L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C ROBERT DE NIRO L L E O C O L D O E D C TALKS ABOUT FAMILY, FILMMAKING & HIS DOLCE VITA!
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C CANFAR’s Bloor Street Entertains raises over $1.5 million to end HIV in Canada
Bloor Street Entertains has become one of Canada’s most dazzling philanthropic traditions. On November 21, 2025, its 29th edition unfolded across Toronto’s Bloor–Yorkville neighbourhood with extraordinary style, raising more than $1.5 million in support of CANFAR’s work to end the HIV epidemic in Canada. The evening blended world-class cuisine, fine design and purpose, all in service of a mission that remains as urgent as ever. This year’s gala was shaped by co-chairs Dr. Trevor Born, Melissa Campisi and David Simmonds, with honourary chairs Sylvia Mantella, Candice Sinclair, Janice Fricker and Michael Liebrock. Guests were welcomed into 20 intimate dinner experiences created by Toronto’s leading chefs and transformed by the city’s most celebrated florists and décor artists. Each venue became a world of its own, designed to delight.
The celebration continued late into the night at the BSE29 After Party. Entertainment Sponsor DECIEM set the tone with a vibrant, high-energy atmosphere. International trans icon Gigi Gorgeous hosted the festivities, supported by musical performances from DJs MAZONE & STRONG, DJ Karim Olen Ash and JB Sax. The Mantella Corporation gold carpet transformed arrivals into a Hollywood-style experience, ensuring every guest felt celebrated.
Bloor Street Entertains remains CANFAR’s most vital annual fundraiser, especially as global attention toward HIV and AIDS continues to waver. CANFAR continues to invest in, and is expanding access to, community-based testing across Canada, including the GeneXpert rapid testing instrument and HIV selftest kits. These investments help close gaps in access to care across the country and bring us closer to ending the epidemic in this generation.
To learn more or support CANFAR’s work, visit CANFAR.com. The 30th anniversary of Bloor Street Entertains arrives in November 2026 and will be a landmark celebration. Sponsorship opportunities, dinner tables and individual tickets will be available soon. For advance inquiries, please contact events@canfar.com.
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C Sold With With Our Our Pleasure Pleasure Sold
30 Fifeshire Fifeshire Road Road 30 O FF FF EE R R EE D D A ATT 11 55 ,, 88 88 00 ,, 00 00 00 O
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ONCE UPON A TIME
Pleasure Sold With Our Pleasure
100 Kennedy Road O FF FF EE R R EE D D A ATT 99 ,, 99 88 00 ,, 00 00 00 O
A home was sold by Hammond International Properties. Not just any A home was sold by Hammond International Properties. Not just any home, but a place where dreams found their address, where families home, but a place where dreams found their address, where families celebrated milestones, and where elegance met legacy. celebrated milestones, and where elegance met legacy.
This holiday season, we celebrate the stories that began behind the doors This holiday season, we celebrate the stories that began behind the doors we’ve opened and the ones yet to be written. we’ve opened and the ones yet to be written. Wishing this holiday holiday season. season. Wishing you you best best wishes wishes and and blessings blessings this
Pleasure Sold With Our Pleasure
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We the highest highest sales sales in in We are are grateful grateful to to continuously continuously facilitate facilitate the the for our our clients. clients. the country’s country’s most most exclusive exclusive markets markets for Canada’s Leading Luxury Real Estate Firm Canada’s Leading Luxury Real Estate Firm
Sold Sold With Our Pleasure
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SCAN FOR H O L I DAY M E S S AG E
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N N EE W W Y YO R K
H A M M O N D I N T E R N AT I O N A L P R O P E R T I E S . C O M
MIAMI
ZURICH
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DOLCE MAGAZINE www.dolcemag.com Offerings are| subject to errors, omissions, prior sales or withdrawal without notice. 2025 Hammond International Properties Limited, Brokerage. Not another Realtor. Realtor. Not intended intended to to solicit solicit sellers sellers or or buyers buyers currently currently under under written written contract contract with with another
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C 2025 • VOLUME 29 • ISSUE 4
Publisher/Editor-in-Chief MICHELLE ZERILLO-SOSA michelle@dolce.ca Co-Founder/Creative Director FERNANDO ZERILLO fernando@dolce.ca Director of Operations ANGELA PALMIERI-ZERILLO angela@dolce.ca
ART DEPARTMENT
Senior Graphic Designer CHRISTINA BAN Graphic Designer SOO JIN OH Senior UI/UX Designer YENA YOO Web Developer JORDAN CARTER Lead Digital Product Designer MARIIA KOROLENKO Multimedia Assistant MASSIMO SOSA
EDITORIAL DEPARTMENT
Fashion & Home Décor Editor MICHELLE ZERILLO-SOSA Beauty & Travel Editor ANGELA PALMIERI-ZERILLO Managing Editor MARC CASTALDO Contributing Writers KATE BRYNN, MARC CASTALDO, CEZAR GREIF, RICK MULLER, ISHA SHARMA, ANGELICA SOSA Copy Editors and Proofreaders SAMANTHA ACKER, BARBARA FELDMAN Contributing Photographers and Videographers GEOFF FITZGERALD, PRASHANNA JAYASEELAN, LISMERY LOYOLA, EMAD MOHAMMADI Social Media Managers & Content Creators VALENTINA CONCU, AMANDA PALAZZO PR Manager & Editorial Assistant ANASTASIIA HORBULOVA Social Media Assistant HOLLY POTTS
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Front Cover ROBERT DE NIRO Portrait by CHARLIE GRAY
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Dolce Magazine reaches over 900,000 affluent readers annually through household distribution across Canada. Dolce Magazine is also available to over 100 million digital consumers of Magzter Inc. and Issuu. Inquiries about where else Dolce Magazine is available for sale may be directed to Dolce Media Group: info@dolcemedia.ca or 905-264-6789. Visit www.dolcemag.com for single-copy and yearly subscription fees.
The opinions expressed in Dolce Magazine are those of the authors and do not necessarily reflect the views of the publisher or advertisers. Dolce Media Group does not assume liability for content. The material in this magazine is intended for information purposes only and is in no way intended to supersede professional advice. We are proud to be a Canadian company that has successfully published magazines for the past 29 years without any government funding or financial assistance of programs to cover editorial costs. It has all been possible thanks to the wonderful support of our readers and advertisers. ISSN 2370-4063 Next Issue: 2026 Vol. 30, Issue 1 | ©2025 Dolce Media Group. Printed in Canada. Follow us at:
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E OC C L L E O C O L D O E D C Fernando Zerillo
Michelle Zerillo-Sosa
Co-Founder/Creative Director
Publisher/Editor-in-Chief
A TIME FOR OPTIMISM & PERSONAL REFLECTION
“Keep your face to the sunshine and you cannot see the shadows.” — Helen Keller
ptimism and personal reflections can shape a kinder world, and the future truly begins with the choices we make today. As we reflect on the past 12 months, we can’t help but marvel at how quickly this year went by. Each year, it seems we reach the year’s final edition of Dolce in a blink, so maybe it really is true what they say — time flies when you’re having fun! This edition was particularly fun to produce because we spent an entire week in Malta. This small country, a jewel in the Mediterranean Sea, has been conquered and influenced by so many civilizations, each one adding to its rich and unique culture. We were there to curate a special editorial feature that highlights some of the incredibly talented people who call this island
nation their home. In this issue, we’re proud to bring you glimpses of the haute couture of Charles & Ron and Luke Azzopardi, the art and interior design of Stephanie Borg, the architectureinspired paper wearable art of James Dimech, plus hospitality, food and wine with Carlo Micallef and Joseph Bonello, to name just a few. In fact, we couldn’t feature all the treasures we discovered in just this one edition; in the Spring 2026 edition of Dolce, you will be able to delve even deeper into these stories with the release of both our Malta coffee-table book and film. Story on page 41. Another great discovery this issue is the young Canadian rap artist who goes by the name “Merkules.” His story is one of turning his life around after a violent incident and choosing to use it to empower instead of define himself, even possibly derail him onto an even darker path. His
voice is undeniably comforting, and his honest lyrics will hit home for those who may be dealing with their own life struggles. We know his future can only become brighter and are so glad we could play a small part in sharing his journey with our readers. Story on page 70. Our favourite part of this job is that we can experience places and meet people that we might not be able to if we worked in a different field. We are truly grateful for these opportunities. Most recently, Las Vegas welcomed us to experience the best it has to offer along with the Formula 1 experience. And although the saying goes “What happens in Vegas stays in Vegas,” this is one of those occasions that we are breaking that rule and recommending that you explore the electrifying experiences that we share with you here. Story on page 74. An important part of every edition is, of course, interior design, and this edition is no exception. Showcasing a unique sensibility that aligns emotions and personal memory, Luis Barragan’s Casa San Francisco in Mexico offers a tranquil respite from a hectic lifestyle. Story on page 82. Our cover story is an interview with Robert De Niro. The actor’s passionate, sometimes violent, characters on-screen are familiar to his audiences, but what might surprise readers is that he is not at all like the men he portrays in his films or on stage, and that he is determined to correct that common impression. He also shares how bringing a child into this troubled world is indeed a big responsibility. His baby daughter Gia is his new passion, and despite this world’s troubles, he remains optimistic about things. His love of travelling to the Italian island of Ischia is no secret, and his desire to reflect on the body of work he has produced over his long career is both endearing and a bit nostalgic. Story on page 56. To know that goodness exists in difficult times is a kind of optimism. We hope you enjoy this latest edition of Dolce, and as you gather with family and friends to celebrate the holidays, we hope you dedicate some time to reflect about the people and events that have enriched your year and are inspired to be more grateful and kind toward one another. When we reflect on our lives, none of us want to get stuck on “shoulda, coulda, woulda …” or allow nostalgia to get in the way of life. The future truly begins with the choices we make today, and our personal reflections can be the seeds that shape a kinder world. Let’s all remain optimistic as we imagine what 2026 might bring.
Michelle Zerillo-Sosa Publisher/Editor-in-Chief
Fernando Zerillo Co-Founder/Creative Director
@dolcemag / @amorebagstoronto / @fernandozerillo
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PHOTO BY LISMERY LOYOLA
PUBLISHER’S NOTE
L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C SOAR ABOVE THE ORDINARY
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L D O E CONTENTSD C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C 2025 / VOLUME 29 / ISSUE 4
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OBJECTS OF DESIRE: Holiday picks that elevate the season and make a lasting impression
COLE “MERKULES” STEVENSON: Death Row Records’ Canadian artist, who chose not to be defined by violence but by the strength he found in overcoming it
56
ROBERT DE NIRO: The legendary actor offers Dolce an intimate look at his origins, interests, and the core principles that continue to define him
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THE CLUB HOUSE: With its distinctive architecture and wellness focus, Fontanelle Estate’s Club House delivers a rich autumn experience
94
THE BUGATTI TOURBILLON: Every angle of the Tourbillon reflects the unmistakable DNA of Bugatti
36
MERAKI WELLNESS: Peter and Shula Clarke, pioneers of the spa and wellness industry, introduce Meraki Wellness as their defining legacy
41
MALTA’S CREATIVE BRILLIANCE: A special series spotlighting the island’s homegrown creators — its artists, designers and cultural influencers
96 A VOYAGE SHAPED BY TASTE AND INTUITION: Emerald Yacht Cruises partners with chefs Michael and Oscar Bonacini to bring authentic flavour to life at sea 98 DIANE KEATON: A tribute to the actress, producer, author and director who revealed the extraordinary within the everyday More stories inside . . .
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L D O E D C L E O C L L D O O D D W E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C DOLCE EXCELLENCE FUELLED BY RED
THE BLACK STALLION AND PUMA CAT JOURNEY ON PUMA and Scuderia Ferrari HP’s new capsule collection delivers Las Vegas style
Lewis Hamilton, Maria Valdes, Thomas Josnik and Charles Leclerc proudly represent the Red Family
hat began in 2005 as a collaboration between PUMA and Scuderia Ferrari HP has consistently pushed the boundaries of speed, design and motorsport culture. The unforgettable shared moments both on and off the track are what have solidified the brands’ status as icons that will stand the test of time. To mark their 20 years of collaboration, PUMA and Scuderia Ferrari HP present a new capsule collection of women’s and men’s fashions celebrating the classic shade of red — a symbol of Ferrari excellence, competition and heritage dedicated to the Las Vegas Grand Prix — from highperformance footwear to polo shirts with sponsor logos inspired by the drivers’ clothing. “PUMA has been right there with Scuderia Ferrari HP, partnering closely to engineer gear that keeps pace with the evolution of motorsport, fusing speed, precision and style,” said PUMA Chief Product Officer Maria Valdes. The historic collaboration between the legendary brands has played a pivotal role in shaping industryleading technology and performance-driven designs. To mark the occasion, PUMA and Scuderia Ferrari HP hosted an exclusive dinner at the iconic ASGT Building, home to the HyperCar team, as well as Ferrari’s historical cars and the XX Programme, an exclusive, track-only research and development program for Ferrari’s most valued clients, in Maranello, Italy. This occasion brought together some of the biggest names in racing, including Lewis Hamilton and Charles Leclerc, alongside some very special guests including Jean Alesi, Giancarlo Fisichella and Toni Vilander. More than a celebration, the evening served as a tribute to the commitment, passion and shared vision that have captured the excitement of participating in the history of the most legendary cars and races. @scuderiaferrari @puma
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PHOTO COURTESY OF PUMA X FERRARI
WRITTEN BY MARC CASTALDO
L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E C O D DO L O E D C ILLUSTRIOUS COLLECTION DOLCE EXCELLENCE
CAROL AND MORTON RAPP DONATE MORE THAN 450 WORKS OF ART TO THE AGO The Art Gallery of Ontario will proudly showcase a special selection, including works by Andy Warhol, Lee Bontecou, Jasper Johns, David Hockney, William Kentridge, Robert Rauschenberg and Kara Walker WRITTEN BY MARC CASTALDO
PHOTO COURTESY OF 2025 THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS, INC. / LICENSED BY ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / CARCC, OTTAWA. 2025/497
Andy Warhol’s Marilyn Monroe (Yellow & Red F&S31), 1967. Silkscreen, now showcased at AGO, generously donated by Carol and Morton Rapp, 2025
uring the 1960s, Carol and Morton Rapp began collecting prints solely for the love of art. Passion is what most often drives unique hobbies. But the two Toronto art lovers never stopped. And so their collection evolved along with the world of art. In the 1990s, their interests expanded to encompass contemporary photography and photogravures. Today, their collection serves
as a testament to their unwavering love for art, but also to how they contributed to advancing the arts by supporting some of the most famous printmakers and photographers known today. “More than collectors, Carol and Morton Rapp were stewards of great art, eager to share and preserve the things that brought them pleasure, beauty and insight,” says Stephan Jost, the Michael and Sonja Koerner Director and CEO of
the Art Gallery of Ontario. “During their lifetimes, they contributed immensely to the cultural fabric of Toronto and to the AGO, and this gift by their family is a heartfelt expression of their enduring commitment to this place.” The Rapps’ contributions to the Art Gallery of Ontario began in 1966 when they generously donated 474 works. Seven decades later, their generosity continues to strengthen the AGO’s Prints and Drawings Collection, capturing the medium’s renaissance in the late 1960s and 1970s and its ongoing evolution throughout the early decades of the 21st century. “They were globally connected and committed to building collections at the AGO and MoMA,” says Jay Smith, AGO Trustee and Rapp son-inlaw. “One of the distinct legacies of this gift is that they worked closely with living artists, and this shared energy is alive in the gift.” Their gift consists of works by 203 artists, more exciting as it includes several portfolios, from Andy Warhol’s four portraits of Marilyn Monroe to Kara Walker’s Testimony. It’s due to monumental collections like these AGO remains one of the largest art museums in North America, attracting approximately a million visitors annually, and one of the most significant in the world. Today, the AGO’s prints and drawings collection includes more than 20,000 prints, and the institution welcomes all to discover the evolving history of this medium.
ago.ca @AGOToronto
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A YEAR OF PERSEVERANCE AND GOOD FORTUNE With the Lunar New Year approaching, Van Cleef & Arpels pays tribute to a noble sign through their Lucky Animals Horse clip, a blend of craftsmanship and symbolism WRITTEN BY ANGELICA SOSA
his Lunar New Year, on February 17, 2026, the world prepares to welcome the Year of the Horse, a symbol of strength, vitality and freedom. To honour this promising time, Van Cleef & Arpels is highlighting a symbolic creation from its Lucky Animals collection: the Horse clip. This clip is more than just a jewel; it is a token of luck made to accompany the wearer into a year of perseverance and good fortune. Remaining faithful to the maison’s tradition since the 1950s
of celebrating nature with its poetic bestiary, the piece combines the warmth of 18K rose gold with the rich glow of carnelian and the depth of onyx. Van Cleef & Arpels’ signature delicate beaded contours accentuate the clip’s curves, truly capturing the animal’s spirited yet warm-hearted character. Although it is compact and refined, the horse clip is designed to make an impression. Whether it’s worn on a lapel, dress or coat, the Horse clip brings a subtle, symbolic radiance to
Lunar New Year attire. In a season defined by heritage, hope and new beginnings, Van Cleef & Arpels truly captures the spirit of grace with this Horse clip. More than just an accessory, it serves as a personal goodluck charm to bring good fortune and motivation throughout the year, welcoming 2026 in true Van Cleef & Arpels style.
www.vancleefarpels.com @vancleefarpels
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PHOTOS COURTESY OF VAN CLEEF ARPELS
Crafted from 18K rose gold, rich carnelian, and deep onyx, this brooch is sure to leave an impression, adding meaning to every outfit and highlighting a year of good fortune
L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C The Palm Beaches COLLECTION Curate Your Perfect Vacation in West Palm Beach
In West Palm Beach, explore a vibrant collection of world-class arts, lively entertainment,
ecletic cuisine, and family fun along a picturesque waterfront. Discover cultural experiences in our 39 cities and towns. Curate your perfect vacation at ThePalmBeaches.com.
