Journal by LE GRAND MAG Issue 4 April 2022 by Le Grand Mag Media

JOURNAL MILAN’ FINEST | HERITAGE VALUE

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JOURNAL MILAN’ FINEST is a pubblication by LE GRAND MAG MEDIA - CEO Bruno Facchetti - Chief Financial Officer Robert Willcox - Business Development Tom Scott - Chief Technology Officier Stephen Smith - Chief Administrative Officer William Bright - CRO Hugh Coyle - Chief Data Officer Ben Thompson - Branded Content & Entertainment Projects Senior Advisor Anna Vitiello - Contents Manager Valeria Borghi - Head Of Communication Ben Thompson - Art Director William Boulton - Brand Manager: Gianfilippo Versari - Fashion & Trends Paola Valpreda - Digital Platform Editor George Smith - Quality Control Davide Metozzi - Writers James Cadoghan, Patrick White, Matt Smith, Tom Bolton, Valerie Pompadour, Rita Brooke, Sir William Walton, Margot du Saint Maló, Maggie Langwaltz, Henry Neuteboom , Charles O’Sullivan, Marta Marcucci, Nick Tedson, Nick Wurth, Scott Weiner, Lauren Touley, Jeff Platt, Debbie Dearwood, Will Hoffman, Jurgen Wells, Magnus McStuart, Pat Johansson, Luke Smith, Harrison Ludwing Jefferson, Lorenzo Rossi, Michelangelo Guglielmini, Michelle Rubie, Roland Buguillé, Marlene Schultz, Robbie Krall, Roberta Wurttstrasse, Julie Mulberry, Heinz Zwack, Peggy Sloane, Norbert Karnig, Jean-Philippe Verlag, Aurora Eastwood, Melanie Gerlis, Adam Towler - NEWSROOM 129 New Bond Street, Mayfair, London, W1S 1EA - United kingdom Le Grand Mag is a registered trademark. All rights reserved. Le Grand Mag takes not responsibility for claims made in advertisements featured in this magazine. The Publisher and the Management Team cannot guarantee that prices of products and services mentioned in the articles and advertising pages of this magazine are correct. For information on prices, please contact the brands commercialising these product or services. www.legrandmag.com

A HIDDEN MESSAGE IN A PAINTING Francesco Hayez captured France’s and Italy’s yearning for independence with his brushstroke combining contemporaneity and sensuality.

VOLOCOPTER BRINGS URBAN AIR MOBILITY TO LIFE THE IMPORTANCE OF SEEING BEYOND THE HORIZONS

Painted by Francesco Hayez at the age of 70, “The Kiss” was charged with sensuality in an era that was still puritanical, so much so that Giuseppe Rovani, a famous scholar and critic of the time, affirmed, certainly alluding to the well-known libertinage of the painter: “He can have children up to 90 years!”. The work was commissioned by Count Alfonso Maria Visconti and presented at the annual Exhibition of the Braidense Academy of Fine Arts in 1859 after Vittorio Emanuele II and French Napoleon III entered Milan. The painting actually hides a patriotic reading in the colours used for the clothes (blue, white, red, green) recall the traditional ones of France and Italy, united in the battle for the wars of independence, constituting a wish for the nascent nation. Volocopter’s aircrafts are already designed to one day fly autonomously, and the company is actively working on making this a reality in terms of regulations, technology and public acceptance.

FREEDOM, SAFETY AND FLEXIBILITY Volcopter is gradually increasing the degree of automation its aircraft will offer: first, through the number of control functions (like speed control or autopilot). Second, by preparing for unforeseen future events and the decisions that will have to be made. In short, this is a gradual process that will be moderated by technological, regulatory, and economic considerations. As it gears up to

Enabling carbonneutral mobility

Like a first class flight, Audi’s 5.35-metre-long Grandsphere sedan combines the luxury of private travel in the greatest of comfort with a comprehensive onboard experience offering. Level 4 automated driving makes new dimensions of freedom possible. The interior turns into a spacious sphere of experience without a steering wheel, pedals, or displays, and the

ENVISIONING AUTONOMOUS FLIGHT

offer fully autonomous flights, Volocopter will collect data from piloted flights in an operational environment that will flow into the VoloIQ data lakes, as well as offer training, and test autonomous applications. Only then will the company launch autonomous flights. In the envisaged fully autonomous Volo-

City air taxi, several sensors will ensure a 360-degree view and detect objects in its flight path. An independent monitoring system will keep an eye on all components at any given time, whether radio communication, propulsion, or a flight plan. The flight management system will make decisions and automate

The move towards full autonomy will promote more flexible and even safer urban operations for air taxis. predefined processes that are always on time, accurate, and safe. Even without a data connection back to the ground, the VoloCity will be connected to Europe’s digital airspace management system U-SPACE and the Mission Control Center, ensuring smooth and safe flights for all. And the passengers? Well, all they need to do is sit back and enjoy the view on their super-quick journeys.

Autonomous flight is a core element of the Volocopter mission statement, and the VoloCity was designed to ultimately take to the skies as an autonomous air taxi. From the very beginning, Volocopter’s intention was for its aircraft to one day fly solo in the commercial skies. Today, the company is working closely with autonomous technology leaders like Near Earth Autonomy on the beyond visual line of sight (BVLOS) capabilities of its VoloDrones. But why is this an intrinsic part of Volocopter’s vision? Urban air mobility needs to be tailored to the challenges of flying within a city – tall buildings, narrow roads, moving obstacles. While highly trained pilots will be more than capable of navigating this environment, Volocopter will also be deploying smart, redundant assistance systems to ensure maximum safety right from day one. By gradually moving toward full autonomy it will continue to promote more flexible and even safer urban operations. Furthermore, autonomy will lower costs and thus boost affordability, availability and help scale eVTOL operations. To make autonomous air traffic a reality, however, a number of steps must first be taken. As this is a novel kind of mobility, regulations are still being compiled and may well not be set in stone for a good few years yet. Volocopter is working closely with Europe’s aviation authorities and other experts in the field to bring urban air mobility to life and share its insights.

THE GREATER SCHEME MARKUS DUESMANN, CEO AND BOARD OF MANAGEMENT MEMBER FOR PRODUCT LINES AT AUDI AG, STATED: “WE ACT ON WHAT WE BELIEVE TO BE TRUE: THAT A SUSTAINABLE BUSINESS MODEL IS KEY IN PREPARING FOR A SUCCESSFUL FUTURE.” front seats become a first class lounge with maximum space, freer views, and access to all the functions of a holistic digital ecosystem that the Audi Grandsphere is integrated into. Markus Duesmann, CEO and Board of Management Member for Product Lines at AUDI AG, stated: “Enabling carbon-neutral mobility is one of the defining issues of our time and one that every OEM must answer for themselves. We act on what we believe to be true: that a sustainable business model is key in preparing for a successful future... In just 12 years’ time, Audi will be completely electric – an ambitious goal that makes us the industry pioneer. By pursuing such a decisive and robust roadmap, Audi’s transformation is rapidly overtaking the planned legal regulations... At the end of the day, we need a more rapid expansion of renewable energies and an even more rapid expansion of charging infrastructure.”

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CHANEL HIGH JEWELLERY

NO. 5, MORE THAN A LUCKY NUMBER To celebrate the 100th year of the N°5 perfume’s fame, Patrice Leguéreau, Director of the Chanel Fine Jewellery Creation Studio, has imagined the “Collection N°5”, the first High Jewellery collection ever to be dedicated to a perfume. From the bottle to the sillage, these 123 extraordinary pieces express the different facets of the N°5 perfume. In 1921, the first “perfume for women with the scent of a woman” composed by Ernest Beaux and Gabrielle Chanel made a sound of commotion. The modernity of the fragrance, the purity of the bottle and the mystery of the name, the N°5 perfume was nothing short of a revolution. In 1932, Mademoiselle shattered the codes of French High Jewellery with her one and only collection in platinum and diamonds. These “Bijoux de Diamants” introduced new ways of wearing jewellery and took jewellery into a new realm... that of allure. In 2021, Patrice Leguéreau decided to bring these two domains together with the “Collection N°5”. “Gabrielle Chanel approached these two universes with the same visionary values, focusing on audacity and the quest for excellence. I wanted to rediscover that creative gesture with this collection, which has been conceived like a journey through the meanderings of the N°5 perfume’s soul, from the architecture of the bottle to the olfactive explosion of the fragrance. The highlight of this unprecedented collection is an emblematic and exceptional necklace set with a 55.55-carat diamond.” Daring creativity, noble materials, and an accentuated femininity together with an intimate character and a powerful timelessness, the “Collection N°5” reflects the main features of the iconic perfume. Through the 123 flexible and architectural pieces of jewellery, Chanel offers its vision of the contrast between the graphic design of the bottle and the sensuality of the fragrance. The Creation Studio magnifies five of the N°5 perfume’s identifying elements through compositions of rare and exceptional gemstones. The emerald cut, the rectangular shape recalls the place Vendôme. Exquisitely crafted from rock crystal or set with diamonds, onyx, pearls and yellow sapphires, the precious octagon is at the heart of the elegant and sophisticated graphic jewellery sets. Through a skillful play on transparency, the rings adorned with rock crystal reveal beds of diamonds that underline the purest of profiles. On other gold rings, Chanel exalts the beauty of symbolic gemstones such as this 5.21-carat diamond on the Diamond Stopper ring. Rendered even more feminine with a ribbon of diamonds, the stopper symbolizes the start of an imaginary world of the N°5 perfume.

Instantly recognizable, the geometric silhouette of the bottle can be seen through the lines of white diamonds, yellow diamonds and yellow sapphires cascading over sautoir necklaces, brooches and pendant earrings. Just like the N°5 Abstraction necklace whose subtle gradient colours reveal a perfect pairing of yellow and white diamonds. From these bottles with their ethereal lines, escape tears of pear-shape diamonds and pink morganite that flow over the skin like droplets of a divine perfume. In black and white, Chanel reveals the body of the N°5 perfume in onyx, floating over a supple diamond plastron. In contrast, the silhouette of the bottle is hidden behind an exquisite small clock in mother-of-pearl and black ceramic lacquer fillet with a floral décor of jasmine, rose and ylang-ylang. Driven by a powerful and sensual line, the outline of the number ‘5’ becomes one of the signatures of the collection drawing a joyful line between the pieces at the stroke of pen. It sits mischievously off-center on a yellow gold and diamond choker with a drop of golden beryl. In the XL version, the 5 heightens the ardor of the Eternal N°5 necklace that can transform into a choker, and whose 5 can also be worn as a brooch. This spectacular design composed of a sublime cacophony of round, pear, navette and oval-shaped diamonds is completed with a 10-carat emerald-cut diamond. Mixed with yellow sapphires and in a contemporary fashion the number is haloed in light of diamonds. Wrapped in diamond ribbons To celebrate the 100th year of the N°5 perfume’s fame, Patrice Leguéreau, Director of the Chanel Fine Jewellery Creation Studio, has imagined the “Collection N°5”, the first High Jewellery collection ever to be dedicated to a perfume. on necklaces and bracelets, the 5 possesses the same voluptuousness reminiscent of the scented elixir. Like this majestic brooch where the famous number is accompanied by a flamboyant 4-carat sapphire in orange and pink sunrise hues, and an amber topaz drop of more than 30 carats. At the heart of the fragrance, the jasmine, the may rose and the ylang-ylang blossom over the colorful jewellery sets. Worked in volume, the flowers retain all of their delicacy, while their appearance in the shape of the star, the moon and the sun, echo the symbols in the 1932 platinum and diamond collection. The freshness of the jasmine - which resembles a star - perfumes a cloud of diamonds. As for the may rose, Chanel interprets it generously through a round, moon-like

flower with its many petals dipped in pink sapphires. The gemstones sparkle in all their beauty on a long sautoir pearl necklace and a diamonds-set chain. Intricately crafted like a sun, the ylang-ylang glows at the center of luminous necklaces with a dew-like sprinkling of diamonds. Finally, an asymmetrical bouquet of white flowers representing the jasmine, the rose and the ylang-ylang adorns the Absolu N°5 plastroglows at the center of luminous necklaces with a dew-like sprinkling of diamonds. Finally, an asymmetrical bouquet of white flowers representing the jasmine, the rose and the ylang-ylang adorns the Absolu N°5 plastroglows at the center of luminous necklaces with a dew-like sprinkling of diamonds. Finally, an asymmetrical bouquet of white flowers representing the jasmine, the rose and the ylang-ylang adorns the Absolu N°5 plastroglows at the center of luminous necklaces with a dew-like sprinkling of

Photo © Chanel High Jewellery

“Gabrielle Chanel approached these two universes with the same visionary values, focusing on audacity and the quest for excellence. I wanted to rediscover that creative gesture with this collection, which has been conceived like a journey through the meanderings of the N°5 perfume’s soul, from the architecture of the bottle to the olfactive explosion of tted to rediscover that creative gesture with this collection, which has been conceived like a journey through the meanderings of the N°5 perfume’s soul, from the architecture of the bottle to the olfactive explosion of tted to rediscover that creative gesture with this collection, which has been conceived like a journey through the meanderings of the N°5 perfume’s soul, from the architecture of the bottle to the olfactive explosion of tted to rediscover that creative gesture with this collection, which has been conceived like a journey through the meanderings of the N°5 perfume’s soul, from the architecture of the bottle to the olfactive explosion of the fragrance. The highlight of this unprecedented collection is an emblematic and exceptional necklace set with a 55.55-carat diamond,” says Patrice Leguéreau, Director of the Chanel Fine Jewellery Creation Studio.

diamonds. Finally, an asymmetrical bouquet of white flowers representing the jasmine, the rose and the ylang-ylang adorns the Absolu N°5 plastroglows at the center of luminous necklaces with a dew-like sprinkling of diamonds. Finally, an asymmetrical bouquet of white flowers representing the jasmine, the rose and the ylang-ylang adorns the Absolu N°5 plastroglows at the center of luminous necklaces with a dew-like sprinkling of diamonds. Finally, an asymmetrical bouquet of white flowers representing the jasmine, the rose and the ylang-ylang adorns the Absolu N°5 plastroglows at the center of luminous necklaces with a dew-like sprinkling of diamonds. Finally, an asymmetrical bouquet of white flowers representing the jasmine, the rose and the ylang-ylang adorns the Absolu N°5 plastron set with a multitude of diamonds. A 5-carat diamond highlighting the central motif can also be worn as a brooch. / www.chanel.com

AIRCRAF T AS BOLD AS YOUR AMBITION From takeoff to touchdown, Boeing Business Jets are designed to meet every demand of your lifestyle without compromising luxury, privacy or comfort. Whether you are relaxing, entertaining or conducting business, your custom Boeing Business Jet allows you to seamlessly transition between your life on the ground and your life on the go.

boeing.com/bbj

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BRITISH AIRWAYS, FIRST SUITE FIRST

Created specifically for the Boeing 787-9 Dreamliner aircraft, the British Airways’ First suites have been painstakingly designed based on feedback from First customers, and was developed by Forpeople, London, with the airline’s in-house teams and leading British suppliers, including Prototrim, which dressed the suites with high quality soft leather and fabric trim, and London-based Pritchard Themis who worked on the suite and cabin lighting.

With some of the largest aircraft windows in the sky, First travellers will enjoy views of the horizon from every seat on board the Boeing 787-8 and 787-9 aircraft. The suites include four new storage areas. A new ottoman next to the adjustable footstool has enough room for shoes, handbags and personal items, while the personal suiter for jackets and coats is accessible without the customer having to move from their seat. A new locker positioned at eye-level is perfect for smaller personal effects such as tablets, spectacles, passport and wash-bags. A handy mirror has also been fitted to the inside of the locker door for personal grooming. Devices can be charged in a discreet stowage area next to their armrest. Great attention to detail has also been paid to how customers use their suite, with each function being controlled by simple, intuitive touch. The seat and in-flight entertainment console has been updated with a new handset, much like a smartphone, integrated into the seat from which travellers can control their in-flight entertainment. During flight, the handset can be docked so that customers are also able to watch one item, such as the

moving map, on the handset and another, such as a film, on the 23inch fixed screen. This also means travellers will be able to enjoy gate-to-gate entertainment, without having to stow their television for takeoff and landing. The smart ‘jog-dial’, that previously controlled the seat’s recline, now manages five additional functions including the headrest and lumbar inflate and

The Boeing 787-9 spotlights an evolution of British Airways’ First cabin, with just 8 seats compared to the usual 14. a ‘global’ lighting control to set both ambient and reading lighting. The new First cabin on the Boeing 787-9 was developed by Forpeople, London, working together with the airline’s in-house teams and leading British suppliers, including Prototrim, which developed the high quality soft leather and fabric trim within the suite, and London-based Pritchard Themis who worked on the suite and cabin lighting.

H O T E L S T H AT D E F I N E ™ T H E D E S T I N AT I O N Discover the magnificence of Hotel Danieli, a Luxury Collection Hotel, Venice, a magical storyteller of the city’s historic grandeur and refined home to travellers and globetrotters since 1822. Journey through our 200 year legacy of hospitality while experiencing the true essence of the destination. EXPLORE THE DESTINATION AT HOTELDANIELI.COM

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BODYGUARD

L’ABUS D’ALCOOL

EST DANGEREUX POUR LA SANTÉ. CONSOMMEZ

AVEC MODÉRATION. bodyguard : garde du corps

PUBB_PIPER-HEIDSIECK.indd 1

14/07/14 16.37

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FROM NEW YORK TO SINGAPORE IN STYLE www.singaporeair.com

SINGAPORE AIR

RELAUNCHES ITS A380 FROM NEW YORK TO SINGAPORE STARTING MARCH 2022.

