nd do you know, do you know that mankind can... live without science, without bread, and it only cannot live without beauty, for then there would be nothing at all to do in the world! The whole secret is here, the whole of history is here. Science itself would not stand for a minute without beauty.”
An exhibition at MICAS, Malta’s National Museum for Contemporary Art
Art lovers in Malta are in for a treat as the Malta International Contemporary Art Space (MICAS) launches its newest exhibition, The Space We Inhabit – a compelling showcase that places some of Malta’s most celebrated contemporary artists firmly in the international spotlight.
The exhibition, which opened to the public on 14 June 2025, brings together the work of Caesar Attard, Vince Briffa, Joyce Camilleri, Austin Camilleri, Anton Grech, and Pierre Portelli. Spanning painting, sculpture, video, and sound installations, the works are displayed across all three levels of the MICAS museum, each exploring the broad and resonant theme of “space” – physical, emotional, imagined.
More than a celebration of Maltese art, the exhibition reflects the MICAS mission that Maltese artists cannot simply be limited by geography, but by the power and integrity of their ideas, which is why these artists find their rightful place on this international platform that has hosted names like Joana Vasconcelos, Conrad Shawcross, and in the near
future, artists like Milton Avery, Jonas Wood, Nicolas Party, Henni Alftan and Reggie Burrows-Hodges.
Artistic Director Edith Devaney curated the exhibition with an eye on both local identity and global relevance. “Each artist brings a distinct point of view,” she explained. “Together, their work provides a rigorous examination of space, expressed through deeply personal and visually ambitious pieces.”
Here, these six artists leap ahead from traditional notions of what “place” or space entails, with all approaching it in a conceptual manner, without any physical or imaginary boundaries, and most importantly, without the limitations of faithfully reproducing the physical world.
In this exhibition, each of the participating artists has brought their individual perceptions and sensibilities to this broad theme, with the subtle connections between their approaches providing a rich interrogation of the subject which interacts with the unique spaces provided by the MICAS galleries.
“Every day we need to tell someone we love them. Touch them. Thank them for being. It’s so important.”
Elizabeth Taylor
PORTOFINO
RIVIERA REBORN
RENEWAL BY THE SEA
Portofino became a symbol of La Dolce Vita in the 1950s and 60s, a glamorous refuge for the jet set. Slim Aarons captured the era’s stylish ease, framing its colourful houses, shimmering waters and sophisticated lifestyle. This year, Portofino’s grand dame, the Splendido, A Belmond Hotel, unveils the latest phase of its renovation alongside its first private villa, Villa Beatrice, heralding a refined new era for one of Italy’s most beloved destinations. Photography courtesy Belmond.
Portofino may stretch no farther than a few cobbled streets gathered around a quaint piazzetta and crescent-shaped port, but this Italian fishing village-turnedmythic retreat has drawn the world’s most glamorous figures for decades. Since the 1950s and 60s, when Hollywood stars arrived by yacht and spent sunny afternoons sipping Campari hidden from photographers beneath striped awnings, Portofino has embodied a cinematic idea of Mediterranean leisure. Even today, as the notion of luxury evolves, Portofino retains its elusive charm– offering both spectacle and seclusion in equal measure.
Anchoring this perennial allure is Hotel Splendido, a former 16thcentury Benedictine monastery perched high above the bay, enveloped by lush hillside gardens. Since becoming a hotel in the early 20th century, and particularly after its glamorous heyday in the Dolce Vita postwar years, Splendido has stood as Portofino’s undisputed grande dame. It was here in 1964, during a break from filming Cleopatra, that Richard Burton proposed to Elizabeth Taylor, in Suite 471, with an emerald Bulgari brooch.
This summer marks a new moment in its long history, as the property unveils a newly restored main building and, for the first time, an exclusive private residence: Villa Beatrice.With the hand of celebrated designer Martin Brudnizki and landscape architect Marco Bay, Belmond has reimagined Splendido for a new generation of discerning travellers. The multi-year restoration process has been slow, intentional, and deeply respectful. “This meticulous undertaking elevates the guest experience to new heights,”says Alfonso Pacifico, Area Managing Director for Belmond in Portofino, “while preserving the hotel’s legendary allure and celebrating timehonoured Ligurian craftsmanship.”
Much of the hotel’s original structure has been lovingly maintained– from grand arches and open spaces to terraced gardens that tumble towards the sea. The newly reopened main building features restyled rooms and suites, their walls adorned with contemporary Italian artworks and local botanical prints, while the corridors feature exclusive sketches of Portofino and heritage photos of the iconic property and its guests, over the years. The redesign also introduces a restyled cocktail bar, coffee bar, retail space, and an elegant Dior Spa, where relaxation extends to a secluded rooftop terrace with views across the Gulf of Tigullio.
Above: Inside Villa Beatrice design highlights include the renovation of original Coppedè external frescoes and internal ceilings, marble bathrooms and a collection of heritage antiques and contemporary artwork from the region. Top left: Villa Beatrice living room on first floor (rendering). Centre left: Villa Beatrice main terrace (rendering). Left: Villa Beatrice blends Gothic Revival with Art Nouveau innovation. Belmond acquired the villa in 2021 and has since overseen its meticulous restoration under Martin Brudnizki’s interior design vision.
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Yet the most talked-about addition is Villa Beatrice, a majestic summer residence nestled just a short walk from Splendido through the wooded hillside of the Portofino National Park. With sweeping views from Paraggi to the Cinque Terre and private access to the sea, this five-bedroom villa is unlike anything else on the Riviera. Originally constructed in the early 20th century by renowned Ligurian mogul Attilio Odero and designed by Tuscan architect Gino Coppedè, the building is a rare architectural specimen–fusing Gothic Revival with Art Nouveau innovation. Once known as Villa Odero, it has now been reimagined as an immersive private retreat.
“The guiding vision for Villa Beatrice was to create a space that seamlessly blends modern sophistication with the rich history of the Ligurian coast,”Brudnizki
explains. “We really wanted to cultivate a relaxed ambiance that embraces a distinctly local approach to luxury. Each element tells the story of Villa Beatrice, offering guests an authentic experience that highlights the charm and history of Portofino– this is the essence of true luxury.”
That story plays out across every carefully curated surface. From hand-blown Murano glass chandeliers to antique Ligurian furniture sourced from local estate sales, each piece has been selected to honour the villa’s regional roots. The colour palette nods to the terracotta facades and pink stone of traditional Portofinese architecture, while hand-painted ceramics and native Italian materials give the interiors a tactile, lived-in elegance. On the exterior, original frescoes and stonework have been painstakingly restored, offering a harmonious dialogue between past and present.
Top: Surrounded by 6,000 sqm of luxuriant national park gardens, Villa Beatrice also boasts a delightful Sea Garden with direct access to the Mediterranean.
Guests of Villa Beatrice are afforded absolute privacy, but also full access to the services of Splendido. A private chef, butler, and concierge are on hand, while amenities include a sundrenched plunge pool, subtropical gardens, a gym, and a summer pavilion ideal for yoga or spa treatments. A separate one-bedroom cottage, La Casetta, sits amid citrus groves for added seclusion.
The villa joins the hotel at a moment of renewed cultural energy in Portofino. Though its glamour was forged in the golden age of the Riviera, when Grace Kelly,
Elizabeth Taylor, and Richard Burton strolled the harbour, it continues to attract a contemporary crowd seeking a slower, more intimate pace of luxury. Portofino has resisted overdevelopment in favour of preservation. The village’s scale remains modest, its rhythms largely unchanged. Fishermen still head out at dawn. Aperitivi are still taken facing the water, watching the sun shimmer off the hulls of Rivas and yachts. Yet today’s travellers can also discover Michelin-starred dining in nearby Camogli or San Fruttuoso, embark on hidden coastal hikes, or sail to less-travelled coves inaccessible by land.
Splendido, in many ways, is a mirror to the
village itself, retaining its soul even as it reinvents its surface. Each summer, a new chapter is written with the subtlety and style that have long defined Italian hospitality. And now, with the arrival of Villa Beatrice, the Belmond name deepens its presence in Portofino in a way that feels more like a quiet evolution.
