AFROJACK AND ELETTRA LAMBORGHINI, Miami June/July 2026

AFROJACK AND ELETTRA LAMBORGHINI

LOVE, AFTER HOURS

PUBLISHERS

Kamal Hotchandani kamal@hauteliving.com

Seth Semilof ssemilof@hauteliving.com

EDITOR-IN-CHIEF

Adrienne Faurote adrienne@hauteliving.com

GLOBAL DIRECTOR OF TALENT & CREATIVE PARTNERSHIPS

Laura Schreffler laura@hauteliving.com

MANAGING DIRECTOR

April Donelson april@hauteliving.com

GLOBAL HEAD OF COMMUNICATIONS & PARTNERSHIPS

Lauren Mosseri lauren@hauteliving.com

FASHION, JEWELRY AND WATCH DIRECTOR

Adrienne Faurote adrienne@hauteliving.com

CREATIVE DIRECTOR

Michelle Restante michelle@hauteliving.com

Andre

Shelby

Tim Lappen

ON THE COVER AFROJACK IS WEARING

SUIT & SHIRT: Louis Vuitton SNEAKERS: Vans

ELETTRA IS WEARING

DRESS: Michael Kors Collection

SUNGLASSES: Cubitts

ON THIS PAGE

AFROJACK IS WEARING

FULL LOOK: Hermès

ELETTRA IS WEARING

FULL LOOK: Christian Dior

Afrojack and Elettra

Lamborghini: A modern-day musical love story

14 HAUTE FASHION

Louis Vuitton’s Women’s Pre-Fall 2026 collection moves through the season with effortless ease; Louis Vuitton introduces the first aluminum suitcase; the Louis Vuitton City Guide returns with eight updated editions; Jonathan Anderson’s first Dioriviera collection arrives; and Dior heads to LA for the Cruise 2027 collection

46 HAUTE MAISON

Dior Maison’s Champs de Tulipes collection evolves the delicate tulip motif

50 HAUTE BEAUTY

Dior Beauty’s U.S. skincare expert Sarah Akram on the art of the cleanse and Dior Beauty adds Dior Paradise to La Collection Privée

54 HAUTE JOAILLERIE

Louis Vuitton’s Color Blossom

Fine Jewelry collection now tells time

64 HAUTE TIME

Discover the most disruptive watch collaboration of the year and a haute look at Jaeger-LeCoultre’s new timepieces that made their debut in Miami

66 HAUTE AUTO

Introducing the Ferrari 12Cilindri Spider

86 HAUTE SCENE

The hottest Haute Living events of the season

93 HAUTE PARTNER

Inside the maximalist mind of Demetrius A. Matthews

AFROJACK El E tt RA

lA mbOR ghini

COULD BE JET-SETTING.

THEY’RE ACTUALLY DOING IS... PUZZLING.

AFROJACK IS ONE OF THE BIGGEST DJS IN THE WORLD. ELETTRA LAMBORGHINI IS ABOUT TO HOST EUROVISION. NEITHER OF THEM CARES ABOUT ANY OF IT AS MUCH AS THEY CARE ABOUT EACH OTHER.

BY LAURA SCHREFFLER

ne of the coolest couples I’ve ever interviewed is on a Zoom call showing me puzzles and laughing about it like teenagers in love. I’m not here to judge — I’m here to take notes.

Let me set the scene properly, because it matters.

Elettra Lamborghini is in Italy. She’s been in rehearsals for Eurovision — she’s hosting for RAI, Italy’s national broadcaster, which means she is days away from standing in front of one of the largest live television audiences on earth — and she is tired in the specific, slightly luminous way of someone who is running on adrenaline and choosing to be charming anyway. She looks beautiful. She also looks like she would very much like to be horizontal. Afrojack is in Miami, sitting behind a DJ setup in the apartment the two of them have quietly fallen in love with, wearing the easy energy of a man who has nowhere to be and is genuinely fine with that. He looks comfortable in a way that feels almost conspicuous for someone whose name is currently on festival lineups across three continents.

They are on different continents. They are also, unmistakably, together.

Not metaphorical puzzles. Actual puzzles — thousands of pieces, landscapes and abstract patterns and intricate illustrations, spread across tables in Miami and Italy. Elettra lifts one toward the camera, laughing, a little proud, explaining she has become, her words, “a little bit nerd” about them lately. Afrojack nods in a way that suggests this is simply a fact about his life that he has fully accepted and possibly enjoys. They’ve been working through entire stacks together over the last several weeks. They FaceTime while assembling them. Sometimes they talk. Sometimes they don’t. Sometimes her phone falls over mid-call and he spends twenty minutes staring at the ceiling before she notices. Nobody, apparently, finds this alarming.

It’s intimate in a way that feels almost intrusive to witness — not because they’re performing closeness, but because they so clearly aren’t. There’s no PR gloss on any of it. No careful pivots back to the music, the television deal, the upcoming projects. When I ask what life looks like when nobody is watching, the conversation doesn’t drift toward the résumés. It drifts toward Miami walks and sleep schedules and Ben & Jerry’s and an alpaca named Claude who lives in Belgium. (There are also peacocks, named Ableton and FruityLoops. Because of course there are.)

Afrojack — born Nick van de Wall, Grammy winner, one of the architects of the EDM era that redefined popular music for a

decade, the man who produced “Titanium” and wrote “Take Over Control” and has been headlining festivals across the globe for 15-plus years — could be anywhere tonight. He has a Las Vegas residency at the Wynn that has run for 14 years. He has 20 million monthly Spotify listeners. He just performed in front of 50,000 people at Ultra Miami, where he debuted his reunion with David Guetta and Sia live on the main stage — their first collaboration since “Titanium” — and crashed Swedish House Mafia’s set on the same weekend, because why not. He played Coachella. He played the Desert Nights After Party with Green Velvet. He has a Kapuchon alias pushing deep into underground house that has absolutely nothing to prove and sounds like it. The man is, by any reasonable measure, everywhere.