Singapore Airlines CEO, Mr Goh Choon Phong, stated: “The Airbus A380 is a favourite among our customers and we are especially proud to be taking the travel experience to the next level with our new cabin products. The new products are being introduced after four years of development work and we are confident they will truly ‘wow’ our customers, ensuring that we continue to provide them an unparalleled travel experience. The significant investment demonstrates our long-term approach to ensure we continue to lead the industry, and our confidence in the future of premium full-service air travel.” Behind its artistically-designed sliding door lies a personal oasis complete with lavish furnishing and finishes. Each Suite is furnished with a separate full-flat bed with adjustable recline and plush leather chair, enabling customers to lounge comfortably in the chair or rest in bed without the need to convert the bed from a sitting position. For couples travelling together, the beds in the first two Suites of each aisle can be converted to form a double bed. Each seat is upholstered by world-renowned Poltrona Frau in fine leather, and is fully adjustable using an electronic control side panel which can accommodate a variety of sitting and lounging positions. The swivel capability of the chair (between 135 and 270 degrees) with recline up to 45 degrees provides added flexibility for dining and relaxation. Singapore Airlines‘s highly-anticipated new cabin products fitted to its Airbus A380 fleet are the result of an extensive four-year development programme. Riding on the theme of “Space made personal, experience the difference”, the new cabin offerings provide more space and privacy in all classes, featuring intimate and bespoke elements designed especially for the Singapore Airlines customer. The new cabin products were displayed in Singaporeon the first of five new A380 aircraft entering the fleet. Retrofit work also took place on over a dozen aircrafts, to ensure product consistency across the Airline’s entire A380 fleet. The Singapore Airlines A380 is configured with 471 seats in four classes, featuring six Singapore Airlines Suites and 78 Business Class seats on the upper deck, as well as 44 Premium Economy Class seats and 343 Economy Class seats on the main deck. The research, design, development and installation of the new products on 19 Singapore Airlines A380s represented an investment of about USD850 million. Customers travelling between Singapore and Sydney were the first to experience Singapore Airlines’ all-new cabin products, with the entry into service of its recently-delivered Airbus A380 aircraft equipped with the new seats and in-flight entertainment system. Singapore Airlines CEO, Mr Goh Choon Phong, who was at Changi Airport to welcome the aircraft back into the country, said: “The Airbus A380 is a favourite among our customers and we are especially proud to be taking the travel experience to the next level with our new cabin products. The new products are being introduced after four years of development work and we are confident they will truly ‘wow’ our customers, ensuring that we continue to provide

them an unparalleled travel experience. The significant investment demonstrates our long-term approach to ensure we continue to lead the industry, and our confidence in the future of premium full-service air travel.” With six Suites tucked spaciously within the front cabin of the upper deck, customers will experience a sense of exclusivity and intimate privacy aboard the A380. Behind its artistically-designed sliding door lies a personal oasis complete with lavish furnishing and finishes. Each Suite is furnished with a separate full-flat bed with adjustable recline and plush leather chair, enabling customers to lounge comfortably in the chair or rest in bed without the need to convert the bed from a sitting position. For couples travelling together, the beds in the first two Suites of each aisle can be converted to form a double bed. There is a

The Singapore Air A380 Suites are designed by Pierrejean Design Studio, featuring full-flat beds that awith adjustable recline armchairs manufactured by Zodiac Seats UK, upholstered in Poltrona Frau leather. plush mattress bedding, two pillows and a fluffy cotton duvet, complete with embroidery crafted by the French luxury brand, Lalique. Complemented with a stylish sleeper suit, slippers, eyeshades and socks, customers can lounge in comfort before drifting into peaceful sleep in their private

cabin in the sky. When not in use, the bed can be stowed completely, creating even more personal space. Suites customers on selected flights receive an amenity kit with toiletries and perfumes or a unisex kit containing lifestyle items, specially designed and created under the co-brand partnership with Lalique. Each of the separate his-and-hers amenity kits consists of a fragrance, lip balm and a specially designed pouch. In addition, the ladies’ set includes a face moisturiser and hand cream while the men’s set includes a body lotion and aftershave balm. The unisex kit containing lifestyle items is designed as a collectible item, featuring a Lalique candle, scented soap, lip balm and body lotion. Suites customers can freshen up in the two stylishly-furnished lavatories with a special citrus-scented facial mist, body lotion and fragrance by Lalique. Each Suite also has a 32-inch full HD monitor that can swivel for the different viewing angles in seat and bed modes, a full-sized personal wardrobe, customised handbag stowage compartment, amenity box lined with soft leather, specially designed carpet and a feature wall with mood lighting - all exquisitely crafted to give a touch of luxury and intimacy. The exclusivity of the Suites cabin is further accentuated by its two stylishly-furnished lavatories, one of which has a sit-down vanity counter. The culinary experience features Wedgwood serviceware and Lalique-designed crystal glassware. Every meal is complemented by a selection of fine wines and champagnes specially put together by a panel of wine experts. As part of Singapore Airlines’ commitment to enhancing sustainability practices, Suites customers can look forward to meals created by the International Culinary Panel (ICP), featuring more sustainable ingredients and fresh local produce.

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HOW AN INGENIOUS SOLUTION CHANGED HISTORY The Marc Jacobs logo print continues with a special Monogram collection for the Spring 2022 season. Lil Uzi Vert, one of music’s most daring artists, stars in the campaign styled by Alastair McKimm and shot by Mario Sorrenti. The hip-hop phenom known for his eclectic taste and androgynous sense of style wears the new Marc Jacobs logo print alongside models Georgia Palmer and Iris Law. The collection plays on the core values and aesthetics central to the Marc Jacobs DNA. Exploring genderless expression and celebrating individuality through effortlessly cool streetwear pieces emblazoned with chain patterned Marc Jacobs lettering. The collection includes luxe canvas jacquard jacket and pant sets with matching bucket hats. Soft cotton oversized hoodies, t-shirts, and sweatpants. Plush fleece jackets, wool knit jumpers, tube skirts, balaclavas, and tote bags. Pieces will be available in binary colorways of black and white, pink and taupe, and black and beige. Both the Monogram collection and the Tote Bag bring to mind the distinctive textile and pattern of jacquard. The weave of jacquard finds its history in brocade. As far back as 4th century Byzantium, linens and wools were being woven into complex patterns to form beautiful fabrics. With the import of silk weaving around the 6th century, brocade became as luxurious to the touch as it was to the eyes. Byzantine craftsmen began to weave silk into brocades, damasks, and tapestry-like fabrics, suitable for even a king. By the middle ages, brocades were so expensive that they were only available to the upper nobility and the very rich. In fact, these luxury fabrics often had precious metals and precious and semi-precious gems woven into them. Brocade soon became a symbol of wealth and power, and was favored by monarchs throughout the medieval world. The nobility’s love affair with brocade continued into the Renaissance age, especially in Italy. Around the 15th century, the Italians began to make a name for themselves as makers of the finest fabrics in all of Europe, and this was in no small part due to the complexity and luxe quality of their silk brocades.

Throughout all of these centuries, brocades were woven by hand on large looms called draw looms. These looms required two people to operate, a weaver and a draw boy. The weaver would call out to the draw boy, letting him know which threads to lift and when, so that the correct colored threads would show through each line of weave. This was an incredibly labor intensive and slow process. By the end of a full day, a good team of weaver and draw boy could expect to have completed roughly two square inches of finely patterned silk cloth. By the 1700s, several French inventors were hard at work to create a better loom as machines were being developed to handle all sorts of repetitive tasks. They were already being widely used to create simple patterned fabrics, but brocades still required an artist’s touch, since their designs were far more complex. In order to create such a pattern, there would need to be a way to program the machine to change its weave depending on which line of the pattern was being created. Former draw boy Joseph-Marie Jacquard created a simple but ingenious solution, using stiff punch cards similar to the reels still seen in player pianos and mechanical music boxes

today. In 1801, his initial concept won him the attention of Napoleon himself, who called Jacquard to Paris and commissioned him to perfect his process in the national interest. The final version, which debuted in 1804, became the world’s first programmable machine. It was later a strong influence for Charles Babbage, credited with creating the world’s first computer, as well as many other uses of punch cards in all sorts of modern applications. The punch cards he created are also thought to be the origin of binary code systems. Modern jacquard fabrics can be made from a variety of different fibers, from natural cottons and silks, to man-made polyester and polyester cotton blends. What all of them have in common is the method of construction. Generally they are intricate in design, and tend to be stronger and thicker than many other types of weave. The hallmark of jacquard fabrics is that the design is woven into the fabric itself, rather than stamped, printed, or embroidered on top of it. Because of this, some jacquards are even reversible, with the negative of their pattern found on the back.

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WHEN TWO ICONS MEET www.armani.com Interpreting timeless style in everlasting black and white,10 Corso Como is a new iteration, classic yet and fresh, of the Armani lexicon. The collection will be offered in a special packaging and will be available from 18 November at 10 Corso Como in Milan and online, and subsequently also in Giorgio Armani boutiques in Milan, New York Madison Avenue, Tokyo Ginza Tower and Shanghai.

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GIORGIO ARMANI X 10 CORSO COMO The collection consists of single and double-breasted blazers, long coats, cabans, flowing trousers, soft pullovers, accessorised with flat lace-ups or high-heeled pumps, and two bags: one large and soft style and La Prima in its classic version. The juxtaposition of the masculine and the feminine happens effortlessly, while the black and white palette creates a graphic allure, emphasised by jacquard stripe patterns. Materials are natural and precious: wools, silks, velvets, cashmere. A sweatshirt ironically plays with the stylised portrait of Giorgio Armani. Recently, the Armani Group announces its commitment to no longer use angora wool across all lines from the Fall Winter 2022/2023 season onwards, adding it to the list of excluded materials within its fur-free policy. “I am pleased to announce the abolition of angora wool

from all the collections of the Armani Group, testimony to our tangible commitment in monitoring our production with respect to protecting the natural world. I have always believed in innovation and research of new materials and innovative methods for processing traditional raw materials,” said Giorgio Armani. In 2016, in agreement with the Fur Free Alliance, the Group announced its plans to eliminate the use of animal fur from all its products starting with the Fall Winter 2016/2017 season. This latest commitment marks yet another firm step forward by the Armani Group, testifying to its great focus on the critical issues related to sustainability across the supply chain with regard to the environment and the animal world. For some time now, the Group has been taking action to ensure that the value generated by growth objectives

remains in harmony with the local territory and communities. One of the most significant measures adopted is the constant monitoring of the supply chain with a consequent drive to adopt and implement sustainable practices. Furthermore, the Armani Group has been involved with international working groups on the adoption of all measures aimed at the progressive reduction of chemicals considered to be potentially hazardous. In addition to being a signatory of the ‘Fashion Pact’, presented at the G7 in 2019, through which the major companies in the fashion industry have committed to addressing the issues of climate change and environmental protection in a tangible way, in July 2021 the Group announced its targets for the reduction of greenhouse gas (GHG) emission and was approved by the Science Based Targets initiative (SBTi).

Voted “No 1 Best Resort Hotel in Europe” by readers of Conde Nast Traveler 2010 • 13th Century Castle hidden from the World amidst 350 acres of its own private estate • Located on the 2nd largest lake in Ireland Lough Corrib, 30 minutes from Galway city • Easy driving distance from Dublin and Shannon airports • Luxury hotel since 1939 • 83 individually designed bedrooms • Once the country estate of Lord Ardilaun and the Guinness family • Three dining options available to suit all guests • A host of activities from Golf to the Ancient Art of Falconry available on the estate

Ashford Castle, Cong, Co Mayo, Ireland - Tel: 353 94 9546003 E-mail@ashford@ashford.ie - www.ashford.ie

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CHANEL’S SPRING/SUMMER 2022 COLLECTION SHINES BRIGHT IN A TEMPORARY SPACE WHILE THE GRAND PALAIS UNDERGOES A MAJOR RENOVATION, SUPPORTED BY THE MAISON.

THE THRILL OF THE 80S

2 3

1 “Fashion is about clothes, models, and photographers,” stated Chanel’s creative director Virginie Viard in the spring-summer 2022 press notes. “Karl Lagerfeld used to photograph the Chanel campaigns himself. Today, I call upon photographers. I love the way that they see CHANEL. It supports and inspires me.” Viard called upon Inez & Vinoodh to lens a campaign that accompanies Chanel’s SS22 runway debut. It includes five films starring Jennie, Lily-Rose Depp, Alma Jodorowsky, Rebecca Dayan, and Quannah Chasinghorse-Potts, alongside a set of portraits of the cast repeating the same exact pose, holding a camera to their face. “It’s a magical object and a sexy gesture, which evokes so many memories. I used to love the sound of flashbulbs going off at the shows in the eighties when the models were on a raised runway. I wanted to recapture that emotion.” Presented at the Grand Palais Éphémère, each piece is made for Chanel enthusiasts who scour resale markets, reinterpreted today by Viard’s deft hands. The show opened with simple bathing suits draped with chain belts, destined for Supers vacationing the Amalfi Coast in 1987 or 2022. Breaking up the monochrome warmup, the show diverged toward beautifully patchworked denim and crochet separates, then exploded into technicolor tweeds that belong to John Hughs’ preppy protagonists. Punchy accessories drive the ‘80s theme home, from heart-shaped bags to neon acrylic costume jewelry. Closing the collection was a symphony of butterfly silks that we presume are already being locked up in vintage archives for slumber, ready to reappear in twenty-so years when “the ‘80s is back.” Again.

1. Presented at the Grand Palais Éphémère, each piece of the collection is made for Chanel enthusiasts who scour resale markets, reinterpreted today. “I used to love the sound of flashbulbs going off at the shows in the ’80s,” designer Virginie Viard recalled in the show notes. “I wanted to recapture that emotion.” 2. This season Viard attempted to channel that energy and joy in a collection that not only referenced the era in the clothes, staging, and accessories, but even the soundtrack: Witness George Michael’s anthemic “Freedom! ’90”—in a contemporary cover version— getting the models in the party spirit. 3. Viard captured the timeless, albeit naive, joy of the 1980s that offers a lighthearted reprieve during times like these.

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SPRING/SUMMER 2022

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AN EMBODIMENT OF TODAY’S MAN www.prada.com Prada’s Spring/Summer 2022 campaign featuring Tom Holland as “himself” in the lens of David Sims is an embodiment of today’s Prada man a rich internal life informing his outer projection of self. These images cement minute actions and reactions, close and gentle moments - the rapport between garment and body, gestures of dressing and undressing alive within the imagery. Instead of a cinematic panorama, Holland is portrayed via portraits, intimate and real. The images connect - his gaze holds ours, and our attention. He is performing for the camera, with intent - but it is a performance of himself. Lauching the Spring/Summer 2022 collection, Prada also supports the MedSea Foundation in its project to restore marine ecosystems with the reforestation of Posidonia oceanica meadows in the Marine Protected Area of ‘Capo Carbonara’. Posidonia oceanica is a marine plant endemic to the Mediterranean Sea, providing an important habitat for marine species and playing a crucial role in absorbing CO2 to help mitigate climate change. A continuation of the Spring/ Summer 2022 mood, which takes theater and cinema as mirrors of reality, for the Fall/ Winter 2022 Prada men’s show, the Deposito of the Fondazione Prada is reimagined by AMO as a stage for action, a representation of a heightened actuality. Actors are employed to echo truth through their portrayals. The casting includes 10 globally-renown Hollywood stars: Thomas Brodie-Sangster, Asa Butterfield, Jeff Goldblum, Damson Idris, Kyle MacLachlan, Tom Mercier, Jaden Michael, Louis Partridge, Ashton Sanders and Filippo Scotti. Real men, recognized figures, they bring a new facet of reality. Here, everyday reality is being valued, its signs and signifiers exchanged with those of elegance and sophistication. Through this interplay, a merit and worth is afforded to human endeavour at all levels: perceived uniforms of employ achieve new importance. A sense of occasion is given to everyday activity - an import, a worth, emphasising the value of work to society. Eschewing hierarchy, a dignity is proposed to pragmatic clothing, uniforms of reality, rematerialized in precious leather and silk tech as a mark of respect and value. These are laid alongside the language of sartorial tailoring, a formality which confers an importance. Pragmatism can affect elegance - sartorial construction methods are applied to knitwear, bomber jackets

and parkas, formalising these examples of universal clothing. Elegance becomes a means of celebration, of imparting significance. Garments exemplify a constructed modernism, their inherent architecture serving to define shape and form. The body is given emphasis, shoulders and waist delineated through traditional tailoring, a silhouette then transmuted to everyday garments, the two disciplines not only juxtaposed but brought together as one. Through fabrication and methodology, an equal gravity is given to each genre of clothing - every facet of reality is offered significance, a sophistication and esteem, a lasting value. In the collection, the everyday reality is valorized and uniforms of employ achieve new importance. The body is given emphasis, shoulders and waist delineated through traditional tailoring, a silhouette then translated to everyday garments. With fabrication and methodology, an equal gravity is given to each genre of clothing - every facet of reality is offered significance, a sophistication and esteem, a lasting value. The latest news includes the collaboration between Adidas Originals and Prada, two international brands renowned for their relentlessly progressive approach to

Work is a state of reality - a vital component of life. Into the idealized, fantasized aesthetic vernacular of the fashion show, a reality interrupts. innovation and originality. They are bringing their third collaboration — the adidas for Prada Re-Nylon collection — into the metaverse. Introducing Adidas for Prada re-source — an ambitious first-of-its-kind NFT collaboration that will feature user-generated and creator-owned art. The project is set to bring together participants across fashion, design, and crypto to co-create a large-scale digital artwork inspired by the physical ReNylon collection. Adidas and Prada will invite their collective audiences to contribute unique anonymized photographs to the open-Metaverse NFT project. 3,000 community-sourced artworks will be minted as NFTs and compiled as tiles in a single mass-patchwork NFT designed by renowned creative coder and digital artist, Zach Lieberman. A truly collaborative endeavour –

participation in the adidas for Prada re-source NFT project is completely free, and contributors will maintain full ownership rights over their individual NFT tiles. Adidas and Prada will bring Lieberman’s final NFT to auction on SuperRare, a pioneering marketplace for curated NFT artworks. A majority of the proceeds from the auction go to Slow Factory, a non-profit organization and institute working to create education to drive meaningful solutions and inclusive communities.

SUMMER ESCAPE For the Prada Spring/Summer 2022 menswear show, AMO imagined a summer escape down a meandering red tunnel to the beach among granite boulders, floating on the clear sea, seemingly stranded red objects in the pristine landscape for a surreal encounter with nature, seaside infrastructure of another kind. The Prada Spring/Summer 2022 menswear show was filmed in Milan at the Fondazione Prada’s Deposito, as well as in Sardinia, Italy.

In an homage to open innovation, adidas Originals and Prada will leverage NFTs and Web3 technology to reward participation in a new kind of collective rooted in ownership, authenticity and community. adidas and Prada collaborated with Polygon Studios to build the project on the Polygon network. Relentlessly innovative; undeniably community-driven. The adidas for Prada re-source project confidently marks both brands’ latest collaborative journey into the metaverse.

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SINCE ITS FOUNDATION IN 2011, GENTLE MONSTER HAS RELENTLESSLY SEARCHED FOR DARING AND INNOVATIVE NARRATIVES TO PRESENT TO THE FASHION REALM. WITH EMOTIONAL PROVOCATION AS THE KEY MESSAGE TO DELIVER, GENTLE MONSTER PORTRAYS THEIR BRAND IDENTITY THROUGH EYEWEAR AND HOW IT IS PRESENTED IN INNOVATIVELY DESIGNED PHYSICAL STORES.

COMMERCIAL, FASHIONABLE AND PHILOSOPHICAL www.gentlemonster.com Gentle Monster sees eyewear from three distinctive perspectives: commercial, fashionable and philosophical. Today, it boasts 25 flagship stores in Seoul, New York, Beijing, London, Dubai, Los Angeles, Shanghai, Taipei, Singapore, San Jose, Chengdu, Hangzhou, Shenzhen, Shenyang, Xi’An, Hong Kong, Guangzhou, Nanjing and more, all with innovative designs. Haus Shanghai presents a new version of future retail that defies stereotypical notions of a commercial space. By inciting emotional provocation in visitors, Haus aims to deliver an unprecedented cultural experience. There are four floors spanning 3270 square metres that include art exhibitions. “Haus 0 10 10 10 1” symbolises the direction that Gentle Monster seeks to pave within future retail. Haus Dosan is the beginning of Gentle Monster’s future adventures and will contain cosmetic brand Tamburins known fo its sophisticated interpretation of beauty as well as Nudake with its imaginative deserts that creates a palatable fantasy. SKP-S Project is the brand’s redefinition of a common department space conveying the theme of “digital-analog future”. Rather than the ordinary experience of walking through myriads of products and brands, a surreal space places the customers in the past, imagined by the future. Gentle Monster expands its brand philosophy through the collaboration projects with high-end fashion brands and world-renowned artists. The collaboration projects are not limited to eyewear designs, but also take form of powerful images or physical spaces that are creatively aligned with the collection to provide a diverse form of experience to the customers. Gentle Monster’s 2022 Collection began with the imagination of an alternate solar system inhabited by people similar to those on Earth. #WHITESUN campaign is formed by various figures who wore white sunglasses, so participation of diverse people completes the campaign’s special aspects. Join the campaign live on their website, gentlemonster.com, by uploading a photo of yourself styling white sunglasses to be featured in the #WHITESUN campaign. Aside from white sunglasses, styles come in various lens iterations from color to gradient in navy, black, orange, green, brown, and are 99.9% UV protected.

