Author Archives: Yan Joon Wing

New 2021 Rolls-Royce Ghost represents post-opulent design: Perfection in simplicity

Emblematic of spearheading an era of post-opulence, the first Goodwood Ghost was a response to a whole new generation of clients, both in age and attitude. The Ghost is a slightly smaller, less ostentatious Rolls-Royce with the full flavour and provenance of the legacy and luxury which exemplified the brand for the last 116 years.

The most technologically advanced Rolls-Royce yet, the new Ghost reflects a minimalist philosophy which rejects superficial expressions of wealth, underpinning our last conversation with the brand’s Head of Bespoke Alex Innes, “ With a Rolls-Royce there’s always this sense of etiquette, and a feel for having just the right gesture, at the right moment that it’s perceptive to the situation whether it’s the careful offering of an umbrella from the door, as soon as it starts to rain or it’s indeed the fact that the coach doors open to the rear to ensure that you can access and egress the car in the most elegant fashion. There is this subtle sense of what’s right, these details extend also to people’s perception as well.”

‘post-opulent’, ‘limited, intelligent, and unobtrusive’.

Post-Opulent Aesthetics: New Rolls-Royce Ghost represents Perfection in simplicity

Indeed, as a quintessentially British brand, there’s a civility which permeates every fibre of a Rolls-Royce’s rigid aluminium spaceframe architecture. Over its ten-year lifespan, the Ghost has become the most successful model in the marque’s history for good reason: By listening carefully to their discerning clientele, the Goodwood carmaker inevitably set new benchmarks in customer centricity by creating a completely new motor car. Sublimely engineered, hugely charismatic, the new Ghost pushes technological boundaries which on the surface , appears more the purview of the makers of performance sports cars rather than stately sedans for captains of industry.

Beneath the surface, significant advances were made with the marque’s proprietary aluminium spaceframe architecture. A revolutionary development first used on Phantom, then Cullinan, this spaceframe is unique to Rolls-Royce and enables the brand’s designers and engineers to develop an authentically super-luxury product, free from the constraints of traditional platforms used to underpin high- volume vehicles.

Speaking to Rolls-Royce’s Luxury Intelligence Specialists, highly successful, diverse and globalised entrepreneurs and founders, spoke of their needs for a vehicle that could be as connected and integrated into their lives as their connected technology. They yearned for a drive that could perform the dual role from day-to-day business to a weekend drive: in other words a super-luxury saloon that was simultaneously dynamic, serenely comfortable and perfect in its minimalism.

Less but better

These were profound learnings: As Ghost clients required even more of their motor car, Rolls-Royce incorporated technology such as all-wheel drive and all-wheel steering in Ghost , unlocking an entirely new, purposeful personality that clients soon came to realise that Rolls-Royce could offer more than a chauffeur-driven experience.

Downplaying the parthenon-esque grille of the Phantom sedan and shifting to nimbler proportions, the Ghost enjoys the sensuous curves, departing from the high and crisply formal roof and shoulder lines of its other brethren, opting for for billet-smooth body panels and a tapered silhouette instead. According to Innes, ’Post Opulence’ is characterised by reduction and substance. In service to this, the Rolls-Royce Ghost curates exceptional materials and a simpler yet uncompromising aesthetic where Design is purposefully limited, intelligent and unobtrusive. What results is new Ghost. An automobile so precisely tailored to its clients, that it appears perfect in its simplicity which belies its remarkable substance.

The interior cabin of the Ghost echoes her exterior: a clean, almost uninterrupted dashboard with a generous dose of natural wood panelling and other esoteric (depending on your choice of bespoke material) finishing with a glowing Ghost nameplate on the passenger side using over 150 LED lights and 90,000 laser-etched dots to disperse some gentle, almost mesmerising ambient lighting.

“Bespoke” is not just some buzzword at Goodwood, it applies to the audio system as well. Highly engineered aesthetics incorporate a resonance chamber into the body’s sills, effectively turning the car into a giant sub-woofer. A home away from home, 18 channels to provide 1300W output, channelled through magnesium-ceramic speaker cones where active microphones detect frequency imbalances which the amplifier automatically compensates for, CEO Torsten Müller-Ötvös calls it, “the best way to get through heavy traffic” and we agree.

Presciently and of utmost importance to Rolls-Royce since 2015, Micro-Environment Purification System with ultra-sensitive impurity sensors detect airborne contaminants, protecting clients from harmful carbon and pollen particles, as well as contaminants. One might tolerate the day-to-day reality of traffic James but Covid-19 isn’t really the kind of thing that can be ‘tolerated’. Detecting a threat, the MEPS has a Recirculation Mode channels all cabin air through a Nanofleece filter capable of removing nearly all ultra-fine particles from the Rolls-Royce’s micro environment in less than two minutes.

It’s very much a driver’s Rolls-Royce. The modular aluminium chassis with its bulkhead, floor, and crossmembers have been repositioned; and augmented by the world’s first Planar suspension system, the Ghost enjoys significantly improved agility and effortlessness. One doesn’t so much as drive a Ghost bur rather pilots it.

Equipped with the hallmark 6.75-litre twin-turbo V12 engine, delivering 571PS and 850nm, it’s not so much the power and impeccable handling but a holistic concept that Rolls-Royce dubs “Formula for Serenity”. Utilising 100 kilograms of sound-deadening material and know-how, Goodwood’s acoustic engineers identified ‘hidden inputs’ and examined every component to create a ‘near-silent’ soundstage – the trick of soundstaging is that anything would be an annoyance in a zero-sound environment, what the new Ghost demonstrates is a suppressed buzz and a ‘cultured’ but still no less throaty roar when the twin-turbo power plants kicks it up a notch.

The new Ghost is perfect in its simplicity, but created with maximum adaptability, a creature in harmony with the needs and multi-hyphenate portfolios of its high achieving owners and perfectly in tune with the times.

Discover the full story of the new Rolls-Royce Ghost

By Jonathan Ho

Baby Dior Inspires Renewed “Baby Fever” With an All-New Essential Line For Boys

While “baby fever” a.k.a. the longing for a child, is not a new phenomenon, an increasing number of youths in their late teens and early twenties are actively striving to create mini versions of themselves. Perhaps not for reasons we are traditionally familiar with, and despite how infectiously adorable babies are, young children seem to be doing alarmingly well in the world of social media – making them ideal bait for likes, follows and subscribes – which in this day and age, can make you a lot of money.

Baby Dior Inspires Renewed “Baby Fever” With an All-New Essential Line For Boys

Take DJ Khaled’s son for example. With a birth documented on Snapchat, and over 1.8M Instagram followers by the time he was three, Asahd Khaled is just one of many instances children have proven more desirable than adults. In fact, in 2018, the highest-paid YouTube star was a seven-year-old who reviewed toys and had garnered at least $22M in a year.

Without having to look too far at the grandiosity of celebrity children, viral Twitter and Instagram posts happen to be evidence in itself of the subconscious commodification of children. Dressed to the nines in the latest designer brands and trends, with hair styled professionally, softly blushed cheeks and the lighting just perfect; the prevalence of these images over the past few years have sparked an immense online debate on everything from parenthood, to the dangers of social media, and the ingrained superficial morals/wellbeing/priorities of our next generation.

I say all this as a reminder to maintain balance and be responsible to the subconscious habits that we pass down to those younger than us. Besides, looking good has never been bad. As a matter of fact, dressing up pretty and have my photo taken without needing to ask for it, was probably the best part of childhood, second only to sweating buckets in the playground and playing hide-and-go-seek across residential buildings.