But where he seems happy to be, right now, is at home in Miami, looking at his wife, explaining his puzzle system.

Elettra Lamborghini — granddaughter of Ferruccio Lamborghini, host of The Voice Italy, Italia’s Got Talent, and now Eurovision itself, a reggaeton-pop force with a fanbase stretching from Europe to Latin America, and a personality so singular she’s made the world’s most famous surname feel incidental to her own story — is similarly situated. She could be anywhere. She could be doing anything, too.

And yet, here she is, holding a puzzle up to a screen and laughing about it with her husband.

And neither of them — this is the crucial part — seems even slightly confused about which option they prefer.

They’ve been together since 2019, married since September 2020 at Lake Como, six years of two extremely famous people very quietly deciding that what they actually want is to go home early. To text each other pictures of puzzle progress. To walk 10,000 steps through Miami Beach in the morning before anyone recognizes them, past the places they’ve made their own — favorite cafés, familiar routes, and the humid early light off the water — building a version of ordinary life inside one of the world’s most performatively extraordinary cities.

“We like home,” Elettra says simply. “We like to do fun things together.”

The fun things, to be clear, are not the fun things you’d expect. Miami is an interesting choice for a refuge. It’s loud, humid, neon-soaked — a city built on the premise that the night is always just beginning. It is exactly the kind of city that people like Afrojack and Elettra Lamborghini are supposed to belong to —

and they do, professionally. His name is on the lineups. Her face is on the billboards. The nightlife belongs to them.

But here’s what Miami actually gives them: the beach at 7 a.m., before it belongs to anyone else. The walk home after dinner when the air is still warm and the city is just starting to get loud and they are already leaving. The strange, specific pleasure of building a routine inside a place that doesn’t believe in routines. “What I love about Miami,” Afrojack says, “is that everything exists together.” Luxury and chaos. Beauty and unpredictability. The performance and the quiet just behind it.

They leave events early. They go to bed. “If there’s a DJ I really want to see,” Afrojack tells me — a DJ he wants to see, himself, a man who is one of the most famous DJs alive — “I’ll arrive at 12:45, watch for fifteen minutes, then by 1:30 I’m in bed.”

Elettra laughs because it’s true.

They’ve done the other version. The parties. The clubs. The after-hours dinners that stretch until the sky goes pale. The endless socializing that comes with careers at this level, the sense that being seen is part of the job and the job is never really over. They’ve seen what it looks like from the inside. Which is probably why neither of them romanticizes it anymore.

“What is very sexy now,” Elettra says, completely unprompted, “is calm.”

Not excess. Not spectacle. Not the mythology of the industry that created both of them.

Calm.

“Eating healthy,” she continues. “Going to sleep kind of early. Resting. Training. Those types of things. Because our jobs take a lot of energy mentally and physically.”

She means it — and then Afrojack immediately undermines the wellness aesthetic with genuine enthusiasm for Ben & Jerry’s and Shake Shack. They are simultaneously glamorous and deeply unserious, teasing each other constantly — interrupting, correcting each other’s timelines, laughing before the other finishes speaking. At one point he starts answering a question and stops, waiting for her reaction before he commits to the punchline. She doesn’t disappoint.

Afrojack has lost around 55 pounds in recent years through better habits and lifestyle changes. It’s the kind of detail that usually gets attributed to a new trainer, a nutritionist, some regimented program designed by someone in Calabasas. His explanation is simpler and considerably more devastating. “Before I met her,” he says, “if I turned 70 or 100, I didn’t care so much.” He pauses. “Now I want to be very old and healthy.”

He says it simply, the way he says most things — direct, unadorned, Dutch in the bone. Because underneath the matter-of-fact delivery is something close to: she gave me a reason to want more time. And he said it like it was obvious. Like it was just a fact about his life now.

This is what they’re like: constantly undercutting their own sincerity with practicality, then accidentally revealing something devastating before you’ve had time to prepare for it. He describes himself as emotionally cold in the specifically Dutch sense — direct, calm, unsentimental. She is emotional,

dramatic, poetic, and Italian in the fullest sense. “He’s my rock,” she says. “His brain is cold.” Beat. “I’m an ice cube,” he replies. “But I melt for her.”

Somewhere between joke and confession, with no apparent interest in clarifying which.

She mocks the proposal — he did it inside her childhood bedroom in Bologna, sister filming nearby, no fireworks, very sincere, very Dutch, and Elettra had clearly anticipated a different production value. He admits this cheerfully. He also admits, in the same breath, that he never wanted to get married before meeting her at all. “I thought everyone that got married was stupid,” he says, with the serene confidence of someone who has since updated his priors. Then he met her. Then he proposed in a bedroom. She wanted more fire. He finds this funny. She also finds this funny, which is maybe the whole relationship in miniature.

The romantic details they actually volunteer are almost aggressively small. The night she wandered onto a Miami beach while jet-lagged and traced “I love you” in giant letters with her feet so he’d see it from above the next morning. The stick-figure drawing she left on a bathroom wall in Belgium before a work trip — something he loved so much he framed it and left it there permanently. The lipstick message on a mirror that still hasn’t been cleaned off. The FaceTime calls where they sit together for hours without speaking because sharing space matters more than filling it.

The longest they’ve been apart was about 30 days during the COVID-19 pandemic. Anything beyond 12 days now feels excessive. “If it’s twelve days,” he says, “then I need like a week with her before I can go again.” He says it practically, the way you’d describe a logistical requirement. Which, for him, it apparently is.

Elettra has one moment that lands even harder.

While discussing their relationship almost jokingly, she suddenly goes quiet and says: “I always tell him I want to die first.” Then she explains. “If something happened to him, I’m going to be single for the rest of my life.” The honesty of it hangs in the air before she immediately tries to lighten the mood. “Okay,” she laughs nervously. “We did too much. Let’s talk about something else.” But you can’t unhear it. She wasn’t performing vulnerability. She was just telling the truth.

Professionally, both are operating at a level that should make any of this logistically impossible, and yet.