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E A O C O L D O E D C DOLCE EXCELLENCE AID AFTER HURRICANE MELISSA
THE WEEKND SUPPORTS WFP’S MISSION AFTER HURRICANE MELISSA
Global music star Abel Tesfaye contributes $350,000 to support disaster relief efforts in Jamaica that deliver essential aid and help communities rebuild
PHOTO BY WFP/DANTE DIOSINA JR.
PHOTO COURTESY OF WORLD FOOD PROGRAMME, MEDIA TEAM
WRITTEN BY ANGELICA SOSA
WFP team assembles before unloading emergency relief supplies in Jamaica as communities work to recover from Hurricane Melissa
bel “The Weeknd” Tesfaye is giving crucial support to the people of Jamaica in the aftermath of the devastation wreaked by Hurricane Melissa in the Caribbean this past autumn. Through his XO Humanitarian Fund, the world-recognized music icon and Goodwill Ambassador for the UN World Food Programme (WFP) has donated $350,000 to reinforce the WFP’s emergency response, enabling the organization to intensify efforts to reach up to 200,000 Jamaicans affected by the storm. By the end of October Hurricane Melissa had
impacted almost six million people across the Caribbean islands, with Jamaica bearing the weight of the Category 5 storm’s catastrophic destruction. Working alongside the Jamaican government, WFP has reached more than 9,000 people in Jamaica with essential food kits that include rice, lentils, canned proteins and vegetable oil. So far, WFP’s emergency distributions have reached 254,000 individuals across Jamaica, Cuba, and Haiti. “We are grateful to The Weeknd for his generous support for WFP’s urgent relief efforts. His compassion will provide much-needed
comfort and resilience to Jamaicans as they navigate this crisis,” said Barron Segar, World Food Program USA president and CEO, highlighting the important role private donors play in allowing rapid humanitarian action. Fuelled by proceeds from his After Hours Til Dawn Tour, The Weeknd’s XO Humanitarian Fund continues to advocate for global hunger relief, strengthening the life-saving work of WFP as families work to rebuild and recover.
www.wfp.org @worldfoodprogramme
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C IN THE THEATRE OF LIFE, OUR FLOWERS TAKE CENTRE STAGE
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E T O C O L D O E D C DOLCE EXCELLENCE ART & FASHION
AN UNFORGETTABLE NIGHT AT THE ROM IMMORTAL GALA With black-tie glamour and philanthropic spirit, the ROM Immortal Gala raises over $1 million for the museum’s iconic fashion and textile collection WRITTEN BY ANGELICA SOSA
he ROM Immortal Gala: The Art of Fashion was an unforgettable evening that beautifully celebrated creativity, culture, and generosity. Hosted inside the luxurious Park Hyatt hotel, the evening brought together the worlds of art, fashion and philanthropy for a truly extraordinary night. Guests arrived in style and black-tie elegance, which set the tone for the event and paid respect to the stories and craftsmanship behind it. The Gala achieved an incredible milestone this year, raising over $1 million in support of the ROM’s celebrated collections, exhibitions,
and educational programs. These funds will play a crucial role in preserving and boosting one of the world’s most significant fashion and textile collections, a global archive recording centuries of design innovation and cultural heritage. With the generous support from attendees these objects will continue to inspire generations to come. The highlight of the evening was the presentation of the inaugural ROM Immortal Award to Suzanne Rogers to recognize her immeasurable contributions to philanthropy and fashion. Her award added a moving note to a
night that emphasized the powerful collaboration between giving and creativity. The Immortal Gala illuminated the beauty of fashion and collective generosity, demonstrating that when people work together they can make a big difference. With this year’s huge success, excitement is already in the air for the 2026 ROM Immortal Gala, which hopes to touch hearts, inspire others, and raise money to support the ROM once more.
www.rom.on.ca @romtoronto
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PHOTOS BY GEORGE PIMENTEL
Suzanne Rogers receiving the inaugural ROM Immortal Award for her philanthropy and abundant contributions to fashion
L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C FERRARI APPROVED CERTIFIED PRE-OWNED PROGRAM
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undergo a rigorous inspection process to ensure they meet the highest standards of quality and performance and includes comprehensive warranty coverage for peace of mind.
Each certiied pre-owned Ferrari offered by Ferrari of Ontario is thoroughly inspected, reconditioned, and certiied by a team of
factory-trained Ferrari of Ontario technicians. Any necessary repairs or replacements are completed using genuine Ferrari parts. Ferrari Approved available at Ferrari of Ontario.
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416-749-5325 / 200 Auro Park Cir., Vaughan, L4L 8R1 / ferrariofontario.com
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View Our Pre-Owned Inventory
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C PHOTO BY JAKE SHIDELER
ACTOR
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L D O E D C L E O C L L D O O D D A E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C SETH EDEEN: A CREATIVE MIND, A DISCIPLINED LIFE As his work on ReelShort continues to expand, Seth Edeen is watching the vertical space evolve faster than ever — and positioning himself at the forefront of its future INTERVIEW BY MARC CASTALDO
Q: Now that you’ve starred in 30+ vertical projects, what lessons from those early days do you carry into your current work? A: The biggest lesson came from my roommate: read it, read it, read it. That’s the core of acting — understanding the script and building the world in your head. I still do that to this day. The scripts and stories are much better now, with legitimate writers getting involved. I remember one show that was so bad it never even aired. I’d ask the director, “What’s my motivation?” And he’d say, “I don’t know, just say it.” Wild times.
@sethedeen
PHOTO BY HALDANE MORRIS
ll the way from the quaint state of Wyoming to sunny California, Seth Edeen has taken media content by storm on all fronts. In a recent interview with Dolce, Edeen shares that his younger life as a dedicated and focused athlete helped him remain grounded and self-disciplined, which prepared him for a career where egotism can take over and values can be compromised. Today, as Hollywood entertainment is shifting toward mobile-first creatordriven content, Edeen represents the next generation of talent. His vertical shortform projects have earned over 300 million views each across multiple titles, building a dedicated following among young-adult audiences and positioning him as one of new media’s most compelling breakout stars. Dolce may have sat down with Edeen at the crossroads of where entertainment is heading next …
Q: Tell me a little bit about your childhood — what was it like growing up? A: I was a big hockey lover growing up. Acting wasn’t on my radar at all — not even mentioned. It was all sports: football, hockey, literally anything other than artistic. But even in fifth grade, I was obsessed with USC football. That was my team. I always knew I wanted to live in Southern California — L.A. or San Diego. After graduating from college, I took a good job to save money, then a couple of years later, I quit and moved to Southern California, thinking, “I’ll figure it out when I get there.” When I arrived, vertical dramas started popping up — and here we are.
Q: When you were first introduced to vertical drama, what was your impression, and how
did you know it was something you wanted to dive into? A: When I first started, I thought what most people think: “What the f — is this?” I showed up on set — my first real set — and no one had sent me a script. Three days before filming, I got a 187-page script. I went to my roommate, who’s an actor, and he basically said, “You’re screwed. Just keep reading.” But it turned into an awesome experience. We moved so fast — 187 pages is insane for any production, especially a vertical. It was chaotic but fun. I’ll never forget that show.
Q: Your projects have earned hundreds of millions of views. How did that impact you — and how did your family and friends react? A: My third vertical ever was with ReelShort — the Netflix of verticals. The filming was great, only 10-hour days. When it came out, I gained about 15,000 followers in two weeks. That show later hit 100 million views. Six months later, because of that success, producers pushed for me to star in Breaking the Ice alongside Nicole Maddox. That project went to the moon. I was in New York filming another show when people started recognizing me from TikTok. That was a turning point. My family is from Wyoming — a small town, low-key. They’re still wrapping their heads around everything. My mom even thinks I run my own fan pages. I swear I don’t have that much free time.
Q: What is your dolce vita? A: A beach house in Manhattan Beach, California. Somewhere between $20–30 million. Floor-toceiling windows overlooking the Pacific, but with privacy, too. I saw so many incredible homes while working as a caterer, and that’s the vision that stuck with me.
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E G O C O L D O E D C With Experience and Design Centres in Toronto, Montreal and Vancouver to choose from, you can give your home the Gaggenau touch
THE GAGGENAU EXPRESSIVE SERIES
aggenau, the luxury brand for professional-grade kitchen appliances, presents its first new cavity range in nearly two decades: the Gaggenau Expressive series. The new series carries the essence of Gaggenau’s tradition while stepping boldly into the future, blending familiar elements with design inspired by Bauhaus principles and modernist architecture. The Gaggenau Expressive series unites aesthetics with professional-grade functionality, emphasizing a minimal use of materials to create a clean, refined look. Each component is
thoughtfully crafted for visual balance, featuring newly designed elements such as the floating control ring-an interactive detail elegantly positioned on the seamless glass door. This ring enhances both the look and usability of the appliances, showcasing Gaggenau’s skill in metal craftsmanship while harmoniously combining form with function. The ovens feature a high performance heating system and full surface grill placed behind Gaggenau’s signature blue enamel interior. Key features include temperatures reaching up to 300°C, an intuitive user interface that lights up as
you approach, and a convenient one-touch door opening mechanism. Additionally, the ovens are equipped with advanced automatic programs, a multi-point core temperature probe, and a pyrolytic self-cleaning system. Each appliance in the new series is crafted through a blend of advanced technology and hands-on expertise from skilled artisans. A small group of craftsmen perform the hand-brushing on stainless steel before automatisation process. Precision chamfered edges are achieved using custom milling, adding to the quality and detail that define this series.
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PHOTOS COURTESY OF GAGGENAU
Gaggenau’s Expressive series appliances are what every kitchen needs
L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C Innovative kitchen necessities that will never compromise aesthetics or convenience
Designed to suit a diverse range of culinary needs the Gaggenau Expressive series includes ovens, combi-steam ovens, combi-microwave ovens, fully automatic espresso machines, culinary warming drawers and vacuuming drawers. With each appliance, Gaggenau ensures that the highest standards of performance are met without compromising on visual appeal. Sven Baacke, Gaggenau Head of Design, says, “This new cavity series is significant because it’s the first completely new design in almost twenty years. It’s not just an appliance but a piece of art. This design balances tradition and innovation, honouring our roots while looking forward.” He adds, “One of the key features of the Gaggenau Expressive series design is its recognisable form, the ‘two frames and a circle’ concept, which merges aesthetics and professional-grade functionality. The materials and geometry have been refinedfewer visible screws, smoother joints, and perfected surfaces.” Alexander Stuhler, Gaggenau Industrial Designer, adds, “The Gaggenau Expressive series stands out because it transforms the kitchen space into something beyond functionality. It’s about delight and pleasure — people connect with this design because it creates a unique experience, and that’s what differentiates it from other products on the market.” In terms of user experience, Soeren Strayle, Gaggenau User Interaction and Interface Designer,
says, “This floating ring has been a long journey for us. We explored numerous prototypes, many of which contributed to the final product. With the display now hidden behind the front glass and the ring floating in front of it, we have created a tangible element within a digital environment, where both worlds seamlessly merge.” Dr. Peter Goetz, Managing Director of Gaggenau, states, “The new series epitomises Gaggenau’s design statement. It embodies a subtle design that it becomes sculptural. This series reflects our commitment to combining advanced
culinary technology with intuitive design, offering a refined aesthetic and exceptional functionality for the discerning chef.” For more information about the Gaggenau’s Expressive series, please visit our website.
www.gaggenau.ca @gaggenauofficial
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C TRAVEL
THE CLUB HOUSE: ADDING A MODERN TOUCH TO A TIMELESS LEGACY
From rich architecture to wellness, Fontanelle Estate’s brand The Club House offers a rich experience for the autumn season
PHOTOS COURTESY OF FONTANELLE ESTATE
WRITTEN BY ISHA SHARMA
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C A L L E O C O L D O E D C In the heart of Chianti Classico, The Club House offers calm, rustic yet luxurious living, revealing the rhythm of life
re you looking for a destination that allows you to pause and recharge amid the chaos of hectic routines? Have you ever experienced a retreat where architecture, cuisine and wellness are all celebrated in extraordinary ways? Fontanelle Estate brand brings The Club House hotel, an exclusive retreat offering the best combination of history and modernity. Inaugurated in the spring of 2022, The Club House, a former Tuscan farmhouse, is an age 14+ retreat located in the heart of Chianti Classico. Celebrating Tuscan heritage, the luxury retreat exists in synchrony with the surrounding environment, flavours and customs. Preserving the essence of the old farmhouse,
architect Margherita Gozzi has used genuine materials, including stone, terra-cotta and wooden beams, that ensure overall harmony with its surroundings. The property’s advantageous location offers a 360-degree view of vineyards and olive groves that glow in the fall with shades of ochre, copper and scarlet. The hotel’s 15 rooms — three master suites (Lapina, Boscobruno and Migliorè) and 12 superior rooms, each with a distinct personality — take shape within this framework. Adding a contemporary touch to Tuscan tradition are the terra-cotta floors, exposed beams and large windows opening overlooking the Chianti Classico vineyards.