As Brudnizki puts it, “Guests feel as though they’ve been welcomed into a cherished family villa; lovingly upheld and enriched by generations.”That feelingis what keeps Portofino at the top of every traveller’s list, decade after decade. And at its heart, high above the harbour, Splendido continues to offer the finest view in the Riviera.
PIPPA TOLEDO CAPTURES THE SPIRIT OF HOME IN THE SEAMLESS TRANSFORMATION OF A LIGHT-FILLED DUPLEX PENTHOUSE
Pippa Toledo brings her artistry, sophisticated style and careful consideration of her client’s lifestyle to a dramatic duplex penthouse that merges warmth, texture and a strong sculptural presence. Opening up its spaces to maximise light and views, and adding rich materials alongside bespoke furniture, lighting and finishes, Pippa has created a home where ease, character and functionality come together in perfect harmony –a refuge designed to be lived in, not just admired. Photography Brian Grech, courtesy Pippa Toledo Design Studio.
Creating a sophisticated home that feels both refuge and showpiece, Pippa Toledo merges artistry, functionality and a keen understanding of her client’s lifestyle in a dramatic duplex penthouse that offers a sanctuary away from the rush of daily life.
With a portfolio that spans high-profile residential and commercial projects, Pippa Toledo’s name resonates in design circles for its creativity, confidence with texture and colour, and ability to translate a client’s character into a tailored space. This commission presented her with a unique challenge –turning two separate apartments into a unified duplex penthouse – while preserving a feeling of warmth, softness and refuge.
Top: Pippa’s artistic background shows in her careful consideration of texture, form and colour –from a sophisticated base of neutrals punctuated by rich greens, golds and deep greys –adding warmth and character alongside sculptural furniture, custom lighting and bespoke finishes. Gold perforated screens define the living spaces without closing them off. Above and left: Ceiling-height mirrored panels framed in gold amplify light and space in the open-plan living area, echoing the geometric gold screens that elegantly define each zone without interrupting flow.
Above: “Our first challenge was joining the two levels together to create a duplex,” Pippa explains. Inspired by the breathtaking sea views and abundant light, Pippa opened up the space by removing several internal walls, allowing sunshine to flow unhindered across both floors. Above right and above centre: “I love using screens. They enable me to create separate zones while retaining that feeling of openness. Plus, the gold really resonated with the client’s character.”
Left: Reflecting light back into the interior, a mirrored ceiling above the dining table adds depth and dimension to the room, bouncing rays from the nearby windows across the space.
“Our first challenge was joining the two levels together to create a duplex,” Pippa explains. “Once I’d confirmed the layout with the client, we installed a staircase, which was quite a delicate intervention, but in the end it works beautifully.”
Inspired by the breathtaking sea views and abundant light, Pippa opened up the space by removing several internal walls, allowing sunshine to flow unhindered across both floors. “We opened it all up,” she says. “I wanted the duplex to embrace its light, its spectacular views and its large garden terrace with a pool, so we brought the outdoors in with plenty of greenery.”
The upper level is designed for entertaining with a flexible, open-plan space encompassing a living area, dining room and lounge, while the lower floor offers a restful refuge for the principal suite and additional sitting room. Gold perforated screens define these spaces without closing them off. “I love using screens. They enable me to create separate zones while retaining that feeling of openness. Plus, the gold really resonates with the client’s character.”
Reflecting light back into the interior, a dramatic mirrored ceiling above the dining table adds depth and dimension to the room, bouncing rays from the nearby windows across the space. Pippa’s artistic background shows in her careful consideration of texture, form and colour – from a sophisticated base of neutrals punctuated by rich greens, golds
and deep greys – adding warmth and character alongside sculptural furniture, custom lighting and bespoke finishes.
“I’m not afraid of colour – I love to be daring –but I use it in a way that feels purposeful and appropriate to the overall mood of the space,” Pippa says.
For the client, balance was everything. “My vision was to create a space that feels elegant yet inviting – a home that resonates with my own style and is both functional and beautiful,” the client reflects. “Pippa made that a reality by designing everything from custom furniture and lighting fixtures to the finer details, and by choosing fabrics and carpets that bring texture and warmth.”
Above: In the dining area, full-height panelling along one wall discreetly conceals integrated cabinetry and storage. Below: A selection of imported carpets from Pippa’s personal collection, along with custom upholstery and carefully chosen fabrics, adds texture and a sense of cohesion to the interiors. The lighting scheme evolves with the day and the mood with a sophisticated system designed to illuminate each corner in a way that feels purposeful, adaptable and atmospheric.
The lighting scheme, meanwhile, evolves with the day and the mood – a sophisticated system designed to illuminate each corner in a way that feels purposeful, adaptable and atmospheric. Importantly, Pippa’s keen eye for details shows in every piece, from furniture finishes to carefully curated art, adding depth and character.
“The process was seamless and inspiring from start to finish, with Pippa’s team guiding us through every decision and delivering a space that feels both stylish and welcoming – a true reflection of who we are,” the client says.
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Above: In the kitchen, a palette of gold, black, dark grey and white sets a dramatic tone. A gold floor-to-ceiling screen, echoing the living area motif, doubles as shelving, while the dark kitchen island and white worktop contrast with custom white cabinetry. Graphic black-and-white wallpaper adds depth and visual cohesion.
Below: Conceived as a private retreat, the lower level houses the master suite and an additional living area. Floor-to-ceiling mirrored panelling, framed in gold, lines one wall, amplifying light and creating a sense of expansiveness. A palette of antique rose and soft velvets evokes a calm, restful mood. Gold accents, seen in the lighting, cabinetry trim, and furnishings, introduce a quiet layer of sophistication
When choosing their favourite corner of their new home, the client finds it a difficult decision. “It’s hard to pick just one, but I think it’s the overall ambiance – a place that makes me feel completely at ease and happy the moment I walk in. Every corner tells a story, and Pippa made sure that each one resonates with my own.”
Above: Storage receives the same gold-trimmed treatment, with floor-to-ceiling white cabinetry featuring rattan-panelled doors and drawers. Flanking a bold, dark sideboard with sculptural gold handles, the arrangement offers a curated setting for layered lighting, decorative accents, and a quartet of gold-framed artworks.
Below: In this bedroom, gold-slat screens frame the bed, rising behind white lacquer bedside tables detailed with gold trim. Velvet upholstery on the full-height headboard adds depth and softness, while crystal pendants and gold-toned lighting bring a subtle touch of glamour.
For Pippa, a project’s greatest triumph lies in its ability to align with a client’s lifestyle while retaining its own creative spirit. “I love the whole thing – I could live here myself!” Pippa laughs.
“But what’s most important is capturing the essence of the people who call it home. This project was a real collaboration. The client was passionate and trusting, and that allows creativity to flourish.”
To view more of Pippa Toledo’s work, visit pippatoledo.com
This page: Technological precision underpins the calm elegance of this home. A bespoke smart home system by HARBOUR SOLUTIONS allows intuitive control of lighting, climate, audio and video, and access and security, as well as blinds and curtains, and appliances –streamlining daily life. Discreetly integrated into the design, the system responds in real time to the residents’ preferences, marrying convenience with sustainability.
Comfort is further enhanced by an advanced VRV (variable refrigerant volume) Daikin system, installed by COOLBOX, engineered to deliver efficient, zone-specific cooling and heating throughout the residence, matching the precise requirements. Quiet, responsive and energy-efficient, it ensures optimal thermal performance year-round, all while maintaining the home’s minimalist aesthetic integrity. Together, these systems reflect a holistic approach to wellness and environmental sensitivity, where innovation supports serenity.
A SANCTUARY DESIGNED FOR FAMILY LIFE
GRÜN HAUS
TO FOSTER CALM AND CONNECTION FOR A SOPHISTICATED FAMILY HOME
Grün Haus by STUDIO NiCHE offers a refined sanctuary in central Sliema designed for modern family living. Martina Fenech Adami merges warmth, texture and sculptural artistry to create a home that evolves alongside its occupants –a place where functionality, light and sophisticated details foster calm, connection and a rich experience of daily life, reflecting a thoughtful blend of architectural purity, softness and timeless appeal.
Photography Ramon Portelli, courtesy STUDIO NiCHE.