Afrojack’s 2026 alone would constitute a full career year for most artists: ‘Control’ with Lucas & Steve in March; ‘Awake Tonight’ with Guetta and Sia debuted live at Ultra to 50,000 people in April; and the Kapuchon alias going deeper underground with ‘Hot Sauce’ alongside Miss Monique and GLZ on AETERNA Records in May. The range — from festival main stages to intimate club runs to credentialed underground releases — only makes sense if you understand that he genuinely doesn’t experience these as different versions of a brand. They’re just music. Different rooms, same obsession.

But here’s the thing: when you ask about any of it — the accolades, the milestones, the headline moments — the conversation slides almost

AFROJACK IS WEARING

SUIT & SHIRT: Louis Vuitton

SNEAKERS: Vans

ELETTRA IS WEARING:

DRESS: Michael Kors Collection

SUNGLASSES: Cubitts

immediately back toward each other. Toward Miami. Toward walking. Toward sleep. Toward ice cream. Toward the alpaca. The careers are significant. They’re also clearly not the point.

When Afrojack describes how he makes decisions now — bookings, business, or which rooms to say yes to — the filter isn’t the deal. It’s simpler than that. “When I make business decisions,” he says, “I think: when do I see Elettra? When do we spend time together?” For a man who spent years building one of the most demanding careers in electronic music, that reordering is not small. It is, in fact, everything.

At one point, pushed on what luxury actually means to them now — after the residencies, the private jets, the red carpets, the kind of access most people spend their whole lives imagining — they both land in exactly the same place without comparing notes.

“You cannot buy someone that truly loves you,” Elettra says quietly. “You cannot buy family.”

Afrojack is quiet for a moment. “I used to fly private a lot,” he says. “But now? I’d rather fly commercial to a loving home than fly private with no purpose.”

He pauses after saying it, like he’s hearing it for the first time himself. Like the sentence arrived before he had a chance to edit it into something more guarded. And then he just lets it stand.

They are not retired. They are not stepping back. Afrojack is having one of the more creatively restless years of a career built on creative restlessness. Elettra is about to stand in front of the Eurovision audience and make it look effortless. This is not a story about slowing down.

It’s a story about two people who figured out, earlier than most, what the careers are actually for.

He mentions almost in passing that when he travels somewhere beautiful without Elettra, he doesn’t fully let himself experience it. He saves it. He’ll look at whatever view is in front of him — some coastline, some city at golden hour, some corner of the world most people would consider a destination in itself — and he’ll think: I’ll come back with her. He waits to go back when they can see it together. For someone who has spent fifteen years seeing the entire world, that is a profound and quietly radical thing to choose.

Somewhere in Miami, there’s a half-finished puzzle on a table. Somewhere in Italy, there’s another one. The pieces are different, but the point is the same: something to work on together, something to return to, something that requires patience and pays off slowly and doesn’t care how many people were in the crowd last weekend.

At some point tonight, two phones will connect across an ocean. Two people who could be anywhere — who should be anywhere — will sit together in the dark, looking for edge pieces on screens they’ve positioned just right. Neither of them will think it’s strange.

That’s the thing about real love: it doesn’t need an audience to make sense. It doesn’t need a stage. It just needs patience, and a puzzle, and someone across the world who’s willing to wait for you to find the pieces that fit.

VANTAGE POINT

Louis Vuitton’s Women’s Pre-Fall 2026 collection moves through the season with effortless ease. Through lightweight fabrics, playful lengths, and charming details — including ruffles, jeweled buttons, and feminine bows — the collection feels as fluid as modern life itself.

BY ADRIENNE FAUROTE

PHOTOGRAPHY BENJO ARWAS

STYLING SHALEV LAVÀN AT THE VISIONARIES AGENCY

MAKEUP FRANCIE TOMALONIS AT THE VISIONARIES AGENCY USING LA BEAUTÉ LOUIS VUITTON

MODEL KADIJA KALLON AT WOMEN MANAGEMENT

PHOTO ASSISTANT MAXINE BALCHUS

STYLING ASSISTANT ANA ISABEL

ALL CLOTHING AND ACCESSORIES BY LOUIS VUITTON

SHOT ON LOCATION AT 610 ARKELL DR, BEVERLY HILLS, CA 90210

PRESENTED BY CHRISTINE HONG; LISTING COURTESY OF HILTON & HYLAND AND THE BEVERLY HILLS ESTATES

THE SUITCASE, REINVENTED

LOUIS VUITTON AND MARC NEWSON MARK A DECADE OF COLLABORATION WITH THE HORIZON ALUMINUM — THE MAISON’S FIRST ALUMINUM SUITCASE AND THE FIRST RIVET-FREE ALUMINUM SUITCASE EVER MADE.

BY ADRIENNE FAUROTE

PHOTOS COURTESY OF LOUIS VUITTON

When Louis Vuitton launched the Horizon suitcase in 2016, in collaboration with Marc Newson, the most celebrated industrial designer of his generation, it proposed a new standard for what travel could look like in the 21st century. A decade later, that proposition takes its most ambitious form yet with the Horizon Aluminum: Louis Vuitton’s first aluminum suitcase, and its most technically extraordinary one yet. The material is not incidental. Aluminum echoes Louis Vuitton’s own history — at the end of the 19th century, the House crafted aluminum trunks for explorers — while the Monogram motif, embossed directly into the shell, functions as a structural element as much as a design signature.

What separates the Horizon Aluminum from anything else on the market is what you cannot see. Traditional rivets have been replaced by an ultra-thin frame system with no folding or riveting — a first in luggage design — and external hinges have been replaced by concealed mechanisms as precise as a fine watch movement. The result is a surface of absolute purity, with clean lines uninterrupted by any mechanical component, exactly as Newson intended. Inside, a thermoformed lining creates a perfectly flat main compartment of unrivaled capacity. TSA-certified locks, an extra-wide telescopic handle, and enlarged shock-absorbing wheels complete an object built to bear the marks of its journeys — with dents and scratches embraced as cherished souvenirs.