Daniele Canelle, executive chef of the two Fontanelle Estate brand restaurants, leads the kitchen with finesse and creativity, highlighting the rich cuisines and flavours of the region. With just 12 seats and one Michelin star, Il Visibilio is a finedining establishment that serves a blind tasting menu that honours seasonality and takes guests on a sensory adventure driven by feelings and aromas. Highlights include borlotti bean cream with ditalini pasta, pappardelle with wild boar and duck breast in dolceforte sauce, which evoke the tastes and ambience of Tuscan farmhouses. In addition to this more intimate space, diners can also choose the Osteria Il Tuscanico, the friendly heart of the resort. Its new autumn menu, which emphasizes fresh goods, narrates the tale of the most genuine Tuscany via cuisine and strikes a balance between elegance and simplicity. Along with a focus on architecture and flavours, The Club House emphasizes its rich wellness philosophy. The Wellness Sanctuary — a peaceful 400-square-metre retreat with a sauna, tepidarium, Turkish bath, pools and customized treatments — is where visitors can seek warmth as the temperature drops. The spa, open to the landscape and flooded with natural light, feels visually integrated with the Chianti Classico countryside. Every element — including the tennis courts, golf driving range, gym, outdoor swimming pool and private spa area — is designed to create a memorable experience. Since autumn guides the rhythm of the retreat, The Club House Hotel closed for the season since November 23. Says Fontanelle Estate general manager Phoebe Farolfi “After a year filled with satisfaction and guests from all over the world, we take the necessary time to recharge, introduce new ideas, and refine every detail ahead of reopening in spring 2026.” With its extraordinary features, The Club House takes forward the Bolfo family’s vision and represents their dedication to continuously improving this area of Chianti Classico. Farolfi adds, “Looking ahead to the next season, we expect a significant increase in visitors. For this reason, we are working on new measures to make the experience even more comfortable, exclusive and in tune with the territory.” She adds, “Exciting projects include the expansion of Villa Il Mandorlo and new immersive activities dedicated to discovering Chianti Classico. Our connection to the land remains central, expressed through the promotion of local products, collaborations with artisans and the celebration of Tuscan traditions, all of which make every stay both authentic and memorable.” With the best combination of tradition and modernity, The Club House is the best seasonal destination for excellent cuisine, architecture and wellness pursuits in Chianti Classico. www.fontanellestate.com @fontanellestate
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E STEFANOD D T E E GABBANA’S C C FLOATING L L E O C O MASTERPIECE L D O E D C Crafted for Stefano Gabbana, the 65-metre Regina d’Italia emerges as a rare expression of modern Italian luxury and visionary design WRITTEN BY ANGELICA SOSA
he Regina d’Italia, Stefano Gabbana’s remarkable private yacht, sailed into the public eye in 2019, an artful combination of Italian artistry, engineering mastery and pure design. Now listed for sale at $88.1million (US$64.4M/€54M) with Ocean Independence in Tuscany, Italy, the 65-metre Codecasa-built superyacht serves as an example of modern Italian luxury crafted with care and precision for its owner, one of fashion’s most influential designers. Though based on the acclaimed Codecasa platform, the Regina d’Italia is entirely unique, defined by bold design layers, a modern interior and sleek contours. Designed in partnership with M2 Atelier and Gabbana himself, the yacht is a showcase of striking design and artistic ambition. Brazilian marble, more often seen in fine jewelry, is lavishly used throughout the yacht, complemented by a gradient of blue accents that
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PHOTOS COURTESY OF OCEAN INDEPENDENCE
LUXURY AT SEA
L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C Bold design, custom furnishings and dramatic finishes create an atmosphere of cinematic glamour, showcasing the yacht’s distinctive and creative vision
The pool deck, the perfect location for sunrise dips or starlit evenings, embodies the yacht’s seamless mix of luxury and escapand escape
intensify as you ascend from deck to deck. The main salon is spacious and bright with mirrored ceilings and blue silk panels enhancing the ambience, while flexible telescopic spotlights shape the atmosphere. A Fornasetti dining table with throne-like chairs surrounding it anchors the dining space, and each piece of furniture doubles as storage for crystal and tableware. The floors are light oak with dark ebony joints, adding a dramatic visual rhythm. The owner’s suite elevates privacy to an art form with its floor-to-ceiling windows, four portholes and mirrored ceilings creating a sense of openness. The aura of personal luxury is amplified with dual Brazilian-marble bathrooms, a bed larger than a traditional king and two walk-in closets lined in velvet, astrakhan fur and silk. The most playful and distinctive design element is a series of iconic Italian hand gestures reinterpreted as bronze taps in the bathrooms
LOOKING PAST ITS INTERIORS, THE REGINA D’ITALIA IS BUILT FOR CINEMATIC OUTDOOR LIVING. A 7-METRE INFINITY POOL IS LOCATED ON THE UPPER DECK IS LINED IN BRAZILIANMARBLE MOSAIC THAT SERVES AS ITS LUMINOUS CROWN
and sculptural features along the staircase. Each guest cabin showcases its own unique gesture, and the gestures have even inspired the creation of a bespoke book on Italian hand symbolism. Beyond its interiors, Regina d’Italia is built for cinematic outdoor living. A seven-metre infinity pool on the upper deck lined in Brazilian-marble mosaic that serves as its luminous crown is surrounded by teak loungers and lighting that transforms the space into a sophisticated openair lounge by night. Extendable platforms, a versatile beach club and a stylish gym framed by glass and mirrors complete the yacht’s full design vision. More than just a yacht, the Regina d’Italia is a crafted world that mirrors the creative spirit of Stefano Gabbana himself: bold, stunning, flawlessly executed and unmistakably Italian. www.oceanindependence.com @oceanindependence
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L D O E D C L E MERAKI O C L L D WELLNESS: O O WELLNESS WITH LOVE D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C WELLNESS
SEVEN MILE BEACH
GRAND CAYMAN
Trailblazers of the spa and wellness industry, Peter and Shula Clarke, share the beauty of their masterpiece project in Grand Cayman
PHOTO BY LISA REID
WRITTEN BY MARC CASTALDO
Mineral Pool & Relaxation Lounge: It’s a journey of renewal and deep relaxation
RENDERINGS COURTESY OF MERAKI WELLNESS
Peter and Shula Clarke Founders
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PHOTO BY DAN HOLLIS
PHOTO BY DAN LEGEND
L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E AC C L L E O C O L D O E D C Butterfly Room & Hammanm Suite: The Meraki team are dedicated and passionate professionals who view service and excellence as both a promise and a calling
fter 35 years of working side by side, Peter and Shula Clarke have defined the gold standard of the spa and wellness industry globally. Although they have enjoyed their retirement for the past 10 years, by no means have they lost their touch. In fact, they came back stronger than ever and delivered what they consider to be their life’s work. Over the course of their career, they have designed seven award-winning spas and several international consulting projects — and a deeply felt ethos that guides them in the execution and creation of every space they touch. But nothing, they say, compares to Meraki Wellness. Based in Grand Cayman, they expressed their pride, in an exclusive interview with Dolce, in this project as it is the most personal and defining one of their lives.
While enjoying their retirement in Mallorca in 2018, Caribbean developer Fraser Wellon invited them to London to discuss a new project at The Watermark in Grand Cayman. The Clarkes were intrigued but cautious. They agreed to visit the island — with no promises. But the moment they arrived, they fell in love with Cayman instantly. “We were struck by the integrity and the detaildriven philosophy of the Wellon family. It was very clear that he was a visionary, that he does not cut corners, [is] detail-oriented and [operates] at the highest level,” says Peter. A second visit followed, along with months of deep research into the region’s wellness offerings. What they found was opportunity — a promising canvas for something elevated, soulful and refined. To understand Meraki Wellness, it helps to understand its name. “Meraki is a Greek word
that means ‘what I do, I do with love and passion, and I leave a piece of my soul in my work’,” Shula explains. “That’s who Peter and I are. It’s our approach to everything, whether it’s work, personal, friendships or family.” What makes Meraki so intensely personal for the Clarkes is that all the pieces came together like a fairy tale: a visionary developer, an architect who embraced the concept rather than imposing his own, as well as the Clarkes’ award-winning creative experience. “It’s magic when you have those three ingredients,” Peter says. “And all three were aligned on this project.” Meraki, as a wellness as a destination is one defined by flow, thoughtfulness and emotion. The entire facility follows a gentle half-circle flow, with curves guiding guests through spaces designed to
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C Luxury Twin Signature Suite: More than physical renewal, this experience fosters a profound sense of well-being and helps you reconnect with your body’s natural rhythm
Luxury Changing Rooms with Sauna and Steam Room: An innovative, heart-led wellness experience delivered with exceptional care
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L D O E ‘‘ C D L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C THIS IS THE FIRST TIME WE’VE BEEN ABLE TO BRING OUR ENTIRE LIFE’S WORK TOGETHER UNDER ONE ROOF
PHOTO BY DAN HOLLIS
‘‘
relax the body without overwhelming the senses. “Everything flows. Every space is harmonious. And we think deeply about how it makes you feel from the moment you enter,” says Shula. Nothing is accidental. Textures, scents, lighting, air quality, temperature and even sound are all calibrated to encourage a peaceful state of mind. Mind, body and soul are all treated with the utmost care. For example, the lighting shifts subtly throughout the day. Music transitions to match circadian rhythms. Floors prioritize natural materials like wood to enhance grounding. The air itself is purified to 99.99995 per cent — the first spa in the world to achieve this standard. “We control everything — the air you breathe, the light around you, the way the music evolves,” Peter explains. “But you never notice the technology; it’s all there to elevate how you feel.” For them, the technology, while innovative, has its flaws; no one wants to be surrounded by touchscreens and buttons. Their innovation is subtly embedded within the guest experience; there is never an overwhelming moment during the guest experience. Emotion is their sole focus. With beautiful spaces that matter and exceptional service, guests feel something memorable, transformative and personal. “They will leave and say, ‘I can’t put my finger on it, but that was amazing. I’ll be back,’” Shula says. “That emotional connection is everything.” Peter puts it more succinctly: “We don’t want to know if the guest had a good treatment. We want to know: Did we leave a ‘heart print’ with you today?” It is an ethos woven through Meraki’s team, storytelling and brand. Every team member is educated in the narratives behind the building, the treatments and the materials. Guests aren’t welcomed with an itinerary — they are welcomed through meaning. At the core of that meaning is the phrase that Shula considers both a promise and a calling: “Wellness with
Hydrotherapy Odyssey: Mosaic tiles enhance each space, reflecting the ancient elements of the Cayman Islands
Love.” The slogan came to her during meditation. “It landed so clearly,” she recalls. “And I knew instantly that it was right.” Peter agreed: “It was a brave tagline, but we knew we could deliver on it.” From the wellness café to purpose-built event spaces to five distinct relaxation lounges, Meraki Wellness is a community hub as much as a sanctuary. Locals, travellers, families, executives — everyone finds a place to breathe, recharge and reconnect. But the real game-changer, among the many one-of-a-kind highlights Meraki Wellness offers, is a snow room. The first in the Caribbean. It introduces contrast therapy in a playful, sensory and unforgettable way. “Snow is rare for many of our guests,” Peter says. “So, it becomes part of the emotional
experience that they will never forget.” “Meraki is our legacy,” Peter says, without hesitation. “This is the first time we’ve been able to bring our entire life’s work together — under one roof — and we will be judged by our industry; we welcome that.” For Shula, it is something even deeper. “This project has changed our lives,” she says. “It has touched our souls. And that’s the energy we want every guest to feel when they walk through the door.” In the end, Meraki isn’t just a place. It’s a feeling. www.merakiwellness.com @merakiwellnesscayman
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O EN D D E E C C L L E O C O L D O E D C TURKISH AIRLINES: THE ART OF AIR TRAVEL o matter how avid an air traveller you are, everyone wants a stress-free and seamless flying experience from the moment of booking their flight till they arrive at their destination. Today’s premium passengers value well-being and authenticity as much as comfort along with prioritizing their journeys to be more personal and purposeful. That’s when Turkish Airlines comes in and defines itself from every other airline in the sky. Known for refined service, globally inspired cuisine, and deep-rooted hospitality, Turkish Airlines has resurrected the golden age of travel, the era when passengers felt excited for a one-ofa-kind immersive experience, when every mile was meaningful. From the moment guests step aboard they feel at peace. Greeted with smiles and guided to their assigned seating, guests soon settle in and are offered complimentary refreshments and inflight amenities to make their trip more enjoyable.
Soon after, Turkish Airlines’ Flying Chefs — a signature feature exclusive to its Business Class — bring the essence of fine dining to cruising altitude. These professionally culinary trained chefs prepare and plate restaurant-quality dishes with precision. As the appetizer trolley slowly makes its way to each guest, each one acknowledges that the common misconception of ‘airline food’ is completely changed when it comes to Turkish Airlines. From the award-winning Turkish coffee to the dining menu varying from Beef Fillet to Potpourri of Grilled Seafood, Tortellini with grilled artichokes, to fresh mushroom omelettes. The dining experience rivals that of Istanbul’s best restaurants by delivering regional specialties and global favourites. Then the plane lands in Istanbul Airport and guests suddenly feel as though the highlight of their trip has ended. Little do they know that the Business Class Lounge is waiting for them
and the experience is only enhanced. Travellers can enjoy live cooking stations with Turkish favourites like gözleme and mantı, relax in private suites and showers. Corporate guests benefit from six private meeting rooms equipped with video and teleconference technology for seamless business across time zones. For longer layovers, private suites, modern shower facilities and changing rooms offer complete comfort. Daybeds and an on-demand mobile massage therapist help passengers unwind at every stage of their journey, highlighting Turkish Airlines’ commitment to thoughtful, human-centred luxury. Turkish Airlines’ Stopover Program lets travellers explore Istanbul with complimentary hotel stays — three nights for Business Class, two for Economy. Flying to more countries than any airline, its 355-destination network makes Istanbul a seamless global hub. Even as others scale back, Turkish Airlines blends modernity with thoughtful, elegant service. www.turkishairlines.com @turkishairlines
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PHOTOS BY MARC CASTALDO
Luxury in the sky is the goal for some; for Turkish Airlines, it is the standard
L D O E D C L E O C L L D MALTAO O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C THE CREATIVE BRILLIANCE OF MAGNIFICENT 2
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SCAN THE QR CODE FOR DOLCE’S EXCLUSIVE FOOTAGE OF OUR MALTA INTERVIEW SERIES
1. CARLO MICALLEF 2. CHARLES AND RON 3. LUKE AZZOPARDI 4. JAMES DIMECH 5. DANA CARMONT 6. STEPHANIE BORG 7. JOSEF BONELLO
The small Mediterranean island nation is home to some of the world’s most creative artists, designers and influencers WRITTEN BY RICK MULLER
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PHOTO BY GEOFF FITZGERALD
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L D O E D C CHARLES L E AND O C L D RON OL O D D E E D C C L E O C L D O O E D D E E B C C L L E O C O L D O E D C PHOTOS BY ANTON BELIAKOV
PHOTO BY ADRIÁN TAPIA RIVERA
“Our philosophy is timeless design rooted in Maltese culture and Mediterranean spirit.”
Bringing forth creativity in harmony with innovation and tradition, the fashion designers’ bold designs reflect Malta’s history and geography, including its Baroque architecture and deep blue sea that surrounds the idyllic island nation. “We always start by respecting the foundations of fashion like structure, tailoring and craftsmanship, but we reinterpret it through a bold, modern lens,” say the partners, who first met in Amsterdam in 1992 and have been together ever since. “We both bring different energies to the process, with Ron more focused on the overall silhouette and visual storytelling while Charles’s expertise is in the drape, the texture and technical execution.” These complementary talents result in bold and creative fashion that has captured the attention of the fashion world. The partners’ Fashion Week
25/26 collection, Sirocco, is the result of their extraordinary collaboration with Heritage Malta. The collection features striking graphic prints of historic maps from the Heritage Malta collection, cartographic elements that serve as a visual representation of journeys taken, borders crossed and identities formed — an homage to Malta’s distinctive role as a cultural crossroads. Representing Maltese culture on the international stage is in the partners’ creative DNA, and something of which they are very proud. “It’s definitely organic,” they say about representing their culture through fashion. “Our culture is so much a part of who we are that it naturally weaves its way into our designs. But with that comes a certain responsibility. Our philosophy is timeless design rooted in Maltese culture and Mediterranean spirit.”
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L D O E D C L E O C L L D O O D D E E D C C M L E O C L D O O E D D E E C C DANA L L E CARMONT O C O L D O E D C FASHION
“It really is meaningful to see the growth in our women’s community. It really is amazing.”
Malta, a beautiful island nation in the Mediterranean full of culture, wonder, history and beauty, is unlike any other place on Earth. It is also like every other place on Earth because it has people — and where you find people, you find some who need guidance, expertise and assistance. Malta is where you will find designer Dana Carmont, an Australian swimsuit designer and serial entrepreneur who is helping empower women across the island. Her mother’s birthplace, Malta was always close to her heart. When Dana and her husband moved to Malta eight years ago and opened a wine and cheese bar, she met lots of people but noticed there wasn’t a female entrepreneurial community. So she started what began as an expat women-first network, which has since expanded to an NGO, Female Entrepreneurs Malta. She also set up a campaign to give used and unused bras to women in shelters across Malta, started “Coats for a Cause” that distributes donated women’s coats and jackets to needy recipients and opened a funky retail boutique that not only showcases her own designs, but also provides training for women in how to own and operate their own retail endeavours. “I love being able to see women grow with businesses,” says Carmont. “It really is meaningful to see the growth in our women’s community. It really is amazing.”
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PHOTOS BY PHOTOS BY JESSE MILNS
RATUR, SEQUI DOLUT SLDFEH
Ut quia con parci imagnist que voluptas remos aperum et quist, con nihil inciatempor ma voluptaturi occumqu iandandes pelestrum dolutati con num et fugite cum aut porerat. Rit ut ium sunda voluptur,
PHOTO BY JESSE MILNS
PHOTO COURTESY OF LUKE AZZOPARDI
L D O E D C L E O C L L D O O D D E E D C C O L E O C L D O O E D D E E C C L L E LUKE O C O AZZOPARDI L D O E D C “My work begins with fabric, treating fashion as a sculptural and kinetic exercise, but it is through this material exploration that cultural commentary emerges.”
One of Malta’s foremost fashion artists, Luke Azzopardi creates luxury ready-to-wear, bridal wear and jewelry whose timeless elegance stems from his academic background in costume history. Azzopardi is a couturier and multidisciplinary artist whose brand, Luke Azzopardi Studio, colours outside the lines and definitely beyond boundaries. He is one part designer and one part cultural commentator and he doesn’t differentiate between the two. “I don’t see those identities as separate,” he says confidently. “My work begins with fabric, treating fashion as a sculptural and kinetic exercise, but it is through this material exploration that cultural commentary emerges. I am deeply interested in the rites and rituals that hold societies together, particularly those surrounding death and coming-of-age, and in how clothing can mark, contain and honour these thresholds. Designing is a cultural commentary, and cultural commentary is a form of design. They coexist in the folds, seams and weights of each piece I create.” Proud of his island, Azzopardi and everyone at his studio are committed to both sustainability and ethics. They are proud to champion the “slow fashion” movement, upholding the highest ethical standards while keeping their environmental impact to a minimum. Passionate, fierce and independent, Azzopardi is much like his island itself.