Echoing the Dior Essential Men’s Capsule Designed by Kim Jones, Baby Dior unveils a series of looks inspired by its singular aesthetic, combining elegance and a sportswear spirit. Fusing timeless shapes and monochrome shades of navy blue, grey and white, these exceptional designs play on house codes such as the Dior Oblique motif, which patterns down jackets and shirts in a tone-on-tone version; as well as the CD icon logo, which punctuates sweatshirts, polo shirts, and T-shirts. Designed to mix and match to create a unique look, these emblematic pieces are currently available on the official Baby Dior website.

By Julia Roxan

Squared and Skeletonised

A black shiny, square watch is one of the enduring images that comes to mind when one mentions Rado. It was the same feeling Matthias Breschan, then-CEO of Rado, vividly recollected when he first joined in 2011, as he told us during an interview we had with him in issue #56. More importantly, the brand recall is a testament to the watchmaker’s efforts in differentiating itself from increasingly stiffer competition. That shiny, square watch is the Ceramica, which was launched in 1990, but three decades on, Rado embarks on a new adventure as it seeks to build on a legacy in watchmaking that it pioneered.

The True Square, as the new collection is named , is positioned under the brand’s True umbrella. This includes the True, True Thinline and now, the True Square collections. Though each collection has a unique identity, all share DNA — watches made entirely in high-tech ceramic offering unparalleled lightness and comfort for the wearer (elsewhere in the issue, we advance the notion that ceramic might be one of the most comfortable materials to wear – Ed)

For the first time, Rado has manufactured a square watch with an injected monobloc case construction using either high-tech ceramic or plasma high-tech ceramic. The former can be finished with a matte or high-glossy appearance while the latter radiates a metallic glow. Both enable rounded curves, instead of angular ones, which accentuate the fluidity of the case construction as it flows to meet the matching bracelet. A titanium caseback is fitted to reduce the weight further, bringing the entire package to an astonishing 120g, including the bracelet.

The True Square Automatic Open Heart seen here offers a different approach to the otherwise elegant-looking True Square Automatic. The industrial approach to skeletonisation at this level imparts a steampunk sensibility to the Open Heart that is unlike any other Rado watch. The openworked dial offers a glimpse at the 80-hour power reserve automatic ETA C07.631 calibre and the Côtes de Genève decorated movement holder. Three variations of the True Square Automatic Open Heart are produced — high-polished high-tech ceramic in black or white and a plasma high-tech ceramic in bluish grey .

Rado True Square Automatic Open Heart Specs and Price

Movement Automatic ETA C07.631; 80-hour power reserve

Case 38mm in high-polished high-tech ceramic or plasma high-tech ceramic; water resistant to 50m

Strap Matching high-tech ceramic bracelet

Price $3,460 (black ceramic) $3,760 (plasma) and $4,340 (white ceramic)

By Asaph Low

Cartier Unveils an All-New Fall/Winter 20 Eyewear Collection Inspired By Flight

How vintage mountaineering sunglasses looked thanks to the work of Frenchman Jules Baud, the founder of Julbo

Mountaineering sunglasses are about as old as when humans decided that climbing mountains and scaling new heights was a good idea. As soon as these madmen started encountering the blinding rays of unfiltered sunlight in the upper atmosphere, man realised that if we were going to go these places – fly above the clouds or climb massive peaks glacial snow, we were going to have to deal with the brutal reflections of blazing light unbroken clouds.

Some of the oldest companies claim that this new breed of sunglasses made for the adventurous were developed as early as the 1880s. As Doug K. Scott had outlined in his book Big Wall Climbing, we begin summiting mountains in the 1850s, which meant that 30 years of development time and innovation by pioneers like Frenchman Jules Baud, the founder of Julbo, had been looking into the eye protection needs of Alpine mountaineers and Charmonix crystal miners since 1888; but it wasn’t until the 1950s, that Julbo heralded an usual yet stylishly appointed visage of what they considered the “modern sunglasses” – leather shielded in the usual areas which would typically allow light in, like at the nose bridge and the temple areas, Julbo Vermonter shades introduced the world to a style of classical sunglasses that would never be created again with such panache. That is until today.

Cartier’s modern interpretation – Santos de Cartier, taking cues from aviator Alberto Santos and the death defying antics of early mountaineer pioneers who climbed Mont Blanc. Retail: S$1290

Scaling heights: Cartier Unveils an All-New Fall/Winter 2020 Eyewear Collection Inspired By Flight

Suffice it to say, the advent of flexible materials like titanium and high-tech acetate plastics, have meant that most sunglasses today adopt a more futuristic wraparound style instead of the leather bound sunglasses from the 19th century. Cartier revives this long lost aesthetic with their latest Fall/Winter 2020 eyewear collection; sans eye-cup sunglasses, the classicism is a welcome throwback to an era when outdoor accessories were less technical and more stylish.

Through utilizing geometric shapes and signed details, Cartier’s savoir-faire comes to life in the all-new Fall/Winter 20 Eyewear collection. With a distinguishing Santos de Cartier style, the collection aims to evoke memories of the iconic watch created in 1904 for aviator Alberto Santos Dumont. The navigator and pilot designs thus exude a strong masculine aesthetic that is bold and instantly recognizable, whilst visible screws punctuate the luminous contours to recall airplane rivets, and the frames’ sharp profiles echo the emblematic cut of the Santos watchcase.

The Maison’s passion for high refinement is expressed by the Trinity de Cartier frames inspired by the namesake ring and its signature interlaced design. A luminous mix of materials and precious finishes elevates the elegant proportions of the sunglass and optical styles, which bear a front knot detail and a miniature ring as a symbol of friendship, love and fidelity.

By Julia Roxan

Titans of Trail Running, Katie Schide and Germain Grangier, Take On The Alps and a Giant Quest of Epic Proportion

With more than 42 hours in the mountains, traveling over 188 kilometers and accumulating approximately 15,000 meters of elevation over two summits over 4,000m, the iconic ultra athletes and champion trail running duo, Katie Schide and Germain Grangier, can now add their epic adventure in the Alps to a growing bucket list-worthy series of adventures completed. Their ultimate challenge would command a deep understanding and utmost respect for the mountainous terrain and expansive glaciers they would encounter over four-and-a-half days of gruelling exploration across one of the highest mountain ranges in the world.

Titans of Trail Running, Katie Schide and Germain Grangier, Take On The Alps and a Giant Quest of Epic Proportion

This gallant expedition and compelling paradox between two people in love with each other and with the mountains is depicted in a new short animated film entitled “Taming Giants” produced by On, Studio AKA and creative director, Simon Brotherson, released at on-running.com/taming-giants. As the first animated production by the Swiss sportswear company, the imaginative film tells the tale of adoration and respect for nature—a force that cannot be conquered—where giants watch over those who dare to enter its kingdom with challenging eyes.

“This has become the ultimate adventure, resulting in a mammoth achievement by two of the most determined ultra athletes in the world,” says Feliciano Robayna, Head of Sports Marketing at On. “Katie and Germain have a deep respect and understanding of mountain landscapes, having both studied geology, and the nature that surrounds them. The time devoted to preparing and planning their journey shows the enduring commitment they have towards accomplishing each project with extreme efficiency. We have commissioned a creative adaptation of their story into our own version of events through imaginative animation—our first production of its kind. Taming Giants is also a film about two talented and competitive athletes, doing what they do best, challenging themselves and pushing their ability to the absolute limits.”