THE LOUIS VUITTON CITY GUIDE RETURNS FOR 2026 WITH EIGHT NEWLY UPDATED EDITIONS — AND THE MOST PERSONAL, INSIDERDRIVEN TRAVEL INTELLIGENCE THE SERIES HAS EVER OFFERED.

BY ADRIENNE FAUROTE PHOTOS COURTESY OF LOUIS VUITTON

Since 1998, Louis Vuitton has approached travel the way it approaches everything: with the conviction that the finest experiences are the ones most carefully considered. The City Guide series — now spanning 43 destinations in both print and digital formats — has always been less a conventional travel guide and more a literary act of discovery, written by journalists, authors, and cultural figures who know their cities the way only true insiders can. This spring, eight editions have received updated releases: Bangkok, London, Los Angeles, Miami, New York, Paris, Rome, and Tokyo. Each edition has been enriched with exclusive, previously unpublished content, including, for the first time, an illustrated section tracing each city’s history through 40 key dates, presented as a chronological narrative by French illustrator Laurent Cilluffo. A new “People Power” section also introduces ten notable locals per city, photographed by local artists and profiled across fields spanning hospitality, fashion, culture, and sport.

As each location has been intimately curated, and the guest contributors this year were deliberately chosen. Chef Chalee Kader guides readers through Bangkok. Matthew Yokobosky, senior curator of Fashion and Material Culture at the Brooklyn Museum, takes on New York. Artist Eva Jospin shares her vision of Paris. DJ and electronic music producer Daniel Avery navigates London. And Dejha Carrington, co-founder of Commission, brings her art-world perspective to Miami. Each edition is also photographed by Parisbased photography collective Tendance Floue, whose local portraits introduce fresh visual signatures steeped in the respective city’s culture.

The Louis Vuitton City Guide has always understood that the most useful travel intelligence is also the most human. Its structure reflects that instinct at every turn — from “24 Hours in the City,” which traces 12 unbeatable experiences from breakfast at sunrise to staying out until dawn, to “Scenic Route,” a set of walking tours designed to slow the pace and reveal the city on foot. Categories spanning rooms, dining, nightlife, shopping, design galleries, museums, and independent bookshops ensure that whether you are a first-time visitor or a cultivated local, the guide offers something worth knowing.

The digital experience extends the series well beyond the printed page. The Louis Vuitton City Guide app — available for iPhone and iPad across all 43 destinations — features regularly updated addresses, real-time geolocation mapping, customizable itineraries, and the option to send e-postcards directly from the app. On Apple TV, each city is presented through audiovisual essays, photographic portfolios, and video postcards never shown elsewhere. And on Louis Vuitton’s Tambour Horizon smartwatch, the app’s “Near Me” and “24H” features are available on the wrist, wherever the journey leads — ultimately allowing you to be a part of Louis Vuitton’s world at any moment.

Designed by Jonathan Anderson for the first time, the Dioriviera collection is a sun-drenched tribute to Monsieur Dior’s cherished dreams of new horizons. From Capri to Seoul, iconic locations are transformed with sailing boats, seashells, rattan, and the timeless elegance of the Italian coast — an invitation to set sail into summer.

BY ADRIENNE FAUROTE

OPPOSITE PAGE:

THIS PAGE:

THE DREAM

FACTORY

JONATHAN ANDERSON BROUGHT DIOR’S CRUISE 2027 COLLECTION TO LOS ANGELES — AND IN DOING SO, REMINDED THE CITY EXACTLY WHY HOLLYWOOD AND COUTURE HAVE ALWAYS BEEN THE SAME STORY.

BY ADRIENNE FAUROTE

There are cities that exist as ideas before they exist as places, and Los Angeles has always been both at once — the landscape and the mythology, the boulevard and the dream it promised. On the evening of May 13, 2026, Jonathan Anderson understood this perfectly. He staged Dior’s Cruise 2027 collection — his inaugural Cruise showing for the house — at the Los Angeles County Museum of Art, on Wilshire Boulevard, as the sun dropped behind the Hollywood Hills. What unfolded was not a fashion show so much as a conversation between a house and a city that have been speaking the same language for nearly eighty years.

“Christian Dior understood how important the idea of ‘the dream’ was for people after the war — as a form of escapism,” Anderson references in his show notes. “His Surrealist friends were obsessed with dreams and, of course, Hollywood is ‘The Dream Factory.’ It was all part of the same cross-cultural shift.”

The setting was an illusion of LA, in LA. Artists, directors, and the city’s creative inner circle filed into LACMA as the show opened with a buttercup yellow dress trailing rosettes and John Lee Hooker playing overhead. Flowers became the collection’s recurring refrain — California poppies rendered in luminous orange, a red dress gathered at the waist by an abstract bloom, a deliberate revival of Christian Dior’s own mid-show wake-up device.

Vintage American cars inspired new Saddle bag silhouettes in car-paint finishes with motor key charms. Philip Treacy’s featherwork headpieces rendered typography with impossible precision. Ed Ruscha collaborated on shirts that arrived mid-show with the deadpan grandeur the city deserves. Denim jeans embroidered with fine silver chains made the everyday feel like couture. The collection’s anchor was Stage Fright — the 1950 Hitchcock film for which Marlene Dietrich famously declared, “No Dior, no Dietrich.” By the final carousel, Kelly Watch the Stars overhead, Anderson had made the point: in 2026, the dream factory is still open.

Dior Maison’s Champs de Tulipes collection translates the delicate tulip motif — first conceived by Monsieur Dior for his spring/summer 1953 Haute Couture collection — onto Limoges porcelain tableware finished with 24-karat gold details, as a tribute to floral poetry and the art of the perfectly set table.

DIOR PRESTIGE REINVENTS THE FIRST STEP OF THE SKINCARE RITUAL WITH A NEW COLLECTION OF ROSE DE GRANVILLE–INFUSED CLEANSERS, AND DIOR BEAUTY’S U.S. SKINCARE EXPERT SARAH AKRAM BREAKS DOWN EXACTLY WHY IT CHANGES EVERYTHING.