KELLY
by Andrea Tosetto
In the heart of Sliema, a refined new residence redefines what it means to design for modern family life. Grün Haus, created by interior designer Martina Fenech Adami of STUDIO NiCHE, is a study in quiet sophistication where calm, connection, and bold design converge. The apartment blends architectural precision with an intuitive sense of warmth, offering spaces that flex and adapt to the evolving rhythm of daily living.
At its core is an uninterrupted flow of light oak joinery that seamlessly unites storage, kitchen, and circulation spaces. This oak envelope, with subtle V-grooves and concealed handles, becomes more than a backdrop: it is the architectural language that guides both form and function. “We wanted to create a space that feels both grounded and elevated – a home that supports daily rituals but also inspires stillness,” says Fenech Adami, whose vision for Grün Haus was to balance emotional resonance with technical refinement.
This page: Grün Haus reimagines the modern family home as a retreat rooted in calm, connection, and craftsmanship. Over 180 square metres of warm-toned microcement flooring by ARCHIFORM MALTA runs uninterrupted throughout the home, its cappuccino hue and refined satin sheen offering a seamless, contemporary foundation. Chosen for its tactile appeal and durability, the microcement reflects natural light with a soft lustre, while its joint-free finish enhances the home’s spatial flow and modernist sensibility. At once sculptural and subdued, the surface anchors the interiors with quiet elegance.
Throughout the apartment, light is as much a material as wood or stone. A linear recessed lighting feature runs the length of the space, a sculptural thread that orients the eye toward sweeping views of Sliema’s skyline. The flooring, finished in warm cappuccino-hued microcement, reflects light
softly while anchoring the space in quiet elegance. This sophisticated surface forms a low-maintenance resilient base for daily life, a canvas upon which furniture, art and texture come together. High shelving with integrated lighting introduces horizontal balance and a place to display curated details, while carefully chosen green marble accents bring a refined contrast.
Subtle fluted columns punctuate the rooms,
adding rhythm and verticality without overwhelming the serenity of the design. Sculptural seating pieces, chosen for their ability to serve both as functional furniture and as curated objects, blur the lines between art and utility. A two-way sofa, dual-facing breakfast bench, and modular elements support fluid movement and social interaction, whether for casual breakfasts or intimate gatherings.
This page: Lighting throughout the residence, supplied by ESS/ELEKTRA, has been treated as an architectural language in its own right. A continuous recessed feature acts as a sculptural guide, drawing the gaze toward the home’s panoramic vistas and subtly integrating the landscape into the interior narrative. In the living areas and bedrooms, discreet track lighting provides flexible, directional illumination that adapts to the shifting needs of day-to-day life, while linear pendants above the kitchen island and dining table offer visual anchoring and spatial clarity. The result is a layered, responsive lighting scheme that shapes the atmosphere as much as it defines each zone.
MICROCEMENT FLOORS
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ARCHITECTURE & DESIGN
This page: “We wanted to create a space that feels both grounded and elevated, a home that supports daily rituals but also inspires stillness.” In the master bedroom a ceiling-height wardrobe in light oak spans one wall, echoing the bespoke joinery found throughout the living spaces. A full-height travertine panel forms a striking focal point behind the bed, framed by recessed lighting that softly outlines its sculptural presence. Custom side tables, also topped in travertine, are seamlessly integrated into the panel. Floor-to-ceiling curtains diffuse natural light, enhancing the room’s serene, textural palette.
The project’s sense of sanctuary is heightened by the sensitive use of materials and the choreography of light. Mirrored surfaces in the hallway expand the perception of space, creating an organic tunnel that draws inhabitants from enclosed zones into the openness of the main living areas. “Every material was selected to guide the light and soften the geometry,” notes Fenech Adami. “There’s a generosity to the space, in how it flows, how it adapts, and how it quietly supports the people who inhabit it.” Carefully integrated shelving and marble accents provide moments of quiet luxury, while black recessed fittings subtly direct attention outward, framing the horizon like a living artwork.
Sustainability underpins the design at every level. Passive strategies, such as generous natural light and cross-ventilation, reduce reliance on artificial systems. Materials like light oak, microcement and travertine were chosen not only for their timeless appeal but also for their low environmental impact and durability. Integrated greenery reinforces the connection between interior and exterior, adding a biophilic element that contributes to well-being. This commitment to sustainability is part of what Fenech Adami calls the design responsibility of the studio –a responsibility to both emotional and ecological longevity.
Grün Haus is not about spectacle or fleeting trends. Instead, it is an exercise in precision, restraint, and thoughtful layering, where each material transition and architectural gesture contributes to a deeper experience of home. At the heart of the home, a personal artwork curated by the client becomes a grounding focal pointanchoring the interiors with emotional depth, while offering a gentle reminder that, at its most successful, design elevates the everyday. “It’s about creating space for life, not just living,” reflects Fenech Adami, and in Grün Haus, this vision unfolds with quiet confidence and lasting impact.
Top left: In the master bedroom a wallto-wall mirror enhances natural light from the windows while amplifying the room’s sense of depth and spatial clarity. Above: The hallway, conceived as an organic tunnel, uses mirrored surfaces to amplify space and light, culminating in a seamless transition into the open-plan living zone. Below: In a continuation of the residence’s natural palette, the bathroom pairs warm travertine walls with a sculptural freestanding tub and discreet recessed lighting. A palm introduces a soft biophilic touch, underscoring the home’s quiet dialogue between nature and refinement.
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THE CONCOURS OF THE MEDITERRANEAN in Malta’s Baroque Heart
The Valletta Concours returned to St George’s Square this June, turning Malta’s baroque heart into a celebration of automotive artistry. The event drew in excess of 18,000 visitors, both Maltese and international collectors, designers and classic car lovers, who came to appreciate a remarkable array of vintage vehicles set in Valletta's unique 16th century square.
Photography Ikona Artworks, courtesy Valletta Concours.
This page: The 2025 Valletta Concours Overall Best in Show was awarded to a vision of timeless elegance, the breathtaking 1949 Rolls-Royce Silver Wraith, proudly presented by Mr Yohan Poonawalla. The Silver Wraith also secured Best in Elegance Class.
VALLETTA CONCOURS
Above: Overall Best in Show winner and presented by Mr Yohan Poonawalla, the 1949 Rolls-Royce Silver Wraith, Ex-Mysore was originally owned by the Maharaja of Mysore and later by the Maharaja of Bharatpur. This Silver Wraith was used during the 1961 royal visit to India by the Duke of Edinburgh and reportedly by Queen Elizabeth II and the Prince of Wales. Introduced in 1946, the Silver Wraith was the first postwar model produced by Rolls-Royce. Below centre: The 1968 Alfa Romeo Spider Osso di Seppia by Pininfarina, winner of Best Restored Car, Second in Sports Car Class and the Best in Show Maltija Award at the 2025 Valletta Concours, presented by Mark Borg. A true Mediterranean icon, the Spider impressed with its elegance, restoration and timeless design.
This year, 65 classic and vintage cars and 14 motorcycles from Italy, Germany, Spain, UK and India,together with those from Malta,fell under the expert gaze of a 24-strong jury of international connoisseurs, designers and journalists, led by Chief Judge Jeremy Jackson-Sytner, a renowned expert in historic automobiles, widely known as “Mr. Concours”. The jury drew upon his passion for authenticity and originality to guide its judgments. Jackson-Sytner, who conceived and launched the Concours of Elegance at Windsor Castle in 2012, is also the founder of The Grand Tour, a luxury car experience that brings together sports and GT car owners for extraordinary events and drives across the globe.His team faced difficult decisions as they evaluated each entry against rigorous criteria of condition, history, provenance and pure character.
Yohan Poonawalla’s 1949 Rolls-Royce Silver Wraith, a sophisticated tour de force, secured Best in Elegance Class and Best in Show Overall; while Mark Borg’s 1968 Alfa Romeo Spider Osso di Seppia by Pininfarina won Best Restored Car, Second in Sports Car Class and the Best in Show Maltija Award. Among the other winners were a 1923 Riley Redwing, a 1951 Hillman Minx, a 1961 Jaguar E-Type Series 1, a 1986 Porsche Turbo, a 1958 MGA, a 1948 Bristol 400, a 1991 Honda NSX, a 1969 Chevrolet Corvette, a 1990 Mazda MX5, a 1977 Renault 6, a 1966 Austin A60, a 1951 Vincent Black Shadow, a 1936 AJS Model 26, and a charming 1950 Triang Buick pedal car.
