing. I’ve got a lot of facets. I can’t be put in a box. I never know exactly what I’m going to be from moment to moment. I can’t be just one thing.
It varies. It’s fluid. I’m just a big, complex personality. I don’t always show it in the same way. It depends on the circumstance, the situation, the time of day. And I’d love to explore all kinds of roles, honestly, because I find all types of humans and personalities fascinating. I would never turn down a role - whether it’s the ugliest, the coolest, or even a serial killer. People like that exist, and I watch lots of things about them because they were once someone’s child.
I’m curious about exploring different emotions too, and that benefits me a lot. Every job teaches me something about myself. It’s not just for the audience; it’s for me too. With every role, I grow stronger, even if I don’t always feel it at the time. You have to put all your stuff aside and just
be in the moment, which is so hard, but it’s the most generous thing you can offer the audience. It’s not about you - it’s about them experiencing the story. You’re just a vessel, traveling the story through you to them, and that’s it. At the end of the day, theatre is therapeutic.
And I think it might not be for everyone. Because constantly wearing your heart on your sleeve, while having reviewers dislike you or express their opinions - it can be really hard on your soul. Do I care about reviews? Oh, I do. But there is no reason to stop. Since my father’s death, I haven’t stopped working. That’s what he wanted for me. Every job I take is for him. Everything I do is for him. That’s what keeps me going. He wanted me to continue, so I will never stop”. [ V ]
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THE RISE OF A LEGEND.
At VAMP Magazine, we encounter extraordinary creations across design, fashion, lifestyle, and horology. Yet every so often something arrives that feels larger than beauty alone. Such was the case with Girard-Perregaux’s Deep Diver — a timepiece that bridges legacy and innovation with rare elegance.
A Legacy Rooted in 1969
Born in an era of bold experimentation, the original Deep Diver was instantly iconic. Its cushion-shaped case, 14-facet bezel, and daring red dial embodied both style and function. At its heart beat the Gyromatic system, an advance in efficiency and precision that made the watch as technically accomplished as it was striking.
Reborn for Today
Over 50 years later, Girard-Perregaux revives this legend in collaboration with Bamford Watch Department. The new Deep Diver Legacy Edition, limited to 350 pieces, feels both faithful and modern. Its titanium case recalls the 1969 silhouette while its dimensions suit today’s wrist. A vivid dial in orange, blue, and white adds playfulness, with luminous markers glowing bright in low light. The crown-adjusted inner bezel reinforces its aquatic character.
Details That Define Excellence
Inside beats the GP03300 calibre, slim yet complex, with 218 components and a 46hour power reserve. Finishing is meticulous, from Côtes de Genève to polished
bevels, visible through a sapphire back etched with a trident. A quick-release strap system, supplied with both blue and orange rubber straps, adds versatility.
Heritage and Collaboration
The Deep Diver joins Girard-Perregaux’s Legacy Editions, honouring icons while updating them for today. Bamford’s imprint adds contemporary flair without compromising authenticity.
A Collector’s Statement
Collectability lies not only in rarity or craft but in resonance. With roots in 1969 and a vision for tomorrow, the Deep Diver embodies history, innovation, and character. It is less a revival than a celebration: of heritage, design, and the enduring spirit of Girard-Perregaux. [ V ]
SCAN TO EXPLORE