As elite athletes in the world of trail running (both top ten UTMB contenders in 2019) Katie and Germain were eager to combine mountaineering with their love for trail running. Their latest project had been in development for some time, requiring several months of logistical planning and preparation. But as any climber will tell you, while breathtakingly beautiful and awe inspiring, mountains can also be cruel and unforgiving, unless you treat nature’s most arduous landscape with reverence, whereby it will offer kindness and passage in return.

“It’s a few days of enjoying lots of time outdoors, listening to the mountains, testing our limits, gauging risk, and constantly adapting in the moment,” says Germain. “We share adventures in the high mountains to explore new summits, ridges, valleys, and glaciers as a simple endurance challenge. It’s what we live for.”

Setting out at dawn on Sunday, July 19 in Cervinia, Italy, Katie and Germain began their journey by climbing the Breithorn, a summit over 4,000m on the border between Switzerland and Italy. After spending the night at the beautiful Schönbielhütte (Schönbiel Hut), they departed for a 120km passage on the famous Glacier Haute Route, stretching from Zermatt in Switzerland, to Chamonix in France. Forced to take refuge from the weather in Chamonix, they completed their trip the next day, by climbing the Mont Blanc in less than 12 hours. Here is a timeline of their remarkable experience.

Day 1 – Cervinia to Schönbielhütte – 35km

On Sunday, July 19th at 5:00am, Katie and Germain left Cervinia in Italy to reach the summit of the Breithorn (4,164m). They arrived at the crack of dawn before descending towards Zermatt in Switzerland and eventually reaching Schönbielhütte, the final stop for day one, allowing for cooler temperatures and safe passage across the upcoming glaciers the next morning A total of 35 kilometers and 2,700 meters of elevation was completed in just six hours.

Day 2 – Schönbielhütte to Chamonix, Les Houches – 115km

On Monday, July 20th at 5:20am, Katie and Germain left Schönbielhütte in Switzerland to run the reverse course of the Glacier Haute Route, crossing glaciers and high mountain passes from Zermatt, reaching Les Houches near Chamonix. They could move quickly thanks to cold nights that froze the snow for safe running conditions. After their initial crossing of the renowned Stockji glacier, the day continued with five more glacier crossings before hitting the final challenge: the 8km Otemma glacier. After taking much-needed breaks on their journey, Katie and Germain continued the 115km route by running through the night. Arriving 24 hours later at the fog-covered Col Supérieur du Tour above Trient, they eventually arrived at the bottom of Mont Blanc in Les Houches, midday on Tuesday, July 21st. Stage Two ended with a total of 115 kilometers and 7,000 meters of elevation accomplished in 24 hours.

Day 3 – Les Houches via the Mont Blanc Summit – 33km

For the final stage, Katie and Germain return to mountaineering with the ascent of the Mont Blanc via the normal route through the Col de Goûter. After spending Wednesday in Les Houches because of bad weather conditions, Katie and Germain rested while waiting for the ideal weather window. On Thursday, July 23rd at 2:00am, they left Les Houches for the majestic Mont Blanc—a 33km route that brought them to the summit after 4,000m of climbing. Summitting and descending Mont Blanc in one day is an incredible feat, as the highest mountain in western Europe, normally completed over two or three days and often assisted by train for the first 1000 metres. Katie and Germain completed the two-way expedition in under 12 hours, arriving back in Les Houches after just 11 hours and 30 minutes, completing the last stage of their extraordinary adventure through the mountains.

“With most of the events cancelled this year, this project was a good opportunity to go back to the roots of what we love most: spending long days moving through the mountains,” says Katie.

By Julia Roxan

Geared Online Presents The 1957 Mercedes-Benz 300 SL “Gullwing” For Auction

An absolute dream car to this day, the 1957 Mercedes-Benz 300 SL “Gullwing” is one of the most ground-breaking and important automobiles ever produced. Only 1,400 of the famous cars built between 1954 and 1957, sport iconic upswinging doors, reminiscent of seagulls. Crowned the “sports car of the century” in 1999, a mere few have since been restored to their stunning original condition.

Geared Online Presents The 1957 Mercedes-Benz 300 SL “Gullwing” For Auction

Worth an estimated one to 1.3M dollars on Gooding & Company’s Geared Online auction series, the example offered is the product of restoration by expert Jerry Hjeltness. Once the property of a machinist in Compton, California, this car boasts the best fitting panels of any 300 SL in existence. According to a restoration summary written by Mr. Hjeltness, “Our restoration shop has just completed a full body-off restoration/remanufacture process on the above referenced automobile to a 100 point show standard. The car has been completely disassembled. Every component was renewed, restored or replaced to new or better condition.”

Clinching the “Best of Show” accolade at the Le Cercle Concours in California, this new and improved 1957 Mercedes-Benz 300 SL “Gullwing” was also exhibited at the 2003 Gullwing Group convention in Jackson Hole, an entire 535.2 mile-drive-away. Used sparingly and regularly maintained in Mr. Hjeltness’ personal collection, this rare find was installed with a rebuilt injection pump and steering box, alongside enhanced fuel, electrical and ignition systems, with some cosmetic work and detailing.

Now available for auction in stunning condition with an incredibly fresh restoration, this 1957 Mercedes-Benz 300 SL “Gullwing” is finished in Silver (DB 180) over a Green leather interior with matching green fitted luggage, a desirable sport camshaft, and Rudge-style knock-off wheels. Complete with its original instruction manuals, Becker radio manuals, workshop manual, knock-off hammer, tool kit, auxiliary work light, spare tire, and jack, the car is currently listed with a chassis number 198.040.7500027, under lot 26.

By Julia Roxan

Dior opens in Pavilion KL

The wait is finally over. Located at the main entrance of prestigious shopping mall Pavilion Kuala Lumpur, the new Dior boutique houses both menswear and womenswear.

Catching eyes with its imposing facade bedecked in its signature Cannage motif, the boutique is a pastiche of the Lady Dior, accentuated by the lustre of lines. Inside, townhouse grandeur informs the store with soft colours and tactile textures. Furniture in neutrals and wood flooring contrast with pristine interiors, creating an inviting ambience.

Home to women’s and men’s ready-to-wear, accessories, fine jewellery and footwear, the latest store in town is the go-to place for Dior fans to invest in the brand’s iconic creations including the Book Tote, the Bobby Bag and the Saddle Bag. The boutique also boasts a verdant garden, offering escapism for city dwellers from bustle.

To maximise shopping pleasure, the Dior Pavilion Kuala Lumpur boutique provides ABCDior personalisation service, allowing customers to create their very own “triumph” from the icons and seasonal creations like bags, footwear and hats.

Jose Jeuland Documents Life On The Roof of The World

Capturing community, hardship, joy and everyday life as an inhabitant on the roof of the world, Singapore-based French photographer, Jose Jeuland, publishes his very first documentary photography book. Showcasing the warmth and hospitality he was presented with on his journey through the Tibetan Autonomous Region, the book presents a compilation of emotional, and caring portraiture.

Jose Jeuland Documents Life On The Roof of The World

As a firm believer of passion, Jose Jeuland’s professional photography journey began with an appetite for documenting lesser-known cultures in the world. His social-relational skills, alongside his curious and benevolent gaze on the world, not only led him to form invaluable connections with people from diverse walks of life, but has formed the backbone of this book.