VALLETTA CONCOURS
HVA President Tiddo Bresters presented the FIVA award to William Pace for his treasured Renault 6, while ASI’s Fabio Berardi handed the ASI award to Giuseppe Sauria for his 1938 Lancia Aprilia by Farina, further affirming Valletta’s growing profile
within the international classic car community.
This year’s Concours also introduced a Classic and Vintage Motorcycle Class alongside a new Road Racing Class, a change that resonates strongly with growing enthusiasm for historic two-wheeled machines. The event further fostered a dialogue between art and automotive design: alongside the cars, a group of artists took part in a Live Painting
Competition, with Nathan Saliba securing first prize for his work, while a collective art exhibition opened its doors at Valletta’s Chamber of Commerce.
As plans are already underway for 2026, the Valletta Concours promises to bring a new chapter in its rich story, a celebration where artistry, passion and history come together in a dramatic setting.
This year's Valletta Concours drew in excess of 18,000 visitors. 65 classic and vintage cars and 14 motorcycles from Italy, Germany, Spain, UK and India, together with those from Malta, fell under the expert gaze of a 24-strong jury of international connoisseurs, designers and journalists, led by Chief Judge Jeremy Jackson-Sytner. Widely known as “Mr. Concours”, the jury drew upon his passion for authenticity and originality to guide its judgments. Jackson-Sytner conceived the ‘royal’ concours at Windsor Castle in 2012, an event so spectacular that in its first year it won both ‘Best Concours’ and a Personal Achievement Award at the Octane International Historic Motoring Awards. He has judged at numerous concours events in various locations around the world, including Delhi, Amsterdam, Essex, and Valletta.
CONCORSO D’ELEGANZA VILLA D’ESTE
Legends of design
Automotive History Meets Glamour in the enchanting setting of Lake Como
The magical backdrop of Lake Como provided the setting for unforgettable days at this year’s edition of the Concorso d’Eleganza Villa d’Este. From 23rd to 25th May, the magnificent grounds of the Hotel Villa d’Este brought together a fabulous variety of vehicles competing in eight irresistibly appealing classes.
This page: Dreams came true for many fans of classic race cars with a special exhibition celebrating 85 years of the “BMW Mille Miglia Icons”.
Photo: Gudrun Muschalla. 47
CONCORSO D’ELEGANZA
This year’s Concorso d’Eleganza Villa d’Este, held from 23rd to 25th May, brought together the finest classic and collectible vehicles for a riotous celebration of automotive artistry;a moment to appreciate their sculptural forms alongside their historical significance. The award for Best of Show, presented by Helmut Käs, Head of BMW Group Classic and President of the Concorso d’Eleganza, was secured by a remarkable Alfa Romeo Tipo B (P3) from
1934. Historically, this speedster was a groundbreaking machine that redefined the concept of Grand Prix racing. Designed by the brilliant Vittorio Jano, this was one of the first true single-seater racing cars.
The Coppa d’Oro Villa d’Este selected by Public Referendum was won by the BMW 507 from the year 1957. Its sleek and superbly balanced body design paired with a 3.2 litre V8 engine made it an icon of automotive engineering. The Roadster, which is one of the greatest BMW icons to this day and was presented by Dirk de Groen from the United States of America,
received the most votes from visitors to the event.
The glamorous setting in the Villa d’Este’s mosaic garden also provided a dramatic canvas for several significant anniversaries including the 70th anniversary of the BMW 507, the centenary of the Rolls Royce Phantom and the 85th anniversary of BMW’s Mille Miglia victories – each marked by special displays. Rolls Royce celebrated its centenary by unveiling a Rolls Royce Phantom Goldfinger, a bespoke commission honouring its cinematic debut in the 1964 James Bond film Goldfinger.
Top: The magical backdrop of Lake Como provided the setting for unforgettable days at this year’s edition of the Concorso d’Eleganza Villa d’Este. Photo Gudrun Muschalla. Above left: TROFEO BMW GROUP –BEST OF SHOW WINNER. The Alfa Romeo Tipo B (P3) from 1934 won the contest. Historically, this speedster was a groundbreaking machine that redefined the concept of Grand Prix racing. Designed by the brilliant Vittorio Jano, this was one of the first true single-seater racing cars. Photo Gudrun Muschalla. Above right: The COPPA D’ORO VILLA D’ESTE selected by Public Referendum was won by the BMW 507 from the year 1957. Its sleek and superbly balanced body design paired with a 3.2 litre V8 engine made it an icon of automotive engineering. Photo Hardy Mutschler.
“The Concorso d’Eleganza Villa d’Este offers a unique opportunity to highlight the enduring fascination of mobility, seamlessly bridging the automobile’s storied past with its contemporary and future iterations,” Helmut Käs explained. The event’s magic lies in its ability to bring together tradition, artistry, design and pure mechanical passion; a celebration not just for the connoisseurs, but for all passionate car lovers who appreciate the finest form of automotive expression.
Above: Villa d’Este has been the custodian of the Concorso d’Eleganza Villa d’Este since 1929, an event that brings together tradition and timeless elegance, with class, design and engineering in a uniquely inspiring setting. Below left: The 2025 programme included public showcases and curated exhibitions. Bottom left: On Sunday 25th May shortly after sunrise, the unique historic cars drove into the beautiful gardens of Villa Erba in Cernobbio. Photography Hardy Mutschler. Bottom right: At this year’s Concorso d’Eleganza Villa d’Este, Rolls-Royce celebrated the centenary of the very first Phantom. Pictured 1937 Phantom III Sedanca de Ville owned by film villain Auric Goldfinger. Behind, the public debut of Phantom Goldfinger, a one-of-one commission honouring the 1964 James Bond film Goldfinger. Photo Gudrun Muschalla.
A PHILOSOPHY OF SCENT. PART 11.
Dear Hunter,
“I want to live for immortality, and I will accept no compromise.” Alyosha in The Brothers Karamasov Dostoyevsky
A LOOK AT CHANEL COMÈTE LES EXCLUSIFS DE CHANEL EAU DE
PARFUM
Beauty is a process; it is always a becoming. It starts from the moment of conception naturally. And idealistically reaches a peak at the instant of death; a maturation or summit of imperfections and perfections, in equal light and dark measure. The question or definition of beauty that should be posited is whether life and death are an abrupt beginning and end in their own right, rather than an extended moment and spectrum held in abeyance; a melting out of and into an eternal gaze and encounter, writes Kris Bonavita.
Photography Sean Gabriel Ellul.
There is a certain innate filial devotion to Our Creator as Creation that is fundamental to everything. This goes beyond love and makes us heroic, we heroically exist because of this. And the sacrifice called upon us in existing, into coming into being, is also at some point beyond good and evil, but something extraneous to circumstance, something that tears us apart, prizes us together. We are fully extraneous to the world’s dealings and machinations, and yet we are entirely worldly; somehow striving to touch the purple. There is always one more day to live, one more hour, one more second to change things, at least in our hearts, and in so doing it changes the world.
We live in a state of precariousness. One minute we are seemingly in control, the next all can end in one foul swoop. Instead of deliberating over our place in the sun, humanity should be reaching for the stars. Who is to say when this earth will be no longer, who is to say when our only hope lies in leaving this passing home and time to adopt new worlds, revere in awe of new suns, gleam and sigh at new moons. Collectively we ignore the ephemeral nature of all we are and behold, on an illusion of permanence. A permanence that only an other can lay claim to, someone or something we are almost strangers to ourselves.
Anything good in this world is part of this infinite. You cannot subtract nor can you add to whom or what is infinite. You can just borrow its various shades and nuances. We are lent and in turn lend ourselves to the infinite, and not just infinite in any way, but to the infinite wisdom, infinite good, the finite of any good, all good, the supreme good, the ultimate good, the loving, friendly and brotherly good, the only good. If we can imagine it, then it is there to behold, needing no reason to fathom, justify or extrapolate its existence. Maybe all it needs is a body, heart and soul to do so, but even that may be a touch too much.