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L D O E D C STEPHANIE L E O BORG C L L D O O D D E E D C C L E O C A L D O O E D D E E C C L L E O C O L D O E D C A self-taught artist, graphic and surface designer, Stephanie Borg has created more than 400 products that are enjoyed in beautiful homes and offices around the world and are available at her charming Studio Boutique in Rabat and from her online shop, which offers worldwide delivery. Her artistry, creativity and keen eye for textures has been honed by more than 35 years of artistic practice as a citizen of the world. Born in Malta, Borg has lived in the Bahamas, the U.S., Italy and the Sultanate of Oman, where she resided for six years before returning to her native Malta. Coming home unleashed emotionally powerful visual memories from her childhood. “One of my earliest and most vivid memories is from my parents’ flat, where I spent the first five years of my life,” recalls Borg. “The entire floor was covered in traditional Maltese tiles, and I remember being completely captivated by them. I’d sit on the floor tracing and colouring the patterns, completely absorbed in my own little world. I didn’t realize it then, but those quiet moments were already nurturing a deep love for design, detail and Maltese heritage. That early fascination lay dormant for some years, but when I returned to Malta in 2008, it all came rushing back. And it’s a love that’s stayed with me ever since, continuing to inspire my work to this day.” Her inspiration continues to come from the love of her home island — the distinctive colours and patterns seen all around the island, from its wrought iron to its tiles, its charming boats and vivid national costumes. “I’ve grown more confident in my voice and direction, something that naturally comes with years of learning, experimenting and simply living,” says Borg. “But I’ve also come to realize how important it is to stay curious and open.”
PHOTOS BY JESSE MILNS
“It’s a love that’s stayed with me continuing to inspire my work to this day.”
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L D O E D C L E O C L L D O O D D E E D C C L E O C JOSEF BONELLO L D O O E D D E E C C W L L E O C O L D O E D C Wine lovers might not put Malta at the top of their favourites list, but that would be a mistake. Even non-connoisseurs know that producing good wine takes good soil and a great climate, and Malta has both. The 316-squarekilometre island archipelago enjoys fertile soil on the 420 hectares dedicated to its vineyards, but it also enjoys the perfect Mediterranean climate and breezes, both of which are ideal for growing the perfect grapes for excellent wines. “We are blessed by the Mediterranean Sea and by its climate and profile, which are both very desirable to have,” says Josef Bonello, Ambassador for Wines of Malta and Gozo, Malta Tourism Authority. “So, definitely, it is our land and our positioning within the Mediterranean which gives us a lot of
sunshine so the fruit can ripen with ease without any concerns about pending storms, so we can really allow the vine to take the time that it needs.” In Bonello’s expert opinion, the nurturing and care needed to grow great wine is just as important as the quality of the soil and climate. In the case of Malta, the quality of its wines are very much a reflection of the quality of the Maltese people. “This is the beauty of wine — it really represents the people who make it and the land upon which it is grown,” observes Bonello. “There is always a human connection and influence on the style of any wine, as it represents what the humans that make it want to drink.”
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PHOTO BY GEOFF FITZGERALD
“This is the beauty of wine — it really represents the people who make it and the land upon which it is grown.”
L D O E D C L E O C L L D O O D D E E D C C CARLO L MICALLEF E O C L D O O E D D E E T C C L L E O C O L D O E D C PHOTO BY JESSE MILNS
“Malta is in the middle of the Mediterranean, and it has been the place to be conquered by anybody who wanted power in the Mediterranean.”
To be successful at sales you need to possess two things: you need to absolutely love sales, and you need to absolutely love what you are selling. Carlo Micallef, CEO of Malta Tourism Authority, loves sales and adores Malta. When Micallef, a veteran of close to three decades in marketing and tourism, first joined the Malta tourism team people hardly knew where it was. But Malta’s popularity among tourists has been growing. In the past 10 years the country’s tourism industry has seen record growth, and that doesn’t surprise Micallef, who observes that throughout history, Malta has always been front and centre. “Malta is in the middle of the Mediterranean, and it has been the place to be conquered by anybody who wanted power in the Mediterranean,” says
Micallef. “It started with the Byzantines, through the Normans, the Romans, the Arabs and all others who tried to rule the Mediterranean and by extension, Europe and North Africa. They all came and they all left their mark — in our genes, in our cuisine, in our languages and in our life. So, as a result, Malta is a melting pot of different cultures, which one can see and enjoy in Malta. That is special, and that is the Maltese spirit.” As a result, the diversity of its people is the soul of Malta, which North Americans can now enjoy with direct flights beginning from JFK Airport in New York, a long-time goal of Micallef ’s. It puts this remarkable cultural incubator of designers, artists and entrepreneurs within easy reach of anyone with a passion for wonder, history and culture.
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L D O E JAMES D C DIMECH E L O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C PHOTO BY JESSE MILNS
“Malta won’t hand you inspiration — it will challenge you to uncover it.”
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PHOTOS COURTESY OF JAMES DIMECH
L D O E D C L E O C L L D O O I D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C It is difficult to imagine any connection between the noise, dirt, dust and hard labour of a construction site to the peaceful, delicate and fine artistry of creating wearable art and fashion from paper and other recycled materials, but that is the life through-line of Maltese artist and theatrical set designer James Dimech, who primarily uses paper and origami to create intricate, sculptural pieces and sustainable fashion. He grew up in a family construction business, which gave him a hands-on understanding of how environments are built from the ground up. That early knowledge evolved into a desire to shape spaces, which eventually led him to designing for stage, TV and event sets, where he learned to create atmospheres that support storytelling. “It taught me to see the skeleton beneath the surface,” says Dimech. “Watching buildings rise from dust gave me a deep sense of how things are assembled — where strength lies, how light moves and how space feels. That knowledge stayed with me, influencing everything from folded paper sleeves to large-scale installation.” Dimech noticed how Maltese culture was a tapestry of contrasts: raw limestone alongside intricate lacework, resilience next to refinement; such contrasts became deeply present in his work, which often blends structure with fragility, tradition with experimentation — and always has transformation as its central core idea. “The idea of transformation is deeply personal to me,” he says. “I see beauty in what others discard — whether it’s tin cans, paper cut-offs or overlooked materials like post-consumer plastic. Repurposing waste is not only an ecological gesture, but also a metaphor for resilience, adaptation and possibility. In every fold or cut, there exists an opportunity to rewrite the story of a material — and of ourselves. My commitment stems from both urgency and hope. I began experimenting with paper because it was biodegradable and accessible, but that journey led me to explore more advanced sustainable materials.” His home is his artistic inspiration, and he encourages other young artists to come and experience it. “Malta is a place where opposites coexist beautifully,” he says. “Malta won’t hand you inspiration — it will challenge you to uncover it.”
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E S O C O L D O E D C CULINARY ESTATE
ELEVATED WINE, FOOD AND HOSPITALITY AT STONE EAGLE WINERY The dynamic duo behind Two Sisters Vineyards in Niagara-on-the-Lake take the next step forward in their culinary evolution
Angela Marotta & Melissa Marotta-Paolicelli, Co-Proprietors
isters Angela Marotta and Melissa MarottaPaolicelli have long been among Canada’s leading purveyors of the finest wines, food and hospitality. From their first vineyard planting in 2007 to their Two Sisters Vineyards being awarded WineAlign’s Top Ten Wineries in Ontario and Top 20 in Canada to the opening of their new Stone Eagle Winery, they continue to elevate the wine and hospitality landscape in Niagara’s acclaimed wine country. Stone Eagle Winery promises to set a new standard in Canadian hospitality, blending
dynamic wines with creative food pairings in a setting of luxurious ambience with inspired event spaces. Here, the two sisters will be creating guest experiences that exceed every expectation. “Stone Eagle Winery is defined by our family’s dedication to crafting exceptional wines and crafting experiences where hospitality and cuisine come together in a setting that feels both inviting and refined,” say the two sisters. Set on a 36-acre estate in the heart of Niagara, the ultra-premium winery is deeply rooted in the Marotta family’s passion for artistry, hospitality
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PHOTOS COURTESY OF STONE EAGLE
WRITTEN BY RICK MULLER
L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C A 36-acre escape where architecture, food, and wine will resonate with the heart and soul
and elevated experiences. Inspired by two handcarved stone eagles that were sculpted over four years in the Italian Dolomites, the winery’s name symbolizes the strength, elegance and attention to detail that defines the estate. Stone Eagle reflects a blend of styles rooted in the glamorous geometry of Art Deco and infused with the charm and craftmanship of Old-World European design and subtle contemporary touches. Under the expert leadership of winemaker Adam Pearce and estate sommelier Dieter Unruh, Stone Eagle’s guided tastings showcase the estate’s exceptional wines with elegance and versatility.
Pearce’s low-interventionist winemaking allows the distinctive character of the Niagara region to shine, while Unruh’s expertise ensures each guest’s experience is delivered with sophistication, depth and a deep respect for the wine. In keeping with a quality-over-quantity philosophy, the estate’s portfolio includes just five sustainably produced wines. Stone Eagle’s impressive opening portfolio includes a 2022 Eagle Eye White, a wine that was awarded a silver medal at the 2025 Decanter World Wine Awards, a gold medal at the National Wine Awards of Canada, and double gold by the Global Fine Wine Challenge,
earning a 95-point wine rating. Also included in their portfolio is a 2022 Stone Eagle Rosé, which received a bronze medal at the National Wine Awards of Canada and earned a 93-point wine rating, as well as their 2020 Stone Eagle Special Selection Red, recipient of a silver medal at the 2025 Decanter World Wine Awards and a 96-point wine rating. Stone Eagle’s exceptional wines are perfectly matched by the cuisine and presentation at The Nest at Stone Eagle, a restaurant that showcases locally sourced, globally inspired menus and exclusive wine pairings curated by the estate’s sommelier team. Menu highlights at The Nest at Stone Eagle include such dishes as hamachi crudo with yuzu kosho, Stone Eagle’s signature risotto with braised lamb shoulder, and B.C. wild miso black cod, each dish thoughtfully paired with wine from the estate’s portfolio. Stone Eagle Winery is setting a new standard of hospitality for the Niagara region. Whether it’s for a private tasting, a wedding or a corporate event, the vineyards and soaring architecture make a striking backdrop, and the spaces are intentionally built to deliver a seamless guest experience. The estate features a grand light-filled ballroom ideal for weddings and signature events, an elegant pre-function and intimate events space, the Pluma Room, designed for smaller events or preevent receptions, as well as seven private tasting rooms offering sommelier-led and food-paired experiences and a beautifully appointed tasting bar and covered outdoor terrace with views over the peaceful and impressive vineyards. The Marotta sisters’ commitment to sustainability, already in place at Two Sisters Vineyards, will continue at Stone Eagle Winery, the estate’s environmental practices a further manifestation of their dedication to excellence. The estate’s vineyards have been Certified Sustainable by Sustainable Winegrowing Ontario, reflecting a deep respect for environmental stewardship, community values and economic responsibility. Every decision in the vineyard and cellar, from strategic canopy management to the exclusive use of vegan-friendly, plant-based fining agents, is guided by integrity, innovation and care for the land. Niagara-on-the-Lake has long been one of Canada’s most popular and picturesque destinations. Stone Eagle Winery is the perfect complement, providing visitors elevated wines, cuisine and hospitality. www.stoneeaglewinery.com @stoneeaglewinerynotl
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L D O E D C DOLCE E L MENSWEARC ROUNDUP O L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C FASHION
In this exclusive series, Dolce presents a curation of iconic menswear fashion institutions TEXT BY MARC CASTALDO
VIA CAVOUR Created to honour the true meaning of luxury — not the commercial version tied to price, but the deeper one rooted in service, craftsmanship, and relationships — since 2003, Via Cavour’s purpose has been to create a boutique that feels like home, where clients are welcomed, known, and given the attention they deserve. Collaborating with family-owned makers who put integrity first and hold themselves to the same standard in an era defined by mass fashion, Via Cavour defines itself through care, expertise, and a commitment to timeless style. For them, "luxury" is simply the pursuit of excellence, one client at a time. www.viacavour.ca @viacavourtoronto
4MENUNITED A family-owned luxury menswear boutique catering to discerning, high-end clients who demand the finest in style and craftsmanship. 4MenUnited specializes in exclusive Made in Italy brands like Hugo Boss, Joop, Lorenzoni, and Distretto 12. Notably, Distretto 12 is the Official Fashion Partner of Italy’s Serie B League. Blending their heritage values with forward-thinking fashion, 4MenUnited offers tailored excellence for professionals who appreciate quality, sophistication, and authenticity. Do good, feel good and let them outfit you with performance-driven, elegant attire. 4menunited.com @4menunited
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C KING & BAY Located in the heart of Toronto’s financial district, King & Bay elevates luxury menswear with a truly bespoke approach. Inside its opulent Brookfield Place lounge, master clothiers design garments that reflect each client’s distinct style using exceptional fabrics, custom linings, and meticulous tailoring. Their lavish headquarters, complete with a private bar and premium food and beverage offerings from Pearl Morissette, Chotto Matte, and Ki, creates an immersive experience that sets a new standard in client service. As one of the city’s rare fully bespoke destinations, King & Bay blends artistry, heritage, and modern elegance. www.mykingandbay.com @mykingandbay
PER LUI Per Lui has been a trusted destination for the gentlemen of Woodbridge since 1988, renowned for its premium men’s fashion and accessories. Known for offering the finest bespoke made-to-measure, and custom-tailored suits, the boutique features over 3,000 square feet of European-styled apparel from the world’s most iconic brands. In-house tailoring ensures precision and fit, while clients shop in a relaxed atmosphere, complete with an authentic espresso bar. www.perlui.ca @perluitoronto
TOM'S PLACE Since 1958, Tom’s Place has been a leading retailer of designer men’s suits and accessories in Toronto’s Kensington Market. Founded by Hungarian immigrant William Mihalik, who arrived in 1956 with little money but a strong work ethic, the store began as a small second-hand shop. Today, the family business has evolved generation after generation while continuing to be a fashion institution in the city. Today, if you see an exceptionally tailored suit it’s most likely from Tom’s Place! Choosing the size and fit, prioritizing classic colours, patterns, fabrics, avoiding trends, budgeting wisely and adding essentials is Tom’s way, and they are honoured to serve you. toms-place.com @tomsplaceto
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C In 2025, De Niro played a President in Zero Day and two mafia dons in The Alto Knights
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L D O E D C L E O C L L D ROBERT O O D o D r i N e D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C “THEY’RE FUN TO PLAY, THOSE CHARACTERS. BUT THAT’S NOT WHO I AM.”
Robert De Niro’s done it all from acting to business, and even dipped his toes in the political scene. In his early eighties he’s still curious, eager to try new things and share with us what is important in his life WRITTEN BY CEZAR GREIF
PHOTOGRAPHY BY CHARLIE GRAY
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’ve known Robert De Niro for twelve years now, and every interview with him is something to look forward to. But this year things have changed. Bob, as he likes to be called, has a more optimistic outlook on life — there’s something akin to muted joy in the air. When I meet him in downtown New York, he has just come back from doing promotions in London and at 81 years old he shows no signs of slowing down. This year alone he was in a movie, The Alto Knights, and a TV series, Zero Day, and he has a new resort opening in the Caribbean in early 2026. At this May’s Cannes Film Festival he received a lifetime achievement award and his acceptance speech made the headlines. Although last year he was very heavily involved in Kamala Harris’s presidential campaign, when we meet he has other, more personal, things on his mind. He’s opening a new resort with famous chef Nobu Matsuhisa in Barbuda in 2026 and is enthusiastic about sharing his love for his new baby daughter, Gia, who was born in 2023 to him and his girlfriend Tiffany Chen, a martial arts instructor. At the end of the interview, he asks me to come over to look at a very cute photo of his baby daughter and him taken near a swimming pool. From the smile on his face, it’s very clear what the most important new project in his life is now, and where his newfound joy comes from. EARLY LIFE Q: You grew up in the Little Italy neighbourhood of Manhattan, but you were only a quarterItalian — your dad was half- — how did you see yourself? Did you identify as Italian-American? Did it change over time? De Niro: Well, I identified more with the Italians. I spent a lot of time in this neighborhood. [De Niro approaches the window and gazes at the view of the neighborhood from the 14th floor of The Bowery Hotel, where our interview took place.] Q: So, the neighborhood shaped your identity, and you didn’t question it too much? De Niro: No, not really. I hung out here as a kid for three or four years. I was a teenager. It was just the way things were.
Q: Were you exposed to Italian food? De Niro: Yes, at my grandparents’ house, my father’s parents. I love Italian food.
Q: Do you remember your first trip to Italy? De Niro: I was eighteen. I hitchhiked all over
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C Robert De Niro’s production company offices are located in the Tribeca neighbourhood in downtown Manhattan
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C Europe. I went up to Scotland, then to Ireland, then back down to England and France, and then to Italy.