Bulgari uses 18 kt rose gold and some of its favourite gemstones to craft a precious necklace on the bottle’s neck. Its hexagonal gold scales are reminiscent of the Serpenti design, set with rubellites (5.39 ct), amethysts (4.86 ct) and citrines (4.56 ct), topped with spherical malachite cap of 2,485 carats, like Bulgari’s cabochon-cut signature. The Bulgari logo engraved on the bottle’s neck is framed by two brilliant-cut diamonds. Paying tribute to Venice’s heritage and tradition of glassmaking, Bulgari begins a new journey with L’Opera Grandiosa. It all starts with a single breath: artisans at Fornace Mian blow into a long pipe to create a bubble of glass, thus beginning an intricate game of balance between fire, the artist’s vision and the innermost nature of the raw material. Only through the sbruffo technique can the color journey begin: the artisan blows several layers of glass, working on different shades, translucencies and consistencies. For Bulgari, precious stones need to be cut, shaped and polished until they reach their purest essence and most expressive brilliance. Likewise, the master glassmaker achieves something unique by adding strata of colors: through his own art he recreates a deep, bright and rich nuance that evokes Bulgari jewel-creations.With its glorious layers of color, the mouth-blown flacon captures the shade of an intense amethyst.

The bottle flaunts the “1/1” inscription on its base, revealing that this glass creation is unique – as a true masterpiece must be. After Venice, the Bulgari Gems Road leads to Rome, the cradle of Bulgari and endless source of inspiration.With its unique concentration of culture, vision, color, effervescent extravagance and unmatched sense of beauty, the Eternal City is at the heart of Bulgari’s daring creativity. It is in Rome’s high jewellery atelier that expert Bulgari craftsmen bring the most complex one-of-a-kind designs to life, and it is here that the L’Opera Grandiosa flacon ornament and cap are artfully crafted with rose gold and colorful gems. Bulgari uses 18 kt rose gold and some of its favorite gemstones to craft a precious necklace on the bottle’s neck. Seductive and coiling, the sensual motif is made of hexagonal gold scales, reminiscent of the iconic Serpenti design, meticulously set with rubellites (5.39 ct), amethysts

(4.86 ct) and citrines (4.56 ct). The gem-rainbow is topped by a voluptuous and smooth, spectacular spherical malachite cap of 2,485 carats, suggestive of Bulgari’s cabochon-cut signature. The Bulgari logo engraved on the bottle’s neck and framed by two brilliantcut diamonds finishes the luxurious piece. A combination of vibrant stones, chosen and mixed with audacity and exuberance: once more, Bulgari’s jewellery design is based on striking color juxtapositions and an ability to take up new and daringly bold challenges. This jewel piece requires more than 250 hours of work by a single artisan.The result is inestimable, because nothing is more precious than what exists only once in the world. L’Opera Grandiosa will be sold as a worldwide exclusive at La Samaritaine, in Paris. The masterpiece will make its debut at the historical department store’s grand re-opening.

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EXPLORING PAST AND PRESENT, TRANSMISSION AND TIMELESSNESS ARE MORE THAN EVER AT THE CORE THIS SEASON.

YOU ARE INVITED TO A DANCE WITH TIME An invitation to the grand ball of time, Nicolas Ghesquière’s Spring-Summer 2022 Collection unites wardrobes of different eras, creating a fusion of generations. Having recently designed costumes for characters including lead actress Alicia Vikander in “Irma Vep”, a new series by Olivier Assayas for HBO, the Louis Vuitton Women’s Director was inspired by the premise of vampires, notably with the presence of capes in the collection. Embroidered ball gowns meet an urban wardrobe and formal wear, juxtaposed with twisted humble uniforms. Different shapes create unexpected forms, such as a pleated skirt that transforms into a cape. Shredded chiffon Ellipse dresses with crinolines evoke Louis Vuitton’s early days, paying homage to the 200th anniversary of the birth of the Maison’s founder. Exclusive pieces have been designed exclusively for the Shanghai runway, some of which display the Maison’s iconic gold chain and leather strap “Scarf Print”.

“Tonight, time is nothing. But it is everything. It dissolves functions and codes. It unlocks the locker rooms. From yesterday to today, it is now... The experience of the garment... Be ahead or behind, the creative fusion of generations transforms style into a healthy cycle. And the night will be even more beautiful...”

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REVISITING BALMAIN’S GREATEST HITS FROM A DECADE OF STYLE

OLIVIER ROUSTEING PENS THE SPRING 2022 COLLECTION Olivier Rousteing stepped into the spotlight when he presented his first runway collection as creative director of Balmain. He was only 25, having worked under his predecessor, Christophe Decarnin, for a couple of years. But he came in with a plan: to mine the French luxury brand’s DNA and tap into the fundamentals of what had made the house that Pierre Balmain built what it is, while simultaneously pushing it towards the internet age and cultivating a brand-new audience on social media. As this was happening, the revolving door at the very top of the creative ladder in fashion started spin-

ning faster, meaning, more and more often, designers’ tenures at the major houses became shorter. Many did not stay on for more than three years. For Rousteing to now be celebrating a full decade at Balmain, it is not just rare—it is impressive, especially when you consider what he has accomplished. “When the door opened for me in 2011, I was not the most expected candidate for a creative director,” Rousteing reflected. “Since then, I have been determined to use this opportunity and position to keep pushing for further change. I’ve worked to ensure that Balmain’s presentations, workspaces

and campaigns reflect the true diverse beauty of today’s world. And runways, which were once limited to just a lucky few of fashion insiders, are now open to more and more fashion lovers... Over the next ten years, I pledge to continue to push for more inclusion, more democracy and more openness. Here’s to the next decade of sharing our joy-filled signature mix of fashion and music with more and more of those who wish to enter into the Balmain universe.” He remains one of the few Black designers at the helm of a global fashion brand, while advocating for diversity across the industry.

“When I was designing some of the earliest of these, as an occasionally overwhelmed 20-something, I definitely

would have laughed if someone would have told me that someday I’d be showing [these looks] as part of my

retrospective,” he wrote in The midriff style is championed by Balmain’s spring collection (above) with gold accents on predominantly the show notes. “But at this black and white pieces, as photographer Rafa Gallar shoots Isilda Moreira wearing rich patterns (below). moment, I can see that they are milestones of the journey that brought me to where we are now, in 2021.” The opening looks reflect a lot of the trends we are seeing across the spring collections, like an emphasis on formfitting silhouettes and an embrace of strategic cutouts. There are also some biographical elements woven in, like bands, weaves and straps that mimic the looks of bandages and gauze wraps, as Rousteing spent a lot of the last year recovering from a burn accident. (“By embracing that previous pain and celebrating the power of healing, somehow I’ve been able to translate them into beautiful components of my designs,” he explained.) As the line rolls on, we see new riffs on the confident, “main character” pieces and techniques that have defined Rousteing’s Balmain: sharp blazers, short skirts, long sleeves, tailored separates and oversized outerwear featuring fine quilting, intricate paneling, all-over embellishments and lots of beading. The color palette is pretty restrained, limited mostly to black, white, red and light brown with the occasional gold accent, so the focus remains on the finishes on each garment.

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HISTORIC INSPIRATIONS Throughout history, tiaras are most closely associated with crowns and other royal regalia but they have taken many forms, from wreaths of twisted branches to striking bandeaux style headpieces of the Art Deco era. This one was created by Jacob & Co. for Miss Ukraine.

TIARAS, THE PINNACLE OF A FINE JEWELLERY PARURE. www.jacobsandco.com

Crowns have been discovered in pre-historic times from Haryana, India. The precursor to the crown was the browband called the diadem, which had been worn by the Achaemenid Persian emperors. It was adopted by Cons-

tantine I and was worn by all subsequent rulers of the later Roman Empire. The Pharaohs of Egypt also wore the diadem, which was associated with solar cults, an association which was not completely lost, as it

Head First

More recently tiaras regained popularity at royal weddings of the Duchess of Cambridge, of Sussex and Princess Eugenie.

was later revived under the Roman Emperor Augustus. By the time of the Pharaoh Amenophis III (r.1390-1352c) wearing a diadem clearly became a symbol of royalty. The corona radiata, the “radiant crown” known best on the Statue of Liberty, and perhaps worn by the Helios that was the Colossus of Rhodes, was worn by Roman emperors as part of the cult of Sol Invictus prior to the Roman Empire’s conversion to Christianity. It was referred to as “the chaplet studded with sunbeams” by Lucian, about 180 A.D. Perhaps the oldest extant Christian crown in Europe is the Iron Crown of Lombardy, of Roman and Longobard antiquity, used by the Holy Roman Empire and the Kingdom of Italy. Later again used to crown modern Kings of Napoleonic and Austrian Italy, and to represent united Italy after 1860. Today, the crown is kept in the Cathedral of Monza. In the Christian tradition of European cultures, where ecclesiastical sanction authenticates monarchic power when a new monarch ascends the throne, the crown is placed on the new monarch’s head by a religious official in a coronation ceremony. Some, though not all, early Holy Roman Emperors travelled to Rome at some point in their

careers to be crowned by the pope. Napoleon, according to legend, surprised Pius VII when he reached out and crowned himself, although in reality this order of ceremony had been pre-arranged (see coronation). Today, only the British Monarchy and Tongan Monarchy, with their anointed and crowned monarchs, continue this tradition, although many monarchies retain a crown as a national symbol. The French Crown Jewels were sold in 1885 on the orders of the Third French Republic, with only a token number, their precious stones replaced by glass, retained for historic reasons and displayed in the Louvre. The Spanish Crown Jewels were destroyed in a major fire in the 18th century while the so-called “Irish Crown Jewels” (actually merely the British Sovereign’s insignia of the Most Illustrious Order of St Patrick) were stolen from Dublin Castle in 1907, just before the investiture of Bernard Edward Barnaby FitzPatrick, 2nd Baron Castletown. The Crown of King George XII of Georgia made of gold and decorated with 145 diamonds, 58 rubies, 24 emeralds, and 16 amethysts. It took the form of a circlet surmounted by ornaments and eight arches. Coronation ceremonies are

often combined with other rituals, such as enthronement (the throne is as much a symbol of monarchy as the crown) and anointing (again, a religious sanction, the only defining act in the Biblical tradition of Israel). According to Sotheby’s, from the 18th century onwards, tiaras were the pinnacle of a fine jewellery parure. The Romanticism movement at the end of the century led to natural and garlands motifs, which then lead to a rise in popularity with the traditional Russian Kokoshnik and its straight and tall ‘wall’ of precious stones. By the Edwardian era, known in Europe as La Belle Époque, the meteoric rise of brands like Cartier and Van Cleef & Arpels saw tiaras fashioned for royals, aristocrats and socially ambitious elites who wanted to impress at balls and banquets. This continued well into the 1930s, where the bandeaux adopted the geometric leanings of the decade in many Art Deco examples. After the Second World War, the tiara slowly re-emerged as the prerequisite of Queens, princesses and Hollywood starlets, more recently given their moment in the spotlight at royal weddings, such as the marriage of the Duchess of Cambridge, the Duchess of Sussex and Princess Eugenie.

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SPARKLING DEVELOPMENT

Baccarat enjoyed “a record year [2021], exceeding its best performance, previously achieved in 2019, and growing its market share in all product categories and geographical areas,” said Bryant Stone, president of Baccarat’s board, in a press release. In April last year, then-Managing Director Hervé Martin indicated that Baccarat’s revenue was €150 million. Margareth Henriquez, the CEO of Krug Champagne since 2009, will become Baccarat’s new managing director effective April 1 2022. She said that she has “great admiration for Baccarat’s heritage, for all its renowned artisans.” The French crystalware producer has 1,000 employees worldwide, of which 500 at its site in the eponymous French town, 220 in Japan and 150 in Paris. Baccarat is expected to “perform strongly across all segments and regions in 2022, growing rapidly in key markets like North America and EMEA, as well as continuing to boost its online sales,” stated the group.

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The prestige of Brera attracts companies large and small, which support teaching projects. The Accademia di Brera is a source of inspiration for many famous names in culture who have worked unstintingly with students, providing a hands-on approach through workshops, keynote addresses, and seminars.

THE COUNTLESS ARTISTS HAVE PASSED THROUGH BRERA OVER THE CENTURIES. LINKING ACCADEMIA THE FINE DI BRERA ARTS AND

TEACHING

Some may be born “artists”, but many have become artists at Brera. Palazzao Brera houses several institutions. Accademia di Brera, one of the oldest such schools in Italy, is a living emblem of the history and the artists that have forged Italian art, making their mark on Italy’s history and contributing to interaction between science, literature and the arts since 1776. The school continues today to play a leading role in the world of cultural creativity with unflagging enthusiasm. Istituto Lombardo Accademia di Scienze e Lettere, founded by Napoleon in 1797, modelling it on the Institut de France, for the purpose of collecting and cataloguing discoveries and of perfecting the arts and sciences. The Orto Botanico di Brera or Brera Botanical Garden, created under Empress Maria Theresa of Austria in 1774, offers visitors a small haven of peace in the heart of the bustling city. It hosts two of the oldest examples of the ginko biloba tree in Europe, a 40-metre lime tree and a Caucasian walnut tree. The Museo Astronomico, or Astronomical Museum, is located here, with a collection of old scientific instruments belonging to the Osservatorio Astronomico. The palazzo is also home to one of the oldest associations in Milan the Amici di Brera, or Friends of Brera, which promotes the conservation and enhancement of the historic Palazzo di Brera. The Accademia di Brera was founded in 1776 by the empress Maria Theresa of Austria, during the Age of Enlightenment that saw the interweaving of the sciences, literature and the arts as the foundation for the humanistic culture of the modern age. It stood out right from its very unique conception in Palazzo di Brera sharing the building with the Gymnasium, the Scuole Palatine for law and philosophy, the astronomical observatory, the laboratories of physics and chemistry, the botanical gardens, the Teresiana Library, the Academy of Sciences, and the Picture Ga-

A look at Empire clock “Nymphe à la Coquille” The 8-day movement with a wire suspension pendulum strikes the hour and half hour on a bell. The clock is in excellent and perfect working condition, and has recently been serviced by a professional clock maker. 51 cm high, 52 cm wide, 16 cm deep, weighing 17.1 kg, the clock comes complete with its pendulum, key and bell. This spectacular and large gilt bronze Empire clock “Nymphe à la Coquille”, attributed to Claude Galle, has a bastion-shaped case which holds the movement of this clock. On

During the Romantic Age, the historical painting triumphed thanks to Francesco Hayez, the landscape school by Giuseppe Bisi was set up, and the teaching post of aesthetics was transformed into the history of art.. Today, the prestige of Brera attracts many private sponsors who fund events, projects, and scholarships. Among these, the following have given their generous support: Baccarat, Bosch, Bulthaup, Cimbali and others.

“Accademia aperta” llery that formed the nucleus of what is today the Pinacoteca. The Accademia owes its initial strong momentum to Giuseppe Bossi, its administrator between 1802 and 1807, who rekindled links with the rest of Europe, also thanks to the nomination of top of this case we see a scene of a young woman sitting on a meadow full with flowers. She is holding a shell in her right hand which she is using to take water from a small pond. This scene is clearly inspired by the marble sculpture “Nymphe à la Coquille”. This sculpture, which was previously owned by Camille Borghèse, is currently in the collection of the Louvre Museum in Paris. The movement of this clock has a white enameled dial with black enameled Roman numerals. Beside it are figurative plaques of Tritons blowing their horns. And to the side of the clock case we see two dolphins. The base of this Empire clock “Nymphe á la Coquille” has a beautifully chiseled bas-relief showing us a classic processional scene with Amor on his chariot, and groups of women.

HIGH-CALIBER STUDENTS MEET RENOWNED ARTISTS honorary partners such as David, Canova, Thorvaldsen and many others. It was Bossi who introduced the annual exhibitions from 1805 that

were to become the biggest contemporary art event in Italy during the 19th century. Countless artists have passed through the Accademia

Open Academy presents its 10 artistic faculties in the summer months. doors over time. During the Romantic Age, the historical painting triumphed thanks to Francesco Hayez, the landscape school by Giuseppe Bisi was set up, and the teaching post of aesthetics was transformed into the history of art. In the second half of the 19th

century, with the emergence of photography and the growing rebellion of young artists towards the conservatism of teaching, (Medardo Rosso was just one of the famously “expelled”), academic life merged and clashed with an artistic world in ferment as it transformed, from the Scapigliati to the Futurists. During the Avant-garde period, painting lessons were given by Cesare Tallone, who was Carrà and Funi’s maestro. In 1923, with the school reform by Giovanni Gentile, the Artistic Lyceum was set up next to the Accademia and in the same years, the school of sculpture was run by Adolfo Wildt, who was then succeeded by Francesco Messina and Marino Marini, the latter’s students including Lucio Fontana and Fausto Melotti. The need to respond to changing cultural conditions (advertising was already being taught at the School of Craftsmen before the Second World War) became increasingly evident after the war when the Accademia reopened its courses under the direction of Aldo Carpi. In the sixties, this was an area in the city where great artistic debate took place, with lively discussion among artists at the nearby Giamaica café. Today, the Accademia di Brera is renowned worldwide, still today chosen by those wanting to follow a career in art. So many famous names have passed through Brera, some as students, others as teachers. Adolfo Wildt, Arturo Martini, Lucio Fontana, Fausto Melotti, Luciano Fabro, and Alberto Garutti are just some of the artists who testify to the close relationship between art and teaching. Liliana Moro, Mario Airò, Gianni Caravaggio, Bernhard Rüdigher, and Marcello Maloberti all studied under Luciano Fabro. And Alberto Garutti taught Vanessa Beecroft, Lara Favaretto, Giuseppe Gabellone, Paola Pivi, Patrick Tuttofuoco, Roberto Cuoghi, and Petrit Halilaj, the last two also showing at the Venice Biennale in 2017. Some may be born “artists”, but many have become artists at Brera.

A SCENE FROM OVID’S “METAMORPHOSES” THIS EMPIRE CLOCK, CIRCA 1810, HAS GILT BRONZE ORNAMENTATION, AND THE SCULPTURE OF THE WOMAN HAS CLEARLY BEEN SCULPTED AND CHISELED BY A GREAT MASTER, LIKE CLAUDE GALLE. The “Nymphe À La Coquille”, who some sources refer to as Venus, can be Latona, a daughter of Titans in Greco-Roman mythology. Zeus conceived her with the divine twins Artemis and Apollo. Hera, Zeus’ jealous wife, wanted to prevent Latona’s delivery. Even after Latona’s delivery she was thwarted, as by the Lycian farmers who did not want Latona to stay and scoop water from a shallow pool with a conch to quench her thirst, as told in the “Metamorphoses” by Roman poet Ovid. The clock is powered by 8-day movement with a wire suspension pendulum that strikes the hour and half hour on a bell. 51 cm high, 52 cm wide, 16 cm deep, weighing 17.1 kg, the clock has recently been serviced by a professional clock maker, and comes complete with its pendulum, key and bell.

CARTIER QUEEN’S CUP SEMI-FINALS Wednesday 8 June 2022

CARTIER QUEEN’S CUP FINAL Sunday 12 June 2022

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BORN AND RISED

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THE PHOTOGRAPHER

PETER COULSON

COMBINES ABSOLUTELY STUNNING

BEAUTY, FASHION AND FETISH IN HIS PICTURES. MODELS FIRST FRAME ARE ALWAYS AMAZING AND WITH EVERY FRAME THEY GET

BETTER AND BETTER.