BY ADRIENNE FAUROTE

PRO TIP: One of my favorite things about Dior Prestige

La Mousse Micellaire is how customizable it is. Add a few drops of water for a lighter, airy foam on minimal-makeup days, or use it straight from the tube in its more concentrated form for a richer cleanse when removing heavier makeup and SPF. It’s essentially two cleansing experiences in one.

Left & Right Pages: Dior Prestige La Mousse Micellaire, Dior Prestige Le Baume Démaquillant, Dior Prestige Le Sucre de Gommage, Dior Prestige Le Savon, Dior Prestige La Micro-Huile de Rose Activated Serum

HAUTE LIVING: Can you walk us through the new Prestige Cleansers?

SARAH AKRAM: The new Dior Prestige cleansers are best thought of as a luxurious at-home cleansing ritual. Start with Le Baume Démaquillant to dissolve makeup, sunscreen, and daily buildup. Follow with La Mousse Micellaire to deeply cleanse and purify while maintaining skin comfort. For those who enjoy a more traditional cleansing experience, Le Savon leaves skin feeling exceptionally soft and conditioned. Finish with Sucre de Gommage once or twice a week to gently polish away dull surface cells and reveal a smoother, more radiant complexion.

Together, the ritual delivers a thorough cleanse, gentle exfoliation, and skinconditioning benefits while respecting the integrity of the skin barrier.

HL: Why was it so important to incorporate rose-infused elements?

SA: Rose in the Dior Prestige line isn’t decorative — it’s functional. It’s used for its soothing and antioxidant properties, but also for supporting skin resilience during cleansing, which is when the barrier is most vulnerable. The rose infusion also elevates the sensorial experience, which matters more than people admit; luxury skincare works best when it signals calm to the skin and the nervous system simultaneously.

FRANCIS KURKDJIAN’S NEWEST ADDITION TO LA COLLECTION PRIVÉE, DIOR PARADISE, DRAWS FROM THE HUNDREDS OF ALMOND TREES THAT ONCE BLOSSOMED AT

CHRISTIAN DIOR’S BELOVED CHÂTEAU DE LA COLLE NOIRE IN PROVENCE.

BY ADRIENNE FAUROTE

There are designers who find inspiration in archives, and then there was Christian Dior, who found his in a garden. The Château de La Colle Noire, his private estate in the Grasse countryside, was planted with hectares of jasmine grandiflorum, centifolia rose, lavender, olive trees, and a vine that still produces rosé today. But it was the hundreds of almond trees — the first to blossom each winter — that captivated him most. He designed every detail of that property to revive the lost Eden of his childhood garden in Granville, and at La Colle Noire, he finally came closest to getting it right.

Kurkdjian, the perfume creation director for the Maison, built Dior Paradise as an olfactory allegory for that pursuit. Bitter almond — rarely foregrounded in perfumery — anchors the composition, brightened by top notes of mandarin, orange, and lime, and grounded by a roasted Tonka bean that carries the sweetness through to the dry-down. It is, as Kurkdjian describes it, a Proustian trigger, the scent equivalent of standing at a window in late winter, watching an orchard come back to life.

THE WORLD, AT YOUR REACH

From the temples of Kyoto to the peaks of the Dolomites, the plains of the Serengeti to the shores of Bali – Haute Black opens the door to the world’s most coveted destinations.

Time, In Bloom

More than a decade after its debut, Louis Vuitton’s Color Blossom Fine Jewelry collection — available across rings, pendants, bracelets, and earrings in seven stone combinations — now tells the time. The Color Blossom watch arrives in a sunshaped 26mm Monogram Flower case in four distinct versions, from a muted steel and white mother-of-pearl dial to a vibrant amazonite and yellow gold, as well as a precious edition set with nearly one carat of diamonds. “There is an inherently precious essence, which perfectly reflects the Color Blossom collection,” says Matthieu Hegi, artistic director at La Fabrique du Temps Louis Vuitton. The Monogram Flower, first created in 1896, has never looked more in bloom on the wrist.

BY ADRIENNE FAUROTE

MIAMI MEETS THE REVERSO

Jaeger-LeCoultre brought five new Or Deco models and two landmark complications to the Miami Design District — and with a permanent boutique on the way, the Maison is just getting started.

BY ADRIENNE FAUROTE

Ahead of the new Jaeger-LeCoultre boutique opening in the Miami Design District this fall, the Maison hosted the Reverso Stories PopUp at Sweet Bird North in May, already making a massive impact on the Magic City. To mark the occasion, three new timepieces made their debut: the Reverso Tribute Monoface Or Deco Series, the Reverso Hybris Artistica Calibre 179 Pegasus, and the Duomètre Heliotourbillon Perpetual in platinum.

The stars of the show were undoubtedly the gem-set cocktail watches rooted in Art Deco glamour. The Reverso Tribute Monoface Or Deco Series consists of five new models that expand on the Or Deco universe introduced in 2025 and, in doing so, demonstrate the Reverso’s extraordinary versatility. Three of the five are the Or Deco Cocktail variants: gem-set watches in 18K pink gold set with 46 baguette-cut rubies, and in 18K white gold set with either 46 baguette-cut emeralds or 46 baguette-cut blue sapphires, each limited to 30 pieces. The stones are set using rail setting — an invisible setting

technique perfected in the 1930s — by the gem-setters of JaegerLeCoultre’s Métiers Rares atelier, creating an unbroken line of color and light along the gadroons above and below the dial. The emerald, given its inherent fragility, demanded the most specialized attention of all three.

The fourth model is the Reverso Tribute Monoface Small Seconds Or Deco in 18K white gold, which is a cool, monochromatic counterpoint to the original pink gold version, limited to 200 pieces. The fifth, and perhaps the most wearable of all, is the Or Deco Solo Tempo in 18K pink gold, a smaller 40.1mm x 24.4mm case that strips the dial back to its essence, dispensing with the small seconds entirely and bringing the Reverso closer than ever to the proportions of the 1930 originals.