In a spur spontaneity, Jose Jeuland embarked on a 15-hour bus ride from Chengdu, China, where he met a kind lady, with a Monk for an uncle, who was curious about the purpose of his trip. The two engaged in a hearty conversation which serendipitously led him to her family home, where he sought shelter for the next eight days. With an open mind and an equally open heart, Jose explored the surrounding land, setting his sights on the free-spirited kids with cute rosy cheeks and folks who worked hard in the fields.

“People there are filled with vitality and strength amidst the harsh weather and living conditions. The place is indeed rich in its own unique culture and traditions that have been around for many generations. They lead simple lives and are devoted to their strong religious beliefs. Donning comfortable and conservative clothes, they shield themselves from the harsh weather while making a statement with their individual styles. The natives are welcoming and hospitable, making them enjoyable to be around as they make you feel comfortable as a visitor,” Jose recollects his cultural experience through the Tibetan streets.

With the launch of TIBET, Jose expresses his deep sense of humble appreciation for the hardworking Tibetan community. Utilizing his FUJIFILM GFX 50R in a digital medium format, Jose Jeuland showcases immediate clarity of their rich cultures and traditions. His book concludes with a Special Edition Analogue that reveals 12 photos taken with a vintage Flexaret IV (manufactured in 1956) medium format camera.

Currently, on the lookout for opportunities to get TIBET through the doors of bookstores, Jose Jeuland hopes to one day publicly exhibit his work in an effort to provide an immersive experience for guests to enjoy the rich diversity of humble and authentic content of Tibet. Till then, TIBET is available online in two sizes (15cm x 15cm and 21cm x 21cm).

By Julia Roxan

Japan’s Latest Internet Celebrity is CGI-ed To Perfection

Imma, which ironically translates to ‘now’, is the world’s first CGI fashion model. Devised in Japan, Imma’s hyper-realistic features are the product of the nation’s leading technological advances and the expert graphic artists of CG company ModelingCafe. Not for nothing, the countless hours spent chained to a keyboard and screen have surely paid off – as of today, Imma has amassed over 255K followers on Instagram, and secured innumerable brand campaigns and collaborations.

Japan’s Latest Internet Celebrity is CGI-ed To Perfection

Gracing the cover of Japan’s CG World magazine and i-D Japan, the birth of Imma was swiftly met with controversy, as the fashion industry remains hesitant to include CGI models on their line-up. Despite this, her popularity is undeniable, especially in Japan – a country so obsessed with manga and anime, that admiring virtual beauty comes fairly natural. Considered a new addition to an already extensive list of lionized virtual celebrities, such as Japan’s most adored holographic pop star, Hatsune Miku, Imma’s perfect proportions, flawless skin, pastel pink hair, and uniquely kawaii style, carries an extraordinarily natural and believable presence, even though she may never step foot on a catwalk or physically appear at a live fashion event.

Teaming up with a luxury ice-cream brand late last month, Imma featured on Magnum’s global creative platform “Never Stop Playing”. Kicking-off the launch of its all-new matcha flavour with a playful twist, the campaign’s ultimate aim was to establish competitive dominance in mainland China through boosting the brand’s virtual visibility. As the first ever flavour created specifically for the Chinese market and the first-ever campaign led by a CGI influencer, Magnum’s collaboration with Imma makes marketing history with a series of television commercials, key visuals, social content and promotional sites.

Like every influencer ever, sharing the intimate details of their life online is part and parcel of what makes them so appealing. In celebration of IKEA Japan’s new city shop opposite Harajuku station in Tokyo, Imma worked in close collaboration with the brand to create a 3-day installation of her daily at-home rituals. Honored with her very own in-store apartment, Imma showcased the beauty of small space living through a variety of home furnishing solutions. The collaboration which aims to inspire and help the youth of Tokyo to find their own happiness at home amidst a global pandemic, features Imma doing everything from dancing to yoga, and more mundane tasks like vacuuming and watering her plants.

In light of ongoing social distancing regulations, the 3-day installation which combines physical space with LED screens and light meters capable of tracking colour temperatures, daylight intensity, and weather, was broadcast live on IKEA Japan’s official YouTube channel despite drawing at least 110,000 physical visitors per day. Never straying from the public eye, Imma keeps her fans updated in real-time, regardless if she’s doodling on a window, or bouncing around her living room. With her specially curated Spotify home playlist and immense TikTok presence, Imma grows more and more human every day, and has even become a proud dog-mom.

While Computer Generated Imagery (CGI) may seem intimidating to those uninitiated, the concept has long surpassed the future. CGI has penetrated our present time more than we realise. Using computer generated imagery to fill as much as 75% of all product offerings, IKEA has become one of the most skilful special effects studios in the world. Aggressively ramping up its use of computer generated imagery in their catalogues, the Swedish furniture company is among many who believe that “the best special effects are often the ones you never notice”. Through enabling brands to produce product and marketing shots in a shorter turnaround time, CGI technology has proven to populate websites with images that are photo-realistic and emotive, even more so than real-life photographs.

By Julia Roxan

Saint Laurent Luxury Upcycling – Helmut Lang Breathes New Life Into Anthony Vaccarello’s Abandoned Ideas

At the Saint Laurent flagship in the former Colette space on Rue St. Honoré, the much anticipated yet highly unexpected collaboration with elusive former fashion designer Helmut Lang, depicts a new and invigorating vision for a post-pandemic fashion industry. This special collaboration, dubbed “Helmut Lang curated by Anthony Vaccarello”, is part of a larger Saint Laurent Rive Droite project, where Anthony gives his creations to an artist in exchange for a set of unique sculptures.

Artistic Upcycling: Helmut Lang Breathes New Life Into Anthony Vaccarello’s Abandoned Ideas

Handpicked by the Creative Director himself, Helmut Lang – whose body of work in fashion reflect a strict construction that can only be seen as an underground influence upon Anthony’s vision – has long grown into a deep source of inspiration and fascination, “For my generation, he is the ultimate designer of the ’90s. I consider him at the same level as someone like Coco Chanel for the way he brought realness into fashion, something that everyone is still copying. Helmut was the first to stand up against artificial promotional messages, his vision and art direction brought everyone back to the real and meaningful essence of fashion.” Regarded the ultimate embodiment of minimalism, modernity and restrained opulence, Helmut Lang’s inventions, unorthodox way of life and mysterious charm, has earned him a reputation for being the person to always make unfailing decisions.

Paying careful attention to modern issues like sustainability, durability, lasting power of the ever-shifting nature of fashion collections and cycles, Anthony Vaccarello’s collaboration with Helmut Lang presented the perfect opportunity to expand his perception of the designer. Straying away from Lang’s common associations with denim and workwear clothing, Anthony finds that Lang is in fact an ideal interlocutor for a project that is also a dialogue.

Questioning the very definition of luxury and the meaning of the clothes’ function, Helmut Lang has worked closely alongside artists such as, Louise Bourgeois and Jenny Holzer. Unable to help himself, Lang’s one-off collaborations quickly turned into a habit during the 21st century, making him the pioneer of artist-and-fashion-designer-led assignments. These close links put new interrogations at the forefront of the ever-evolving fashion industry: fashion a form of applied art, the time-frame of fashion creations, and its more or less perennial impact on global culture, which are probably the only few that are still at the heart of today’s discussions.