I think in the public’s imagination, because you’ve played so many Italian or ItalianAmerican characters, there’s this assumption that Robert De Niro equals Italian-American. But when you consider your family background, which is Irish, German and French, it’s more complex than that. De Niro: I always identified with this part of the neighborhood and the kids I grew up with. It’s funny because I was actually working on the movie The Alto Knights nearby where we are today. We were shooting just a few blocks from here. Recently, I was part of a documentary that Martin Scorsese was involved in, and it included two guys I grew up with. One of them was actually the inspiration for Johnny Boy, the character I played in Mean Streets.
Q: Were your parents okay with you dropping out of high school to study acting? De Niro: It was okay with my mother. They were okay with it. Q: But what if your own kids did that? Would you be all right? De Niro: I wouldn’t be! But I like to think I support my kids. I never do certain things. I think they are all trying their best and I always support them. You probably also worry about them ... De Niro: Of course. How can you not?
Q: Not many people know that one of the first parts you ever had in a movie was in a French film, Trois Chambres à Manhattan. I saw it recently — it’s just a few seconds. What do you remember about it and that time in the ’60s? De Niro: I was an extra for a day. It was supposed to be a coffee shop on Lexington Avenue. What I found interesting was that, as an American, I could immediately spot things that felt European, like the espresso machine in the scene — that wouldn’t have been in an American coffee shop in New York City at the time. It was just a job. I was living in Paris at the time, and someone told me about it, so I went in as an extra. That was it. The film starred Maurice Ronet and Annie Girardot.
CAREER Q: Can you tell us about your favourite Italian movies? Which famous actors and directors do you admire? De Niro: When I was a young actor and became more aware of other types of movies, it was Fellini, Antonioni, Pasolini. But maybe Fellini. And who did Rocco and His Brothers? Visconti. De Niro: Great movie. I like Mastroianni, of
course. There was the actor in Rocco and His Brothers, Renato Salvatori. I once ran into him in Rome. He was in his car, stuck in traffic, and I went up to him, said hello. He was very nice.
Q: You played in movies by Bertolucci, by Sergio Leone, and more recently you worked with Giovanni Veronesi [on The Ages of Love] — how does working with Italian directors compare with American ones? De Niro: In my experience, Bertolucci was different from Sergio. They both have a certain lyricism, but when we were shooting 1900, we had an “old” sequence — where I played a very old version of myself. We shot it at the beginning of the movie, the first or second day of shooting. I did it, but this was very disconcerting because it should’ve been done at the end. We did redo it at the end, Gérard [Depardieu] and I. You don’t do this until you’re familiar with the character. Logically, it doesn’t make sense. Today, I could do it if there was a good reason to. But I was a younger actor — it was difficult. I remember having a talk with Bernardo, and he was explaining how Europeans work, with an emphasis on “the feeling, the moment,” et cetera. In other words, the way you feel today is going to influence how you do things. You don’t know how you’re going to do the scene because you might feel one way today, and a different way tomorrow. Everibus dollores rerovidebis sus autatem re plita He was right, but on the other hand, there are certain things you need to stick to, no matter how you’re feeling. In fact, I remember doing a scene not far from here in New York at the Whitney Museum, in an old movie called Greetings with an actor named Allen Garfield. I had never met him, we did an improv, the whole scene — he was great. I was feeling one way — not great. I was hoping it would be okay, I wasn’t sure … but in fact the scene was fine. You can be not feeling well but the scene can turn out fine. Like you and I are talking right now, you could have other things on your mind, as can I, besides what we’re talking about, but it doesn’t affect the interview. Same thing when you’re shooting a scene from a movie. There’s no doubt that European films are different than American ones, but at the same time, Europeans love American movies. Maybe it’s because of their simplicity. I’m generalizing, of course. I was about twenty-four years old when I realized that you don’t always have to be right in your head for a scene to turn out fine. Just go with what you’re supposed to go with, with what your intentions are socially and interactively. Don’t get cluttered by other stuff. We all have issues in our own life, things on our mind. European movies are more spontaneous, more of a “spur of the moment” type of process ... De Niro: Yes. Maybe Europeans have a bit of a more “naturalized” attitude, at least in certain movies.
Q: I wonder if, with time passing, you re-evaluate some of your own work. Are there movies you didn’t like for a long time and suddenly you think “Eh, actually, this one wasn’t that bad”? De Niro: Well, I could have that feeling. I’m not thinking of a movie specifically that that happened, but it very well could have because I got some objectivity and I might be just switching channels and something pops up and I look at it and say “It’s good.” The one thing that I’ve always been wanting to do, and then as I get older, I don’t know if I have the time, is to look at all my movies starting from the first movie that I have done and then move it all the way to now, just go through everything all the way to the present, chronologically. And just go through and critique them for myself and maybe take notes or something. The idea is “Where can I go in a whole different direction from everything I’ve done so far?” But I never did that. It just became harder. I had a friend writer say, “Well, I’ll sit with you and we’ll go over it.” I said, “Let me see.” Actually doing it is another story. That’s a very ambitious endeavour. De Niro: It is, yes.
Q: You’re still working quite a bit. I’m wondering if your outlook has changed. Making films means a lot of waiting around. Are you more patient — are you still excited to be on set? De Niro: In my situation I’m lucky, because I have a camper. I go into my camper, I work on a script, make calls, do some things, I’m always busy, so it’s not like I’m not using the time. I’m not standing around waiting. These days there are so many distractions. In the old days, you went in and were by yourself, you could read, you could listen to the radio — you could watch television if they had one in the camper. Now they have everything you can look at, so that you can always be occupied pretty easily. So no, for me, it’s not a problem. And then in a way, it’s good to be distracted from what you’re supposed to be doing unless it’s a scene you have to stay focused on and you can’t go off on this and that — you have to stay in the zone.
Q: You’ve recently played people in positions of authority and power, like in Zero Day, Killers of the Flower Moon or The Alto Knights. Would you say that it’s very different to play a powerful hero or a powerful villain, or that there are commonalities in both? De Niro: I don’t think of the William Hale character from Killers of the Flower Moon that way. He genuinely believed he was helping the Osage people while exploiting them, even though it’s a contradiction. He saw himself as a good citizen, even though he was doing terrible things. That’s what you got from everything that he put out there — that he felt he was a good person, he did a lot of good for the Osage. And he was always upbeat, seemed kind of a nice guy. And yet he was doing
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C “I SUPPORT MY KIDS. I THINK THEY ARE ALL TRYING THEIR BEST, AND I ALWAYS SUPPORT THEM”
Although he’s visited and worked in most of the world’s international cities, he’s always called NYC home
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C These days, De Niro tends to prefer shooting movies in New York City, so he can stay close to his baby daughter, Gia
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C “I’M AN ACTOR. I DON’T FEEL THAT WAY. I DON’T FEEL THE WAY THOSE CHARACTERS DO – THAT’S NOT ME.”
these horrible things. And some of the things I don’t understand — I don’t understand what his motivation was. But he could present himself as a good, upstanding citizen, saying he does these good things. Even after he was convicted and put in jail, he felt that the Osage still loved him in some way. I don’t know whether he really believed that or was just saying it or deluding himself. Maybe deep down he really knew that what he was doing was not good.
Q: In the Netflix series Zero Day, you play exPresident George Mullen. What kind of research did you do to build the character and backstory of President Mullen? De Niro: I did this show because they had very good people involved with it — one of the writers, Eric Newman, who was the showrunner and the main writer, and Noah Oppenheim. And Mike Schmidt, who writes for the New York Times. They really know that world. When I met with Eric, I was telling my agent I just want to see if I can do something in New York for a while. And he said, “What about a limited series?” I think that’s how it went. Noah wrote a treatment and I read that. I said, “Looks good, looks good.” Then he wrote an episode and then maybe another episode a few weeks later, and then I said, “It’s good for me.” All the technical consultants we had were the
best. I felt pretty secure as far as all that goes. And with politicians, you see them talking all the time. You get a sense of how they talk from just listening to press conferences or interviews. There’s a certain nature of behaviour that they have in that position, understandably. Even though my character had not been president for 12 years and only for one term, he had a good reputation. He was well respected. And so that’s why the Angela Bassett character, President Mitchell, asked me to do this and be in charge. Some people are going to be a little spooked because some of it was obviously done a year or more ago, but some of the things in it, it’s almost like the writers could tell the future: the one-term president (we didn’t know Biden would be one term a year ago), and then there’s a Black woman president, which almost happened. Mullen is also older and having memory problems at some point. It’s eerie! De Niro: Totally coincidental, though. Interesting. Since he’s an older guy that could make sense, if you want to go into it. It’s a thriller, in a way.
It must have been a lot of work to put it together. De Niro: It was like doing three movies, three features back-to-back. And I’ve said in several interviews that it felt like I was swimming the
English Channel. I look towards France, I look behind me, I can’t see France, I look toward England, I can’t see England, and I can’t stay there. I gotta swim every day. I keep going.
I think there are some heavy currents in the Channel ... De Niro: There’s some heavy currents. And that’s another thing — the currents, too. And then somebody mentioned that you have to put a lot of grease on you, too, to stay warm! But the bottom line is it was just moving, moving — moving forward. Every day, I had some scene and had to work to stay abreast of everything, with all the dialogue scenes. They could have made your character, George Mullen, a purely good guy. But there is that scene where he’s supervising the torture of this right-wing talk-show host. And then at that point you’re wondering if he’s such a good guy ... De Niro: Exactly — that’s one of the negative parts of the story, if you will. It shows what he feels he has to do because of the pressure that he’s under in order to discover he can’t find out anything. And then the “terrorists” threaten that another attack will happen again. My character’s under a lot of pressure. It doesn’t mean he’s justifying what he did, but that’s how he felt it should be.
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C from existing Nobu properties. We have a Nobu restaurant already in there. It’s different — it’s on the beach, it’s very nice. It’s a different thing.
A keen observer of the American political scene, De Niro has been worried about the direction the country’s heading in
Q: Online I see some people saying “I love the actor, but I hate his politics.” It’s almost that they think you are the characters you play, and they think many of the Mafia guys, they would’ve been Trump supporters. But you haven’t changed. The characters an actor plays create expectations in people. Have you had, in your personal life, many times when you’ve had to say “I’m not that guy, I was just playing him in a movie”? De Niro: Well, if somebody would say that, I can understand how people would think that those characters would go in that direction. But at the same time, personally, that’s not who I am. I am acting, I’m an actor. I don’t feel that way, I don’t feel the way those characters do. Even if you might think they would go in that direction, lean in that direction — that’s not me.
Q: In your recent movie, The Alto Knights, one of the two characters you played, Vito Genovese, reminded me of a character Joe Pesci might have played. Did you see that, too? Did you play him with that intention? De Niro: Yeah, sure. Joe would’ve been great in that kind of role. That was part of the challenge for me — to step into that kind of energy. My agent and producer, Irwin Winkler, pushed me to do both roles. I took a few days to consider it and then I thought, “Yeah, this could be interesting.” PERSONAL Q: Do you still visit Italy regularly? De Niro: Yes, I like to go as much as I can. I was there last summer. I was on an island, the island of Ischia, near Naples. It was very nice. People were nice and very low-key. I was there on vacation with my girlfriend and our baby girl.
Q: 2025 will be a big year for you, as you will be opening the Nobu Barbuda restaurant and Nobu Beach in Barbuda. Was it and is it a lot of work getting everything ready? De Niro: It’ll open at the end of 2025, or more towards 2026. And we’re still figuring it out, but it’s really moving. Every year I go down to look at it or I get reports from everybody who goes down there, my partner and so on. It’ll be a lot different
At 82, De Niro shows no signs of slowing down, with several projects coming out in 2026
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C DRINK
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O O E D D E E C C L L E O C O L D O E D C WHERE TWO WORLDS INTERTWINE
ver-tourism has become a growing and constant concern, with long queues surrounding monuments and streets flooded with people. Italy today can feel like a country almost carried away by its own popularity. Despite this, Italy still holds countless undiscovered, unbeaten paths in places intrinsically woven into the historical and cultural fabric, no less Italian and undeniably part of its heritage.
A History Older Than Italy Itself Even in the busiest cities, there exists another Italy quietly beneath the surface. Jewish Italy is one of those living stories, stretching back more than two thousand years — an Italy hidden in courtyards, narrow alleys, synagogues, fading inscriptions, and communities whose heritage is no less Italian than a Renaissance masterpiece. A history of surviving empires, papal decrees, ghettos, emancipation, and tragedy has left a profound imprint on Italian culture. In Venice, where the term “ghetto” originated, the tall, narrow houses and the concealed synagogues stand as living reminders of a world that once thrived. In Rome, Jewish history still comes to life beneath the Portico d’Ottavia, where
streets are a testament of the resilience of its people. Ferrara’s Jewish quarter carries the echoes in its streets, synagogues, and courtyards through centuries of scholarship, poetry and civic life that helped shape the city’s cultural soul. Across the South, traces of Jewish life appear in ways that are less obvious. In Puglia, the synagogues of Trani are a reminder that a Jewish community once shaped daily life. In Sicily, from Palermo to Siracusa, a hidden mikvah or a Hebrew carving catches your eye, reminding you how present these communities once were and their great significance.
The Cultural Contribution The contribution of Jewish communities in Italy spans science, medicine, philosophy, literature, art and ethics, and has greatly contributed to Italy’s identity today. One of the most accessible and enduring ways this heritage survives is through food. Food reveals a story of a place more honestly than anything else. Many of the dishes people now associate with their favourite cities began in Jewish kitchens long before they became local staples. In Rome, carciofi alla giudia — artichokes fried until they bloom like bronze flowers — still anchor Roman tables. Venice’s sarde in saor, created out
of necessity, is now woven into the city’s culinary identity. These dishes remind us that Jewish life was never just a fleeting chapter in Italy’s history but rather a part of its cultural fabric.
Where Memory Lives The food we taste, the streets we walk, and the rhythms of neighbourhoods all reveal a heritage that is fully Italian and fully Jewish, intertwined across time. It is the Italy that lives in the quieter places — the streets, the stones, the stories — that reveal the Italy beneath the surface. To truly understand that connection you must step away from the well-worn paths, walk these streets, and let the history come to life around you. A Gentle Invitation For those who feel called to explore this heritage first-hand, Marotta Travel will be hosting an Italian Jewish Heritage Tour in 2026.
www.marottatravel.ca @marottatravel
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PHOTO COURTESY OF MAROTTA TRAVEL CO.
Discovering Jewish Italy Beyond the Crowds
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L D O E D C L E O C L L D O O D D MERKULES: E E NOTHING D C C CAN L E STOPO HIM C L D O O E D D E E C C L L E O C O L D O E D C ARTIST
Recognizing his talent and persona, Snoop Dogg gave him the nod to represent Death Row Records in Canada
Discover one of rap’s most daring Canadian voices — whose violent origin story became inspiration and authenticity became art — in this exclusive Dolce interview
PHOTOS COURTESY OF WENER MGMT AND COLE “MERKULES” STEVENSON
INTERVIEW BY MARC CASTALDO
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An epic shot of Merkules performing in Brisbane, Australia, for The Survivor’s Guilt Tour 2025
hrough my work, I’ve learned that everyone is living a unique struggle that can either define or derail them. I’ve been fortunate to meet some rare individuals who transform that struggle into artistic purpose, shaping resilience, meaning, and creativity into a lasting life’s work. When I sat across from Cole Stevenson, better known as Merkules, I was struck by his appearance, which would undoubtedly leave an impression on anybody. Tattoos covered his body and he had a serious, sharp look in his eyes and a rigid scar across his face that made me say to myself, “Okay, this guy has been around the block.” But from the moment we greeted each other he was extremely cordial, down to earth, and open to sharing his story. “My instinct was to just close my eyes and squeeze them as tightly shut as I could. And then he swung down on me with the machete, hit me. After that, everything was a blur,” said Merkules, as
Ecererum ipsanto in cus nataspe lenditis et ex explabo. Necus aut rem re dolore la sum abore et pedis quod utet enim es maio. Di ium volor aut offici acepe pa inveniendit ad qui ratur si berecae vent animporis ex excero berchil ipsa simincid qui dolor aut repudam hitiand untinullor res imi
he points to that same rigid scar. In a recent interview with Dolce, Merkules shared his passion for music, his troubling childhood, and his relentless pursuit to remind himself: I am who I am, and I wouldn’t change a thing, but giving up is never an option. @merkules
Q: Tell me a little bit about your childhood and what it was like growing up in British Columbia. A: For the most part, I had a pretty blessed childhood. As far as the family department goes, my mom and dad always just wanted the best for me. I moved to a place called Surrey when I was very young. When we moved there, I don’t think my parents realized how easy it was for a kid like me to get wrapped up in the wrong crowd. But I had a great upbringing in that sense. I feel like I chose to rebel, whereas some kids didn’t have a choice.