The biggest tragedy is not that we are not infinite rather than quite finite; but to have no recourse to a reciprocity of goodness. Further, to have no recourse is one thing, but to be lacking entirely in any at all is fundamentally and profoundly disturbing, and tragic as it should be. And maybe just then it gives rise to more heroic versions of us. The world has nothing on us in this regard nor can it. Who is going to tell what lies beneath, who will determine to what extent the being I lay claim to is just borrowed or perused through time, construed as mine, limited to moments, small spaces, light weights, shallow emotions, false claims, no true power really, feigned depth and fraying fibre. This borrowed-ness of being that we take as permanent and lay claim to as ours, is but fleeting and someone else’s, and to be handled with care.
Facing page: For Gabrielle Chanel, the stars were symbols of fate, freedom, and femininity, cosmic emblems that guided her creative imagination. In 1932, she turned her gaze to the heavens to create Bijoux de Diamants, her first and only high jewellery collection. The centrepiece was Comète, a shooting star necklace that nestled in the hollow of the neck, embodying both luminosity and intimacy. Nearly a century later, that same guiding light inspires COMÈTE, the newest fragrance in LES EXCLUSIFS DE CHANEL, created by in-house perfumer Olivier Polge.
“I wanted to cover women in constellations.”
COCO CHANEL
Star of wonder, star of light
CHANEL COMÈTE
LES EXCLUSIFS DE CHANEL Eau de Parfum
For Gabrielle Chanel, the stars were never merely celestial. They were symbols of fate, freedom, and femininity, cosmic emblems that guided her creative imagination. In 1932, she turned her gaze to the heavens to create Bijoux de Diamants, her first and only high jewellery collection. The centrepiece was Comète, a shooting star necklace that nestled in the hollow of the neck, embodying both luminosity and intimacy. Nearly a century later, that same guiding light inspires COMÈTE, the newest fragrance in LES EXCLUSIFS DE CHANEL, created by in-house perfumer Olivier Polge. Evocative of the shimmer and hush of stardust, COMÈTE captures a sense of radiant optimism, an olfactory impression rather than a literal rendering.
COMÈTE is the 19th addition to LES EXCLUSIFS DE CHANEL, the House’s most rarefied fragrance collection. Launched in 2007, the range was conceived by Jacques Polge, Chanel’s former in-house perfumer, as a way to preserve the brand’s rich olfactory heritage while allowing room for new expression. The initial launch included ten fragrances, four historical creations by Ernest Beaux, including N°22, Cuir de Russie, Gardénia and Bois des Îles, alongside six new scents inspired by various facets of Chanel’s legacy. Since then, the collection has evolved under the creative direction of Olivier Polge, whose additions include 1957, Le Lion de Chanel, and now, COMÈTE. Characterised by their minimalistic flacons and exceptional raw materials, the Exclusifs are a quiet luxury, echoing the elegance and restraint that defined Mademoiselle herself.
In this context, COMÈTE offers something intriguingly modern. Olivier Polge’s composition is luminous, light-filled and finely balanced, never overpowering, yet impossible to ignore. The opening spark is a delicate cherry blossom accord, a note that hovers between floral and fruity with just a whisper of almond. It feels bright, almost effervescent, like the gleam of morning sunlight. As the fragrance settles, it drifts towards a core of heliotrope and iris. The heliotrope brings a
dry, slightly bitter powderiness that contrasts beautifully with the buttery softness of iris, a material long revered in fine perfumery for its velvety, suede-like qualities. The result is both austere and comforting,powdery without feeling heavy, abstract.
What makes COMÈTE especially compelling is its restraint. Where some florals bloom with exuberance, this one glimmers; its aldehydic radiance flaring gently before receding into the composition’s soft, musky base. There’s an abstract quality to the scent, in keeping with Chanel’s own philosophy. Mademoiselle Chanel never wanted her perfumes to be figurative; she preferred complexity to clarity, mood to mimicry. Like N°5 before it, COMÈTE does not seek to recreate the smell of a single flower, but rather to evoke the atmosphere of a dream, an impression of light and movement, something felt rather than simply perceived.
The name COMÈTE itself is loaded with poetic weight. As a celestial body, a comet is transient yet memorable, tracing its arc through the sky in a blaze of light. As jewellery, it sits close to the skin, whispering of beauty and secrecy. In perfume, that duality is preserved. There is a shimmer in the way the fragrance wears, an initial brightness that lingers gently before giving way to a deeper, more intimate warmth. It is a fragrance that feels personal, close, like a talisman worn for good fortune or remembrance.
Much like the Bijoux de Diamants that inspired it, COMÈTE invites the wearer to see the extraordinary in the everyday, to embrace radiance without ostentation. It’s a quiet spark, carried close to the skin, a kind of elegance that doesn’t shout. In an age of maximalism, it is an invitation to pause and notice the subtleties, the texture of powdery iris, the softness of heliotrope, the fleeting beauty of cherry blossom.
Composed with precision and sensitivity, COMÈTE extends the legacy of LES EXCLUSIFS DE CHANEL with poise and modernity. It is a fragrance shaped by memory and light, and like the star for which it is named, it leaves a trail worth following.
CHANEL is distributed by Alfred Gera & Sons Ltd.
LES EXCLUSIFS DE CHANEL fragrances for women and men evoke various chapters of Mademoiselle’s story.
Find LES EXCLUSIFS DE CHANEL exclusively at CHANEL Fragrance and Beauty Boutiques, and online at chanel.com
Facing page: COMÈTE is the 19th addition to LES EXCLUSIFS DE CHANEL, the House’s most rarefied fragrance collection. Characterised by their minimalistic flacons and exceptional raw materials, the Exclusifs are a quiet luxury, echoing the elegance and restraint that defined Mademoiselle herself.
CARAVAGGIO 2025 –THE BLOCKBUSTER EXHIBITION
THE VIOLENCE OF SEEING TO STAND BEFORE CARAVAGGIO
A once-in-a-generation show at Palazzo Barberini invites visitors to stand face to face with Caravaggio, his saints, his sinners, and the shadows in between. This rare assembly of masterpieces reveals not just the painter’s genius, but the raw humanity that still electrifies audiences four centuries on.
Photography courtesy Palazzo Barberini, Rome.
This page: The Taking of Christ, 1603. Oil on canvas, 133.5x169.5cm. National Gallery of Ireland, Dublin.
“The painters then in Rome were so taken by the novelty, and the younger ones especially flocked to him and praised him alone as the only true imitator of nature, looking upon his works as miracles, they vied with each other in following him.”
GIOVAN PIETRO BELLORI, WRITING ON CARAVAGGIO, 1672
As the curtain prepares to fall on Caravaggio 2025 at Rome’s Palazzo Barberini, the exhibition enters its final days with undiminished momentum. Launched in March as a centrepiece for the Jubilee year, the show has lived up to its billing as a blockbuster, attracting international attention, record crowds and fervent praise for its rare loans and masterful curation. In a city that has seen centuries of sacred art and spectacle, Caravaggio still manages to stop people in their tracks.
And how could he not? With twentyfour works gathered from private collections, international museums and ecclesiastical holdings, the exhibition reads like a concentrated fever dream of light, shadow and human drama. Caravaggio, born Michelangelo Merisi in 1571, is a painter whose works still ignite debate, devotion and desire. Many of the paintings on view, some never before seen in Italy, have become icons of the Western canon. Others, such as the rediscovered Ecce Homo, shown here after vanishing for over four centuries, feel like a revelation. Together, they conjure the visceral immediacy and profound intimacy that made Caravaggio both revolutionary and dangerous in his own lifetime.
The exhibition unfolds in four chapters, tracing the artist’s trajectory from his difficult arrival in Rome to his sudden death in 1610. Yet it is not simply a chronological journey; it’s an emotional one. One feels the desperation of the young Merisi, painting fruit and flowers to survive, before he captured the attention of Cardinal Francesco Maria Del Monte. His first public commissions, the Calling of Saint Matthew, the Crucifixion of Saint Peter, the original version of
the Conversion of Saint Paul, transformed religious painting and shook the Roman art world out of its Mannerist torpor.