Unlike his other projects, the invitation to work with Saint Laurent seemed far too appealing to pass on, for a number of reasons. In an email interview with Business of Fashion, Helmut Lang, who is now a full-time artist since 2005, expressed his great honour and excitement, stating, “I always had the utmost respect for the work of Yves, and Anthony has created an unparalleled vision for YSL, furthering the house’s legacy in a truly contemporary way. Anthony was the first person in fashion to engage in a collaboration focusing on my artwork. As I collaborated with artists in different ways throughout my time in fashion, it was intriguing to be in the reversed position.”

With a unique ability to turn items, either raw or discarded, into pieces of art, the “Helmut Lang curated by Anthony Vaccarello” collaboration is based off a selection of clothing and accessory prototypes, alongside garments and jewels left unfinished and deserted. Shredded, mixed with a pigmented resin to then be moulded in aluminium, these former fashion objects have become primal totems with unique textures reminiscing both, a precious past and a promising future, thus allowing the remaining testimonies of Anthony Vaccarello’s creativity to be morphed into a new life. The finalised sculptures will be displayed at Rive Droite, first in Paris, then in Los Angeles, where the full collection will be available for sale.

By Julia Roxan

Aston Martin Designs a Modernist Rural Estate Dubbed Sylvan Rock

Worth an estimated $7,700,000, the Sylvan Rock is a modernist rural estate located in the heart of the New York Hudson Valley. As the first-ever private residential estate designed by Aston Martin, in collaboration with S3 Architecture, this estate showcases what the brand describes as a strong marriage of design sensibility.

Aston Martin Designs a Modernist Rural Estate Dubbed Sylvan Rock

Through utilizing warm textures, and bold forms, the luxurious Sylvan Rock’s angular form blends seamlessly into its natural environment, accommodating exceptional privacy, with no single dominating façade. Regarded a rare example of a complete residential work of art, the Sylvan Rock lies just ahead of an unassumingly secluded 2,000 ft country road entrance, which winds past mature trees and impressive rock outcroppings.

Spanning across 55-acres of land, the architectural form of this residence appears to fold down into the landscape at different angles – as if the architecture was born of and catapulted from the environment. Clad in blackened cedar and curtain walls of glazing, the Sylvan Rock features a subterranean lair and custom-designed wine cellar, alongside an on-property Food Garden, a three-car automotive gallery garage, an 873 sq.ft. pool house, multi-functional guest house “pods”, and a treehouse.

By Julia Roxan

New Zenith Defy 21 chronographs in Ultraviolet and Pink Editions

A world-first in watchmaking, Zenith made the world’s first high-frequency chronograph, the El Primero. So named for its primacy, the world’s first high-frequency chronograph is joined today in visual manifestation: arguing that all colours we can perceive are frequencies of visible light, then violet, the highest frequency of them all, beyond which is invisible ultraviolet light and thus not in contention in terms of graphic design), is finally paired with the highest frequency chronograph in serial production, the Zenith Defy 21.

New Zenith Defy 21 ultraviolet: High-frequency chronograph with Highest frequency colour

Zenith chose its revolutionary 1/100thof a second El Primero Defy 21 chronograph calibre beating at an incredible frequency of 50Hz as the canvas for this visually and mechanically striking creation. Visible through the open dial, the new Zenith Defy 21 ultraviolet chronograph features three grey chronograph registers and a grey flange ring, accented throughout with pops of ultraviolet.

The El Primero 9004 automatic with two dedicated escapements, one for basic timekeeping operating at 36,000 VpH – 5 Hz, and the other for precision chronograph timekeeping operates at 360,000 VpH – 50 Hz finds itself more than a match for its visual vibrance: accentuated by the DEFY 21’s uniquely avant-garde movement conception and design with open, angular bridges.

A white-tipped central 1/100th of a second El Primero Defy 21 chronograph hand makes a complete revolution above the dial in one second. The Zenith Defy 21 Ultraviolet joins a select group of limited Defy 21 l Primero 50th Anniversary edition (which were only available as a box-set with two other watches) with an open dial paired with closed chronograph counters.

Pretty in Pink: Zenith Defy 21 Pink Edition

In association with Pink Ribbon Switzerland, Zenith is supporting a cause that affects countless women around the world. For the first time in the mechanically sophisticated Zenith Defy 21 chronograph, Zenith has created for the first time ever, an astonishingly pink PVD treated movement.

With 288 white diamonds of varying sizes perfectly set into the case, the rose gold case of the Zenith Defy 21 Pink Edition stands out not just for its brilliant pink countenance but also for its sharp facets and the unmistakable rose gold bezel adding another layer of vivid sparkle with 44 scintillating baguette-cut pink sapphire stones. Like the new Zenith Defy 21 ultraviolet, the latest Defy 21 Pink Edition echoes the dashing tones of the watch’s exterior, the open black and golden dial reveals the striking metallic pink treated movement, which extends from the dial side right through to the star-shaped oscillating rotor on the back.

Recognising the need to spread positivity and hope to countless women around the world who are battling breast cancer, the latest Zenith Defy 21 Pink Edition gives Pink Ribbon Switzerland with the juxtaposition of robust, high-performance horology and the enduring symbology of support for those affected by the indiscriminate disease. A portion of the proceeds from the sale of the new Zenith Defy 21 Pink Edition will be donated to Pink Ribbon Switzerland.

Zenith Defy 21 Ultraviolet and Defy 21 Pink Edition Price & Specs

Movement Automatic El Primero 9004 / World premiere with a Pink PVD treated movement for the Pink Edition; both with 50 hours power reserve
Case 45mm Microblasted Titanium or Rose gold set with sapphires & diamonds; both with 100 metres water resistance
Strap Rubber
Price From CHF 13400

Pierre and Gilles Champion Environmental Conservation in Their All-New Motionless Wanderings Exhibition

Pierre et Gilles, Le vendeur de tous Eiffel (Ibrahima Ramon Magassa), 2019 Œuvre unique photographie imprimée par jet d’encre sur toile et peinte / Ink-jet photograph printed on canvas and painted 105,5 x 133,5 cm ; 41 1/2 x 52 1/2 in.

For over four decades, photographer Pierre Commoy and painter Gilles Blanchard have been developing hybrid, four-hand images that are half-photo and half-painting, and have today established themselves in the history of Western portraiture. At the crossroads of reality and fantasy, their extravagantly-staged works are nourished by multiple references from Greek mythology and religious idols to baroque art and Hindu iconography. Madonna, Jean-Paul Gaultier, Kylie Minogue, Dita von Teese, Rose McGowan, Isabelle Huppert and Catherine Deneuve – the most emblematic stars of their time have all come under the lens of Pierre, 70, and the brushstrokes of Gilles, 67, who retouches and embellishes each photo, applying real paint to canvas, thereby having invented Photoshop without a computer before digital editing even existed.

Pierre and Gilles Champion Environmental Conservation in Their All-New Motionless Wanderings Exhibition

Pierre et Gilles, Le petit bizut (Vincent Cohen), 2018 Œuvre unique photographie imprimée par jet d’encre sur toile et peinte / Ink-jet photograph printed on canvas and painted 126,5 x 88,5 cm ; 49 3/4 x 34 7/8 in.