HOLDING THE PUBLIC’S GAZE www.peter-coulson.com.au

Peter Coulson is a talented photographer based in Melbourne, Australia. He has won multiple awards and shoots campaigns for clients internationally. He is specialiSed in beauty, fashion and fetish photography. Mixing a range of styles and fusing the latest fashion trends with his personal conceptual reflections. His images are strong, sensual and mysteriously elegant with a sense of humour. When Peter Coulson takes a photo he looks for negative space, shadows, simplicity and the opportunity to tell a hundred stories within the one image. His work is often characterised by humour as well as a strong connection with the model. When he received the Year Award of the 2010 Canon AIPP Australian Professional Photographer he said “To me, winning this award is equivalent to winning a gold Logie; it is the best award I could win in Australia and without a doubt a career highlight. To be judged by photographers I admire makes it even more humbling.” His winning images were a collection of commercial images he had shot over the last year. A year later in 2011, he won the 2011 Canon AIPP Australian Fashion Photographer of the Year. Coulson loves trying to capture a story, movement or an emotion in a single frame. His victory is to get the viewer to stop and look at that image for 10 uninterrupted seconds. Nowadays with iPhones, Instagram, Twitter, Youtube etc most people only spend on average one to three

Mixing a range of styles and fusing the latest fashion trends with his personal conceptual reflections, his images are strong, sensual and mysteriously elegant with a sense of humour.

seconds looking at an image before they move on. Coulson’s commercial clients need to attract the public’s attention for much more than one to three seconds, that’s why he has been working on making audio visual presentations that take the essence of his photography and put it into video as a way to hopefully hold their attention for 10 seconds again. Coulson discovered photography through is father. His first experience with photography at the age of 14 or 15 years old was when he borrowed his Minolta for a Chuck Berry’s gig. He began photographing musicians and bands on the side initially. The passion grew over time, and he decided he just wanted to create. His photography is influenced by a list of artists such as Ansel Adams, Patrick Demarchelier, Irving Penn, Peter Lindbergh, Erwin Olaf, Helmut Newton, Ellen Von Unwerth, Quentin Tarantino, Guillermo del Toro, and Jean-Pierre Jeunet. On top of that, Coulson believes that a good photographer has to learning on a daily basis and experiencing with new technologies.

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LUXURY AND THE METAVERSE: A CONVERGING OXYMORON Paola Cillo Professor of Innovation Management Bocconi University

Paola Cillo is an Associate Professor of the Department of Management and Technology at Bocconi University. At SDA Bocconi School of Management she is Director of Claudio Dematté Research Division, and the Director of the Concentration in Luxury Business Management of the Full Time MBA Program and she teaches courses on creativity, design thinking, as well as on the use of big data for innovation and marketing decisions. Her research focus regards the dynamics of innovation in creative industries, financial markets’ reaction to innovation, and big data and innovation. Paola holds a PhD in Management from Bocconi University and she is the author of several national and international books and articles in leading academic journals.

Metaverse is a booming market and it is meant to grow in the next years. Yet, luxury firms need to clearly understand how to explore this opportunity, setting proper goals, before embracing it, to avoid dilution of their brand identity We are getting more and more used to hearing the word Metaverse. Surprisingly, this is not related to technology, per se, but it is associated with luxury space and to an increasing number of luxury brands and products. Metaverse is a word that Neal Stephenson introduced in his book Snow Crash (1992). It has been used more commonly since Facebook changed its company name to Meta. The concept of Metaverse refers to a sort of parallel and virtual world where people are represented by avatars and live their lives thanks to the technology supporting their experiences – as in augmented reality and virtual reality – and their shopping – as in virtual coins and blockchain. A great example of successfully leveraging this virtual space is the collaboration between Epic Games and Travis Scott, who planned, in the middle of the first wave of the pandemic, a unique musical journey inspired by the artist’s influences and created from scratch within Fortnite: Astronomical. Epic Games planned a multidate tour, with times suitable for players from all over the world, in which Travis Scott also performed a world preview song. During the five dates of the event, the American artist attracted more than 45 million consumers, who all tuned in via the game, in addition to various other video streaming platforms such as YouTube and Twitch, which streamed the events. The performance also boosted the collaboration between Travis Scott and Nike Jordan, that had started in 2017. During the event, Travis Scott wore many different Jordan shoes and the calculated Nike exposure value for just the top 4 YouTube videos has been computed at $518K (source: Nielsen Sports & Entertainment, May 2020). While technology is key in the metaverse, it is important to keep in mind that the opportunities and applications of the metaverse do not solely lie in the hands of tech companies and geeks. Indeed, the idea of a parallel world consists of providing an open virtual space with sizable opportunities for all companies that strive to digitally attract consumers. This is the first reason for luxury companies to start shaping their presence in the metaverse. The metaverse is the space where Gen Z spends a good amount of their time and, as such, presents a special opportunity for luxury companies to capture their potential future consumers. The metaverse, in fact, scores higher than the real word in terms of technological bets, safer payment systems, and more sustainable products. It is the best chance for firms, especially luxury firms, to guarantee an immersive way to engage customers through an innovative and disruptive channel of exchange and communication. However, is it enough to be present in this space to remain impressed in the mindset of this young crowd, bombarded by zillions of videos, social media posts and reels, and virtual events happening on gaming platforms such as Twitch and Roblox? This is the real question companies have been trying to address while they prepare their presence in the virtual world. What are the opportunities there? Who are the first movers in this new space? Indeed, the chance of being noticed depends on the consistency between the strategy and the target the brand aims to hit. There are, indeed, myriad chances for companies to get a spot in the virtual space and there are so many different words we associate with this space, such as avatars, digital identities, gaming, non-fungible tokens, and more so. Stepping into the metaverse, and going beyond the example of Travis Scott, there are many different ways in which companies can leverage the metaverse opportunity. The first and most strategic is to leverage the immersive space that the metaverse offers, thus granting brands the chance to engage in conversation and storytelling with a young crowd of potential consumers that brands are not able to capture through traditional channels. Or, even better, to create integrated experiences that blend the online and offline space, through available tools, such as avatars and digital products based on non-fungible tokens (NTFs). Indeed, a second way to utilize the metaverse is to deliver a completely new set of products, purely digital in most cases, allowing users access to unique and rare objects, namely

COLUMN digital products. A case in point is the famous haute couture digital dress created as a non-fungible-token by The Fabricant – a newcomer to this world – together with Dapper Labs and the digital artist Johanna Jaskowska, which sold for $9,500. This case allows us to discuss the special characteristics of products in the metaverse space, which can attract attention and investment from luxury brands. First, authenticity is a critical asset of products in the luxury world. The dress in the Figure is designed by a specific creator whose identity and masterpiece are protected by the NFT technology on which it is based. Indeed, NFTs are unique cryptographic tokens that exist on a blockchain and cannot be replicated. The second element is uniqueness. Products that are based on NFTs are one-of-a-kind that cannot be replicated, due to protection from blockchain technology. This allows luxury companies to create and commercialize unique pieces, such as product sketches, one-of-a-kind haute couture pieces or accessories, collectibles or digital artwork. The third element is timeliness. Indeed, the trademark of these digital products is that they are not subject to obsolescence and signs of wear because of their digital nature and use. Finally, there is a third exploratory area in the metaverse: gaming. It represents an interesting opportunity to attract a younger Gen Z crowd who are potential, relevant luxury consumers in the future. Yet, why should luxury brands engage in the use of the metaverse? What actual opportunities are at stake? First of all, the metaverse market is booming, and projections are even better. Estimates by Bloomberg speak of a market size that will be around $800 billion in 2024. It is, therefore, an opportunity for firms to move into a new and promising territory. In particular, NFTs offer a great opportunity to create margin-enhancing revenues, in a situation in which there is no cost of production. They will become the next frontier of e-commerce. Also, this space represents a great opportunity for experimentation by the creative director and creative/marketing team, in general, in a safe space that allows the brand to expand its unique identity and engage in an extended narrative with new, current, and potential consumers. An example is offered by the Dolce & Gabbana Genesi collection where 9 digital and physical products have been sold through a 1,800 eth (Ethereum) bid, corresponding to roughly $6 million, using NFT technology. These unique creations, complemented by haute joaillerie pieces, are the collaborative outcome between Dolce & Gabbana creative directors and experts in the digital space. These experts have supported the two designers in the process of expanding into a new territory with marvelous creations on the edge between the physical and digital space. Of course, another critical objective for firms leveraging the metaverse is engaging with new and younger consumers that might represent a relevant target market in the future. A case in point is the SuperGucci NFT collection, launched by Gucci and developed by creative director Alessandro Michele, together with synthetic artists Janky & Guggimon. It is a three-part series of ultra-limited non-fungible tokens. Each NFT incorporates Gucci House codes of the Aria collection and comes with an 8-inch-tall white ceramic superGucci superJanky sculpture limited to 500 pieces and sold also on the Gucci Vault website. Finally, metaverse and NFTs represent a unique way to extend or give new value to sleeping assets, such as iconic designs, photos, or vintage advertising, to mention a few, that can be commercialized in digital format and have a new life and target new audiences that are willing to engage in a conversation with a brand. These are just a few potential applications of the Metaverse, because, at the moment, brands have just scratched the surface of the potential that will allow them to expand the opportunities for interaction with their current clientele, while engaging in conversations with new target audiences, thus multiplying the options of the brand in the future.

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THE ART OF THE AUTOMOBILE LIVES ON THROUGH THE LENS OF MICHAEL FURMAN www.michaelfurman.com

Seventeen of the world’s finest classic sports cars from Ralph Lauren’s legendary personal collection were on show at the Musée des Arts Décoratifs in Paris. “The Art of the Automobile” featured select cars from the designer’s prolific stockpiles, one of the most extensive in the world. Acting as a visual timeline of the evolution of European automobile design through the 20th Century, the cars on display—among them Bugatti, Alfa Romeo, Bentley, Mercedes-Benz, Jaguar, Aston Martin, Porsche and Ferrari—are among the most exceptional in the world and have been infrequently shown to the public. Each one, all created between the 1930s and the 1990s, stood as a masterpiece of both technological innovation and impeccable design. The result was a show of some of the rarest and most beautiful cars by the greatest names in automobiles, including four (a ’31 Alfa Romeo Monza 8C 2300; a Jaguar XKSS from 1956/1958; a ’60 Ferrari 250 GT SWB Berlinetta Scaglietti and a ’64 Ferrari 250 LM) that had never been exhibited before. To commemorate the exhibition, a limited run book featured each car, its historical and technical significance and an explanation by Lauren himself on what guided his passion for car collection. The book also showcased many of the same images seen here, all exceptionally shot by renowned automobile photographer Michael Furman. As a young boy, he first picked up a camera to photograph a 1963 Corvette Split Window Coupe. And thus began a lifelong love affair with cars and cameras. He studied photography at the prestigious Rochester Institute of Technology, earning a Fine Arts degree in 1974. Upon graduation, he opened his studio in his native Philadelphia, and built a successful business shooting still life assignments for major advertising and corporate clients. But it was a long-standing love of cars that led him to the challenge of shooting cars in the studio. While shooting new cars for the major manufacturers, Michael was asked to shoot a number of vintage automobiles and motorcycles. He instantly became enamored with these elegant forms; this new path leading to his position as the most sought-after photographer of significant automobiles in the world. Michael’s notoriety grew with the publication of his first book, Motorcars of the Classic Era. It was received with public and critical acclaim, leading to the immediate work on a companion title, Automobiles of the Chrome Age, 1946-1960. These photographic essays are unique to the publishing world in that they celebrate the beauty and history of the world’s most iconic cars in studio imagery. Speed, Style and Beauty, The Cars of the Ralph Lauren Collection proved to be a tremendously popular book as it was published in concert with the exhibition at the

MFA, Boston in 2005. Many books have followed with publisher Coachbuilt Press and collaborator Richard Adatto, including Delahaye Styling and Design, in August of 2006, and Curves of Steel, which was released in 2007 for the Phoenix Art Museum. Michael’s next release, The Art and Colour of General Motors, paid homage to the 100-year design history of GM in 2008. Released in August 2009, The Spirit of Competition, presents the legendary collection of Dr. Frederick Simeone whose sports-racing cars include milestones in automotive competition history. The Art of Bugatti: Mullin Automotive Museum, is the first of three titles for Mr. Mullin’s museum. The second, French Curves, features Delahaye, Delage and Talbot-Lago, and the third book, Vitesse-Élégance: French Expression of Flight and Motion, features Voisin, Hispano-Suiza and other inter-war year French marques. Major exhibitions have included Michael Furman at The Automotive Hall of Fame, Legendary Italian Automobiles at the Alden B. Dow Museum in Midland, Michigan and in 2011 The Ralph Lauren exhibit in Paris. Michael is a regular guest lecturer at art schools and professional gatherings across the United States. He has also been honored by American Photographer, Communication Arts and PhotoGraphis, Auto Aficionado, Automobile Quarterly, Automobile Magazine and The International Historic Motoring Awards. Michael is a founding board member and former creative director of the Radnor Hunt Concours d’Elegance. He holds the

“When Mr. Lauren reprised the exhibit at the Musée des Arts Décoratifs in Paris in 2011, I was asked to update the collection with the cars that we had not yet photographed.”

same position at UCP Motor Cars Under the Stars, a benefit for United Cerebral Palsy of Philadelphia, which he helped found in 2004. Michael is a long-standing sponsor and supporter of the Pebble Beach Concours d’Elegance, The Quail: A Motorsports Gathering and Carmel-by-the-Sea events. His fine art prints are available through the Winfield Gallery in Carmel, California. From the earliest “conveyances” to cars that foretell the future, Michael has created portraits that insightfully express his subject’s historical and aesthetic importance. A key element to Michael’s style is to present the car from the perspective of the designers and engineers who created it; their thoughts, their motivations, and the social and political context in which they worked. His approach has been graciously embraced by major collectors, museums and concours events around the world. For most photographers, studio car photography would be a daunting task. Automobiles are large, highly reflective objects that present a myriad of technical photographic issues – and countless opportunities for visual excitement. Throughout his many years, Michael has found limitless possibilities to relate the many facets of automotive experience to his audience, and most importantly, inspire the next generation of automotive enthusiasts to continue this appreciation and respect. “It was my good fortune that I met Paul Russell in the mid1990s. Paul’s reputation as a restorer is unmatched, and we worked together on a project that featured his company’s skill and experience in this field. That led to my photographing a few of the most iconic cars in the world: Ralph Lauren’s Bugatti Atlantic and his ‘Count Trossi’ Mercedes-Benz. Mr. Lauren liked my work, and when the MFA, Boston scheduled an exhibition of his cars for the spring of 2005, I was asked to photograph the collection. The groundbreaking exhibit, ‘Speed, Style and Beauty, the Cars of the Ralph Lauren Collection’, is still talked about in collector car circles and the book is still in great demand. When Mr. Lauren reprised the exhibit at the Musée des Arts Décoratifs’ in Paris in 2011, I was asked to update the collection with the cars that we had not yet photographed. These were both memorable experiences.”

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WIND, NOISE AND MORE www.rmsothebys.com

Evolving from one of Ferrari’s earliest four-cylinder engines, Ferrari’s straight-six, starting with the Type 114, eventually led to the potent 121 LM. With a rather hefty displacement of 4,412 cc, this provided much more horsepower and torque than its predecessors. Fitted with three side-draft Weber carburetors, the engine produced a hearty 360 bhp. These were not numbers to scoff at, as this engine was over a liter larger in displacement and over one hundred horsepower more than Jaguar’s D-Type! According to noted Ferrari historian Marcel Massini, the car presented here, chassis number 0546 LM was originally built as a 118 LM and later converted by the factory to 121 LM specification, the specification in which it is presented today. It is one of only two examples upgraded from 118 LM specification (the other being 0484 LM), and the third of four total 121 LMs constructed. Needless to say, these new six-cylinder Ferraris were all about speed, and their outright straight-line performance certainly put the likes of Mercedes-Benz and Jaguar on notice. This example’s first outing was at the 1955 Mille Miglia. Starting three minutes (and three entries) behind the iconic duo of Sir Stirling Moss and Dennis Jenkinson, who would race to overall victory in record time just over 10 hours later, 0546 LM was piloted by the respected Italian privateer Paolo Marzotto as a Scuderia Ferrari Works entry. However, the car did not finish the race, as a result of a blown tire at 174 mph during the first stage. Immediately thereafter, it was shipped back to the factory and upgraded to 121 LM specification. 0546 LM was one of the trio of 121 LMs that raced at the 1955 24 Hours of Le Mans, piloted by Maurice Trintignant and Harry Shell. Eugenio Castellotti, driving one of the sister cars, clocked the fastest lap time in practice and achieved a top speed of 181.15 mph on the straights. On the speed of the 121s, Jaguar’s Mike Hawthorne commented that “The Ferrari’s brakes were not as good as ours, and their behavior on the corners was not all it might have been; but on acceleration, Castellotti just left us both standing, laying incredible long black track of molten rubber on the road as he roared away.” Despite their immense speed, reliability proved to be an issue and the car was forced to retire in the 10th hour with engine problems. At the end of its tenure with Scuderia Ferrari, chassis number 0546 LM passed to William Doheny, the CEO of Superior Oil, who sponsored Ernie McAfee as his driver for a handful of other cars, as well as the 121 LM. Throughout 1955 and early 1956, the 121 LM put both itself and its driver atop the podium on numerous occasions throughout California, proving that while it was never quite up to snuff for longer European races, the shorter races on California street circuits and at airfields were its forte. Unfortunately, disaster struck at Pebble Beach in April of 1956. On lap 33 of the Del Monte Trophy race, Ernie McAfee missed a downshift at turn six, causing him to lose control of his car into

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Under the ownership of Bill Ziering from Los Angeles, the car appeared at the Monterey historic races a number of times over the following 20 years, as well as at a number of other racing events and even a handful of concours, including the Pebble Beach Concours d’Elegance in 1975 and 1976. Ziering kept the car until 1997, when it was acquired by its current owner, and it has remained on display in his collection. The car has been seldom seen since, with just one outing at the Ferrari North America Historic Challenge at Lime Rock Park in June of 1999, where it was driven by Todd Morici. The concluding sentence of the article on 121 LMs in the fourth issue of Cavallino sums the ethos of the model up best. “Wind and noise are what you’ve paid for. Use it.”

Darin Schnabel ©2017 Courtesy of RM Sotheby’s the corner, which ended with the 121 LM hitting a pine tree on the driver’s side, killing him on impact. This would be the first death in SCCA racing in Northern California and sent shockwaves through the community; several drivers retired from racing as a result of the death of their friend, and racing at Pebble Beach was banned thereafter. Following the accident, the 121 LM stayed in the hands of Mr. Doheny, who faithfully restored the car over the course of the next two years. The car presently lacks a traditional chassis stamping, believed to be due to the work performed in repairing it for Mr. Doheny. It did and does, however, retain its matchingnumbers engine with its Le Mans scrutineering stamp, as well as a matching-numbers gearbox. Thereafter, the 121 LM remained with his family for the following two decades and was raced at the very first Monterey historic races in 1974 by Doheny’s stepson, Chris Cord. That would be

the 121 LM’s first and only year at the Monterey historics with Doheny and Chris Cord. With its next owner, Bill Ziering of Los Angeles, the car would appear at the event a number of times over the following 20 years, as well as at a number of other racing events and even a handful of concours, including the Pebble Beach Concours d’Elegance in 1975 and 1976. Ziering kept the car until 1997, when it was acquired by its current owner, and it has remained on display in his collection. The car has been seldom seen since, with just one outing at the Ferrari North America Historic Challenge at Lime Rock Park in June of 1999, where it was driven by Todd Morici. The concluding sentence of the article on 121 LMs in the fourth issue of Cavallino sums the ethos of the model up best. “Wind and noise are what you’ve paid for. Use it.”