Palazzo Barberini, home to the Gallerie Nazionali di Arte Antica, is itself part of the story. Its walls house works like Saint Francis in Meditation and Judith Beheading Holofernes, but the exhibition also hosts pieces long removed from public view: The Musicians, The Cardsharps, and Saint Catherine of Alexandria, all acquired by Antonio Barberini in 1628. At the heart of it all is a painter who never stopped challenging his viewers, and his patrons, to look again, closer and more honestly.
Above: Ecce Homo, 1606-1609, Oil on canvas, 111x86cm. Private collection, Madrid. Photo Joaquin Cortes.
Starting from: €12,450*
*Price including 2025 government grant and scrappage scheme.
One of the show’s quiet triumphs is its treatment of portraiture, a lesserknown aspect of Caravaggio’s oeuvre. In a rare pairing, two versions of the Portrait of Maffeo Barberini, later Pope Urban VIII, are shown side by side for the first time. The face is not heroic or idealised. It is human, watchful, alive. Whether painting cardinals or courtesans, Caravaggio’s people look back at us with unsettling familiarity. And that, perhaps, begins to explain the obsession. Unlike other artists of his time, Caravaggio did not depict saints as ethereal or divine. His Magdalens weep like women we’ve known. His saints stumble
through shadow, bruised and half-lit, caught midbreath in moments of doubt, ecstasy or revelation. His light, radical, theatrical, unrelenting, exposes everything: the grime under the fingernails, the veins in the hands, the tear poised to fall. To stand in front of a Caravaggio is not to observe a scene, but to inhabit it.
The enduring appeal is not simply stylistic. It’s existential. Caravaggio offers no comfort, no distance. His figures are us, or those we fear becoming. They carry guilt, shame, hunger and grace in equal measure. It is this raw vulnerability, couched in breathtaking technical mastery, that draws us back, again and again. In a world addicted to polish and irony, his brutal honesty feels almost subversive.
But the myth, too, plays a part. Caravaggio’s own life reads like a cautionary tale drenched in chiaroscuro: fugitive, brawler, genius. Banished from Rome for killing a man in a brawl, he fled to Naples, then Malta, Sicily, and back again, always painting, always pursued. In Malta, where he sought refuge among the Knights of St John, he was briefly imprisoned before escaping. His final years were as turbulent as his compositions. He died, aged just thirty-nine, on the coast near Porto Ercole, his cause of death still uncertain.
Visitors to Caravaggio 2025 may feel they are walking through a biography as much as an exhibition. From the youthful sensuality of Boy Peeling Fruit to the
devastating emotional clarity of The Flagellation of Christ, the show captures not just an artist, but a man in relentless pursuit of truth, at any cost. The final room, the Endgame, as the curators have titled it, echoes with the weariness and brilliance of a life lived too fast, and art that never relents.
One final work lies beyond the museum walls. In a rare opportunity, visitors may view Jupiter, Neptune and Pluto, Caravaggio’s only known mural, painted on a ceiling inside the Casino dell’Aurora in Villa Ludovisi. It’s a strange, alchemical work.
For those lucky enough to see the exhibition before it closes on 6 July, this is a chance to not just to admire Caravaggio, but to confront him. To ask why his art still holds us in its grip. Why a painter who died over four hundred years ago feels so contemporary, so unresolved. Perhaps because we, like him, are still trying to see ourselves clearly, in the light, and in the dark.
LET'S GO ALL RITZY
Inside Piccadilly’s Grandest Restaurant Where Classic French Cuisine Meets Modern Mastery
At The Ritz Restaurant, Executive Chef John Williams MBE brings decades of expertise, artistry and a deep reverence for tradition to London’s grandest dining room. Now with two Michelin stars and rated the UK’s finest restaurant, The Ritz offers a glamorous blend of classic French cuisine, exceptional service and pure theatre, a dining experience that captures the magic of Piccadilly in its most refined form.
Photography courtesy The Ritz London.
dramatic Crêpes Suzette. Photo: John Carey
LONDON
The moment you step into The Ritz Restaurant in London’s Piccadilly, a feeling of pure theatre unfolds. Gilded mirrors glimmer, gold chandeliers hang heavy, and a palette of soft pinks casts a rosy glow across linendraped tables. The room’s allure lies in its ability to blend high style with pure gastronomic discipline, a blend that has kept it at the very top of London dining for over acentury.
Conceived by renowned hotelier César Ritz, The Ritz opened its doors in 1906. Positioned in the heart of the West End, it stands just a few paces from the finest shopping on Bond Street, Regent Street and Jermyn Street,a convenient refuge for Royalty, the international jet set, the arts’brightest names and the most discerning diners. The first and only hotel to have received a Royal Warrant from His Royal Highness King Charles, The Ritz has deservedly taken its place amongst the great hotels of the world and is the benchmark by which other hotels are measured.
Above: The Ritz Restaurant, considered by many to be the most beautiful hotel dining room in London. Photo Jack Hardy.
Left: In his role as Executive Chef, John Williams MBE has overseen The Ritz Kitchen since 2004. Under his leadership, The Ritz Restaurant was awarded one Michelin Star in the Michelin Guide Great Britain and Ireland 2017 for the first time in the hotel’s history, and this year secured its second Michelin Star.
This year, The Ritz Restaurant secured its second Michelin Star in the Michelin Guide Great Britain and Ireland 2025,a moment that resonated profoundly for its team. “I have
waited 50 years for this moment. It is so special -The Ritz is a special place. I thought we were forgotten, but we carried on cooking to the best of our ability, looking after our guests. I am incredibly lucky to have fantastic people working for me, including the service team, who are fantastic at the ‘Art De La
Table’ experience, which I have focused on for many years. The food, we all know as chefs, is very important, but the experience comes from the service. Thank you very much.”This from Executive Chef John Williams MBE, the man whose passion for food, service and pure dining theatre guides The Ritz today.
Above: Perfectly located in a landmark position in the heart of London’s West End, The Ritz London, the iconic landmark conceived by renowned hotelier César Ritz, first opened its doors in 1906. Photo Jack Hardy. Below left: One of The Ritz Restaurant’s signature dishes: Beef Wellington. Below right: All food is beautifully complimented by a spectacular wine list. Photography John Carey.
In his role as Executive Chef, John Williams MBE has overseen The Ritz Kitchen since 2004, bringing three decades of hospitality experience to the venerated kitchens of the legendary Piccadilly hotel. As the son of a Tyneside fisherman who was taught by his mother how to cook, Williams developed his passion for food at an early age. His training instilled a deep understanding of ingredients’ purity,something that resonates through his menus today, alongside a strong discipline in technique. His years of experience, combined with the traditions of Auguste Escoffier, enable him to produce food that feels both purposeful and indulgent, anchored in the finest British produce, presented with artistry, and today, he is one of the most respected chefs in Britain.Under his leadership, The Ritz Restaurant was awarded one Michelin Star in the Michelin Guide Great Britain and Ireland 2017 for the first time in the hotel’s history. In 2019, The Ritz London: The Cookbook by John Williams was published, and in 2024 he was appointed President of the Royal Academy of Culinary Arts after two decades as its chairman.
Above: The Infusion Tea Trolley. Photo John Carey. Below: Dorset Crab, Crème fraiche and Imperial Caviar.
This June, The Ritz Restaurant was also named Number 1 by the UK National Restaurant Awards.
According to the National Restaurant Awards, “A meal at The Ritz must be one of
life’s finest pleasures. To sit and eat among the gilt mirrors, ornate gold chandeliers and pink colour palette (designed to complement a lady’s blush make-up) is to have a dining experience like no other in the country.”
The Ritz Restaurant, considered by many to be the most beautiful hotel dining room
in London, has become unique in maintaining the quality and style of the restaurant, while consistently showcasing the very highest level of technical expertise and personalised service, demonstrated by the Front of House team in their tableside service - Arts de la Table.
Above: The Artisan Cheese Trolley. Photo John Carey. Below left: Cornish Turbot, ‘Ton Sur Ton’. Below right: Wild Strawberry, Lemon verbena and Lime.