All five models run on the hand-wound caliber 822 with a 42-hour power reserve, and each is paired with a Milanese mesh bracelet requiring more than 10 meters of 18K gold to construct — a detail that speaks directly to the level of craft involved.

THE ROYAL POP

Audemars Piguet × Swatch unveil the most disruptive watch collaboration of 2026 so far.

BY ADRIENNE FAUROTE

THE INTERNET WAS BUZZING, AND AI WAS doing its best to conceptualize what an Audemars Piguet × Swatch collaboration might look like. But if you think back just a few months ago, when the entire watch community was in Geneva in April, noone saw this one coming — and that’s entirely the point. Audemars Piguet and Swatch have joined forces on the Royal Pop, a collection of eight Bioceramic pocket watches that takes two of the most recognizable design languages in Swiss watchmaking and pushes them somewhere neither brand has gone before. It’s bold, it’s colorful, and technically, it’s more considered than it looks.

The Royal Pop draws its DNA from two distinct sources. First, Audemars Piguet’s Royal Oak — the Gerald Genta-designed sports watch that rewrote the rules of fine watchmaking when it launched in 1972, with its octagonal bezel, eight hexagonal screws, and Petite Tapisserie dial pattern that remains one of the most instantly recognizable surfaces in the industry. Then there’s the Swatch POP watch of the 1980s: playful, democratic, and deliberately disruptive.

The format itself is the first provocation. The Royal Pop is a pocket watch — not a wristwatch — with a 40mm Bioceramic case and a calfskin lanyard with contrasting stitching, inviting the

wearer to decide how they want to carry it.

The number eight runs through every detail as the eight models are a direct nod to the eight sides of the Royal Oak case and its signature bezel screws. Eight additional patents were required for the case construction alone, to faithfully recreate the Royal Oak’s complex combination of rounded octagon, circle, and barrel shape in Bioceramic form. The material itself — two-thirds ceramic powder and one-third biosourced material derived from castor oil — gives the collection both strength and finish that earned it serious technical consideration.

All eight models run on a new hand-wound version of Swatch’s SISTEM51, the only Swiss-made mechanical movement in the world with 100% automated assembly, now updated with 15 active patents and a power reserve of more than 90 hours. The anti-magnetic Nivachron balance spring, co-developed with Audemars Piguet, already appears in several of the Maison’s own references. One of the eight new case patents covers the barrel drum, which doubles as a power-reserve indicator: gray chambers signal that the watch needs winding, gold means it’s fully wound and running at full power. And finally, the eight colorways span the full breadth of the Pop Art palette.

Ferrari 12Cilindri Spider

They do make ‘em like they used to … thankfully!

BY TIM LAPPEN

THE FIRST THING YOU NOTICE WHEN EXPERIENCING THE Ferrari 12Cilindri Spider (or, as Ferrari often denotes it, “Ferrari Dodici Cilindri,” which means “Ferrari 12 Cylinder” in Italian) is its overall shape. The car’s outline greatly resembles the legendary and world-dominating mid-century Ferrari road rockets, those of hood (“bonnet”) long and tail (“boot”) short, all the better to ensconce the lucky driver and passenger and their luggage while being motivated by a prodigious V-12 motor. Ah, that sweetly sonorous engine: to some tifosi (“rabid fans”), that’s truly the automotive ASMR creator. Ferrari points out that the concept behind this new machine “draws inspiration from open-topped Ferrari Gran Turismo models of the 1950s and ‘60s” — how beautifully they have brought that concept to life.

You will note that Ferrari named it excluding the space between “12” and “Cilindri,” as they have done with other models on several occasions. Maybe, like the cars that they create, they’re always in a hurry. Regardless of the genesis of that nomenclature, this car is no poseur as it has all of the class, nimbleness, and oomph required to be a top-tier two-seater grand touring convertible.

This is the part of the story where we typically would mention the supercharger or the twin-turbo and all of the power and torque that come from that setup. However, this is a naturally aspirated car, meaning that it breathes unfettered and unboosted air. That allows for a much more responsive accelerator pedal and a more appealing sound, unmuffled by any blockage of the intake or exhaust sounds. And when you buy a

Ferrari, the sound alone is worth the price of admission. So why not enjoy it, especially when this twelve-pot engine can redline at 9,500 RPM? It has the scream of the banshees, and I mean that in a good way. Some cars foreshadow their arrival with clever grilles, fancy headlights, and multistraked running lights. Ferraris arrive with great aplomb, being at once gorgeously elegant and menacingly snarling. The 12Cilindri does all that and more, especially at a time when all-electric seems to be the current moteur de jour. This is a car that joyously lights up any scene (and tire).

Now, it’s time for the fun facts. With 820 horsepower and 500 ft-lbs of torque from its 6.5-liter V12, this machine hits 60 in under 3 seconds and sings all the way to 9,500 RPM. Those stats, when coupled with the looks and sound of this primo machine, typically bring the buyer home. The looks and performance of this machine are next-level.

As much as Ferrari is highly (and deservedly) proud of its heritage, it’s also on the cutting edge of innovation and execution — thanks in no small part to its legendary racing heritage. For example, the torque of the prodigious engine is actually modified automatically, depending upon the transmission gear that the driver has chosen. This is a remarkable feat of software engineering, present for the very first time in a car with a naturally-aspirated engine, and it provides smooth and almost seamless acceleration as the driver rockets through the gears. As is their wont, Ferrari has also included the most sophisticated emissions-reduction system ever to comply with the always-more-stringent air quality standards.

Back to the original concept of the look of this wondrous machine, the stance is like a tiger getting ready to pounce, emphasized by the long nose / short tail and further enhanced by the stately 21” rims that, depending upon the buyer’s desire (and budget), can be shod with low-profile tires framing colored-to-order brake calipers (“mine” wore gold, thank you very much). And while we’re on the topic of the build sheet, take a gander at carbon fiber bits and pieces (engine covers, filter box cover, front spoiler, etc.), which added another five large to the total. Starting with a base price of $507,000 and change, my ride ended up with a total of $661,364 and I thought that each of those options provided the perfect complement to an awesome car.