1955 FERRARI 121 LM SPIDER BY SCAGLIETTI

Helen Cathcart

Sold for $5,720,000 USD

Monterey, California Highlights at a glance: The third of only four 121 LMs built Campaigned by Scuderia Ferrari at both the 1955 Mille Miglia and 24 Hours of Le Mans Owned and enjoyed for 40 years by two separate Californian enthusiast owners Offered from two decades of single ownership Matching-numbers engine and gearbox Darin Schnabel ©2017 Courtesy of RM Sotheby’s

ENGINE Configuration: Location: Construction: Displacement: Bore / Stroke: Compression: Valvetrain: Fuel feed: Aspiration: Power: BHP/Liter:

Type 121 Straight 6 Front, longitudinally mounted Aluminium block and head 4,410 cc / 269.1 cu in 102.0 mm (4 in) / 90.0 mm (3.5 in) 8.5:1 2 valves / cylinder, DOHC 3 Weber 50 DCOA 3 Carburettors Naturally Aspirated 330 bhp / 246 kW @ 6,000 rpm 75 bhp / liter

DRIVETRAIN

Chassis: Front suspension: Rear suspension: Brakes: Gearbox: Drive:

Aluminium body on steel tubular frame Double wishbones, coil springs DeDion axle, transverse leaf spring, Houdaille hydraulic dampers Hydraulic drums, all-round 5 speed Manual Rear wheel drive

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Images by Jonáš Jagerčík (not illustrative of a Ferrari project)

A RETURN TO LE MANS

FERRARI WILL RETURN TO THE TOP CLASS OF ENDURANCE RACING FOR THE FIRST TIME SINCE 1973 AND WILL BE YET ANOTHER MAJOR MANUFACTURER TO CONFIRM ITS PARTICIPATION IN THE WEC’S NEW HYPERCAR CATEGORY, WHICH IS EQUALLY APPEALING TO BOTH GLOBAL AUTOMOTIVE BRANDS AND SPECIALIST FIRMS BUILDING ROAD-GOING SUPERCARS. FERRARI IS SET TO GO AGAINST THE LIKES OF TOYOTA, GLICKENHAUS, PEUGEOT, PORSCHE AND AUDI, WHO HAVE ALL COMMITTED TO THE HYPERCAR CATEGORY.

Images by Jonáš Jagerčík (not illustrative of a Ferrari project)

Ferrari has confirmed that it will enter the FIA World Endurance Championship’s new Hypercar category from 2023. The Italian marque will return to the top class of endurance racing for the first time since 1973 and will be yet another major manufacturer to confirm its participation in the WEC’s new Hypercar category, which is equally appealing to both global automotive brands as well as specialist firms building road-going supercars. Ferrari is set to go against the likes of Toyota, Glickenhaus, Peugeot, Porsche and Audi, who have all committed to the Hypercar category. The new-for-2021 Hypercar category is where teams and drivers can compete for overall championship victory in the FIA WEC and at the 24 Hours of Le Mans. Ferrari has a long and illustrious racing history in endurance racing and at Le Mans. The manufacturer has won Le Mans outright a total of nine times, the last time in 1965 as part of the famed Ford versus Ferrari battles of the 1960s. In recent years, however, Ferrari has had plenty of success in the GT category of Le Mans, last winning the GTE Pro category in 2019 with its hugely-successful AF Corse Ferrari 488 GTE Evo. The marque has won the FIA WEC LMGTE Pro title four ti-

mes, including the very first FIA World Endurance GT Manufacturers’ Championship in 2017. More details about Ferrari’s Hypercar programme will be released in due course. John Elkann, Ferrari President: “In over 70 years of racing, on tracks all over the world, we led our closed-wheel cars to victory by exploring cutting-edge technological solutions: innovations that arise from the track and make every road car produced in Maranello extraordinary. With the new Le Mans Hypercarprogramme, Ferrari once again asserts its sporting commitment and determination to be a protagonist in the major global motorsport events.” Jean Todt, FIA President: “The announcement of Ferrari’s commitment to the FIA World Endurance Championship with a Le Mans Hypercar entry from 2023 is great news for the FIA, the ACO and the wider world of motorsport. I believe in the concept of road-relevant Hypercars competing in the FIA WEC and at the 24 Hours of Le Mans. I’m looking forward to seeing this legendary brand taking on this ambitious project.” Pierre Fillon, President of the Automobile Club de l’Ouest: “Today is a great day for endurance racing: Ferrari is coming back to the

top level, at the 24 Hours of Le Mans and the FIA World Endurance Championship. The Hypercar field promises some epic battles. Alongside Ferrari, In 2023, many manufacturers who have already joined us are sure to pull out all the stops to win the race in its centenary year. This is excellent news for a discipline whose rule base forms a solid foundation on which to build a bright future.” Richard Mille, President of the FIA Endurance Commission: “We took a lot of risks developing the Le Mans Hypercar concept, and a lot of effort and perseverance went into defining the regulations so that they capture the spirit of what we wanted LMH to be, and that is to allow for various philosophies in terms of technical approaches and aesthetics of the cars. Today we can be satisfied with the achieved results, with Ferrari joining other renowned brands. Ferrari has a long and prestigious record in sportscar racing, most recently winning the FIA World Endurance GT Manufacturers’ Championship but also taking multiple overall victories in the 24 Hours of Le Mans. Although there’s still a lot of work to be done, we’re already witnessing history being made and in few years’ time the FIA WEC grid should be the strongest ever.”

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Images by Jonáš Jagerčík (not illustrative of a Ferrari project)

Frédéric Lequien, CEO of the FIA WEC: “The news that Ferrari is set to join the new Hypercar category is simply amazing. What’s even more incredible is that Ferrari will join at least five other manufacturers to compete in the WEC’s top-tier category from 2023 - the scene is set for an unforgettable period in endurance racing history. We are delighted that our new regulations have attracted so many prestigious automotive brands. Ferrari is a prestigious marque which is synonymous with Hypercar, so I have no doubt that they

will be be extremely competitive out on track - we are honoured to welcome Ferrari back to the top class of endurance racing.” Ferrari announces the start of the Le Mans Hypercar (LMH) programme that from 2023 will see the manufacturer enter the new top class of the FIA World Endurance Championship. Following a period of study and analysis, Ferrari has kicked off the development of the new LMH car to include in recent weeks the design and simulation phases. The track testing programme,

the name of the car and the drivers who will make up the official crews, will be part of future announcements. Fifty years after its last official participation in the premier class of the World Sports Car Championship in 1973, Ferrari will take to the track in the Hypercar class of the FIA World Endurance Championship, which it proactively helped to establish. It has a respectable record in closed-wheel competition with 24 world titles (most recently in 2017) and 36 victories in the 24 Hours of Le Mans.

Jean Todt, FIA President: “The announcement of Ferrari’s commitment to the FIA World Endurance Championship with a Le Mans Hypercar entry from 2023 is great news for the FIA, the ACO and the wider world of motorsport. I believe in the concept of road-relevant Hypercars competing in the FIA WEC and at the 24 Hours of Le Mans. I’m looking forward to seeing this legendary brand taking on this ambitious project.”

Images by Jonáš Jagerčík (not illustrative of a Ferrari project)

NEW ENTRY, NEW HYPERCAR John Elkann, Ferrari President: “In over 70 years of racing, on tracks all over the world, we led our closed-wheel cars to victory by exploring cutting-edge technological solutions: innovations that arise from the track and make every road car produced in Maranello extraordinary. With the new Le Mans Hypercar programme, Ferrari once again asserts its sporting commitment and determination to be a protagonist in the major global motorsport events.”

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THE JAGUAR VISION GRAN TURISMO SV A maximum speed of 255 mph, an aerodynamic design honed to perfection and race-winning powertrain technology define the latest all-electric virtual race car developed for Gran Turismo, and built in the real-world as full-scale design study.

THE ALL-ELECTRIC GAMING ENDURANCE RACER

Jaguar Design Director Julian Thomson said, “Jaguars created for the race track and the road have always shared the same DNA... So, when the design team behind the Vision GT Coupé were asked to create the ultimate electric gaming endurance racer for Gran Turismo, they worked with engineers from SV and Jaguar Racing to create something really special. The Vision GT SV is a dramatic and visually arresting car which showcases what’s possible when the traditional boundaries governing real-world car design are completely removed. In bringing this car to life with a full-size design study we’ve been able to showcase the most extreme version of an

electric Jaguar race car that is inspired by the past but looks fearlessly to the future.“ Jaguar SV Aerodynamics Senior Engineer Michael O’Regan stated, “All the aerodynamic features have been painstakingly optimised through cutting-edge computational fluid dynamics analysis – in exactly the same way we do with real-world projects such as the Jaguar I-TYPE Formula E race cars.“ Jaguar Racing Team Director James Barclay added, “Both have been designed and developed using state-of-the-art simulation tools to push all-electric powertrain and software technology to the limit, and we can’t wait to see them perform in Season 7 and Gran Turismo.

Generating a combined output of 1,903PS (1,400kW) and 3,360Nm of instant torque with the traction and dynamics benefits of intelligent all-wheel drive and torque vectoring, acceleration from 0 to 60 mph in 1.65 seconds, on the way to a maximum speed of 255mph. Harnessing the Gran Turismo SV’s power delivered an even more exhilarating racing experience.

Engineered By Experts “We were given one objective: take everything that makes the Jaguar Vision GT Coupé so special – the performance, the handling and the soundtrack – and take it to another level.” - Jamal Hameedi, Engineering Director, Jaguar SV

Heritage Values. The Ultra-Luxury Industry

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ADD MORE VALUE TO CREATIVITY

MASTER IN FASHION, EXPERIENCE & DESIGN MANAGEMENT MAFED

Building a Career in Fashion & Design Management: An exciting journey throughout the MAFED experience at SDA Bocconi School of Management sdabocconi.it/mafed The Master in Fashion, Experience & Design Management (MAFED) is a 12-month full-time, full-immersion international program preparing graduates to thrive in the culture of resultsorientedcreativity. MAFED recognizes the unique DNA of fashion and design companies, often rooted in their successful, well-established histories. The Program aims to fuel these traditions with the new tools made available by new managerial approaches, enhanced analytics, and new technologies enabled by the digital ecosystem. Our students emerge well prepared to deal with the unlimited imagination of creative people, capable of harnessing the beautiful and original, as well as coping with the realities of time constraints and the fickleness of consumers. The pedagogical style is a hybrid lectures, applied assignments, and guest speakers sessions. The learning approach tends to be very interactive, and lectures frequently incorporate business case analysis and discussions. There are also required group work sessions, field investigations and individual research. The program has a strong experiential flavor, including several company visits, more than 50 sessions delivered by top guest speakers from the industry, 3 study tours, a mentoring program and 2 months of field project to put in practice what learned throughout the year. “In an increasingly dynamic landscape - where customers are getting more sophisticated, iconic brands coexist with contemporary ones, scarcity blends with immediate product access, and new players are contributing to redesign the same rules of the competitive game - my commitment is to provide you a rigorous managerial approach that bridges creativity with the most innovative business tools. My promise is to make your experience of this journey one that you’ll remember for the rest of your life”,

Emanuela Prandelli, MAFED Director. If I were to think of one word to describe the MAFED journey, it would be extraordinary. This year was truly not ordinary. Here, I am not only addressing the covid-19 and the extraordinary circumstances we started this year but also the extraordinary learnings, life experiences, and friendships we gained. Since we joined the program, we had the opportunity to learn about 22 courses spanning management, marketing, finance, fashion, and digital fields. We were extraordinarily lucky not only to learn about these topics through our amazing professors but also through more than 30 other industry leaders. Nonetheless, there were the extraordinary times spent as a group together – the celebrations, trips, including Paris, Madrid, Vicenza, company visits, late studies, and many group projects in which we laughed, cried and in the end celebrated all the learnings. I cannot thank enough our amazing Program Director Emanuela Prandelli, all the professors, guest speakers, other valuable members of the MAFED community and my classmates for making the past year extraordinary and for giving me the confidence and knowledge to overcome future challenges in the industry and the society we leave in. ” Emilia Skoric, Mafed 2022 After graduating in Business Economics and Management at Bocconi University, destiny decided to bring me back to what had been my second home for three

10 >

REASONS WHY

WHY YOU SHOULD CHOOSE MAFED

TOP PROGRAM

To be part of a top program, which has been no.3 in the world for Fashion & Design Management, in a top ranked business school, in Milano, one of the top international capitals of fashion and design.

6 THE FUTURE OF TRADITION

To learn how to design the future of tradition, recognize the unique DNA of fashion and design compagnies, and fueling it with new tools made available by new managerial approaches, anhanced analytics, and new technologies.

years, and on 25 February I proudly graduated cum laude from MAFED. “Students for a while, Alumni forever”. Only six words that perfect embody the concept of a choice that will guide me for the rest of my life. This quote keeps coming back to me: being part of the large Bocconi family does not end at the end of my Master course, but it is precisely in this moment that the added value of my choice reaches its maximum expression. I have always believed that Bocconi’s intrinsic value is made by the people who, through their diversity, can bring richness to themselves and to others, every single day. The Bocconi Alumni Network is exactly what transforms your academic path at Bocconi into a life changing experience that makes me feel part of a community of extraordinary human beings that share the same passion for achieving what we love the most allowing us to transform our lives into a masterpiece. Three weeks ago, I started a new and exciting chapter as Junior Controller at Chanel in Milan, and I firmly believe that this will be only the first step of a path in which Bocconi has played the major role in ensuring that my biggest dreams can come true. MAFED represents the most insane year of my life but I truly believe that belonging to the Bocconi Alumni community will be the beginning of a never-ending path to bringing some beauty in this world: change is in our hands! Luca Previato, Mafed 2022

2 MANAGERIAL COMPETENCES

To build rigorous managerial competences in fashion, design and experience-based industries with first-hand experiences in the field.

7 FIELD PROJECTS

To have the opportunity to spend two months working on field projects delivered by top international fashion and design companies in order to practically apply the tools learned in class.

3 DEDICATE FACULTY

To learn from an extraordinary expert, dedicated, and passionate faculty, consisting of over 30 professors who bring a 360 degree view of how these industries work, in order to equip students with the tools needed to envision the future, both as managers and as entrepreneurs.

8 INTERNATIONAL ENVIRONMENT

To be exposed to a unique international environment that makes learning a process of exploring differences and celebrating diversity: with an average of more than 20 nationalities per class, MAFED in an ideal laboratory to prepare you for working within multi-cultural environments.

4 TOP GUEST SPEAKERS To enhance your skills through the opportunity to connect with top managers participating in classes as guest speakers.

9 FONDAZIONE ALTAGAMMA

To benefit from the strategic partnership with Fondazione Altagamma, a leading network of fashion and design trands and companies and sparking entrepreneurial inspiration.

5 DIRECT BRAND EXPERIENCE

To directly experience brands in stores, showrooms, events and trade fairs, by “seeing and touching” the product where it is originally made.

10 ALUMNI NETWORK

To enter a unique business community and extended Alumni network, which represents a long-lasting valuable asset for the rest of your professional life.

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WHAT IS MAFED?

MAFED IS A 12-MONTH FULL-TIME, FULL-IMMERSION INTERNATIONAL PROGRAM PREPARING GRADUATES TO THRIVE IN THE CULTURE OF RESULTS-ORIENTED CREATIVITY.

Our students emerge well prepared to deal with the unlimited imagination of creative people, capable of harnessing the beautiful and original, as well as coping with the realities of time constraints and the fickleness of consumers.

LIVE THE EXPERIENCE.

74%

87%

74%

87%

MONTHS

INTERNATIONALS STUDENTS

STUDY TOURS

GRADUATES

MONTHS

INTERNATIONALS STUDENTS

STUDY TOURS

GRADUATES

FULL-TIME

FROM 23 COUNTRIES

PARIS, MADRID, NY FOUND A NEW JOB 1 YEAR (ON A FEE-PAYING BASIS) AFTER GRADUATION

“I am Eugenia Giorgi, 26-year-old, MAFED class of 2022, awarded with a partial merit-based scholarship and graduated Cum Laude. Besides being the most enriching and unforgettable journey of my life, MAFED really taught me how to enhance beauty and style into completely different environments with a global perspective. With luxury brands having to interact with consumers in an omni-channel, AIpowered world, MAFED gave me the chance to deep dive into customer experience and centricity through an insightful week-long Digital Strategy & E-commerce course in partnership with YOOX Net-a-Porter, learning how to proactively react to a fast-paced and forever changing online environment. I am now working as a Brand Specialist at Amazon, the most customer-centric, data-driven and innovative company in the world. My job encompasses consulting some of the most renowned Italian top-tier family-based companies within the wine industry providing them with business advices to improve their presence on Amazon and consequently on other marketplaces. I am glad I put in practice every day MAFED’s fundamentals.” Eugenia Giorgi, MAFED 2022 now Brand Specialist at Amazon My professional journey started in EY consulting firm in Milan, after graduating with a Bsc in international economics and a Msc in general management at Bocconi University. I first approached consulting to further develop the soft and hard skills any good manager needs: the ability to work under pressure within strict deadlines and to always come up with a solution. During my two years as finance consultant, I had the possibility to travel and to experience the dynamicity of such a job, which enabled me to enrich my skills portfolio in terms of client relationships and familiarity with IT tools. Nevertheless, following my rooted attraction for the Luxury industry, I decided to enroll in SDA Bocconi’s MAFED program, which revealed to be an unforgettable experience: from joining conferences on the latest business matters to networking with outstanding guest speakers, great CEOs and managers and, most of all, to establishing a deep bond with my classmates and future colleagues. Last

FULL-TIME

PARIS, MADRID, NY FOUND A NEW JOB 1 YEAR AFTER GRADUATION FROM 23 COUNTRIES (ON A FEE-PAYING BASIS)

month I started working in the Global Retail Merchandising team in Balenciaga HQ in Paris. I can claim that the environment is extremely stimulating and challenging, with intense schedules and rhythms which inevitably require a strong commitment. I realized how my experience in consulting provided me with the efficiency and speed to face the daily activities, while my specialized Master in SDA Bocconi taught me the language and the technical knowledge needed to understand the Luxury and Fashion mechanism”. Beatrice Singlitico, MAFED 2022, now Global Retail Merchandising at Balenciaga MAFED was a whirlwind, life changing year that I will never forget, and by which I am forever changed. In the middle of a global pandemic, I, like many of my classmates, took the crazy chance to move to a new country while the whole world was still upside down, unsure of how classes would be held and what our daily lives would look like. We felt the fear and we did it anyway - our very own crash course in learning to trust our instincts. If there’s anything covid-19 has taught us, it’s that we are resilient. Things may not always go as planned, but we were able to adapt and persevere. Covid-19 also taught us just how quickly the world moves, just how quickly the world changes. Our year flew by quicker than I would ever have imagined. When I look back, I wonder how we managed to fit it all in: all the classes we started, all the project and exams we carried forward. Nevertheless, amidst the stress, the late nights, the many group projects, and the hours spent pouring over slides and notes we made it, yet another reminder that nothing worth having comes easy. Most importantly, I can say, without a doubt, that this year was well-spent, having learned a lot about business, fashion, and myself. We learned, we grew personally and professionally and we will all become better people and employees for it. And one day, I can only hope we will each be invited back to Bocconi to tell the future MAFED students how this incredible experience had helped us achieve our dream career. Hailey Druker, MAFED 2022, now CRM Analyst at LORO PIANA

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Da Zermatt, attraverso 291 ponti e 91 gallerie, passando per il punto più alto ai 2033 metri del Passo dell’Oberalp, fino a St. Moritz (o viceversa): il viaggio a bordo del Glacier Express è un classico tra gli itinerari panoramici attraverso la Svizzera. Un’esperienza indimenticabile, in ogni stagione. Salite a bordo! www.glacierexpress.ch

Photo © Glacier Express – Stefan Schlumpf

IL TRENO ESPRESSO PIÙ LENTO DEL MONDO

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WINGS ON DUTY, SUSTAINABLE AVIATION TECHNOLOGY ORCA, a fully electric VTOL aircraft, is specifically designed to take on the challenges of airborne medical services and patient transportation to take advantage of already-available infrastructures, while Eve, backed by Embraer, will provide Blade up to 60,000 hours of flight time per year on its eVTOL aircraft, beginning in 2026 for use in Southern Florida and West Coast markets. Compliant with both EASA SC-VTOL and CS-23 certifications, Orca aims for outstanding performance, safe flight designs such as 7 redundant electric engines, 6 Jettison-able battery packs, 2 Independent power supply system and 2 Installed BRS parachute system, high endurance offering the longest possible flight range through continuously increasing battery technology and a cruising speed up to 300 km/h provided by variable pitch propellers, and the latest avionics with a redundant module design in case of system failure, supported flight maneuvers through Full Authority Digital Engine Control Operability at night and under special weather conditions through assisting systems. It also has a competitive flight range of 140 km at a useful load of 510 kg and spacious interior designed for a standard stretcher. The concept’s glide ratio exceeds that of advanced GA aircraft. On the Eve front, it plans to deploy up to 60 aircraft for Blade’s use throughout the United States beginning in 2026. “Blade is aligned with our mission as they have created a platform that provides the user seamless access to Urban Air Mobility, and now with Eve to provide an experience that is quiet and without emissions...This partnership with Blade is the next step in unlocking the future of mobility in these key areas and marks an exciting time for both companies,” said Andre Stein, President & CEO of Eve. Rob Wiesenthal, CEO of Blade, said “Blade is pleased to partner with Eve, leveraging Embraer’s deep aerospace expertise. Eve’s aircraft provides ideal operating economics for Blade’s shorter distance routes, adding to our three other recently announced EVA partnerships which, together, can optimize service for Blade’s wide variety of mission profiles and regional hubs.”