The menu adapts to allow the best seasonal produce to shine through, but some highlight dishes include Langoustines à la Nage and Fillet of Veal with Morel Mushroom and Lovage, and rich classics such as Beef Wellington, Hen of the Wood and Périgord Truffle, or the dramatic CrêpesSuzette. All this is supported by a wine list expertly curated by Head of Beverage Giovanni Ferlito. Among its highlights is the exclusive Barons de Rothschild -Ritz Reserve, a rich, complex and ethereal wine, made by blending Chardonnay, Pinot Noir and Pinot Meunier from the Champagne region’s best terroirs and then aged for at least three years. This unique blend gives the wine its fine bubbles, its pale golden colour and its subtle aromas of white fruit.
The Ritz Restaurant offers a dining experience forged by a rich history, passionate people, classical technique and a profound understanding of what truly brings people together at the table.
This page: Tableside Theatre, the art of Crêpes Suzette, an enduring hallmark of The Ritz. The dish has been a signature item at The Ritz for over a century. Photography John Carey.
When a stretch of land in southeastern Brazil was left desolate after decades of deforestation and degradation, a radical experiment in ecological recovery began. Instituto Terra, founded in 1998 by the late Brazilian photographer Sebastião Salgado (1944-2025) and his wife, curator and environmentalist Lélia Wanick Salgado, has since transformed hundreds of hectares of barren farmland into a thriving rainforest, drawing back native species, restoring springs, and creating a model for reforestation now studied around the world. Salgado, internationally recognised for his haunting black-and-white images documenting human displacement and environmental collapse, spent years witnessing the damage caused by extractive economies and conflict. This personal return to his homeland marked a rare reversal, from witness to restorer. Indeed, Instituto Terra is now hailed as one of the most effective reforestation projects in the world. As World Environment Day passed earlier this month (on 5th June), Instituto Terra offers more than inspiration, it offers a blueprint. In Malta, where the pressures of climate change, urban sprawl and water scarcity echo similar ecological tensions, the message resonates clearly. Environmental recovery is not hypothetical and meaningful ecological recovery is possible when knowledge, patience, and community action align. But it demands a shift in mindset, and a commitment measured in decades.
WORLD ENVIRONMENT DAY 5TH JUNE
FROM BARREN LAND TO THRIVING FOREST
SALGADO’S INSTITUTO TERRA IN BRAZIL
‘It is a model, a pilot for Brazil, and I would say it might even be a pilot for the world.’ THIS STORY BY ANA CAVALCANTI ORIGINALLY APPEARED ON GLOBAL VOICES ON 5TH JUNE, 2025.
In an interview for Deutsche Welle Brasil, renowned Brazilian photographer Sebastião Salgado (1944-2025) once said people were living almost as aliens on their own planet, seeing everything from afar, with the climate crisis coming to a point of no return. “Spiritually, we must go back to the planet to help rebuild it,” he said. A take that echoes a life work he developed in his hometown, Aimorés, in the southeastern state of Minas Gerais.
In 1998, it was there that he and his wife, cultural producer Lélia Wanick Salgado, founded Instituto Terra, a non-profit civil organization dedicated to environmental education, conservation, and large-scale restoration of degraded ecosystems.
Terra, which in Portuguese means both land and Earth, is located on a property that was once a degraded family farm of about 600 hectares owned by Salgado’s family. Like many other areas in the region, it suffered years of exploitation that left the soil barren and the ecosystem severely damaged, reflecting the broader destruction of the Atlantic Forest biome.
In their 2023 annual report, it was noted that after more than 25 years of work, the area now has over 3 million native trees spread across 709 hectares of forest, which has also facilitated the return of native fauna to the site.
The initiative focuses on lands throughout the Vale do Rio Doce (Sweet River Valley) region and aims to contribute to a broader recovery of the local threatened biome ecosystem; it is estimated that 80 percent of tree species present in this tropical forest are at risk of extinction.
Salgado himself is a powerhouse name, considered one of the most important photographers in history. He died on May 23rd this year from leukemia, a consequence of malaria, which he contracted while working in Indonesia in 2010. His ashes were spread over the land he recovered. Since discovering his passion for photography in 1973, he abandoned a career as an economist and used his lens to document historical events and societies around the world. Alongside Lélia, he became a passionate advocate for nature and took meaningful action in environmental restoration.
Terra Institute was established with an urgent mission: to create and implement a replicable model of reforestation that would go hand in hand with educational programs and community engagement.
The institute, which is now chaired by their son, Juliano Ribeiro Salgado, hosts students, researchers, and visitors, offering guided tours, educational workshops, and hands-on training in reforestation techniques.
Sebastião and Lélia have witnessed the long-term consequences of deforestation and the unsustainable exploitation of natural resources while traveling the world. After witnessing the genocide in Rwanda and the Yugoslav War in the 1990s, Salgado started to feel “ashamed to belong to the human species.”
This page and previous: Installation views of the exhibition AMAZÔNIA SEBASTIÃO SALGADO (Madrid, September 2023 to January 2024). 1.5 million visitors visited AMAZÔNIA in cities including Paris, Rome, London, Los Angeles, São Paulo, and Zurich. The exhibition showcased the breathtaking beauty of the Amazon while also inspiring a collective commitment to protecting the Amazon ecosystem and its indigenous communities. Photography Javier Perez Montes, Wikipedia Commons.
ENVIRONMENT
He then returned to his childhood family farm, Fazenda Bulcão, to find a barren and sick landscape. His home state, Minas Gerais, in the southeastern region of Brazil, is historically known for mining sites and other exploits of the land.
The impact included, among others, severe soil erosion and an increasing scarcity of water. Seeing the damage up close and its broader implications, they decided to act.
In an interview for the Brazilian TV program, Globo Repórter, Salgado said: “When I started here, I was sick from the very harsh reporting I had done in Africa. My body was dying and this land healed me. It’s something that gives you a soul-cleansing kind of joy.”
They went on to transform the property into a Private Natural Heritage Reserve and reforestation began in 1999 with support from the local community: the first planting was carried out with the help of students from the town of Aimorés.
One of Instituto Terra’s most impactful recent initiatives is the Terra Doce program, which promotes cacao and coffee crops in a symbiosis of native and fruit trees, enhancing biodiversity and helping with the resilience of
soils and water resources.
According to the institute, the program is designed to support small and medium-sized rural producers throughout the Rio Doce basin, encouraging the adoption of sustainable agroforestry systems, creating economic opportunities for local communities.
Currently in its first phase, which is projected to span five years, the program targets the ecological recovery of 4,200 natural springs by planting 2 million trees through agroforestry.
Terra also aims to turn the program into a replicable model for environmental restoration and climate resilience, with the potential to help reestablish ecological balance in other parts of Brazil suffering from water scarcity and prolonged droughts.
Salgado was a vocal critic of humanity’s extractive relationship with the environment. In interviews, he often emphasized not only the need to raise awareness but also to take meaningful action toward change.
The institute placed great importance on sharing knowledge to promote a culture of environmental awareness. “It is a model, a pilot for Brazil, and I would say it might even be a pilot for the world. What we did at Instituto Terra needs to be done throughout Brazil,” Salgado told TV Globo in 2021.
Top: In the 1990s, after decades of travelling the globe for his photographic projects, Salgado returned to his family’s land in the state of Minas Gerais, Brazil, only to find it completely degraded due to years of deforestation and unsustainable agricultural practices. What had once been part of Brazil’s Atlantic Forest, a rich and diverse biome, was dry, lifeless, and eroded. Together with his wife Lélia, Salgado established Instituto Terra in 1998 to reverse this devastation. Over more than two decades, the organisation has planted over 2.7 million native trees, helping to restore nearly 600 hectares of rainforest. The scope of this reforestation project goes beyond planting trees, it’s about rebuilding an ecosystem, reviving biodiversity, and re-establishing the natural balance of water cycles, soil health, and microclimates. Pictured: Aerial view of Instituto Terra in Aimorés, Minas Gerais, Brazil. Photo Leonardo Merçon, Wikipedia Commons. Left: Sebastião Salgado (1944-2025) is not only famous for his powerful black-and-white images documenting human struggles and natural wonders, but also for his extraordinary environmental restoration work through Instituto Terra. Photo Wong Maye-E, AP File Photo.