How did I love my multi-day loan? If you’ve read this far, can there be any doubt? Sliding into the driver’s seat of a new Ferrari is an experience not to be missed. A few tweaks of the Manettino (the Formula One-inspired switch on the steering wheel to adjust settings like throttle response, traction control, sound, and so forth) and then the shiny-red “Start” button brings the dragon out of its lair. The sound of a V12 Ferrari start up is second only to the sound of a V12 Ferrari at full honk (but if you keep that sound going for too long, you’ll hear sounds of law enforcement coming from behind you). Going through the hills around Malibu, accelerating through sweepers, calling forth the immaculate throttle-blip-enhanced downshifts, and the cornering as precise as a hot knife through butter — what’s not to like? Yet with all of the swagger and performance of a track car, the 12Cilindri knows how to behave and is perfectly docile when it needs to be, even in stop-and-go traffic. This is Los Angeles, after all, so no road test would be complete without that slog. And with a convertible hard top that can disappear and reappear in mere seconds, it truly is a car for all reasons and for all seasons.

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Haute Lawyer is an exclusive, partnership-driven, invitation-only network of select lawyers from top markets in the U.S. At Haute Lawyer, we recognize these leading experts in law and seek to further their success by driving unmatched digital and print exposure.

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AN EVENING TO REMEMBER: CELEBRATES DAYMOND JOHN

ON TUESDAY, APRIL 7, HAUTE LIVING GATHERED MIAMI’S MOST distinguished guests at Air Club Miami by Seaspice for an intimate cover celebration honoring Daymond John, the entrepreneur, investor, and cultural icon. Presented alongside partners Braman Miami, Rolls-Royce Motor Cars Miami, Tsinandali Estate Wine, and Ayanat Skincare, the evening was a testament to luxury that feels earned rather than ornamental. White linens and lush centerpieces of white roses and ranunculus by Matty’s Flower Design set a refined tone. John arrived with his wife, Heather, alongside health and performance visionary Gary Brecka and his wife, Sage. Kamal Hotchandani, CEO and founder of Haute Living, opened by sharing that he and John go back to the late ’90s. Andy Toy of Rolls-Royce Motor Cars Miami raised a glass to the standard that perfection sets. Ayanat Kenbai, founder of Ayanat Skincare, drew laughs acknowledging she was in a “Shark Tank” before speaking to her mission of bringing all-natural skincare to market. George Ramishvili, a founder of Tsinandali Estate, invited guests to taste what may be the world’s oldest wine, noting winemaking was born in Georgia 9,000 years ago. The night’s most memorable moment came when John was presented with an original painting by Bradley Theodore.

5.

4.

3.

6.

7. Daymond and Heather John, Gary and Sage Brecka

8. Rolls-Royce

9. John and Bradley Theodore

A NIGHT IN HONOR OF GEORGINA BLOOMBERG

ON WEDNESDAY, APRIL 15, THE LUMINOUS DINING ROOM of Estiatorio Milos West Palm Beach became the backdrop for one of the season’s most refined gatherings. Haute Living welcomed its latest cover star, the celebrated equestrian athlete, philanthropist, and style icon Georgina Bloomberg, alongside a curated circle of friends, tastemakers, and industry luminaries. The celebration was anchored by the support of coveted fashion house AKRIS and Braman RollsRoyce Palm Beach, which set the tone for a night that wove together the worlds of fashion, philanthropy, and fine living. Adding to the visual splendor, lush floral arrangements by Matty’s Flower Design graced the tables. Guests arrived to a welcome that set the register for the night: flutes of champagne, crisp white wine, and rich red wine extended in greeting, paired with a selection of light bites. The evening’s speakers brought a spirit of genuine celebration and shared purpose — with remarks from Haute Living, AKRIS, and Braman Rolls-Royce Palm Beach touching on craft, partnership, and a dedication to excellence. A highlight of the evening came when AKRIS offered guests a rare and intimate glimpse into its latest collection through a graceful in-room runway presentation. Each look moved through the dining room with quiet confidence.

HAUTE LEADERS GATHER

FOR AN ELEVATED EVENING AT PAGANI RESIDENCES MIAMI

ON THE EVENING OF WEDNESDAY, APRIL 29, HAUTE LIVING convened its most distinguished circle for an exclusive Haute Leaders cocktail experience at the Pagani Residences Miami Sales Gallery in North Bay Village. The intimate gathering brought together a curated cross-section of the city’s most influential minds — leading attorneys, top physicians, and luxury realtors — for an evening that exemplified the brand’s commitment to celebrating excellence across industries. Among the evening’s notable attendees were Dr. Alexandra Condé Green, distinguished plastic surgeon, alongside top luxury realtors Priscilla Haisley, Tadia Silvia, Carsa Cardeen, and Romaello D’Franco. April Irene Donelson, managing director of Haute Living, welcomed members with warm remarks honoring the community Haute Leaders has cultivated — a network defined not only by accomplishment, but by a shared appreciation for craftsmanship, design, and the art of living well. Goritza Draskovich, director of sales for Pagani Residences, offered an inspired presentation on the project — an architectural collaboration that translates Pagani’s renowned obsession with detail and bespoke artistry into a residential masterpiece overlooking Biscayne Bay.