Working according to an original modus operandi, each of their creations is a unique piece. They have their models – friends, celebrities and strangers – pose in sophisticated decors that can take up to 10 days to handcraft from A to Z, using the objects they have on hand or that they source, after having made pencil drawings on paper. Once the photo has been taken and digitally printed on canvas, then begins the long painting process to refine and sublimate the image, executed on an easel on the ground floor of their apartment under a light-filled glass roof. Pierre explains why they’ve gone digital: “We shoot digitally, no longer on film. With digital, we can see the screen and control the photography in real time. Digital technology allows us to collaborate directly with the model. Working in film had become complicated because the material is not as readily available as it used to be – you have to order online. After taking the photo, we then work on the colours, the printing and the hand-painting. So we are not against modernity: we live in our time, and we like to combine modern and old techniques.”

Pierre et Gilles, La pêche miraculeuse (Pierre et Filip), 2019 Œuvre unique Photographie imprimée par jet d’encre sur toile et peinte / Ink-jet photograph printed on canvas and painted 127 x 147 cm ; 50 x 57 7/8

The real-life couple has been inseparable ever since their first fateful meeting in 1976 at the opening party of a Kenzo boutique in Paris. After several months of living together, they decided to create images jointly, with their first series being of their friends making faces on vibrantly-coloured backgrounds, inspired by photo booths. Disappointed by the results, Gilles then started to paint them. In the 1980s, they were regulars at Le Palace, Bus Palladium and Le Sept, nightclubs frequented by the gay crowd, fashion royalty and pop stars, thus stumbling upon their models by chance, just by going out. Everything happened naturally through encounters, friendships and a desire to work with one another. They alternated between commissioned work – making images for the gay press and music album covers – and personal pieces, and never had to call a particular actor or singer to pose for them. In fact, it was their famous portrait of French singer and songwriter Étienne Daho in a white-and-navy blue striped sailor shirt with a parakeet on his shoulder that they made for his album La Notte, La Notte in 1984 that truly launched their career. Today, artists and even strangers contact them via social media to serve as their models, or they reach out to them themselves. Fascinated by strong characters, by originality and difference instead of beauty, by people who are magnificent in a strange, new and surprising way, they’re interested as much in the personality of their model as the image they project.

Pierre et Gilles, La reine des océans (Adèle Farine), 2020 Œuvre unique photographie imprimée par jet d’encre sur toile et peinte/ Ink-jet photograph printed on canvas and painted 145 x 104 cm ; 57 1/8 x 41 in.

Immediately recognisable, Pierre and Gilles’ universe overflows with artificial flowers, streamers, cotton clouds, fake stars, birds, Christmas baubles, talismans, trinkets, toys, crowns and halos of light. Straddling the secular and the sacred, lightness and melancholy, their kitsch works filled with saturated colours evoke emotions and dreams. Drawing inspiration from their childhood, film, music, funfairs, starry skies, fairies and saints, they have a singular aesthetic exploring the frontiers between art history and pop culture. Fond of referencing other artists in their works like Bernard Buffet, Gustave Courbet, Édouard Manet and Rembrandt, Gilles says, “Generally speaking, we are very fond of ancient and modern art. We like to discover new references: the artists we liked young are not necessarily the ones we like today. We find new references in books or on the Internet. When we work, we don’t necessarily think of classical masters in particular. The inspiration is quite natural, not exactly sought after. For us, what is beautiful in art is what eludes us. We’re not looking to highlight specific allusions – we also like what isn’t calculated or obvious.”

Always having worked from home, Pierre and Gilles’ compositions gained in complexity and sophistication over time. Starting in a small studio where they could only make stylised, close-up portraits on monochrome backdrops recalling the pop art aesthetic of Andy Warhol’s serigraphs, they then moved to a larger apartment in Bastille, where they built entire sets by hand, superimposing foregrounds and backgrounds. Speaking of the artisanal nature of their work, even the picture frame for the final artwork is conceived by the artists themselves. Today, their images come to life in their 60-sqm atelier located in the basement of their duplex in Le Pré-Saint-Gervais in the Parisian suburbs, replete with a small stage, projectors, models and boxes of accessories. They work non-stop, as making an image takes time. Requiring between 15 days and three weeks to finish a portrait, they produce 12 to 15 per year. Their creations tell their story and illustrate an entire era, with each model incarnating a role, playing another character than their own. There’s something eternal in their works, as they metamorphose their subjects into sacred and sublime creatures, immortalised for all time.

While not hardcore militants at heart, Pierre and Gilles express their social and ecological engagement and messages of commitment to freedom and tolerance subtly through their works, tackling subjects such as identity, sexuality, politics, religion and immigration, including the Arab Spring and Marriage for All movements. Keen observers of society and its ills, their activism is not overt in their art, but reveals itself as an undercurrent. Their Les Naufragés series of sleeping young men spoke of the AIDS crisis that had claimed the lives of many artists. “The news has always been present in our work, which has evolved over time, depending on the contradictions of our world,” comments Pierre. “At the beginning, our vision was more positive: we talked about happiness, beautiful things, dreams, while drawing inspiration from popular culture. The older we get, the darker and darker we find the world. The AIDS epidemic in the 1980s transformed us a lot; our work has become deeper. This is why it’s important for us to be artists, to respond to this harshness: we try to see the world in a better light. For us, art keeps the world moving.”

Pierre et Gilles, Bonjour Pierre et Gilles, 2020 Œuvre unique photographie imprimée par jet d’encre sur toile et peinte/ Ink-jet photograph printed on canvas and painted. 163 x 114 cm ; 64 1/8 x 44 7/8 in.

In their upcoming Motionless Wanderings exhibition at Galerie Templon in Paris from 10 September to 24 October 2020, Pierre and Gilles will be presenting works created over the past two years, many never seen before. It opens with a self-portrait they had completed during the Covid-19 lockdown in France, Bonjour Pierre et Gilles, which pays homage to Gustave Courbet’s painting Bonjour Monsieur Courbet, showing the couple walking on a path amidst housing estates and residential suburbs disguised as thugs, scrap metal dealers, homeless people or Yellow Vest protesters. There’s also an African immigrant, easily recognisable as a street-seller of miniature Eiffel Towers, and a young man dressed in a trash bag scribbled with swear words and carrying a doll. Calling attention to environmental protection, specifically to the damage humans are causing to the oceans through large amounts of plastic and textile pollution, they’ve crafted imaginary and troubling scenes of marine iconography and aquatic mythology from debris and litter collected from the beaches of Le Havre, such as a motionless couple entangled in fishnets and a sea deity reigning majestically in her underwater kingdom. Both from coastal regions – Gilles from Le Havre and Pierre from La Vendée – and yearning from young to escape from the boredom of their provincial towns, the sea has always held special importance in their life and work. “It’s a universe that inspires us,” Gilles remarks. “We worked on portraits that depicted sailors and castaways in the 1980s. Here, we therefore collected old ropes, nets, plastic objects on the beaches. It may seem surprising, but we have always liked plastic – we find it beautiful. We gather it from behind the cliffs of beaches like picking flowers, for fun. We keep it in stock in our atelier. We also buy plastic objects for our sets. For us, it’s possible to discover the world through cheap junk.”

By Nina Starr. All images are courtesy of PIERRE & GILLES.

Prada Announces All-New Brand Ambassadors, Irene Bae and Chanyeol Park

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When it comes to luxury fashion, few idols embody the allure of Prada as well as Red Velvet’s Irene and EXO’s Chanyeol have. Photographed in the brand’s iconic Fall/Winter and Autumn/Winter 2020 collections, the duo now star in a special film shoot, where they are given the opportunity to interpret Prada’s surreal glamour through their own identities.