The Terrinhas Project reached over 80,000 children and teachers from public schools in municipalities surrounding Aimorés. In 2024 alone, 560 students participated in a sevenmonth course combining theoretical and practical components.
Juliano Salgado told Globo Rural’s website that their goal is to transform an 85,000square-kilometre region by shifting mindsets and creating a new production chain based on agricultural products resulting from reforestation. This transformation is expected to significantly boost the region’s GDP.
Also, as the Atlantic Forest regenerates, native wildlife returns, accelerating natural ecosystem recovery and boosting biodiversity. By integrating ecological restoration with community empowerment, the institute wishes to also help redefine the region’s cultural identity around environmental protection. In an interview alongside Salgado, Lélia looked back on their work with Terra: “At first, it was such a sadness seeing a completely degraded land, a dry stream, trees without birds, nor animals... Today, we see a forest that I call ‘child forest,’ because the trees’ canopies are still maturing. Animals returned, birds, insects, mammals... When we see that forest now, those who arrive there have no idea it used to be something else.”
SPF: THE DAILY RITUAL
UNDER THE MEDITERRANEAN SUN
SMART SUN CARE FOR RADIANT SKIN, LONGEVITY, AND DAILY PROTECTION
Let's face it. Summer in Malta and across the Mediterranean is a radiant affair. The sea glimmers like glass and the Mediterranean sun lingers long into the evening. But while its golden glow is seductive, its effects on the skin are far from benign. With soaring UV levels and increasingly long daylight hours, the need for consistent sun protection is no longer optional, it’s a daily essential.
The science is clear. Exposure to ultraviolet radiation causes cumulative damage to the skin, contributing not only to cosmetic changes such as fine lines, pigmentation and sagging, but also to more serious conditions including actinic keratoses, skin cancers and the
exacerbation of inflammatory skin disorders such as rosacea. Regular, correct use of sunscreen dramatically reduces these risks. According to research cited by the US Skin Cancer Foundation, daily use of a broadspectrum SPF 15 can reduce the risk of squamous cell carcinoma by 40 percent and melanoma by 50 percent, figures that are difficult to ignore.
HEALTH & WELLBEING
This page and previous page: GOLDEN DAYS, GUARDED SKIN. Whether you're sailing into turquoise bays or stretched out on a sun-drenched shore, SPF is your most essential travel companion. UV exposure on the water or sand can double due to reflection, intensifying damage without visible warning. Always apply a broad-spectrum sunscreen of at least SPF 30 before stepping outdoors, and allow 15-20 minutes for it to absorb before sun exposure. Don’t forget the oftenmissed areas: ears, lips, backs of hands, and the tops of feet. And when travelling, buying sunscreen before your summer holiday ensures you have a trusted, skin-safe product from day one, avoiding limited choices or inadequate protection at your destination. Photography Southern Crete, Arno Senoner.
But sunscreen alone won’t suffice. It is one piece in a well-rounded sun safety regimen that includes physical barriers such as clothing and hats, strategic use of shade, and UVfiltering sunglasses. For those with photosensitive conditions or on certain medications, this approach becomes even more critical, as even short bursts of exposure can trigger severe reactions.
Choosing the right sunscreen involves more than selecting a recognisable brand or an appealing texture. The SPF rating, Sun Protection Factor, refers specifically to the level of protection against UVB rays, which cause sunburn. But equally important are UVA rays, which penetrate deeper into the skin, accelerating photo-ageing and increasing cancer risk. A highquality sunscreen should always be labelled 'broad spectrum', offering defence against both types of radiation. For incidental exposure, SPF 30 is sufficient. For prolonged outdoor activity, SPF 50 or higher is strongly advised, ideally in a water-resistant formulation that stays effective during swimming or exercise.
Application technique is as vital as the product itself. Most people apply only half the recommended amount, significantly reducing protection. A full adult dose equates to roughly one ounce, or a shot glass, for the body. Reapplication every two hours is essential, and immediately after water immersion or sweating. Skin that seems covered may still be vulnerable: ears, the back of the neck, the scalp’s part line, and even the tops of the feet are often neglected and prone to burns.
HEALTH & WELLBEING
There’s also the mistaken belief that sun protection is only necessary when the sun is shining. In reality, up to 80 percent of UV radiation can penetrate cloud cover, meaning overcast days are no excuse for complacency. For infants under six months, whose skin is highly sensitive, shade and protective clothing remain the safest course.
A sophisticated approach to skincare in summer does not begin and end with a serum or a facial. It starts with a thorough, thoughtful commitment to UV protection. As the line between wellness and daily routine continues to blur, so too should the separation between skincare and sun care. Whether walking to work, lounging by the pool or dining al fresco, consistency is the difference between fleeting glow and long-term skin health.
Malta’s light may be luminous, but the wisest among us know when to step into the shade.
Above: DIVE IN, BUT DON’T FORGET TO REAPPLY. Even the most luxurious waterresistant sunscreen isn’t fully waterproof. After every swim, towel-drying, or sweating session, protection must be reapplied without delay. Look for formulas labeled "very water-resistant" and broad-spectrum SPF 50 when poolside or at sea, and give the product time to bond to skin before taking a dip. Photo Stanley Dai Ovan. Left: THE ART OF APPLICATION. Applying sunscreen correctly is just as important as choosing the right formula. For adults, one full ounce, about a shot glass, is the recommended amount for full body coverage. Dab and blend evenly, working systematically to avoid missed patches, and don’t skip tricky spots like the hairline, eyelids, and under swimsuit straps. Sunscreen must be reapplied every two hours, and immediately after swimming or sweating, even if the product is water-resistant. For makeup wearers, lightweight SPF sprays or cushion compacts make top-ups fuss-free without disrupting your look. A glowing complexion starts with disciplined protection, not just skincare. Photo Engin Akyurt.
The Red HEART OF Cocktail Culture
For the sixth consecutive year, Campari has secured its position as the world’s best-selling liqueur, reaffirming its influence in the global cocktail scene. The Drinks International Brands Report 2025 has once again recognised Campari as the #1 Bestselling Liqueur and once again the #1 Top Trending Liqueur, highlighting its enduring appeal among the world’s leading bars. With over 160 years of history, its vibrant red colour and multi-layered bitter taste continues to inspire bartenders and cocktail enthusiasts around the world.
“Topping the list for another year, as it has done since 2016, is Milanese bitter Campari. Key component to the Negroni, the cocktail which topped the Drinks International 2024 Cocktail Report, it’s no wonder Campari Group’s flagship brand was a top-three bestseller in nearly 40% of bars polled, and the most popular in 24%. And as the Negroni is the on-trend cocktail globally, so too is Campari," writes the Drinks International Brands Report 2025.
Campari’s unmistakable crimson red hue and
complex bitter profile have made it the foundation of some of the most celebrated cocktails in the world, from the Negroni and Americano to the Negroni Sbagliato and Boulevardier. Its versatility, depth, and ability to balance flavours have made it an essential ingredient behind the bar, captivating both seasoned mixologists and cocktail enthusiasts alike.
The Negroni's origins date back to 1919 in Florence, when Count Camillo Negroni decided to strengthen his usual Americano by replacing soda water with gin. The bartender obliged, adding an orange garnish in place of the traditional lemon wedge, and the Negroni was born. Today, the International Bartenders Association (IBA) lists Campari as an official ingredient in this timeless cocktail, underscoring its essential role in the drink’s signature balance of bitter, sweet, and botanical notes.
Campari’s story began in Milan in 1860, when Gaspare Campari created a revolutionary infusion of herbs, aromatic plants, and fruit in alcohol and water. Over 160 years later, Campari’s bold character continues to inspire, offering endless possibilities for contemporary mixology while remaining deeply rooted in tradition.
THE NEGRONI RECIPE
Simple yet sophisticated, the Negroni requires just three ingredients: equal parts Campari, gin, and sweet vermouth, stirred over ice and garnished with a slice of fresh orange. INGREDIENTS 1 part Campari, 1 part 1757 Vermouth di Torino I.G.P. Rosso, 1 part Bulldog Gin, Ice, Slice of fresh orange. METHOD Pour all ingredients into a mixing glass over ice and stir. Strain directly into a rock glass filled with fresh ice. Garnish with a slice of fresh orange.