My parents were always great and raised me as best they could, but I’m also an only child. A lot of my friends were kind of raised by my parents, too, because they grew up in broken homes. My mom always had a couch for anybody that needed one, a hot meal, laundry — whatever. There was not a time when we weren’t having two or three friends living with us at some point.
Q: Can you recall the moment when you knew you wanted to pursue music as a professional career? A: I always knew that music was what I wanted to do since I was very young, probably six or seven years old. I had already made that decision. I was always drawn to music and listened to whatever my dad was playing in the house. But the very specific moment was when my cousin Scott — he was older than me — would bring me into his room where he had posters of different rappers. He’d play me
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C uncensored albums, and I just thought it was so cool. I embraced the culture entirely, from the way that I dressed to everything I did, to the point where my parents were very worried when I went to school with a bandana, an upside-down visor, and pants three sizes too big. The LimeWire and Napster era was big for me, too. It felt so rewarding downloading these albums I was eager to hear. When they finished downloading, it felt like Christmas every day. Those were the key moments when I knew this was what I wanted to do. Q: Music is a universal language. It can trigger emotional connections and memories. Interestingly, you were able to identify that so early as an artist. A: Totally. There are certain records or songs that bring me right back to a specific moment. It’s also cool knowing that now my music does that for other people. It feels like a superpower.
Q: Your music has been described as “hangover rap”— songs that feel reflective, isolated and introspective. How did that artistic voice develop? A: I’ve got to give Wikipedia credit for coming up with that term. At first, I thought it was funny, then it kind of became a running joke. Over time, I embraced it because it’s true. I’m open about being an addict and an alcoholic for most of my life, and that it’s something I’ve struggled with for a long time. My music is therapeutic. It’s my trauma release. When I put it out into the world, it helps other people, too. The downside is that people sometimes think I’ve found a cheat code to sobriety or healing. But I’m still struggling. I’m still human. All I’m really doing is being vulnerable and honest. Especially as men, we’re taught to bury things and put on a tough exterior, but more people deal with this than we realize. It could be addiction, mental health, or PTSD. So, if I can be someone who says, “It’s okay to talk,” then that’s important to me.
Q: What is the biggest day-to-day challenge you face mentally or emotionally? A: Every day is different. Some days I’m unhappy with how I look physically. I’m a bigger dude, and that’s something I’ve always struggled with. Other days, it’s addiction voices that feel like they’ll never go away.
But at the end of the day, if life were perfect, we wouldn’t learn anything. All these hardships are valuable. Being an anxious and overthinking person sometimes protects me from making mistakes. So it’s a double-edged sword.
Q: You survived a violent attack at age 16. How did that experience shape you and your music? A: There’s probably still a little untreated PTSD, but I don’t even view it as negative anymore. I have a record called Scars, where I thank the people who did it, because as crazy as it sounds, it taught me so many valuable lessons. I truly believe it saved me from the street life I was stuck in. The day it happened, it was my first time in a
That incident was the wake-up call I desperately needed. After that, I turned my life around and leaned into music instead of the streets. Q: When you were writing Scars, was it a form of healing or a responsibility? A: It was a combination of things, but mostly it was a responsibility to myself. I had spent so long pretending to be someone I wasn’t. The song was an honest take on what happened and who I really am. With trauma, it sits inside you and tries to escape in different ways. I chose art. At first, I felt emotionless writing it because I was numb, but once it came out and people learned the truth, it became something real. If I could help another kid who thought he was a gangster realize that lifestyle isn’t it, then that meant something too.
As seen on the cover of his album Survivors Guilt, out now
real studio. I had recorded a song with an artist I looked up to. I burned it on a CD and brought it to a house party because I wanted the older guys to hear it. Later that night, while walking home with my friend Jordan and both our girlfriends at the time, we got into an altercation with a guy who almost hit us with his car. He left and came back with more people who boxed us in. They attacked us with weapons. I was hit in the face with a machete and stabbed with a switchblade. I remember hearing the girls screaming. I remember one of the attackers saying, “Is he done?” and another one replied, “One more.” My instinct was to just close my eyes and squeeze them as tightly shut as I could. And then he swung down on me with the machete, hit me. After that, everything was a blur. At the time, I was into stealing cars, petty crime, robberies — things I shouldn’t have been doing.
Q: Run me through the moment you connected with Death Row Records and Snoop Dogg. A: My cousin had a Snoop Dogg poster on his wall, and then I had one on mine. So to have a relationship with Snoop now is a full-circle moment. He’s super cool and genuinely cares about his people. A lot of people don’t know that when Snoop bought Death Row back, he didn’t just sign me on paper. It’s more like an umbrella and a cosign. He told me he trusted me to be the face of Death Row in Canada. There’s a guy from London, Ontario, named Kevin who has worked with Snoop for over 20 years. He found me on Instagram, and we kept in touch. Every time Snoop was in town, he’d get me a ticket. When Snoop bought Death Row, he saw my freestyle on Sway in the Morning and said, “This is exactly what I’m looking for.” I dropped my first single through his YouTube channel and then went on my first arena tour across Canada with him — 20,000 people a night. It was unreal. Death Row has been very good to me. I’ve got nothing but respect for that family, and I’m determined to make Snoop proud.
Q: Representing Death Row in Canada is a huge honour and responsibility. A: Absolutely. Snoop is one of the most recognizable and original rappers ever, but he’s also an entrepreneur and businessman. So being trusted in that way is truly an honour. Death Row Canada forever.
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L D O E D C L E READY, O C SET, L D VEGAS!OL O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C TRAVEL
Dolce goes to the iconic, bright light, non-stop, personality-packed city of Las Vegas and holds nothing back! WRITTEN BY MARC CASTALDO | JOURNEYED BY FERNANDO ZERILLO
Clockwise, from left: The Las Vegas Sphere is impossible to miss, expertly wrapped in brilliant visuals, celebrating the city and Formula 1. From Giada Restaurant, the backdrop stretches over the straightaway, with a clear view of the stunning Bellagio Resort & Casino
Dolce Co-founder, Creative Director and intrepid tourist Fernando Zerillo
Vegas, Baby!” should be said by all travellers once their flights land in the Nevada desert. Rightfully so, since Las Vegas continues to be one of the most iconic destinations in the world. It isn’t just the city of bachelor parties gone wrong, or of iconic casino heists, or the host city of some of the world’s best and most famous entertainers, like Elvis Presley. Las Vegas is the city of no holds barred. If you’re going to go all out, there is no better destination. From extravagant accommodations to exceptional dining options, exciting shows to adrenaline-pumping
extracurriculars, Las Vegas is for those who crave limitless opportunities. Above all, in recent years, it has been the city that showcases the loudest and fastest engines in Formula 1 racing. Most recently, Dolce’s co-founder, Fernando Zerillo, was invited to attend the Las Vegas Grand Prix 2025 and have unprecedented access to all the city’s offerings. Here, you can discover how la dolce vita and America’s Playground came beautifully together! Zerillo arrived in Las Vegas with ease, thanks to Porter Airlines’ newly expanded schedule — seven flights a week that make slipping into
the city smoother than ever. For the Formula 1 Las Vegas Grand Prix, he stayed at his preferred accommodation, the grand Bellagio Resort & Casino, which elevated the entire weekend. Perched at the centre of The Strip and directly along the fastest Drag Reduction System (DRS) zone, the Bellagio put him at the heart of the race. From his room, he could look out over the famous fountains, the straightaway, The Sphere and the rugged red-and-black mountains framing the city. Seeing the track constructed across one of America’s busiest tourist corridors made him appreciate the sheer scale and precision of the
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C PHOTO COURTESY OF MGM RESORTS
PHOTO BY BRANDON BARRÉ
The Vault, wrapped in black, gold and crystal accents, offers the perfect escape from the hustle and bustle of the casino floor. Discreetly hidden, this gem of a bar, delivers a true VIP experience — perfect for the elegant and discerning crowd — from the moment you step inside
The Las Vegas Strip delivers perfect DRS views, with screaming engines and flashing F1 cars blasting past at more than 340 km per hour against a backdrop that feels almost otherworldly
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PHOTO COURTESY OF CAESARS ENTERTAINMENT
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PHOTO COURTESY OF CAESARS ENTERTAINMENT
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1. Las Vegas Grand Prix Road Circuit 2. Giada at Cromwell, offering some of the best trackside views 3. Bellagio Resort & Casino main entrance 4. Interior of the Skybox hospitality suite for the Formula 1 Las Vegas Grand Prix 5. LIV Nightclub
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PHOTO COURTESY OFFONTAINEBLEAU LAS VEGAS
PHOTO COURTESY OF CAESARS ENTERTAINMENT
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PHOTO COURTESY OF MGM RESORTS
The Las Vegas F1 Grand Prix, set on a road circuit, is surrounded by an unmatched nightlife scene. With world class restaurants, nightclubs, bars and resort hotels just steps from the track, your pre- or post-race plans can continue effortlessly into the night
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event. Throughout the weekend, Las Vegas hummed with unmistakable F1 energy. Crowds moved through The Strip in a kaleidoscope of team colours — reds, blues, greens, blacks — creating an electric, allegiance-driven atmosphere. The city proved once again that it is far more than casinos: It is a seamless blend of world-class dining, luxury shopping, nightlife and spectacle, all amplified during race week. Exclusive moments defined much of Zerillo’s stay, beginning with a visit to The Vault, a discreet bar hidden within the Bellagio. Accessible through a narrow entrance tucked behind gaming tables, the space was meant for the elegant and discerning crowd. Just being in there made Zerillo feel like he was in a James Bond film. At Carbone Riviera, Mario Carbone’s newest showpiece, he was immersed in Martin Brudnizki’s Mediterranean-inspired design, complete with mosaic walls, RIVA furniture and an outdoor deck facing the fountains. The revered spicy rigatoni, of course, lived up to its fame. The city embraced the playful side of F1 as well. At the Shoey Bar pop-up, he toasted with Teremana tequila — Daniel-Ricciardo-style, right out of the shoe — while David Grutman’s Papi Steak at the Fontainebleau, complete with its famed $1,000 Beef Case dressed up with an F1-themed flair, delivered an exceptional steak-night experience. Zerillo’s nights were spent at Grutman’s LIV, where Dom Dolla lit up the room, and he spent F1 qualifying day at Giada, the restaurant of beloved chef, entrepreneur, writer and television personality Giada De Laurentiis at The Cromwell — which also happens to deliver the best vantage point overlooking the DRS straight, enhanced with reconfigured seating, screens and a DJ. It’s also where Zerillo discovered his new go-to drink: an Old Fashioned made with Flecha Azul tequila. Race night brought crisp desert air, unmatched views from the Skybox, wine and savoury food. Celebrity sightings added to the glamour — Lewis Hamilton, Machine Gun Kelly, Keegan-Michael Key and Mark Wahlberg, who was in town to promote Flecha Azul, which is his tequila brand. For its third Grand Prix, Las Vegas proved its mastery of spectacle and hospitality. Over the course of the weekend, with more than 300,000 fans in attendance, the city delivered an experience defined by energy, exclusivity and meticulous attention to detail. During Zerillo’s stay, he had the opportunity to interview 38-year Las Vegas resident Steve Hill, the president and CEO of Las Vegas Convention and Visitors Authority, to discuss what Las Vegas represents, how it’s evolved and its plans for the future.
I CAN GO ANYWHERE IN THE WORLD, WHETHER THEY SPEAK ENGLISH OR NOT, AND SAY “LAS VEGAS” AND EVERYBODY SMILES
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Q: With events, like Formula One and the Super Bowl, Las Vegas is hosting some of the world’s
Steve Hill, president and CEO of Las Vegas Convention and Visitors Authority
largest spectacles. How do these events shape the city’s long-term tourism and infrastructure strategy? A: There are several different impacts. One is the event itself — Super Bowl and Formula One, for instance, have billion-dollar economic impacts. You feel the dollars, and it creates tax revenue and services. When those two events were here the first time, you could see the impact on the state budget, because we’re a state set up to tax those kinds of events. Then you get the marketing effect. We couldn’t afford to pay for the marketing we get from racing here this week — it’s fantastic. And the reputation of Las Vegas has been elevated over time.
Q: Anything you can share about the F1 extension? A: We’ve extended it for two years, and that’s probably me more than anybody else. I wanted to make sure that the race reached maturity before signing something long-term. I wanted to know how it works financially for Formula One, for the city and how we’re doing on logistics. I thought it would take a couple more years to reach that mature point. But I think we’ve reached the Goldilocks scenario this year. We’ve started a conversation about what the
framework for a longer-term extension would be. We intend for the race to be here permanently, but we want to make sure the agreement is fair long-term. The next step needs capital investment, so you can’t put money requiring 5 or 10 years of return into a 2-year extension. But with a long-term plan, we could reduce lane closures, eliminate the need to put a bridge up and take it down every year, and maybe build permanent grandstands across from the paddock. All of that is expensive. But longterm investing could reduce that and make the experience better for the community. Q: Las Vegas is increasingly positioning itself as more than just a gaming destination. How successful has the city been in diversifying its economy through entertainment, sports and conventions? A: Been successful at that. And it’s not that we don’t still appreciate gaming. We’re setting gaming records still, and that’s great. But we want to offer things that are attractive to a broad number of people. As we continue to get bigger, we need different reasons to bring people to town, and new reasons as well. If somebody comes to Vegas, and they do that a couple of times, and there’s not something new to do — well, I’ve been there, I’ve done that. I’m going to try something different. When you build The Sphere — well, I need to go to The Sphere. And so that’s going to be a fantastic thing.
Q: How many years has The Sphere been up now? A: Two and a half, something like that. There’s nothing like it. What’s interesting is that in the last 15 years, it’s the first time we’ve had things that were attractions in and of themselves. Before, it was “Let’s go spend three days in Vegas and do everything.” But it wasn’t appointment travel. Specific events — sports, games, races — drive people to travel.
Q: Since you stepped into your leadership role, what are you most proud of? A: I say all the time that I have the easiest product in the world. I can go anywhere in the world, whether they speak English or not, and say “Las Vegas” and everybody smiles, and their eyes light up. I’m proud of the city. I’m proud of the progress it continues to make. I’m proud that it is a place that tries to look for a way to responsibly say yes. We’re a platform for great ideas. If somebody brings us a great idea, we try to figure out a way to make it work instead of slowing it down — it’s what makes Vegas great and we’ve maintained that. Those things are what I’m most proud of. www.lvcva.com
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C INTERIOR DESIGN
PHOTOS BY JP VAILLANCOURT
HÔTEL MADAME DROUOT: AN ELEGANT MÉLANGE OF ART AND SPACE
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E As O C O L D O E D C Paris’s Hôtel Madame Drouot offers an intriguing blend of comfort and artistic excellence WRITTEN BY ISHA SHARMA
The restored original staircase is paired with walls covered in bold Casamance fabric
Eleanor Roosevelt once observed, “True hospitality consists of giving the best of yourself to your guests.” And true hospitality is exactly what Hôtel Madame Drouot offers — the best services and the most beautiful surroundings. Located near some of Paris’s notable 19th-century covered passages in the heart of the magnificent 9th arrondissement, the hotel is named in tribute to the nearby historic Drouot auction house with an added touch of femininity. The hotel includes a spa, a restaurant called Café Monsieur, and
33 guestrooms and suites. The hotel’s décor strikes a beautiful balance between the modern and the traditional: the engravings and antique items that adorn the hotel, such as the white marble bust of an 18th-century noblewoman, fit in perfectly, as do the contemporary elements such as the graphic and abstract textiles and wallpaper. This artistic excellence can be attributed to the hotel’s interior designer, Stéphanie Coutas, who curated this combination of elegant and interesting objects. Coutas, who has her own gallery, is
accustomed to creating powerful juxtapositions among art and space, materials and objects. “The proximity to the legendary Drouot auction house was a very inspiring starting point for me,” explains Coutas. “I wanted to revisit decorative arts and different eras.” Every detail has been meticulously thought out, particularly the choice and blend of colours, from pastel tones to vibrant hues. Textures and materials have also been thoroughly considered, especially the interaction of the various marbles and woods. Four distinct styles of rooms and suites are
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C The lobby features a custom fireplace by Stéphanie Coutas and a chocolate-coloured Arte feature wall with an ethnic-inspired pattern
PHOTO BY FRANCIS AMIAND
Stéphanie Coutas, Interior Designer
available at the Madame Drouot. Every suite has its own colour scheme, with colour palettes that range from bright oranges and blues to soft colour harmonies that feature muted creams and mild greys. In the lobby a highlight wall with patterned chocolate-coloured wallpaper by Arte and a fireplace specially designed by Coutas provide a cozy, welcoming ambience for guests. Other decorative details, including the massive stucco archway and a selenite mirror made by the interior designer herself, also set the tone for her refined aesthetic brilliance. Coutas has made sure to celebrate elements of Parisian style throughout the hotel, notably at Café Monsieur, with its classic Parisian bistro décor. The café is accessible from the lobby. With about thirty tables, the café’s cheerfully upholstered banquettes, seats, and other distinctive pieces combine to create a happy and sophisticated environment. A leather-lined elevator takes guests up to their rooms and suites. The hotel has been designed to be a welcome home away from home for its guests, whether they’ve arrived from afar or from around the corner. Combining a rich blend of modernity and tradition, comfort and luxury, Hôtel Madame Drouot most definitely offers the experience of true hospitality.