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PIPER M600/SLS HALO SYSTEM WITH GARMIN AUTOLAND ACHIEVED EASA CERTIFICATION. The European certification is a key milestone and has garnered substantial interest with the Garmin Autoland system. Piper Aircraft, Inc. announced today that it has been awarded approval from the European Aviation Safety Agency (EASA) for its M600/SLS HALO safety system with Garmin Autoland. “The European certification is a key milestone for the M600/SLS aircraft, which has garnered substantial interest with the Garmin Autoland system. Additionally, the aircraft features competitive range, payload and safety features along with outstanding acquisition and operating economics”, said Ron Gunnarson, Vice President of Sales, Marketing and Customer Support. “Our customers are looking for the kind of unique value proposition only available in the M600/SLS as well as the peace mind that comes with HALO and the Garmin Autoland system.” As the global pandemic begins to subside, Piper Aircraft will launch a robust European M600/SLS demo tour, visiting all Piper dealer partners as well as key markets later this summer. To date, the M600 SLS has flown more than 100 autoland demos. These demonstrations played a key role in delivering 67 autoland-equipped aircraft in the U.S. market already. The first M600 SLS with HALO Safety System and Garmin Autoland will be officially delivered under European registry in late Q2 of this year. The Piper M600/SLS with HALO Safety System is the first general aviation aircraft certified with Garmin Autoland. The revolutionary system supports digital technology that safely lands the aircraft at the nearest suitable airport in the event that the pilot is incapacitated. Additionally, the Garmin G3000 avionics suite includes Auto-throttle, Autoland, Emergency Descent Mode, Electronic Stability and Protection, Surface Watch, Safe Taxi, and Flight Stream 510 all of which are designed to enhance safe operation of the aircraft. Be-

yond the flight deck, the 6-seat Group, sold the aircraft to nally, nothing matches the M600/SLS is powered by a a Florida based customer. worry free safety capability, Pratt & Whitney PT6A-42A “This sale, during the first cross continent performance 600shp engine. The aircraft trade event since the be- and economics found in the has a maximum cruise speed ginning of the pandemic, SLS”, said Gunnarson. “We of 274 ktas/507 have been delighkm/h, a max range ted with the robust The M600/SLS offers a unique value interest in our proof 1,658 nm / 2,748 km, and a standard ducts ... “Building proposition as well as the peace of useful load of 2,400 on our dealership’s mind that comes with HALO. lbs. / 1,089 kg. success of selling During the 2021 nine M600/SLS airSUN-n-FUN Aerospace Expo, highlights the continued craft in 2020, we are pleased the Piper dealer partner for demand for the M600/SLS to see the model’s continued the Southeast region of the with Halo Safety System and strength in the marketplace United States, Flightline Garmin Autoland. Operatio- this year. Customer respon-

Volocopter Aviation brings urban air mobility to life AUTONOMOUS FLIGHT IS A CORE ELEMENT OF THE VOLOCOPTER MISSION STATEMENT, AND THE VOLOCITY WAS DESIGNED TO ULTIMATELY TAKE TO THE SKIES AS AN AUTONOMOUS AIR TAXI. FROM THE VERY BEGINNING, VOLOCOPTER’S INTENTION WAS FOR ITS AIRCRAFT TO ONE DAY FLY SOLO IN THE COMMERCIAL SKIES. TODAY, THE COMPANY IS WORKING CLOSELY WITH AUTONOMOUS TECHNOLOGY LEADERS LIKE NEAR EARTH AUTONOMY ON THE BEYOND VISUAL LINE OF SIGHT (BVLOS) CAPABILITIES OF ITS VOLODRONES. BUT WHY IS THIS AN INTRINSIC PART OF VOLOCOPTER’S VISION? URBAN AIR MOBILITY NEEDS TO BE TAILORED TO THE CHALLENGES OF FLYING WITHIN A CITY

Urban air mobility needs to be tailored to the challenges of flying within a city – tall buildings, narrow roads, moving obstacles. And while highly trained pilots will be more than capable of navigating this environment, Volocopter will also be deploying smart, redundant assistance systems to ensure maximum safety right from day one. And by gradually moving toward full autonomy it will continue to promote more flexible and even safer urban operations. Furthermore, autonomy will lower costs and thus boost affordability, availability and help scale eVTOL operations. To make autonomous air traffic a reality, however, a number of steps must first be taken. As this is a novel kind of mobility, regulations are still being compiled and may well not be set in stone for a good few years yet. Volocopter is working closely

with Europe’s aviation authorities and other experts in the field to bring urban air mobility to life and share its insights. Just as it takes time to develop an autonomous operations rulebook, the practice will not be implemented overnight. Volcopter is gradually increasing the degree of automation its aircraft will offer: first, through the number of control functions (like speed control or autopilot). Second, by preparing for unforeseen future events and the decisions that will have to be made. In short, this is a gradual process that will be moderated by technological, regulatory, and economic considerations. As it gears up to offer fully autonomous flights, Volocopter will collect data from piloted flights in an operational environment that will flow into the VoloIQ data lakes, as well as offer training,

se has been nothing short of phenomenal, said Jonathan Lones, Vice President Aircraft Sales – Flightline Group.“ Piper Aircraft Inc., headquartered in Vero Beach, Fla., offers aviators throughout the world efficient and reliable single and twin-engine aircraft and is the first general aviation aircraft manufacturer in the world to certify Garmin Autoland. The single-engine M-Class series – the M600SLS, M500, and M350 – offers businesses and indi-

vidual’s elegant performance, value and a superior ownership experience. The Personal Class Seneca V, Archer LX and Archer DLX balance proven performance, efficiency, and simplicity in a piston-powered aircraft. The Trainer Class Pilot 100i, Archer TX, Archer DX, Arrow, Seminole and Seneca V aircraft form the most complete technically advanced line of pilot training aircraft in the world. Piper is a member of the General Aviation Manufacturers Association.

and test autonomous applications. Only then will the company launch autonomous flights. In the envisaged fully autonomous VoloCity air taxi, several sensors will ensure a 360-degree view and detect objects in its flight path. An independent monitoring system will keep an eye on all components at any given time, whether radio communication, propulsion, or a flight plan. The flight management system will make decisions and automate predefined processes that are always on time, accurate, and safe. Even without a data connection back to the ground, the VoloCity will be connected to Europe’s digital airspace management system U-SPACE and the Mission Control Center, ensuring smooth and safe flights for all. And the passengers? Well, all they need to do is sit back and enjoy the view on their super-quick journeys.

Ottimizzazione della Customer Experience.

Costruiamo architetture di comunicazione basate sui dati e orientate agli obiettivi delle aziende, creando una comunicazione personalizzata efficace che abbina un’interfaccia utente intuitiva e facile da usare con gli obiettivi di business da raggiungere. Il risultato è un’esperienza di contatto unica e personalizzata, dalla creazione alla distribuzione e all’interazione con l’utente. Questo è possibile grazie alle ultime tecnologie digitali, in grado di catturare l’attenzione del cliente, come il Video Personalizzato e la Landing Page.

Realizzazione e gestione della comunicazione delle aziende verso il loto clienti.

Offriamo soluzioni sia in outsourcing che on-premises basate sulla lunga esperienza di eglue e sulle migliori tecnologie esistenti. Aiutiamo le aziende a raggiungere i loro obiettivi di business attraverso un approccio consulenziale, sia nella progettazione che nell’esecuzione dei processi di comunicazione end-to-end, considerando l’intero ciclo di vita del documento. I nostri servizi principali per questa linea di offerta sono la generazione delle comunicazioni in modalità massiva e in real time, la validazione, la distribuzione omnicanale, la dematerializzazione, l’archiviazione e il recupero, combinando sia le componenti “digitali” che quelle “fisiche”, con un approccio integrato.

Garanzia di conformità.

Garantiamo i requisiti normativi di un processo di comunicazione: autenticità, integrità, validità giuridica dei documenti e il loro trattamento secondo le normative europee e italiane. Assicuriamo la conformità ab origine lungo la trasformazione digitale delle comunicazioni aziendali, inclusa la generazione, distribuzione, archiviazione e smaltimento di documenti sia digitali che cartacei. I nostri servizi principali si basano sulla firma digitale, la fatturazione elettronica , l’archiviazione digitale a norma e la distribuzione certificata di materiale riservato.

CUSTOMER COMMUNICATION & CUSTOMER EXPERIENCE IN THE DIGITAL 2.0 eglue srl - Via degli Alpini 34 - 20054 Segrate - Milano Info@eglue.it

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WELCOME TO ESSAOUIRA Shortlisted for the International Yacht & Aviation Awards, Studio Lie Alonso drew inspiration from a coastal town called Essaouira in Morocco for the Embraer Lineage 1000E customisation project. The interiors have been fully personalised so that the cabin experience is built around a story, where each section of the cabin unfolds into a unique chapter. The challenge was to blend the visual and sensorial with a reverence for space, form and artistic expression. Valeria Lie Alonso and her team believe that a design project can be driven by many factors. “To create a vision transcending the boundaries of the known, we bring an artistic approach into the process, where we draw inspiration from the depths of life to create a storyline and a space full of brilliance: inspired by travels, history, literature, art, fashion and life surrounding us. This approach allows us to welcome and explore the creative essence within our existence.“ She recalled, “After a trip to Essaouira, an enchanting beach town in Morocco, full of colour, beautiful handcrafted items, kind people and amazing food, I kept having these visions from gathering all this inspiration, and I knew I had to create something out of it.” She decided on an iconic jet model where she could realise her dream. “As an interior designer specialised in private and corporate jets, I chose the Embraer Lineage 1000E as the media to explore this artistic expression and slowly turn these visions into a full design. It is the result of an intrinsic connection to the creative essence of life.” With neutrals like beige, greige and mauve, the primary palette has brighter pops of colours, such as mustard, fuchsia and cyan in the secondary palette, recalling “the city, the souks, the food, the people, the culture, the beauty, the order and the chaos.” Besides the colours, the materials and textures seemed to come straight from her journey. “Here is where sensory awareness comes to play.“ Several features were created directly from her intuitive handmade drawings: the metal plating inlays on the galley doors, the carpet and more. “Here, our focus was to stimulate creative thinking, an imaginative exploration to push the boundaries of the known.” For Studio Lie Alonso, working with sketches enable them to create a clean sheet design. As such, the entire space can be fully customised, from its floor plan and features to intricate details. “As long as something exists in our imagination, we have the potential to create it.“

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The blend of an architectural space within an industrial machine like a jet brings an interesting dimension of complexity. There are restrictions revolving around limited space, weight savings, and there is significant importance in maximising functionality, longevity and durability. There are concerns in making use of each area of the aircraft purposefully, maximising storage space as well as thinking about how the passengers will interact within each zone while moving throughout the cabin. Challenges also revolve around airworthiness regulations and certifications.

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We are all One Ocean

LE GRAND MAG met with Jan Pachner, Secretary General of ONE OCEAN FOUNDATION.

One Ocean Foundation - OOF - was born from the first Italian forum on the theme of the protection of the sea, the One Ocean Forum, wanted by the prestigious Yacht Club Costa Smeralda to celebrate its 50th anniversary with an event that would have a concrete impact for the future. Developed in partnership with the Intergovernmental Oceanographic Commission of UNESCO and SDA Bocconi Sustainability Lab, the One Ocean Forum was held at the Franco Parenti Theatre in October 2017. The speakers were represented by a large panel of experts that addressed an audience of about 500 people. Durng the Forum the Charta Smeralda was launched, an ethical code of ethics for those who live or love and respect the sea, and the promotion of commitments by companies to reduce their environmental impact. The Charta Smeralda can be signed online on the website of One Ocean Foundation (https://www.1ocean.org/ charta-smeralda) as a concrete commitment by anyone interested in the protection of the sea.

INTERVIEW

In just 4 years One Ocean Foundation has developed a large number of projects to protect the sea, before seeing some of the most significant, can you explain what are the macro areas of interest? Our three main pillars are: Scientific Research, Education and Blue Economy. The scientific approach is the characteristic that distinguishes us; every activity is guided and validated by our international scientific committee, chaired by Professor Stefano Pogutz of SDA Bocconi. The members also include the oceanographer Sandro Carniel and the Catalan Rafael Sardà, Senior Scientist of the National Council of Research in Spain. The educational projects are aimed at increasing knowledge, the so-called Ocean Literacy, especially among the youngest. The Blue Economy pillar is perhaps the most characteristic aspect of our research to which we are devoting a lot of energy to projects that help companies and their management to be truly sustainable, a topic that I would like to explore in this interview. Firstly we would like to ask you some more information about the structure of the Foundation. One Ocean Foundation is currently chaired by Dr Riccardo Bonadeo, who in 2017 at the time of the Forum and the subsequent birth of OOF was Commodore of the Yacht Club Costa Smeralda, elective position that he left in 2020 to devote exclusively to One Ocean Foundation and its activities, which are not typical of those of a yacht club. Joining us on the Board are Guido Krass, an international entrepreneur with us since the beginning, Giacomo Campora from our Allianz, Lady Owen Jones, Paul Rose, renowned scientific presenter on BBC television programs, Expedition leader of National Geographic and former Vice President of the Royal Geographical Society and Ted Janulis Founder and Chairman of Investable Oceans. At the operational level, I am supported by a number of collaborators, in particular the Operations Director Giulio Magni and the Scientific Projects Coordinator, Ginevra Boldrocchi. “Business for Ocean Sustainability” is a multi-year research on the Blue Economy that analyses the direct and indirect pressures of companies on the marine environment. Do you want to give us some more ideas? In collaboration with SDA Bocconi, McKinsey & Company and CSIC, we have invested in a multi-year research project aimed at measuring the impact of industries on the marine ecosystem. “Business for Ocean Sustainability” examines the existing relationships between ocean sustainability and the business world from a new perspective. The research investigates the level of awareness, strategies and innovative practices adopted by companies to reduce their pressures on marine and coastal ecosystems. It not only investigates the direct pressures generated by production and consumption activities, but also indirect ones, which often risk having a greater impact. It also highlights the contribution of businesses in accelerating change towards a more sustainable economy. The first report was presented in 2020 and the second in 2021, both are available for everyone online: https://www.1ocean.org/progetto/ business-for-ocean-sustainability The last report we released is the “Ocean Disclosure Initiative”, an innovative initiative dedicated to the standardization of reporting by creating a framework made up of a series of industry-specific indicators to measure a company’s impact and to disclosing corporate information on ocean sustainability. This is a complex but highly topical project at international level that sees us engaged in the front row and we will have the opportunity to follow its developments together. The 8th of June is World Oceans Day; you have an important series of initiatives that will continue throughout the week, do you want to talk about it? On June 8 we will be present in two continents at the same time: I will be in New York attending an event organized by the United Nations and in the following days I will present the latest update of the Ocean Disclosure Initiative project to an international audience. At the same time we will kick off the first edition of Milan Ocean Week, supported by the Prefecture and the City of Milan, that will take place from 8 to 12 June in a widespread manner in the Lombard capital with multiple initiatives aimed at young people and citizens involving the BAM – The Trees Library of Milan, the Civic Aquarium, the Centrale dell’Acqua, the Museum of Natural History and Via Gesù, in the fashion district, that will become the “via del mare” (road for the sea) that will focus on the theme of circular economy for it will be set up with urban furniture made of recycled plastic recovered from the sea. All these initiatives have implementation costs, how do you manage to cover them? One Ocean Foundation carries out all its activities thanks to the financial support of a series of partners, the main ones are Rolex, Allianz, Wolf, Intesa San Paolo, Rockwool and Yamamay, but many other companies support us. By supporting us through an economic contribution, we include companies in our projects sharing our knowledge and skills on sustainability and environmental protection strategies. We are also supported by institutional partners such as renowned universities and research institutes with which we collaborate at an international level, the CNR (National Research Center) and the Italian Navy.

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THE MARE RESEARCH PROJECT Among the research activities in which One Ocean Foundation is involved, on April 29th the sailing catamaran ONE will be sailing from the island of La Maddalena, for the “ Marine adventure for research and education “ project. This project was developed by the Caprera Sailing Center in collaboration with One Ocean Foundation and with the patronage of the Italian Navy. As a scientific partner, One Ocean Foundation will coordinate the scientific researches that will be conducted during the 12 weeks of navigation in the Tyrrhenian Sea. One Ocean Foundation has developed a research project that aims to monitor the state of health of the Mediterranean Sea to encourage knowledge and protection of the marine environment, one of the main challenges of the contemporary world. The Foundation will coordinate different activities with two main objectives: monitoring the chemical pollution and the marine biodiversity in the Tyrrhenian Sea. The scientists onboard will collect samples of zooplanktonic organisms, natural bioindicators of environmental pollution, to monitor the presence and distribution of various marine contaminants. These samples will be used to trace contaminants such as arsenic, cadmium and mercury that are considered very dangerous environmental pollutants due to their toxicity and accumulation capacity in aquatic organisms. Furthermore, the project will also evaluate the presence of persistent organic contaminants , such as DDT and PCBs, compounds of anthropogenic origin, still present in the environment although most countries have banned their use since the 1970s. Finally, the Foundation will evaluate the presence and distribution of emerging contaminants, such as perfluorinated compounds that have been widely used for their hydrophobic and oil repellent properties in consumer products such as disposable food packaging, outdoor tools, furniture etc.. of which the presence and accumulation of which is still poorly understood. Furthermore, One Ocean Foundation’s second goal is to monitor the marine biodiversity, with particular focus species considered cryptic; species that often remain unexplored as they are difficult to identify using traditional methods. For this reason, the Foundation will sample environmental DNA, i.e. traces of DNA left by marine organisms, along the entire sample route to reconstruct the biodiversity of the areas visited. The scientific activity will be coordinated by Dr. Ginevra Boldrocchi, Scientific Project Coordinator of One Ocean Foundation and researcher at the University of Insubria. The data collected during the research activities will lead to the pubblication of scientific articles on high-level international scientific journals. The initiative promoted by One Ocean Foundation will give students the opportunity to be enrolled in Bachelor’s and Master’s courses in Environmental Science, and related degrees, to develop scientific theses within the project. In addition to scientific research, the Foundation aims to spread knowledge and awareness on important environmental issues, promoting correct behavior, essential for pursuing the conservation of the marine environment. Thanks to the patronage and the support of the University of Insubria, students of the PhD course will be hosted on board to carry out interactive lessons in marine ecology and ecotoxicology, as well as activities on the field.

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JOURNAL

The 60th edition of the Salone del Mobile.Milano will be held at Fiera Milano Rho from June 7 to 12, celebrating this important milestone through the key values embedded in the event: quality, innovation, beauty and, now more than ever, sustainability.