Prada Announces All-New Brand Ambassadors, Irene Bae and Chanyeol Park

Despite being the Maison’s all-new brand ambassadors, this appointment does not mark the duo’s first run-in with the luxurious fashion house. In fact, both idols have celebrated different milestones with the brand over time.

With a reputation for attracting deals with some of the world’s most renowned brands, such as Chamisul, Chanel and Clinique, fans of Red Velvet and Irene have long mused over plausible collaborations with Prada from as early as 2018. Gracing the red carpets of Prada’s Dreamscape pop-up store in December 2019, Irene, who made her first-ever Paris Fashion Week debut in March 2019, attended a show by Prada’s subsidiary brand, Miu Miu, where she starred in an adorable “Girl in Miu Miu” campaign. Often seen decked out in Prada on Instagram, Irene’s collaboration with the brand is hardly a stretch of the imagination.

Regarded her equally experienced counterpart, Chanyeol, who has over the years, starred in campaigns and worked in close collaboration with Tommy Hilfiger, attended Prada’s Escape pop-up store opening in Seoul last year, whilst flying out to Singapore to celebrate the launch of Prada’s Spring/Summer 2019 menswear collection.

Representing the inherent strength of women and the authority of femininity, through blending traditional fabrics with new recycled materials, this announcement, though exciting, leaves much room for speculation, on whether or not Irene and Chanyeol will be working with the brand internationally as well as domestically, or if fans can anticipate further pictorials of their favourite idols in future.

By Julia Roxan

New Rolex Oyster Perpetual 36 Displays Growing Boldness

Rolex presented a new generation of its Oyster Perpetual watches, including updated proportions to the venerable Submariner to 41mm case diameter but the freshest injection comes by way of the new series of 36mm Oyster Perpetual watches, in addition to the the new model to the range, 41mm Oyster Perpetual. Unlike its predecessor models which tilted towards a more, sophisticated and refined aesthetic, the new Rolex Oyster Perpetual 36 is unveiled with a dynamic and vibrant new look, offering lacquer dials in five new colours: candy pink, turquoise blue, yellow, coral red and green.

New Rolex Oyster Perpetual 36 displays the Geneva Manufacture’s Growing Boldness

Underneath that colourful lacquer dial of the new Rolex Oyster Perpetual 36 is the latest in-house calibre 3230, the same movement which made its debut in the new 41mm no-date Submariner. Where the Oyster Perpetual 41 presented a the typical elegant aesthetic courtesy of its silver, sunray-finish dial graced with hands and hour markers executed in 18 ct yellow gold, the new Rolex Oyster Perpetual 36 brings unexpected colourways to the classic refinement on display of the scintillating profile of the Oyster case made from robust Oystersteel.

Topped with a domed bezel and sapphire crystal coated on the underside with anti-reflective treatment for that extra, un-impeded pop of colour, all five editions feature Chromalight luminous material on the hour indexes and hands, which means that while these new Rolex Oyster Perpetual timepieces will turn heads in the day time, their night time legibility by way of bright blue ‘Skywalker lightsabresque’ lume makes sure that the new Rolex Oyster Perpetual 36 is still plenty attractive when night falls.

Colourful dials also available for Rolex Oyster Perpetual 41

According to Rolex, turquoise blue, yellow, coral red and green will be available to the new Rolex Oyster Perpetual 41 as well but the candy pink variant will remain exclusive to the 36mm editions.

The Oyster Perpetual 41 and the new versions of the Oyster Perpetual 36 are equipped with calibre 3230, a movement launched by Rolex this year. The new Calibre 3230, which also appears in new Rolex sport models like the Submariner 41 incorporates the Chronergy escapement patented by Rolex, which combines the Geneva manufacture’s penchant for high energy efficiency with great dependability.

Made of nickel-phosphorus, the movement itself is insensitive to magnetic fields, further supported with an optimised blue Parachrom hairspring, manufactured in house; The exclusive paramagnetic alloy makes it up to 10 times more precise than a traditional hairspring in case of shocks and is equipped with a Rolex overcoil, ensuring regularity in any position. The oscillator is fitted on the Rolex-designed and -patented high-performance Paraflex shock absorbers, increasing the movement’s shock resistance. Thanks to its barrel architecture and the escapement’s superior efficiency, its power reserve extends to approximately 70 hours.

Off the Cuff, On the Wrist: New Rolex Oyster Perpetual

A fresh take on a venerable range, Rolex Oyster Perpetual collection is easily the brand’s most versatile design. The introduction of the 41mm version, which replaces the 39, plays double duty as a more sportive variant, particularly in black or blue dial editions. The new Oyster Perpetual 36 is also perfect in that it addresses a market gap of dressy watches where they tend to lean on the side of dainty. While it’s arguable that the new colourful dials might turn away folks looking for the same discretion afforded by the previous 39mm models, the new Rolex Oyster Perpetual 41 and 36 are still easily the most wearable references for the broader market.

In addition to these colourful dials, three additional variations: a silver, blue, and bright black dial joins the family of Oyster Perpetual watches. Like all Rolex watches, the Oyster Perpetual 41 and Oyster Perpetual 36 carry the Superlative Chronometer certification, which ensures excellent performance on the wrist.

New Rolex Oyster Perpetual Price & Specs

Movement Automatic Calibre 3230 with 70 hours power reserve
Case 36mm or 41mm Oystersteel with 100 metres water resistance
Strap Oystersteel bracelet
Price From US$5600 or S$7490

Slim Tribute: A. Lange & Söhne 1815 Thin Honeygold

Glashütte watchmaker A. Lange & Söhne unveiled a new trio of 1815 watches, a series of special editions called the Homage to F.A. Lange, to celebrate the 175th anniversary of the brand. All three Homage to F.A. Lange 1815 limited editions are in the A. Lange & Sohne-exclusive honey gold and bear specially finished movements and dials. The watches are the 1815 Thin Honeygold, 1815 Rattrapante Honeygold, and 1815 Turbograph Perpetual Honeygold.

The 1815 Thin Honeygold in particular is a new edition to the 1815 collection and we will be looking into it in depth here. It is also a particularly apt homage to F.A. Lange, and is reportedly available now. The other two will debut later this year, and they are available in a set (though they are not packaged nor properly sold that way).

The F.A. in “Homage to F.A. Lange” is a reference to brand founder Ferdinand Adolph Lange, of course, who got the story going 175 years ago. The brand has become an intrepid world traveller since then, with this latest reveal happening in China. Watches and Wonders is underway in Shanghai, and we can only look on while keeping our envy in check. Like A. Lange & Söhne CEO Wilhelm Schmid, we are only present digitally, given our own specific realities and the general difficulties with international travel. No matter though, we shall press on.

If you scan the A. Lange & Söhne catalogue, you will find references for the Rattrapante and the Turbograph, but not the 1815 Thin, honeygold or otherwise. Powered by the manual calibre L093.1, here given a new granulated finish and a different and more delicate style of hand-engraving on the balance cock, this provides the vital clue to this model’s most direct relative in the current collection — the Saxonia Thin.