www.madamedrouot.com @madamedrouot
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C WATCHES
THE ART OF TIME Selected for collectors who value excellence, these stunning timepieces perfectly combine innovation, precision, and design TEXT BY ANGELICA SOSA
COMPLICATIONS Patek Philippe’s Complications showcase the house’s technical expertise: its elegant case conceals the intricate mechanisms that power its annual calendars and moon phases. www.patek.com
GONDOLO The Gondolo’s stunning shine and classic dial proportions make it the essential dress watch for formal evening wear and collectors who cherish heritage design. www.patek.com
SUBMARINER DATE The benchmark for luxury sport dive watches, the Submariner is robust, instantly recognizable and engineered for underwater performance. www.rolex.com
SEAMASTER DIVER 300M Combining ceramic bezels, a modern aesthetic, and helium-escape functionality, this timepiece is suitable for both sea and city. www.omegawatches.com
NAVITIMER AUTOMATIC A further refinement to its iconic design, with a clean dial highlighting the slide rule, modern notched bezel, and contrasting finish for a sophisticated look. www.maisonbirks.com
AQUANAUT CHRONOGRAPH Sporty and elegant with bold tropical straps, a durable case and stylish look perfect for everyday luxury. www.patek.com
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C ARCHITECTURE
PHOTOS BY CESAR BELIO
CONNECTING ARCHITECTURE AND WINEMAKING WITH THE CASA SAN FRANCISCO PROJECT
Noble, enduring materials were chosen to give the house a timeless, understated form and colour
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D L E E C C L L E O C O L D O E D C The Casa San Francisco Project celebrates simplicity and emotional architecture through the concept of time
PHOTO BY JUAN CARLOS DUHNE A
WRITTEN BY ISHA SHARMA
Jorge Garibay, Principal Architect of Jorge Garibay Arquitectos
uis Barragán’s artistic philosophy emphasizes the creation of spaces that evoke emotion and foster a connection to personal memory. The Casa San Francisco project in Mexico is a true testament to this unique ideology. The project that began as a request for a holiday house in a vineyard outside of San Miguel de Allende has now emerged as a splendid amalgamation of winemaking and convent architecture. The Jorge Garibay Arquitectos team, known for cultivating a close relationship with each project’s people, their identity, needs, and constraints, as well as their location, has successfully followed this credo with the Casa San Francisco Project as well. Another idea the project embodies is finding beauty in imperfections. The project emphasizes the emotional depth that spaces contain and how this depth is augmented with the passage of time. Celebrating a simple approach, oak furniture has been chosen for the interior while the lighting design mimics the
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C A transverse corridor running through the structure organizes the flow and layout of the spaces
light ambience found in 16th-century convents without compromising brightness levels. This mix produces cozy spaces where natural light is also crucial. Situated on the outskirts of San Miguel de Allende, a small colonial city in the Mexican state of Guanajuato, the incredible location adds to the project’s excellence. The establishment of San Miguel de Allende, formerly known as San Miguel el Grande, dates back to the 16th century, coinciding with the era when Franciscan friars brought grape-growing to Mexico. The missionaries’ huge undertaking of spreading Catholicism throughout Mexico at this time also had an impact on colonial city planning and building, especially on the architecture of monasteries and convents. Another crucial theme of this project is “terroir,” as in winemaking. Terroir refers to how a wine’s distinctive qualities, such as its structure, flavour, and aroma, are influenced by both human and environmental variables, such as cultivation techniques and climate, soil, and altitude. In the same way, the new setting had an impact the architectural style used to provide refuge and spaces for instruction for religious travellers from across the Atlantic. This style was a response to Mediterranean architectural practices that were completely unrelated to the architecture of Mexico before Cortez’s conquest. In order to create distinctive outcomes, viticulture and architecture that were brought to Mexico in the 16th century were planted in new areas. The project beautifully captures the intricacies of their history and growth. While architecture and winemaking correspond to two aspects of the project, the surrounding landscape and the property’s function as a rest and leisure location come as the third element considered in the design of the Casa San Francisco. In addition to celebrating the seasonal processes of growth, change, decay, and entropy, the intention was to establish an environment
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C The design embraces the the nature that surrounds it and reinforces the property’s purpose as a place of relaxation
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C The project’s aesthetic reflects a respect for the natural order — embracing imperfection, change, and the beauty that emerges over time
that would foster contemplation of the world’s natural order. This was accomplished by dividing the house’s spaces into five volumes that open to various landscaped areas, providing unobstructed views of the surrounding natural setting and the vineyards. The spaces are arranged around a transverse corridor that passes through the volumes. An entrance with a double-height ceiling that acts as a transitional area between the exterior and interior leads to the corridor. The public area of the house is located in the west wing. The primary areas include the kitchen, living room, dining room, patio, garage and service areas. Four private bedrooms are located in the eastern part of the building. Simplicity stands at the centre of the project’s philosophy. By choosing to use a minimal number of materials and a conventional architectural style translated into a contemporary language, the design beautifully conveys the concept of nature traversed by time. The Jorge Garibay Arquitectos team’s vision has been brought to life with the Casa San Francisco Project. They constantly strive to achieve the best possible outcome, combining the requirements of the project with what is possible. The firm never undervalues the impact of emotional architecture and simplicity. Durable, classic high-quality materials and traditional building techniques have been used throughout the house, giving it a sober form and colour. The main components are unpolished Mexican marble for the floors, locally sourced stone and hand-applied lime-based paint that has been matched to the natural hue of the stone to create monochromatic monoliths. Through a combination of these many factors and distinct design philosophies, the project has captured the historical truth of a small yet magical colonial neighbourhood in this Mexican city. The Casa San Francisco Project is undoubtedly a true celebration of the philosophy of time defined by utmost simplicity and emotional relevance. @arqjorgegaribay
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L D O E D C L E O C F L L D O O D D E E D C C L E O C L D O O E D D E E C C M L L E O C O L D O E D C LEADERSHIP
eet the Broker of Record and driving force behind bringing Nest Seekers International to Canada and expanding its presence in the luxury market. With over two decades of experience, Angelo Ferlisi is a respected leader in Ontario real estate. After starting in pre-construction sales in 2004 and transitioning to resale in 2009, he built a strong presence in King and Nobleton. Today, he stands at the helm of Nest Seekers International, Canada, guiding the brand’s accelerating growth across Ontario with three strategic locations: Kleinburg in York Region, the iconic Yorkville flagship in Toronto, and Cookstown in Simcoe County. Nest Seekers Ontario is the firm’s Canadian flagship, a Yorkville-based luxury brokerage and media-driven cultural brand shaping real estate.
ounded by award-winning British designer Mark Howorth in 1997, Callender Howorth has grown into one of the world’s leading luxury interior design studios. Over 25 years of experience, the firm brings a raised international perspective to high-end residential projects across New York, Los Angeles, London, Paris and the French Riviera. The studio’s ability to create refined interiors that are both sophisticated and deeply personal is what makes it so special, combining strong visual identity with architectural expertise. Callender Howorth’s signature style is transforming a home into a timeless environment while balancing comfort, elegance and functionality. Each project mirrors dedication to craftsmanship and a subtle understanding of how people live, producing spaces that feel tailored, effortless and creatively composed. With a fixed focus on luxury lifestyle design, the studio continues to set the bar for modern interiors around the world.
www.callenderhoworth.com @callenderhoworth
PHOTOS COURTESY OF CALLENDER HOWORTH
PHOTO BY GEORGE PIMENTEL
ANGELO FERLISI
PHOTO COURTESY OF NEST SEEKERS
CALLENDER HOWORTH
STYLE
TEXT BY ANGELICA SOSA
www.nestseekers.com @nestseekers @nestseekersontario
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L D O E D C L E O C L D T OL O D D E E D C C L E O C L D O O E D D E E OC C L L E O C O L D O E D C
STYLE
LEADERSHIP
CHARLES-EMMANUEL DEPPIERRAZ
PHOTOS BY RAPHAEL
his Swiss designer has forged his own unique path as an entirely self-taught talent. Charles-Emmanuel Deppierraz’s work embodies a tranquil interplay between purity of line, functional elegance and the natural natural beauty of gentle materials. Persuaded by the great European design movements from the polished geometry of Art Deco and the organic curves of the 1970s, Deppierraz has created a visual language that is minimal yet echoes emotion. Initium, his debut collection, presents eight limited-edition pieces crafted in collaboration with premier workshops including Ateliers Saint-Jacques, Serafini, Maison Pouenat and Lison de Caunes. Sculpted in marble, brass, oak and lacquer, each piece serves as communication between present-day understanding and artistry. Firmly committed to sustainability, Deppierraz upholds the creation of lasting objects designed to be treasured for generations. www.callenderhoworth.com @charles_emmanuel_deppierraz
pening in 1875, Cole & Son has stood out as one of Britain’s most storied wallpaper houses, famous for its elegance, artistry and technical mastery. Their creations have decorated some of the most iconic interiors across the world including Buckingham Palace and the Palace of Westminster. Under the leadership of managing director Marie Karlsson, the brand continues to honour remarkable heritage and bold creativity. From Regency prints to mid-century graphics, Cole & Son can preserve the richness of decorative history while reimagining it for modern living. Their in-house design studio draws on this legacy of creating modern collections that combine striking colour palettes with visionary pattern work. The wallpaper they produce is both expressive and sophisticated, possessing the ability to transform spaces with warmth, personality and drama. Through Karlsson’s vision, the brand’s reputation has strengthened when it comes to producing wallpapers that
PHOTOS COURTESY OF COLE AND SON
MARIE KARLSSON
add depth, character and timeless charm to interiors around the world. www.cole-and-son.com @mmariekarlsson
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L D O E D C L E O C L D S OL O D D E E D C C L E O C L D O O E D D B E E C C L L E O C O L D O E D C
STYLE
LEADERSHIP
ince 2010, Christian has embodied a spirited and imaginative approach to the art of living under the creative direction of Sacha Walckhoff. Collaborating with prestigious designers and manufacturers, the brand offers furnishing fabrics, wallpapers, decorative accessories and tableware collections in various materials and techniques, bringing imagination and the unexpected to any interior. With its long-standing partnership with Designers Guild, guided by Tricia Guild and Walckhoff, Christian reveals collections that bridge geography and fantasy, from Arles to Seville to the Amazon and mythical worlds — his work is always infused with a sense of theatricality and poetic surplus. The house’s talent — for crafting dreamlike scenarios that blur the boundaries between reality and imagination — are shown through signature trios such as Utopia, The Odyssey and Atlantis. Christian continues to celebrate
PHOTOS BY PHILIPPE GARCIA
CHRISTIAN LACROIX MAISONS
creativity, freedom and the power of design with each collection, encouraging individuals to bring spirit, colour and unexpected beauty into their interiors. hometextiles.cxlbylacroix.com @christianlacroixmaison
PHOTOS BY THE TRAVEL BUDS
JULIETTE RUBEL
2025 VOL. 29, ISSUE 4
ased in Paris, Juliette Rubel is an interior architect who brings a retro and futuristic taste to modern spaces shaped by her studies at LISAA and the École Spéciale d'Architecture. At the start of her career, she designed restaurants and for major retail brands, drawing on her experiences and expertise. In 2017, she founded her studio and developed a signature aesthetic defined by bold colours, interplay of mirrors and sculptural lighting. Her portfolio stretches across many hospitality venues, such as Giorgio and Peppe pizzerias on rue des Martyrs, for which she created a vibrant and hypnotic atmosphere, and the California Echo Canteen, which has a more restrained ambience that features natural wood. She began a global collaboration with Officine Générale in 2020, designing delicate retail environments from Los Angeles to Seoul. Some of her recent projects include the luminous Maslow restaurant, the vintage-toned Olga wine bar, and The Honey Moon, a bar that blends American diner spirit with 1970s attraction. Each design reflects her vocation for creative design. www.julietterubel.com @juliette_rubel
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DOLCENOTEBOOK
L D O E D C I L E O C L L D O O D D E E D C C L E O C L D O O EE D D E E C C L L E O C O L D O E D C PACINO X DE NIRO FOR MONCLER
n Moncler’s latest campaign, Warmer Together, the brand has achieved what so many have tried. Getting these two legends together to share the screen and stage is hard enough. But their firstever joint campaign … extraordinary. Al Pacino and Robert De Niro are cut from the same New York City cloth: as aspiring actors early on, both were admirers of Marlon Brando, both long-time friends and respected rivals. Moncler delivers this great sincerity to make the point that keeping warm this winter extends beyond the confines of encompass friendship, trust, and connection. The campaign has launched globally across outdoor, press, web and social media, and was followed by a second wave of films and behind-thescenes moments that showcase both gentlemen at a round table discussing life and their longlasting friendship. Of course, to truly reflect the campaign’s cinematic spirit and the momentous occasion of bringing these two together, New York City was the backdrop. Thank you, Moncler.
www.moncler.com @moncler
very year the Montreal Museum of Fine Arts gathers its most dedicated patrons and leading figures from Montreal’s various businesses, cultures, and political communities to celebrate the theme of freedom and raise money to support the institution. The gala celebrates the freedom to be oneself, to love, to create and to innovate, at the country’s oldest art museum. This year’s event. its 65th edition, took place in early November raising $2 million in support of the institution. More than just a gala, the Museum Ball is an encouragement of meaningful cultural impact. The museum ball helps to fund programs that introduce the world of art to thousands of young people, families, and communities that rely on the museum’s inclusive outreach and educational initiatives. Some examples are youth workshops and therapeutic art programs as well as innovative exhibitions expanding public awareness. With the help from the support provided by the funds raised from the annual Ball,
PHOTO BY SÉBASTIEN ROY
65 YEARS OF FREEDOM, ART AND IMPACT
art remains accessible and impactful for all. Guests attending the gala each year can expect a captivating evening where modern day vision meets the glamour of a historic museum setting. The atmosphere is just as inspiring as the cause itself, with a gourmet menu his year by executive chef Timothy Charles featuring exquisite flavours from Newfoundland, live performances, and artistic installations. The Ball also showcases the tireless
devotion of its volunteers, sponsors, and the MMFA Foundation, whose united efforts shape a future of vibrant culture. The Museum Ball exemplifies Montreal’s devotion to the arts through a night of elegance and purpose, where each contribution goes to supporting the next generation of creative minds. www.mbam.qc.ca @mbamtl
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Toronto’s most glamorous charity gala gathered over 1,000 supporters for an unforgettable night of fashion, fine dining and generosity
A NIGHT OF GLAMOUR, SPIRIT AND SUPPORT
DOLCENOTEBOOK
L D O E D C L E O C L L D O O D D E E T D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C he 29th edition of Bloor Street Entertains was a huge success this year. The event brought over 1,000 of CANFAR’s supporters together for a special evening of fashion, food, fun and charity. This year, they raised an extraordinary $1.47 million, which goes toward their investments in HIV/AIDS research, national awareness programs and community-led implementation projects. Guests enjoyed cocktail receptions and seated dinners at fashionable venues throughout the Bloor-Yorkville area that included Brunello Cucinelli, Holt Renfrew, Harry Rosen and Saint Laurent. An evening of spectacular entertainment followed with dancing and performances at the official after-party at Four Seasons Hotel Toronto. Over at the after-party, the Mantella Red Carpet welcomed guests to another beautifully designed experience by Aragon Cruz and ESP Inc. The after-party host, Gigi Gorgeous, kept the crowd excited as she introduced DJs Manzone & Strong, DJ Karim Olen Ash and singer/saxophonist JB Saxx, all of whom helped send the energy through the roof. Guests captured the glamour at SpaMedica’s photo booth and in Nancy Kim’s portrait studio, while cocktails from Maverick Distillery and wines from Mark Anthony and Noble Estates flowed well into the night. Bloor Street Entertains proves once again that the astonishing impact of collective generosity, with less than $30,000 left to reach its determined $1.5 million, can stretch to meet its goal. With 2025 being its 29th year, the gala remains CANFAR’s most crucial fundraiser, fuelling groundbreaking HIV research, national awareness efforts and community-led programs across the country.