The Salone del Mobile.Milano has drawn up and circulated a series of guidelines to help exhibitors and stand designers and builders to respect basic sustainability criteria. It suggests employing reusable materials (such as wood) or upcycled, low environmental impact or FSC or PEFC certified materials; giving due consideration to the logistical sustainability of the supply sources of the materials; employing environmentally safe products and equipment; endeavouring not to waste materials, electricity or water; ensuring that “adaptability” and “disassembly for reuse” are the cardinal principles when choosing the components that will make up the project, always bearing in mind where and how they could be reused or disposed of. For its part, the Salone will ensure that it follows the same recommendations when creating the communal spaces at the fair. Thus, the 60th edition of the Salone del Mobile.Milano will serve as a showcase for the progress made by creatives, designers, brands and companies in this regard and, by involving the talented young SaloneSatellite designers, will put its bets on the new generations that have grown up in a time of crisis and who aspire to more equitable and responsible production and usage. Environmental and social wellbeing also inform the theme of Design with Nature, the installation designed by the architect Mario Cucinella for the Salone’s “birthday” and located in Pavilion 15 with S.Project: 1,400 m2, narrating a virtuous ecosystem that will ideally represent future of home living. The architect reflects that while the events of the last few years have made us rediscover the importance of sociality and sharing – he himself has shown great integrity by embracing a circular vision and design approach for years – we still need to find a balance with what is around us, with the spaces we inhabit and the territories we occupy (home, city,

planet), and with the resources available to us. This fundamental consideration informs the three issues that the installation embodies and amplifies: the urgent need for ecological transition, the home as the first building block in the urban fabric and the city as a mine. Overall, the 2022 events will involve more than 2,000 exhibitors, including over 600 young designers under 35, all free to express their own identities to the best of their abilities, with complete creative freedom. On entering the fair, visitors will walk into the stands, which will act as both architectural and communication elements. Spaces that will welcome visitors and showcase the new collections and lifestyle concepts of the individual brands. The Salone Internazionale del Mobile, the International Furnishing Accessories Exhibition and Workplace3.0 will offer a great many aesthetic avenues, in which the protagonists are products of quality and research. The June event will also feature the biennial exhibitions EuroCucina, and its collateral event FTK (Technology For the Kitchen) and the International Bathroom Exhibition. Kitchens are becoming multifunctional spaces, expressions of contemporary living, their confines with other domestic spaces so increasingly blurred as to vanish entirely – fluid, hybrid, integrated spaces, the barycentres of the home, social aggregators and not just purveyors of essential needs. Bathroom companies have been investing in research and innovation for years in a bid to come up with low energy products that respond to the most recent market demands for sustainability, responding with increasingly technological and green-oriented products without skimping on the emotional component. More than 600 young designers will be taking part in the 23rd edition of SaloneSatellite. This year’s theme is DESIGNING FOR OUR FUTURE SELVES / PROGETTARE PER I NOSTRI DOMANI. This edition will invite us to reflect on “inclusive” design, fostering autonomy, comfort, movement, usability, interaction and safety for all. SaloneSatellite also boasts a new layout, designed along the theme of the piazza as a meeting place, underscoring the role of this event as a generator of new connections between the international design schools, young people, the new start-ups and the manufacturing world. Preliminary data for 2021 processed by the FederlegnoArredo Study Centre show that the sector saw a 14.1% increase overall, compared with 2019, with a total turnover of more than 49 billion euros. The furnishing and lighting macrosystem performed well, closing 2021 11% up on 2019, with turnover of over 26 billion euros and a trade balance equal to 9.3 billion euros. The Italian furnishing macrosystem market closed 2021 12.8% up on 2019, while exports grew 9.4%. The 60th edition of the Salone del Mobile.Milano will again venture beyond the confines of the fairground and into the city: as of 7th June, a monumental site-specific film installation will feature in Palazzo Reale’s Sala delle Cariatidi, based on the 11 values that have always been embedded in the Salone’s DNA. 11 films d’auteur by 11 leading Italian filmmakers will be screened. Each of the filmmakers has taken a term from the Manifesto and interpreted it in their own imitable style, turning it into a short film Francesca Archibugi has taken on the word Emotion, Pappi Corsicato – Enterprise, Davide Rampello – Quality, Wilma Labate – Design, Bruno Bozzetto – Networking, Luca Lucini – Communication, Claudio Giovannesi – Culture, Gianni Canova and a team of film students from the IULM University – Young People, Donato Carrisi – Ingenuity, Daniele Ciprì – Milan, and lastly, Stefano Mordini – Know How.

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SEE OUR LIVING SECTION IN LE GRAND MAG ISSUE 44: ANTONIO LUPI ARMANI/CASA ARTEMIDE AZUCENA BAXTER BENTLEY HOME BISAZZA B&B ITALIA CAPPELLINI CASALI HOME CITTERIO DAVIDE GROPPI DEPADOVA DRIADE FONTANAARTE LINLEY MINOTTI MOLTENI&C. POLTRONA FRAU PORRO VENINI VISIONNAIRE VITRA

In order to underscore and valorise its strong ties with young people, the schools of design and architecture and with Milan, the Salone de Mobile will be paying tribute to one of its leading protagonists, Manlio Armellini, through a joint initiative with Milan Polytechnic University destined to benefit deserving students doing their Masters in Furniture Design: a study bursary, starting from the academic year 2022-23, designed to recognise the abilities and enthusiasm of two brilliant young designers by covering 50% of the Masters enrolment fees for one Italian and one foreign student, underscoring the internationality that has always set the Salone apart. In the spirit of ever-greater openness to exchange and the circulation of ideas, culture and creativity, we will again be collaborating with the Teatro alla Scala Foundation. The ties between us are founded on a desire to share common values, with the dual aim of promoting and valorising the talent of the Philharmonic Orchestra and providing an opportunity for the design community to enjoy a unique experience. The Salone will open this year with a concert by the Philharmonic conducted by Lorenzo Viotti, followed by a ballet starring the extraordinary Roberto Bolle.

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THE “BLUE AND WHITE” SPLENDORS IN PORCELAIN. MING DYNASTY PERIOD, THE 500-YEAR-OLD During a Sotheby’s auction in Hong Kong, 2014, a stunning Blue and White Porcelain Imperial Vase sold for $21.6 million to an anonymous telephone bidder. Dating from the Ming Dynasty period, the 500-year-old Chinese vase is the most expensive piece of blue and white porcelain ever sold.

“Blue and white” porcelain remains an enduring symbol of the excellence of China’s arts. With its refined fruit and flower decoration, this meiping vase evokes the splendors of the early Ming period. A photo from 1930 shows the current owner’s grandmother doing embroidery next to the vase: proof that it has been in this old Auvergne family for at least a century. It dates from the reign of the Yongle emperor (1402-1424), one of the greatest periods for Chinese porcelain. “It is the Ming vase par excellence,” says expert Alice Jossaume. “The “blue and white” pieces from the Yongle period are more sought-after than those of the Qianlong reign, because they were the first ones of this kind made for the Chinese market

and imperial court.” While this color became widespread during the Mongolian Yuan dynasty (1279-1368)—after cobalt was brought into the country by merchants from the Persian Empire—the Mings took it to the height of perfection. The Yuans intended these porcelains for export, preferring monochromes as they considered the technique still poorly mastered. But the new Chinese dynasty adopted blue-and-white with enthusiasm. The first emperor, Hongwu (r. 1368-98), still favored red, as

he associated blue with the Mongol invaders, but in the following century Yongle stepped up the importation of cobalt, keen to contemplate innovative creations adorned with the celestial color. The imperial wish was rapidly granted, and his palace in the new capital, Beijing, was soon positively overrun with these pieces. The technique was also developed through underglaze painting, which made the blue stand out vividly against an immaculate white background. Although imperial marks did not exist for porcelain at that

time, this vase is certainly one of the pieces produced then, probably in the Jingdezhen kilns in north-east Jiangxi (a region rich in kaolin and clay), where a rare level of perfection was achieved. As witness the extraordinary quality of this large vase (36 cm/14.2 in high) with its thick material, intense blue and delicately delineated fruit and flower decoration in two registers. Ten types of fruit are illustrated with their foliage: lychees, pomegranates, peaches, longans, loquats, wild apples, melons, ginkgo fruit, cherries and grapes.

The shoulders feature twelve flowers in a lingzhi frieze, including two kinds of lotus, camellias, chrysanthemums and hibiscus. While these motifs are known from various models now in the Beijing Museum, the two-register foot—with a frieze of spiraling foliage surmounted by ten lotus petals—is much rarer. “Usually, there is only a simple frieze of petals or banana leaves,” says Alice Jossaume. While these fruits and flowers became powerful symbols of prosperity, happiness and fertility in the 16th and 17th

centuries, during the Yongle period they were still used for their purely decorative qualities. Meanwhile, the meiping was an ancient form of container (the word means “vase for prunus flowers” in Chinese) originally used for alcohol. But its function changed, and it came to be used to display flowering plum tree branches. As the neck of the vase here is enameled, it is unclear if it had a lid or not and what its precise function was, though we know that these magnificent pieces became ceremonial objects as time went by.

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RALPH LAUREN RETURNS TO MILAN WITH A LIFESTYLE OFFERING ROOTED IN CRAFTSMANSHIP, HOSPITALITY AND CUSTOMER EXPERIENCES.

DISTINCTLY AMERICAN

Ralph Lauren’s new flagship store in Via della Spiga features Men’s, Women’s and RRL brands, an ultimate expression of the global leading lifestyle brand. The Bar at Ralph Lauren also offers uniquely American service and cuisine with a Milanese twist. He states: “There is something about Milan that touches me—its timeless beauty, its winding cobbled streets, the patina of ancient facades, the sound of bells marking the time of day and a way of living imbued with traditions of both past and future. These are the things that inspired me to share my world of fashion and hospitality in the heart of Milan in the beauty of a Milanese residence and The Bar at Ralph Lauren—a place to gather and enjoy a morning coffee or an evening aperitivo in the intimacy of a romantic courtyard.”Reimagining a grand Milanese residence with an intimate scale, rich in detail and layered with history, the store, the bar and courtyard will cover five floors and nearly 16,000 square feet. The World of Ralph Lauren blends that which is distinctly American with the allure of Italian style and 1 craftsmanship. The interiors are crafted from traditional materials of tumbled limestone and terracotta. Reclaimed wood floors are paired with wood panelling and accented with bronze, aged brass and wrought iron. The entire space is layered with vintage objects, iconic artwork, antique furniture and custom millwork. Located on the ground floor, The Bar at Ralph Lauren is a warm and intimate space with a turn of the century character that opens directly onto the rear garden for outdoor dining. The Bar is one-of-a-kind in Milan, offering cuisine inspired by Ralph Lauren‘s personal favourites including the classic burger and iconic mini lobster rolls, as well as a selection of vintage wine and bespoke cocktails. The Bar will be open throughout the day and serve coffee and pastries in the morning, a light lunch and aperitivo. A central staircase inspired by residential design connects all floors and brands housed in the building. The iconic RRL line will be displayed on the ground floor, with Men’s Polo and Accessories on the first floor and Purple Label and Made-To-Measure on the second. Womenswear will be set across the top two floors and will feature Polo, Accessories and Collection. To complete the World of Ralph Lauren offering, a selection of Home gifting and decorative accessories will also be available throughout the store. The new Milan flagship store will also be accessible on a global scale thanks to an immersive shopping platform—the RL Virtual Experience. Customers are invited to shop the latest collections and discover the new hospitality offering and luxury services, including Made to Measure tailoring, dedicated gift curation and private styling appointments. From early December onwards, customers can virtually step into the elegant and festive world of Ralph Lauren during the Holiday season and unlock exclusive gifts and custom experiences. To commemorate the opening and in line with Ralph Lauren’s long commitment to cancer care and prevention, Ralph Lauren Corporation will reinforce its support of its Pink Pony local beneficiary AIRC Foundation for cancer research in Italy.

Ralph Lauren Home’s Frasier Throw Pillow comes with a corded trim, crest and logo embroidered at the front as well as a hidden zip closure, blending iconic design with OEKO-TEX Standard 100® certified fabric that is sustainable and innovative at the same time.

Fondazione di diritto privato

OPERA SEASON 2021 • 2022 MACBETH

I CAPULETI E I MONTECCHI Music by Vincenzo Bellini 18th January to 2nd February 2022

Music by Jules Massenet 10th February to 2nd March 2022

PIKOVAYA DAMA

ADRIANA LECOUVREUR

DON GIOVANNI

Music by Giuseppe Verdi 7th to 29th December 2021

Music by Francesco Cilea 4th to 19th March 2022

(THE QUEEN OF SPADES)

Music by Pëtr Il’ič Čajkovskij 23th February to 15th March 2022

ARIADNE AUF NAXOS Music by Richard Strauss 15th April to 3rd May 2022

THAÏS

UN BALLO IN MASCHERA Music by Giuseppe Verdi 4th to 22th May 2022

Progetto Accademia

IL MATRIMONIO SEGRETO Music by Domenico Cimarosa 7th to 22th September 2022

Music by Wolfgang Amadeus Mozart 27th March to 12th April 2022

LA GIOCONDA

Music by Amilcare Ponchielli 7th to 25th June 2022

FEDORA

Music by Umberto Giordano 15th October to 3rd November 2022

RIGOLETTO

Music by Giuseppe Verdi 20th June to 11th July 2022

THE TEMPEST

Music by Thomas Adès 5th to 18th November 2022

BALLET SEASON 2021 • 2022 LA BAYADÈRE

JEWELS

Music by Ludwig Minkus Choreography by Rudolf Nureyev 15th December 2021 to 8th January 2022

SYLVIA

Music by Léo Delibes Choreography by Manuel Legris 11th to 26th May 2022

Choreography by George Balanchine EMERALDS Music by Gabriel Fauré RUBIES Music by Igor’ Stravinskij DIAMONDS Music by Pëtr Il’ič Čajkovskij 11th to 24th March 2022

AFTERITE - LES NOCES

Music by Igor’ Stravinskij Choreography by Wayne McGregor 24th June to 7th July 2022

GISELLE

Music by Adolphe Adam Choreography by Jean Coralli - Jules Perrot 9th to 16th July 2022

ONEGIN

Music by Pëtr Il’ič Čajkovskij Choreography by John Cranko 14th to 30th September 2022

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MILANO PALAZZO REALE 23.02 _ 05.06.2022

Tiziano, Lucrezia e suo marito, 1515 ca, Vienna Kunsthistorisches Museum

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18 17 12. FERRARI 1955 Ferrari 121 LM Spider by Scaglietti, Darin Schnabel ©2017 Courtesy of RM Sotheby’s (www.rmsothebys.com). 13. BROOKS BROTHERS Velvet Slippers (www.brooksbrothers.com). 14. APOLLO ART & ANTIQUES Empire Clock Nymphe a la Coquille (www.apolloartantiques.nl). 15. BROOKS BROTHERS Regent Fit Bib Front Spread Collar Tuxedo Shirt (www.brooksbrothers. com). 16. TOM FORD Velvet Bow Tie (www.tomford.com). 17. CHANEL No. 5 High Jewellery Collection (www.chanel.com). 18. GIORGIO ARMANI Giorgio Armani x 10 Corso Como Capsule Collection (www.giorgioarmani.com).

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10. DASSAULT FALCON Falcon 6X (www.dassaultfalcon.com). 11. THOM BROWNE Womenswear Collection (www.thombrowne.com). 12. CHOPARD Red Carpet Collection (www.chopard.com). 13. HUGO BOSS Patent Leather Oxford Shoes (www.hugoboss.com). 14. MIKIMOTO Pearl Necklace (www.mikimoto.com). 15. ROLEX Day-Date 36 (www.rolex.com). 16. Blue and White Tableware Courtesy of Melody Borghesani. 17. HERMES A Parisian Icon (www.hermes.com). 18. CHANEL No. 5 Eau de Parfum (www.chanel.com). 19. TURNBULL & ASSER Pre-Tied Cotton Piqué Bow Tie (www.turnbullandasser.co.uk). 20. DOLCE & GABBANA Iris Watch (www.dolcegabbana.com).

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THE GUIDE

Hermès, Via Montenapoleone 12, 20121, www.hermes.com Herno, Via Montenapoleone 3, 20121, www.herno.com Armani Hotel, Via Manzoni 31, 20121, www.armanihotelmilano.com Il Gufo, Via San Pietro all’ Orto 22, 20121, www.ilgufo.com Bulgari Hotel, Via Privata Fratelli Gabba 7B, 20121, www.bulgarihotels.com Imarika, Via G.Morelli 1, 20129, www.imarika.com Excelsior Hotel Gallia, Piazza Duca d’Aosta 9, 20124, www.marriott.com Incontri, Via Belfiore 11, 20145, www.incontrishop.com Four Seasons Milano, Via Gesù 6, 20121, www.fourseasons.com Isabel Marant, Via Santo Spirito 17, 20121, www.isabelmarant.com Grand Hotel et de Milan, Via Manzoni 29, 20121, www.grandhoteletdemilan.it Isaia, Via Pietro Verri 8, 20121, www.isaia.it Mandarin Oriental Milan, Via Andegari 9, 20121, www.mandarinoriental.com Issey Miyake, Via Bagutta 12, 20121, www.isseymiyake.com Palazzo Parigi, Corso di Porta Nuova 1, 20121, www.palazzoparigi.com Jacob Cohen, Via della Spiga 29, 20121, www.jacobcohen.it Principe di Savoia, Pza della Repubblica, 17 20124, www.dorchestercollection.com Jil Sander, Via Pietro Verri 6, 20121, www.jilsander.com Park Hyatt Milano , Via Tommaso Grossi, 1, 20121 ,www.hyatt.com Kiton, Via Sant’Andrea 16, 20121, www.kiton.it La Double J, Via S. Andrea 10a, 20121, www.ladoublej.com La Tenda, Via Mario Pagano 69/A, 20145, www.latendamilano.com fashion & tailoring La Tenda, Via Plinio 5, 20129, www.latendamilano.com 7 For all Mankind, Via Manzoni 43, 20121, www.7forallmankind.com La Tenda, Via Solferino 13, 20121, www.latendamilano.com Al Bazar, Via A. Scarpa 49, 20145, www.albazarmilano.it Lanvin, Via Pietro Verri 8, 20121, www.lanvin.com Alberta Ferretti, Via Montenapoleone 18, 20121, www.albertaferretti.com Lardini, Via Gesù 21, 20121, www.lardini.com Alex Boutique, Via Padova 173, 20127, www.boutiquealex.com Larusmiani, Via Montenapoleone 7, 20121, www.larusmiani.it Alexander McQueen, Via Sant’Andrea 21, 20121, www.alexandermcqueen.com Laura Urbinati, Viale Col di Lana, 8, 20136, www.lauraurbinati.com Angela Orsolani, Via Vincenzo Monti 32, 20123 Loewe, Via Montenapoleone 21, 20121, www.loewe.com Animal House Concept Store-Dynamo, Via A. 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Andrea 8, 20121, www.chiaraboni.com Numero 21, Via Santo Spirito 14, 20121, www.numeroventuno.com Chicchi Ginepri, Via Daniele Manin 13, 20121, www.chicchiginepri.it Off-WHite, Via Bigli 2, 20121, www.off---white.com Chloè, Via della Spiga 30, 20121, www.chloe.com Pal Zileri, Via Manzoni 38, 20121, www.palzileri.com Collini, Via Santo Spirito 5, 20121, www.collini.com Paladini, Via Pietro Verri 4, 20121, www.paladinilingerie.com Daad, Via Santo Spirito 24a, 20121, www.daad-dantone.com Parosh, Via Santo Spirito 14, 20121, www.parosh.com De Molfetta, Corso Vercelli 11/13, 20144, www.corsovercellimilano.it Pasì, Piazza Risorgimento 10, 20129, www.pasimilano.it Desert Fish, Vicolo Privato Lavandai 6, 20144, www.desertfish.it Paul and Shark, Via Montenapoleone 16, www.paulandshark.com Diego M, By Appointment, www.diegom-store.com Paul Smith, Via Manzoni 30, 20121, www.paulsmith.com Dior, Via Montenapoleone, 12, 20121, www.dior.com Philipp Plein, Corso Venezia 7, 20121, www.plein.com Ditta Guenzati, Via Agnello 8, 20121, www.dittaguenzati.com Prada, Galleria Vittorio Emanuele II 62, 20121, www.prada.com Dolce & Gabbana, Corso Venezia 15, 20121, www.dolcegabbana.com Prada, Galleria Vittorio Emanuele II 63/65, 20121, www.prada.com Dolce & Gabbana, Via della Spiga 2, 20121, www.dolcegabbana.com Prada, Via Montenapoleone 8, 20121, www.prada.com Dolce & Gabbana, Via Montenapoleone 4, 20121, www.dolcegabbana.com Prada, Via S. 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leisure