There are a few key differences in the watch itself, beyond the movement finishing, between the 1815 Thin Honeygold and the Saxonia Thin. First off, the 1815 collection is partly defined by its use of Arabic numerals, while other collections use Roman numerals or just markers. The dial in the 1815 Thin Honeygold is a two-part enamel affair and of course the hands are in honeygold too. That exquisite enamel dial makes the 1815 Thin Honeygold marginally thicker than its Saxonia cousin (6.3mm versus 5.9mm), although this is admittedly relatively trivial.

Lange & Söhne Product Development Director Anthony de Haas tells us that the aim was never to win any thin accolades. “Our colleagues at Piaget will probably laugh at (the 1815 Thin Honeygold) because one can fit three Piaget ultrathin watches in our watch!” The new 1815 Thin is instead made to be the best sort of tribute to the heritage of A. Lange & Söhne, with the printed railway track scale and the Arabic numerals creating perfect clarity on the enamel dial. For those in the know, this reflects the values of F.A. Lange, as seen in his pocket watches. For the movement, the standard-issue three-quarter bridge, ribbing and the exposed crown and ratchet wheels are all hallmarks of Glashütte watchmaking, as pioneered by F.A. Lange himself.

A. Lange & Söhne 1815 Thin Honeygold Specs and Price
**Movement** Manual winding calibre L093.1; 72-hour power reserve
**Case** 38mm in honeygold (limited to 175 pieces); water-resistant to 30m
**Strap** Brown leather (prong buckle in honeygold)
**Price** S$49,900

By Ashok Soman

The 1,700 sq.ft. Nayara Tent is Central America’s First Luxury Camp

As one of the first luxury camps in Central America inspired by the luxury canvas lodges of Africa and Asia, the Nayara Tented Camp lies in the Arenal Volcano National Park of Costa Rica. Spanning 1,700 square-feet these palatial tents are built at higher altitudes on the hillside to provide unobstructed views of the Arenal Volcano.

The 1,700 sq.ft. Nayara Tent is Central America’s First Luxury Camp

Attracting multigenerational travellers and like-minded groups, the area currently accommodates up to 21 individual yet connectable tents, promising optimal privacy and adventure. Said to expand, the area will soon include 11 additional tents including additional two-storey alternatives capable of housing 10 guests at a time.

Balanced on stilts, the Nayara Tented Camp is accessible through an elevated private bridge-like walkway, connected to a steep, sloped sidewalk. Complete with an infinity-edged plunge pool with jets fed by natural hot springs, a private outdoor shower open to the sky and a standalone soaking tub within a bathroom area that’s nearly as large as the bedroom itself, the camp also features private terraces which loom over a lush rainforest thick with Kapok and Cecropia trees.

Blending contemporary, barefoot-luxe touches and an unique-to-location design, each suite is crafted in a traditional African safari style fused with a Costa Rican sense of place. Fully furnished with canopy beds adorned by botanical headboard murals, and oversized leather trunks which double up as an in-room minibar for complimentary beverages.

As intimate spas and a handful of treatment rooms line both the Nayara Gardens and Nayara Springs, the Nayara Tented Camp facilitates enhanced spiritual wellbeing and a thrill for adventure through a self-guided wellness circuit, a guided visit to the Arenal Hanging Bridges Park, a lava field trekking excursion, and a series of six spring-fed pools, bordered by pathways of blossoms and cascading lily pads.

Imported directly from Africa and designed by Italian luxury sports car manufacturer, Ferrari, each tent incorporates Nicaragua’s iconic Italian and Guatemalan marble and wood flooring, with a variety of local Costa Rican cuisine available nearby. Thanks to the country’s supremely fertile soil, and the Nayara Tented Camp’s affiliation to the Nayara Gardens and Nayara Springs, guests are not only provided with the freshest ingredients, at all times of the year, but are awarded priority access to the area’s Spanish wine bars, Asian-Latin fusion restaurants, as well as, its South African-and Argentinean-inspired barbecue restaurant.

By Julia Roxan

The Exclusive Prada for Adidas Collaboration is Back

It all started in 2019 with the Italian Maison’s first co-branding project dubbed ‘Prada for Adidas’ – an unexpected collaboration between two major conglomerates which featured one bowling bag and a sneaker. Making subtle changes to Adidas’ long-standing Superstar sneaker, the product showcased a full-grain leather upper body with the Prada logotype printed on its side. Sold as a unisex set for an estimated $4,840, the Prada for Adidas release was limited to a mere 700 sets available worldwide, with each piece made in Italy.

The Exclusive Prada for Adidas Collaboration is Back

Following the success of the first launch, the duo are back again in 2020 to present the second edition of the exclusive ensemble. Upping the ante, the collaboration will now showcase a variety of three new sneaker designs, including monochrome black, white with black, and chrome silver with white. These unisex shoes with dual logos, are expected to launch on September 8^th, through select wholesalers, Prada boutiques and Adidas flagship stores worldwide.

By Julia Roxan

Hill Helicopters Set The Bar Sky-High With The Bio-Fueled HX50

Established by Jason and Sabrina Hill in July of this year, Hill Helicopters have wasted no time in signing off on the most ambitious builds. Revealing the preliminary images of a clean-sheet rotorcraft, the company has done everything but shy away from setting our expectations, sky-high.

Hill Helicopters Set The Bar Sky-High With The Bio-Fueled HX50

Said to revolutionize the aerospace industry, whilst forging new benchmarks in safety, performance, comfort, and elegance – the Hill Helicopters HX50 is a five-seat, turbine-powered, 500-horsepower rotorcraft, designed from the ground up by a team of highly-skilled engineers, which include the likes of esteemed aeronautics expert Dr. Jason Hill.

Eager to bring his dreams of absolute state-of-the-art performance and ultra-modern design into fruition, this disruptive, ground-up helicopter is expected to amass the maximum take-off weight of 1,650kg, accommodating up to four passengers and one pilot, thanks to its predetermined 800kg of useful load capacity.

With the elimination of electrical hybrid power sources, the HX50 is expected to run on a variety of fuel types, including biofuels – representing a new generation of private helicopters, capable of delivering reduced environmental impact, lower noise levels and unprecedented levels of safety, comfort and performance at a game-changing price point.

Reportedly in the advanced design phase, with three prototypes scheduled to begin flight testing in 2022. Entirely self-funded according to the company’s sales and marketing representative Mischa Gelb, Hill Helicopters was founded with the sole aim of designing an aircraft that blends the latest safety and efficient performance technology with a luxurious and high-tech experience.

By Julia Roxan

Warchitect Studio Constructs a Maze of Lush Green Courtyards at The V60 House

Constructing a home along the serene alleyways of Bangkok, for a couple who are airplane pilots, Warchitect studio’s concept prioritizes access to the natural environment and an abundance of fresh air. Dubbed the ‘V60 house’, the residence was strategically positioned in an area with low levels of air pollution, far from main road.

Warchitect Studio Constructs a Maze of Lush Green Courtyards at The V60 House

Occupying inherited land, the couple are at ease knowing the residence palatial outdoor area accommodates a plantation of trees and the adjacent homes are of their relatives. Spanning at least 200 square meters, the V60 house features expanded usable area, separated into three zones – the living rooms, sleeping quarters, and guest vicinity – by lush green courtyards.

With folding glass doors, the couple are not only able to experience a green view with their eyes but seamlessly interact with their environment, whilst creating a natural source of ventilation. Eliminating interior wall partitions, the concept of the V60 house requires guests to venture through each zone in its entirety, with an uninterrupted full view of what lies in the other rooms – allowing its inhabitants to feel connected with one another, even when they’re apart.

By Julia Roxan