www.canfar.com @canfar1987
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L A L E O C O L D O E D C THE EXHIBITION AZZEDINE ALAÏA AND CHRISTIAN DIOR
zzedine Alaïa started building a major archive of fashion early in his career, keeping it mostly to himself. He collected work from many of the most important designers in history, including Christian Dior, whose influence meant a lot to him. This new double exhibition looks at the history of Maison Dior through Alaïa’s eyes — not as a historian, but as someone who deeply appreciated the craft. It also presents a set of personal exchanges between Dior and Alaïa that show how much respect existed between them. The collection currently held by the Azzedine Alaïa Foundation includes roughly 600 pieces,
and Dior’s work forms one of the core pillars of Alaïa’s archive. More than a hundred of these Dior designs are being shown publicly for the first time at La Galerie Dior. Seen together, they highlight how strongly Alaïa connected with Dior’s work and with the designers who came after him at the Maison Dior, including Yves Saint Laurent and John Galliano. At the same time, the Azzedine Alaïa Foundation is hosting its own exhibition in Paris, bringing together work by both Dior and Alaïa. The show is curated by Olivier Saillard with Gaël Mamine. It focuses on how these two designers, despite working in different eras and with their
own sensibilities, shared a similar curiosity about how clothing is built and how form can shape style. Alaïa was always trying to understand how certain dresses held their shape or why specific structures worked the way they did. Saillard notes that Alaïa collected these pieces not out of nostalgia but out of a genuine desire to learn from them. For Alaïa, these garments represented the ideas and questions that first inspired him as a young designer and served as the guiding principle throughout his life. @maisonalaia @dior
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PHOTOS COURTESY OF LVMH
Two masters of haute couture are presented in an exceptional double exhibition
L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C ARTIST SPOTLIGHT
REBECCA AL LAHIQ
Fine Art Practice Leader — Canada
PHOTO COURTESY OF THE SANDRA AINSLEY GALLERY
Q: What are you and your peers most looking forward to as we head into 2026? A: Traditionally, the busiest seasons for the art world are fall and spring, and, heading into this fall — after a slow year globally and locally — there’s been noticeably more optimism. The New York fairs and Toronto’s fair in late October generated positive feedback. Sales were up compared to last year, and people seemed encouraged by the turnout and the quality of work shown, particularly at the Armory. So, the momentum is promising. From the insurance perspective, seeing more activity and new initiatives makes the job enjoyable. When the community feels energized, it lifts everyone. Q: What’s one thing about your role that people would be surprised to learn? A: One is that I wear many hats. Beyond reviewing insurance portfolios for collectors, museums and galleries, I spend a significant amount of time on education. Because our company and product are highly specialized, we educate brokers selling the policy and the clients themselves. I’m also deeply connected within the community, so I hear the good, the bad and everything in between. People even call asking if I know anyone who might buy a particular artwork, which I have to decline, since art brokering would be a conflict of interest. Because I’m involved in many areas, people sometimes think I’m a one-stop shop, which is flattering, even if I can’t always help.
TOMÁŠ HLAVICKA
Sandra Ainsley sits down with Tomáš Hlavička, recognized as the pioneer of fusing sheets of silver and gold foils between layers of glass, for an exclusive interview
Q: What’s one thing you love about your job, and how does Great American Insurance Group support that? A: I’ve worked in the art industry for many years, and Great American supports both my enthusiasm for the art world and my commitment to fine art insurance. They think outside the box — nothing is one-size-fits-all. That excites me because I don’t like the status quo. I love change and pushing the industry forward. Even though Great American is a 150-year-old corporation, we operate like a boutique firm: nimble, quick to pivot and able to improve things rapidly. That flexibility has been a breath of fresh air. able to provide tailored coverage and often, more competitive pricing. @theartinsurer | Email: rallahiq@gaig.com FineArtAndCollectibles.com
INTERVIEW BY SANDRA AINSLEY
PHOTO BY EMAD MOHAMMADI
Q: Tomas, you originally trained as an architect. How did you transition from architecture into art? A: Yes, I studied architecture in Prague from 1969 to 1975. During that time, I became increasingly interested in design, structure, and how forms can shape space. In 1976, I started working with my father-in-law, Pavel Hlava, who is a prominent glass artist. Through that collaboration, I learned glass-cutting, polishing, and other techniques, which gradually shifted my focus from pure architecture to working with glass.
Q: Your work is very distinctive. Can you describe your process or technique? A: My process is quite deliberate. I work with float glass — stacking multiple flat glass plates. Between these plates, I insert strips or foils of precious metals like silver, gold, and sometimes copper. Then I fuse the entire stack in a kiln, allowing chemical interactions between the glass and the metal. Afterward, the piece is cold-worked: ground, polished, refined, so that the internal structure becomes visible, and the resulting optical effects emerge.
Q: What inspires your internal textures and the patterns that appear in your work? A: Nature is a constant source of inspiration. Even in a very minimalistic glass object, I want there to be a sense of natural movement. Sometimes I see waving grass, fallen autumn leaves, or organic, bionic shapes in my work. Also, my architectural background plays a role: I think in structures, volumes, and disciplined lines, which helps me plan how to layer the glass and metal.
Sandra Ainsley Owner of The Sandra Ainsley Gallery
Q: Your work often plays with light in a very subtle way. How important is light to your artistic vision? A: Light is absolutely central. Because of the way the layers of glass and metal interact, the appearance of a piece changes dramatically depending on the angle and the light source. That variability — that constant, shifting microcosm — is one of the most compelling aspects of working with this material.
Q: Your daughter, Petra Hrebacková, is also a glass artist. What has it been like to watch her carve out her own creative path? A: It brings me great joy to see Petra creating and pursuing her own direction. Every artist needs to discover a personal language, and she has truly done that. I appreciate watching her explore ideas in ways that differ from my own— this independence is essential. It’s wonderful that we can share a connection through art, while her work remains entirely and uniquely hers. sandraainsleygallery.com @ainsleygallery
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E TOURBILLON D D IN MOTION E E C C L L E C O T DO L O E D C Bugatti’s new Tourbillon blends heritage, proportion and technical clarity, offering a refined study of sculptural power for a new era
he Bugatti Tourbillon arrives as a reminder that true design strength lives in restraint. It is not loud. It is not decorative. It is simply resolved. For Jan Schmid, Bugatti’s chief exterior designer, the work began with a single question: How do you protect the essence of a 115-year legacy while shaping something that feels convincingly new?
His answer was not to break the rules but to refine them. The horseshoe grille sets the tone. Lower and wider than on any previous Bugatti, it creates a grounded, almost architectural presence. What appears effortless is the result of exacting decisions, including shaping its curves to accommodate an EU number plate without
disturbing airflow or proportion. It is a small detail that reveals a larger intention. Nothing on the Tourbillon exists for ornament, everything is considered. “Everything is playing hand in hand. The new package, the design — we really showcased the capabilities of what the Tourbillon can do,” says. The centreline reinforces this discipline.
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PHOTOS COURTESY OF BUGATTI
WRITTEN BY KATE BRYNN
L D O E D C L E O C L L D O O D D E E D C C L E O C D ‘‘OL O E D D E E C C L L E O C O L D O E D C The striking one-piece taillight embodies “Form Follows Performance,” venting hot air efficiently from beneath the vehicle
Jan Schmid Bugatti’s Chief Exterior Designer
EVERYTHING IS PLAYING HAND IN HAND. THE NEW PACKAGE, THE DESIGN – WE REALLY SHOWCASED THE CAPABILITIES OF WHAT THE TOURBILLON CAN DO
‘‘
Tracing from nose to tail, the Tourbillon’s centreline carries the memory of the Type 57 SC Atlantic while introducing a more modern precision, culminating in an integrated third brake light that feels almost inevitable. Bugatti history remains visible but the execution is newly refined. The same holds true for the Bugatti line, moving from the A-pillar around the greenhouse before returning forward. It creates an immediate sense of motion and defines the division for the brand’s signature duotone split. The gesture is familiar, yet the effect feels sharper, cleaner and more deliberate. Along the side, the Tourbillon’s profile reveals one of its most expressive qualities. The inward sweep of the body, followed by the strong return over the rear haunch, forms a subtle coke-bottle silhouette. The curve carries a quiet confidence. It does not chase drama — it simply lets the car’s proportions speak. Light moves across the surface in a way that makes the car feel sculpted rather than styled, a distinction Schmid and his team worked to protect. The Tourbillon’s face offers its own proof of discipline. Although it shares nearly the same footprint as the Chiron, it manages to accommodate more luggage space, an electric front axle and intricate aerodynamic ducting, all while sitting lower. The headlights show how
design and engineering support one another. Compact yet unmistakably Bugatti, they attach to the flying fender, a form that visually pushes the fuselage forward while directing air toward the side radiators. The long crease running along
the front fender pulls the eye toward the intake, where everything resolves cleanly. At the rear, the Tourbillon becomes more open and architectural. The fender flows into the deck, meeting an active rear wing that appears only when required. Beneath it, the engine bay exposes the tall plenum of the naturally aspirated V16, framed by functional surfaces rather than theatrical ones. More than 124 LED elements form the uninterrupted tail light with the Bugatti script illuminated at the centre. Below, air outlets release heat from the side-mounted radiators. The exposed wheels and high-mounted diffuser channel give the rear a planted stance without adding visual weight. Schmid’s own favourite detail is the rear fender, shaped with inspiration from the Veyron’s vast surfaces. It adds strength and presence without unnecessary complexity, serving as a quiet anchor for the car’s proportions. The Tourbillon reflects Bugatti’s belief that clarity is its own form of luxury. When graphic identity and sculptural form align, the result does not need to announce itself. It simply stands. In the Tourbillon, every line, crease and surface returns to that idea. It is a Bugatti grounded in its past and certain of its direction forward. www.bugatti.com @bugatti
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E C O E DO L O E D C YACHTING
A MEDITERRANEAN VOYAGE SHAPED BY TASTE AND INTUITION
Emerald Yacht Cruises teams with Michael and Oscar Bonacini for a refined journey through coastal culture, regional flavour and modern luxury
CHEFS MICHAEL AND OSCAR BONACINI
merald Yacht Cruises is reframing how Canadian travellers experience the Mediterranean. Their new eight-day Riviera Rendezvous, set for August 2026, brings together a focused itinerary, thoughtful culinary programming and the grounded expertise of chefs Michael and Oscar Bonacini. The result is a trip that treats food not as ornamentation but as an intelligent way of understanding place The route's ports of call include Rome, Nice, Cannes, and Marseille, each chosen for its cultural
weight and its relationship to regional cuisine. Markets, coastal kitchens, and local producers create the texture of the voyage, offering a perspective that goes far beyond the familiar tourist script. “Exploring the Western Mediterranean by sea is the perfect way to celebrate food, culture, and connection,” says chef Michael Bonacini. “Every port reveals a story told through its ingredients.” Aboard the Emerald Sakara guests will experience a series of curated events that feel intentional rather than performative. Michael and Oscar Bonacini will host a Mediterranean-inspired dinner, a private cocktail reception and a select dining experience that will give guests direct access to the chefs. Cooking demonstrations and guided excursions extend the narrative onshore, building a clearer sense of how each destination expresses itself through food. “We are excited to bring authentic flavours to life onboard,” says chef Oscar Bonacini. “What we discover along the way inspires
dishes that connect guests to the places we visit.” The collaboration between father and son reflects two distinct but aligned perspectives. Michael Bonacini has shaped Canadian dining for decades through his restaurants and longstanding presence in the culinary community. Oscar Bonacini, now serving as assistant general manager at Canoe, brings international training and leadership experience. For Emerald Yacht Cruises, this voyage represents an investment in depth and detail. It is a chance for its guests to experience the Mediterranean with precision, curiosity, and an appreciation for craft. The experience is built for travellers who seek something considered, not crowded — a journey where the food, the coastline, and the atmosphere all speak in the same quiet and confident register. www.emeraldcruises.ca @emeraldcruises.global
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PHOTOS COURTESY OF EMERALD CRUISES & TOURS
WRITTEN BY KATE BRYNN
L D O E Marketplace D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C SPECIAL ADVERTISING FEATURE
TROPICAL ESCAPE: ZADOR MANGO GLOW LUXURY SPA COLLECTION If winter weather has you dreaming of an island getaway, this energizing tropical Body Scrub & Body Butter will give you endless summer vibes. ZADOR LUXURY SPA products in MANGO GLOW perfectly complement Cosmo Award-winning ZADOR FINE BAR in MANGO-ORANGE. Born from healing thermal spring water in Héviz, Hungary, this spa collection combines soothing minerality with 98% natural ingredients, leaving your skin ultra silky and irresistibly smooth. Beautifully packaged, perfect for holiday gift-giving. From Budapest with Love. @zador_canada www.zador.ca
AMORE BAGS Certainly among the most distinctive style accessories on the market, Amore Bags are reimagined vintage doctor bags collected from travels around the world by Michelle Zerillo-Sosa and friends. Colourfully repurposed by artists from Michelle’s local creative community, Amore Bags helps the greater good: 30 per cent of sale proceeds benefit Doctors Without Borders, the acclaimed non-profit organization that provides urgent medical care to people in areas that need it most. @amorebagstoronto amorebags.ca
Great American Insurance Company (GAIC) has a 150-year legacy of expertise and financial strength. We specialize in insuring valuable objects and protecting cultural heritage for collectors, museums, corporations, galleries, conservators, and artists worldwide, and are committed to evolving our services to ensure these treasures are enjoyed by future generations.
Policies are underwritten by Great American Insurance Company – Canadian Branch, a foreign insurer authorized to insure risks in all Canadian Provinces and Territories. The Chief Agency of the Canadian Branch of Great American Insurance Company is located at Suite 3200, Bay Adelaide Centre – North Tower, 40 Temperance St., Toronto, Ontario, M5H 0B4 Canada.
Pasta, Pomodoro, Parmigiano. PUSATERI’S IS OPEN.
1539 Avenue Road, Toronto order at pusateris.com
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C C L L E O C O L D O E D C IN REMEMBRANCE
THE BELOVED DIANE KEATON Remembering the actress, producer, author and director who showed the world how seemingly ordinary characters are extraordinary WRITTEN BY MARC CASTALDO
inephiles know her as Annie Hall, Kay Adams or Erica Barry — but she entered this world as Diane Hall. Born in Los Angeles, Calif., to photographer Dorothy Deanne (Keaton) Hall and civil engineer and real estate broker John Newton Hall, she would go on to become one of the most iconic performers of her generation. She studied drama at Santa Ana College before dropping out to pursue opportunities at the Neighborhood Playhouse in New York. In 1968, she made her Broadway debut as part of the original cast of the musical Hair. Around this time, she met the illustrious comedic actor, writer and director Woody Allen at an audition. He later recalled
being struck by her charm, beauty and undeniable presence — a quality that defines great actors. That same year, she was cast in Allen’s Broadway play, Play It Again, Sam, during which they became romantically involved. Over the course of her career, Keaton would make seven more films with Allen, though to view her merely as his muse would be to overlook the remarkable depth and range of her filmography. Keaton carried herself — and the roles she embodied — as a woman navigating a world of men with effortless strength and grace. Her performance as Kay Adams in Francis Ford Coppola’s The Godfather catapulted her career to extraordinary heights, as the film achieved both critical
acclaim and box-office success. It was during the mid-to late '70s that her portrayal of the nightclub singer Annie Hall in Allen’s Annie Hall inspired a signature tomboy-chic style — neckties, vests, baggy trousers, and fedoras — that continues to influence fashion today. Spanning over six decades, her career consisted of performances of the highest calibre in both light comedies and acclaimed dramas. She was been recognized with: • Academy Awards: One win for Annie Hall, plus three additional nominations for Reds, Marvin’s Room, and Something’s Gotta Give • Golden Globe Awards: One win for Annie Hall, with nine total nominations, including a win for Something’s Gotta Give • Tony Awards: Nomination for Best Featured Actress in a Play for Play It Again, Sam • Emmy Awards: Primetime nomination for Amelia Earhart: The Final Flight and a Daytime nomination for CBS Schoolbreak Special • Screen Actors Guild Awards: Four nominations In 2017, the American Film Institute bestowed upon her the AFI Life Achievement Award, honouring her profound contribution to American culture. During the ceremony, her former co-star and decades-long intermittent partner, Al Pacino, told her, “You’re an artist, Di. You’re a great artist. And I love you forever.” Whether remembered as Annie Hall or as the steadfast wife of New York crime boss Michael Corleone, Diane Keaton lived a life of fearless, honest artistry. Her legacy will forever endure — in our hearts and across the stage, screen and page. @diane_keaton
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E D C PROSCIUTTO DI PARMA
CRAFTED FOR MOMENTS THAT MATTER Made in Italy — 100% natural
For delicious holiday entertaining ideas and recipes, visit: www.prosciuttodiparma.com
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L D O E D C L E O C L L D O O D D E E D C C L E O C L D O O E D D E E C C L L E O C O L D O E A6 D C The highest status is time well driven. The all-new 2026 Audi A6.
Make every arrival one of composure, preparedness and clarity. Discover time well driven in the all-new A6.
The all-new Audi
© 2025, Audi Canada. Audi AG trademarks are used under license.
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