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jewellery

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issue 4 May 2022 subscriptions: www.legrandmag.com

MILAN’S FINEST

Gioielleria Liviani, Corso Venezia 23, 20121 Gioielli Sas, Via dell’Orso 3, 20121, www.gioiellisas.com Giolina e Angelo, Via Solferino 22A, 20121, www.giolinaeangelo.com Giorgio Gregato, Via San Fermo 1, 20121 Giovanni Raspini, Corso Monforte 7, 20121, www.giovanniraspini.com Giovanni Raspini, Via della Spiga 33, 20121 www.giovanniraspini.com Iwc, Via Montenapoleone 1, 20121, www.iwc.com Jaeger LeCoultre, Via Montenapoleone 1, 20121, www.jaeger.lecoultre.com La Caramella D’Oro, Via Fiori Chiari 5, 20121, www.lacaramelladoro.com Les Nereides, Via dell’Orso 18, 20121, www.lesnereides.com Locman, Via Manzoni 11, 20121, www.locman.it Lucia Odescalchi, Via Gerolamo Morone 8, 20121, www.luciaodescalchi.com Malvezzi, Via Borgospesso 6, 20121, www.malvezzigioielli.it Marina Fossati, Via Gesù 15, 20121, www.marinafossati.com Merù Gioielli, Via Solferino 3, 20121, www.merugioielli.it Moreschi, Corso Venezia 5, 20121, www.moreschi.it Nomination, Corso Venezia 6, 20121, www.nomination.com Panerai, Via Montenapoleone 1, 20121, www.panerai.com Pasquale Bruni, Via Montenapoleone 5, 20121, www.pasqualebruni.com Passatempo, Via dell’Orso 18, 20121 Pederzani, Via Manzoni 29, 20121, www.gioielleriapederzani.com Pellini, Via Morigi 9, 20123, www.pellini.it Pennisi, Via Alessandro Manzoni 29, 20121, www.gioielleriapennisi.com Pianegonda, Via Gesù 3, www.pianegonda.com Pisa Orologeria, Via Verri 7, 20121, www.pisaorologeria.com Pomellato, Via Montenapoleone 17, 20121, www.pomellato.com Pomellato, Via San Pietro all’Orto 17, 20121, www.pomellato.com Salvini, Via Montenapoleone 25, 20121, www.salvini.com San Babila Gioielli, Via Umberto Giordano 2, 20121 Scavia, Via Rossari 5, 20121, www.scavia.it Tiffany, Piazza del Duomo angolo via Ugo Foscolo 1, 20121, www.tiffany.com Tiffany, Via della Spiga 19a, 20121, www.tiffany.com Ultima Edizione, Corso Venezia 8, 20121, www.ultimaedizione.com Van Cleef & Arpels, Via Montenapoleone 10, 20121, www.vancleefarpels.com Vhernier, Via Montenapoleone 21, 20121, www.vhernier.it Villa, Via San Carpoforo 3, 20121, www.villa.it cosmetics

Acqua di Parma, Via Gesù 1, 20121, www.acquadiparma.com Arts Design, Via dell’Orso 12, 20121, www.arts-design.it Jo Malone, Via Manzoni 18, 20121, www.jomalone.com Mazzolari, Corso Monforte 2, 20121, www.mazzolari-milano.com Santa Maria Novella, Corso Magenta 22, 20123, www.smnovella.com home

interiors

Alimonti, Corso Venezia 53, 20121, www.alimontimilano.eu Antonio Lupi Design, Via di Porta Tenaglia 7, 20121, www.antoniolupi.it Arclinea, Via Durini 7, 20122, www.milano.arclinea.com Areae, Via Palermo 5, 20121, www.areae.eu Armani Casa, Corso Venezia 14, 20121, www.armani.com/casa Artemide, Corso Monforte 19, 20121, www.artemide.com B&B Italia, Via Durini 14, 20122, www.bebitalia.com Barovier & Toso, Via Durini 5, 20121, www.barovier.com Binova, Via Durini 17, 20122, www.binovamilano.it Blanc Mariclò, Via dell’Orso 6, 20121, www.blancmariclo.com Borgospesso Interiors, Via Borgospesso 18, 20121, www.borgospessointeriors.com Cappellini Milano, Via Santa Cecilia, 4, 20122, www.cappellini.com Cassina, Via Durini 16, 20122, www.cassina.com Ceramica Cielo, Via Pontaccio 6, 20121, www.ceramicacielo.com Colefax and Fowler, Via Palermo 8, 20121, www.colefax.com Dalla Rosè, Via dell’Orso 12, 20121, www.dallarose.it De Padova, Via Santa Cecilia 7, 20129, www.depadova.com Design Republic, Piazza del Tricolore, 2, 20129, www.designrepublic.com Fendi Cucine, Via Durini 19, 20122, www.lmfmilano.it Flos, Corso Monforte 9, 20121, www.flos.com Foscarini, Corso Monforte 19, 20121, www.foscarini.com Frette, Via Manzoni 11, 20121, www.frette.com Funky Table, Via Santa Marta 19, 20123, www.funkytable.it Gervasoni, Via Durini 7, 20122, www.m.gervasoni1882.it Gessi, Via Manzoni 16/A, 20121, www.gessi.com Green Wise, Via Palermo 5, 20121, www.greenwiseitaly.com Interni, Via Turati 8, 20122, www.internionline.it Lenzuolissimi, Via dell’Orso 14, 20121, www.lenzuolissimi.it Lisa Corti, Via Lecco 2, 20124, www.lisacorti.com Luxury Living, Via Durini 11, 20122, www.luxurylivinggroup.com Luxury Living, Via Durini 23, 20122 www.luxurylivinggroup.com Natuzzi, Via Durini 24, 20122, www.natuzzi.it Nemo, Via Santa Cecilia 2 angolo Corso Monforte, 20121, www.nemolighting.com Officine Gullo, Via Dell’Annunciata 12, 20121, www.officinegullo.com Palermo Uno, Via Santa Maria alla Porta 5, 20123, www.palermouno.it Poltrona Frau, Via Manzoni 30, 20121, www.poltronafrau.com Porada, Via Borgospesso 18, 20121, www.porada.it Porro, Via Durini 15, 20122, www.porro.com Raw, Corso Magenta 10, 20121, www.rawmilano.it Raw, Via Palermo 1, 20121, www.rawmilano.it

Sahrai, Via Manzoni 45, 20121, www.sahrai.com Salvioni, Via Durini 3, 20122, www.salvioniarredamenti.it Sawaya & Moroni, Via Clerici 1, 20121, www.sawayamoroni-architects.com Spotti, Viale Piave 27, 20129, www.spotti.com MC Selvini, Via Carlo Poerio 3, 20129, www.mcselvini.it Talenti, Via Pontaccio 19, 20121, www.talentisrl.com Unopiù, Via Pontaccio 9, 20121, www.unopiu.it Vetrerie di Empoli, Via Montenapoleone 22, 20121, www.vetreriediempoli.it Visionnaire, Piazza Cavour 3, 20121, www.visionnaire-home.com art

Pasticceria Marchesi 1824, Via Montenapoleone 9, 20121, www.pasticceriamarchesi.com/it, +39 02 76008238 Pasticceria Marchesi 1824, Via Santa Maria alla Porta 11/a, 20123, www.pasticceriamarchesi.com/it, +39 02 862770 Ravizza, Via Hoepli 3, 20121, www.food4love.it San Carlo, Via Matteo Bandello 1, 20123, www.pasticceriasancarlo.it, +39 02 4812227 Sissi, Piazza Risorgimento 6, 20129, +39 02 76014664 St. Ambreus, Corso Matteotti 7, 20121, www.santambreusmilano.com, +39 02 76000540 bars

design

Fornasetti, Corso Venezia 21a, 20121, www.fornasetti.com Galleria d’arte Il Segno, Via dell’Orso 1, 20121, www.arteilsegno.it Galleria Silva, Via Borgospesso 12, 20121, www.galleriasilva.com Kartell, Via Turati 1, 20121, www.kartell.com Nilufar, Via della Spiga 32, 20121, www.nilufar.com Rossana Orlandi, Via Matteo Bandello 14, 20123, www.rossanaorlandi.com Venini, Via Montenapoleone 10, 20121, www.venini.com Walter Padovani, Via Santo Spirito 26a, 20121, www.walterpadovani.it vintage

antiques

Altomani & Sons, Via Borgospesso, 14, 20121, www.altomani.com Antichità Poliarts, Via Vigevano, 33 , 20144, www.antichitapoliarts.it Antichità Subert, Via della Spiga, 42, 20121, www.subert.it Cavalli e Nastri, Via Brera 2, 20121, www.cavallienastri.com Eleuteri, Via S. Andrea 7, 20121, www.eleuteri.nyc Giorgio Baratti Antiquario, Via Bigli, 11, 20121, www.giorgiobaratti.it L’Angolo D’Oro, Via Fratelli Bronzetti 9, 20129, www.langolodorowatches.it Le Gioie di Funaro, Via Pontaccio 17, 20121, www.legioiedifunaro.com stationery

Antica Cartoleria Novecento, Piazza Risorgimento 3, 20129 Fratelli Bonvini, Via Tagliamento 1, 20139, www.bonvini1909.com I Giorni Di Carta, Corso Garibaldi 81, 20121, www.igiornidicarta.it Pettinaroli, Via Brera 4, 20121, www.fpettinaroli.it Rigadritto, Via Brera 6, 20121, www.rigadritto.com toy stores

Città Del Sole, Largo Settimio Severo 4 (Corso Vercelli), 20144, www.cittadelsole.it FAO Schartz, Via Orefici 15 , 20123, www.faoschwarz.it L’Orso Poeta Daelli Arte e Gioco,Via Lazzaretto 2, 20124, www.artegioco.com Mihai Bambini e Dintorni, Corso Indipendenza 14, 20129 Nano Bleu, Corso Vittorio Emanuele II 15, 20122, www.nanobleu.it Tofy Toys, Via Fratelli Ruffini 9, 20123, www.tofytoys.it Tondomondo, Via San Calogero 27, 20123, www.infotondomondo.it flower

plants

Clori Home & Flowers, Corso di Porta Vigentina 36, 20122, www.clorimilano.it, +39 02 3952 5740 Fioraio Bianchi, Via Montebello 7, 20121, www.fioraiobianchicaffe.it, +39 02 2901 4390 Green Fingers Market, Via Savona 21, 20144, www.greenfingers.market, +39 02 5004 3657 If Creative Hub, Via Vigevano 15, 20141, www.ifcreativehub.it, +39 351 599 4549 La Fioreria, Via Cuccagna 2, 20135, www.lafioreriacuccagna.info, +39 339 392 7781 Numero 9, Via Pastrengo 9, 20159, www.numeronove.it, +39 02 6680 1669 Offfi, Via Carmagnola 8, 20159, www.offfi.com, +39 02 8341 2117 Potafiori, Via Salasco 17, 20136, www.potafiori.com, +39 02 8706 5930 Wild - Living With Plants, Via Sirtori 11, 20129, www.wildmilano.it, +39 02 2952 6732 book stores

Fondazione Feltrinelli, Viale Pasubio 5, 20154 Milan Libreria Bocca, Galleria Vittorio Emanuele 12, 20121 Milan Libreria dello Spettacolo, Via Terraggio 11, 20123 Milan Libreria Malavasi, L.go Ildefonso Schuster 1, 20122 Milan Libreria Punto Einaudi, Via Orti 19, 20122 Milan Libri Senza Data, Ripa di Porta Ticinese 57, 20143 Milan Rizzoli, Galleria Vittorio Emanuele 11/12, 20121 Milan pâtisseries

Bastianello, Via Borgogna 5, 20121, www.bastianello.com Cova, Via Montenapoleone 8, 20121, www.pasticceriacova.com, +39 02 76005599 Cucchi, Corso Genova 1, 20123, www.pasticceriacucchi.it, +39 02 89409793 Ernst Knam, Via Anfossi 10, 20135, www.eknam.com Galli, Corso di Porta Romana 2, 20122, www.giovannigalli.com, +39 02 86453112 Gatullo, Piazzale di Porta Lodovica 2, 20136, www.gatullo.it, +39 02 58310497 Iginio Massari, Via G.Marconi 4 ang. Piazza A.Diaz, 20122, www.iginomassari.it Leonardo, Via Aurelio Saffi 7, 20123, +39024390302 Lorini, Via Castel Morrone 23, 20129, www.pasticceria-lorini-milano.it, +39 02 29516086 Marchesi, Via Montenapoleone 9, 20121, www.pasticceriamarchesi.com, +39 02 76008238 Marotin, Via Archimede 59, 20129, +39 02 73957790 Pasticceria Giacomo, Via Pasquale Sottocorno 5, 20129, www.giacomopasticceria.com, +39 02 76319147

restaurants

a Santa Lucia, Via San Pietro all’Orto 3, 20121, www.asantalucia.it, +39 02 7602 3155 Antica Trattoria della Pesa, Viale Pasubio 10, 20154, www.anticatrattoriadellapesa.com, +39 02 6555741 Armani Ristorante at Armani Hotel Milano (Seventh Floor), Via Alessandro Manzoni 31, 20121, www.armani.com, +39 02 8883 8897 Assunta Madre, Via Vittor Pisani 2, 20124, www.ristoranteassuntamadre.it, +39 02 6706138 Bar Il Cigno Nero, Via Della Spiga 33, 20121, +39 02 7602 2620 Bar Luce Fondazione Prada, L.go Isarco 2, 20139, www.fondazioneprada.org Bar Martini, Corso Venezia 15, 20122, www.world.dolcegabbana.com Berton, Via Mike Bongiorno 13, 20124, www.ristoranteberton.com, +39 02 67075801 Bice, Via Borgospesso 12, 20121, www.bicemilano.it, +39 02 795528 Boeucc, Piazza Belgioioso 2, 20121, www.boeucc.it, +39 02 76020244 Bottiglieria Spartaco, Via Spartaco 11, 20135 Bulk, Via Aristotile Fioravanti 4, 20154, www.morellimilano.it Camparino Galleria, P.za del Duomo 21, 20121, www.camparino.com Contraste, Via Giuseppe Meda 2, 20136, www.contrastemilano.it, +39 02 49536957 Cracco, Corso Vittorio Emanuele II, 20121, www.ristorantecracco.it, + 39 02 876774 D’O, Piazza della Chiesa 14 San Pietro All’Olmo, 20100, www.cucinapop.do, +39 02 9362209 Dim Sum, Via Nino Bixio 20, 20129, www.dimsummilano.com, +39 02 29522821 Don Carlos at Grand Hotel et de Milan, Via Alessandro Manzoni 29, 20121, www.grandhoteletdemilan.com, +39 02 723141 Don Lisander, Via Alessandro Manzoni 12/A, 20121, www.donlisander.com, +39 0276020130 El Brellin, Alzaia Naviglio Grande 14, 20144, www.brellin.it, +39 02 58101351 El Porteno Arena, Viale Elvezia 4, 20154, www.elporteno.it, +39 02 58437593 Finger’s Garden, Via Giovanni Keplero 2, 20124, www.fingersrestaurants.com, +39 02 606544 Giacomo Bistrot, Via Pasquale Sottocorno 6 , 20129, www.giacomobistrot.com, +39 02 76022653 Giacomo Rosticceria, Via Pasquale Sottocorno 36, 20129, www.giacomomilano.it, +39 02 76023313 Giannino dal 1899, Via Vittor Pisani 6, 20124, www.gianninoristorante.it, +39 02 36159520 Horse, Viale Montenero 21, 20135, www.horsecafe.eatbu.com, +39 02 550120169 Il Luogo di Aimo e Nadia, Via Privata Raimondo Montecuccoli 6, 20147, www.aimoenadia.com, +39 02 416886 Il Salumaio di Montenapoleone, Via Santo Spirito 10 - Via Gesù 5 at Palazzo Bagatti Valsecchi 20121, www.ilsalumaiodimontenapoleone.it, +390276001123 La Briciola, Via Marsala 2, 20121, www.labriciolamare.com, +39.02.6551012 La Brisa, Via Brisa 15, 20123, www.ristorantelabrisa.it, +39 02 86450521 Langosteria, Via Savona 10, 20144, www.langosteria.com, +39 02 58111649 Latteria San Marco, Via San Marco 24, 20121, +39 02 6597653 Lubar, Via Palestro 16, 20121, www.lubar.it, +39 02 83527769 Mandarin Bar & Bistrot at Mandarin Oriental Milano, Via Monte di Pietà 18, 20121, www.mandarinoriental.com, +39 02 8731 8898 Morelli, Via Aristotile Fioravanti 4, 20154, www.morellimilano.it, +39 02 80010918 Nobu at Armani Hotel Milano, Via Gastone Pisoni, 1, 20121, www.armani.com, +39 02 62312645 Omega 3, Via Francesco Guicciardini 8, 20129, www.ristoranteomega3.it, +39 02 76024111 Peck, Via Spadari 9, 20123, www.peck.it, +39 02 8023163 Pescatore, Via Atto Vannucci 5, 20135, www.trattoriadelpescatore.it, +39 02 58320452 Potafiori Salasco, Via Salasco, 17, 20136, www.potafiori.com, +39. 02 87065930 Ralph Lauren opens new flagship “World of Ralph Lauren” in 2021, Via della Spiga 5, www.ralphlauren.it Ribot, Via Marco Cremosano 41, 20148, www.ribotmilano.it, +39 02 33001646 Ristorante Da Giacomo, Via Pasquale Sottocorno 6, 20129, www.giacomomilano.com Ristorante Olmetto, Via Disciplini 20, 20123, www.ristoranteolmetto.it, +39 02 91663899 Romito at Bulgari Hotel Milano, Via Privata Fratelli Gabba 7b, 20121, www.bulgarihotels.com, +39 02 805 8051 Sadler, Via Ascanio Sforza 77, 20141, www.ristorantesadler.it, +39 0258104451 Savini Milano 1867, Via Ugo Foscolo 5, 20121, www.savinimilano.it, +39 02 72003433 Seta at Mandarin Oriental Hotel Milano, Via Monte di Pietà 18, 20121, www.mandarinoriental.com, +39 02 8731 8897 Sine, Viale Umbria 126, 20135, www.sinerstaurant.com, +39 02 36594613 Sumire, Via Varese 1, 20121, www.ristorantesumire.com, +39 02 9147 1595 TakeAway Bistrot, Via San Marco 33, 20121, www.takeawaybistrot.it, +39 02 6552204 Terrazza Gallia at Excelsior Hotel Gallia, Piazza Duca D’Aosta 9, 20124, www.terrazzagallia.com, +39 02 67853514 Terrazza Martini, P.za del Duomo 36, 20121, www.martini.com The Doping Club, Piazza Ventiquattro Maggio 8, 20123, www.aethoshotels.com/ milan/the-doping-club The Manzoni, Via Manzoni 5, 20121, www.themanzoni.com, +39 02 8909 4348 The Doping Bar, The Yard by Aethos Hotels, Piazza XXIV Maggio, 8, 20123, www.theyardplaces.com, +39 02 89415901 Voce Aimo e Nadia, Piazza della Scala 6, 20121, www.voceaimoenadia.com, +39 02 40701935 Voce in Giardino, Via Manzoni 10, 20121, www.voceaimoenadia.com, +39 02 40701935 Yuzu, Via Lazzaro Papi 2, 20135, www.yuzumilano.it, +39 02 87087152

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