MIAMI RACE WEEK OPENING

MIAMI RACE WEEK ARRIVED WITH EXACTLY THE KIND OF opening statement the city does best. On Thursday, April 29, over 500 of the world’s most influential figures in sports, entertainment, and fashion descended on a private waterfront estate in Coral Gables for an invitation-only evening presented by Noble 33, celebrating fashion brand NAHMIAS ahead of the Miami Grand Prix weekend. The guest list included athletes like Michael Porter Jr., Trey Murphy, Breece Hall, Jaime Jaquez Jr., and Rudy Gay mixed with entertainers, influencers, and tastemakers including Shaboozey, Angela Simmons, Anastasia Karanikolaou, Victoria Villarroel, and DJ Tay James, who kept the energy moving alongside Nitrane on the decks. Guests arrived in style via Cadillac, the evening’s official transportation partner, while the Cigarette Racing Team added to the waterfront spectacle with a branded boat display that underscored the week’s high-octane spirit. The immersive experience was anchored by a custom NAHMIAS waterfall projection that illuminated the property, bringing founder Doni Nahmias’s signature aesthetic to life against the backdrop of Biscayne Bay. Diageo Rare & Exceptional curated the evening’s premium cocktail program, featuring Johnnie Walker, Zacapa Rum, Talisker Single Malt Scotch Whisky, Ketel One Vodka, and the newly released Tequila Don Julio 1942 FIFA World Cup 2026 Limited Edition gold bottle, which made its debut throughout the night. A sophisticated culinary program by the award-winning Noble 33 hospitality group completed an evening that left little to be desired.

INSIDE MIAMI RACE WEEK’S

MOST EXCLUSIVE INVITATION: THE PLACES & CO. X FLYHOUSE

ANNUAL YACHT EXPERIENCE

ON SUNDAY, MAY 3, 250 HAND-SELECTED GUESTS CAME aboard a private yacht for an invitation-only affair where luxury, culture, and connection converged at sea. Renowned for curating the right room, Places & Co. brought together founders, athletes, creatives, and global tastemakers in an environment designed to feel highly intentional. Now firmly established as a Race Week tradition, the annual yacht experience has become synonymous with one of Miami’s most sought-after guest lists. The evening featured performances by DJ Ruckus alongside a special set by Nyjah Huston, with additional surprise appearances from leading figures across music, sports, and entertainment. In partnership with FlyHouse, the experience reflected a shared vision of elevated, seamless living — bringing together a global community that values both luxury and meaningful connection. “Race Week brings the world to Miami,” said Simone Sestito, the founder and CEO of Places & Co. “Our focus is on creating a space within that energy that feels curated, intimate, and unforgettable.” As the official media partner, Haute Living captured and shared the experience across its luxury and culture platforms.

PEDINI BY DARUSO DEBUTS IN THE MIAMI DESIGN DISTRICT

ON WEDNESDAY, MAY 27, THE MIAMI DESIGN DISTRICT welcomed its newest resident in unmistakably Italian fashion. Pedini by Daruso officially unveiled its new showroom with a two-night experience celebrating architecture, interiors, and luxury lifestyle through the lens of Italian design heritage. The festivities opened with a private dinner at Sofia Miami Design District, where guests gathered against the restaurant’s refined Italian backdrop. The celebration then moved into the new Pedini space, where guests raised a toast with The Macallan among the showroom’s refined materials and curated details. The room itself became part of the experience — architecture as host, design as language. An intimate private dinner preview followed, with culinary presentations paired thoughtfully with Casanova di Neri and Ethica Wines. The official ribbon-cutting ceremony welcomed guests into a space defined by clean lines, considered materials, and quiet luxury that reveals itself slowly.

CELEBRATES AFROJACK AND ELETTRA LAMBORGHINI AT CARBONE VINO

ON WEDNESDAY, JUNE 3, HAUTE LIVING AND LAMBORGHINI

South Dade by The Collection came together for an unforgettable dinner celebrating internationally renowned DJ and producer Afrojack and his wife, the inimitable Elettra Lamborghini. A stunning display of Lamborghinis from Lamborghini South Dade lined the entrance, welcoming a distinguished guest list, setting the tone before a single door was opened. Inside Carbone Vino, Miami’s most glamorous address for Italian-American dining, the night took on a cultural dimension that extended far beyond the table.

Visionary Miami artist Vic Garcia unveiled a vibrant commissioned painting, followed by a celebratory Champagne Telmont toast, raising glasses to the honorees and to the city that made the evening possible. But the evening’s most memorable moment arrived not from the kitchen, but from Miami-Dade County itself. In a proclamation that brought the room to its feet, June 3 was officially declared Afrojack and Elettra Lamborghini Day.

Designing the Bully Lifestyle

Inside the Maximalist Mind of Demetrius A. Matthews

BY HAUTE LIVING

DEMETRIUS A. MATTHEWS HAS BUILT A CAREER AT THE intersection of luxury, craftsmanship, and self-expression. With the release of Bully Lifestyle: Hustle and Bloodlines, the entrepreneur, filmmaker, and author expands his creative universe beyond bulldogs and into a broader conversation about culture, identity, and artistry. More than a traditional coffee table book, Bully Lifestyle captures the visual language of customization culture — from high-end vehicles and motorcycles to jewelry, film, and the global bully breed community. Matthews approaches each passion with the same philosophy: taking something powerful and refining it into something unforgettable.

“When creating Bully Lifestyle: Hustle and Bloodlines, I wanted to document more than dogs — I wanted to capture the art of designing a lifestyle. My passion has always lived at the intersection of luxury, creativity, and expression, whether through cars, motorcycles, trucks, film, or bulldogs,” says Matthews. “Without sounding materialistic, I often describe the dogs I create as the ‘Lamborghinis’ of the bulldog world — not simply because of appearance, but because they represent presence, elegance, craftsmanship, and experience. Much like my appreciation for high-end automotive design and custom-built machines, I’m fascinated by taking something already beautiful and

pushing it toward magnificence. For me, designing dogs, building vehicles, and collecting timeless pieces are all connected through the same language: passion, artistry, and the pursuit of excellence. At the end of the day, beyond all the aesthetics and luxury, there’s nothing more grounding than coming home after a long day and being greeted by the wagging tail of a dog you poured your heart into creating.”

That mindset is what makes Matthews’ work resonate beyond niche culture. His projects reflect a modern form of storytelling where luxury is not simply about status, but about discipline, design, and personal vision. Whether curating custom trucks, collecting timeless pieces, or building champion bloodlines, Matthews treats every pursuit as an extension of identity.

Launching alongside his memoir, Code Switch: The Diary of Demetrius A. Matthews, this new book also highlights his ongoing mission to transform lived experience into cultural narrative. Together, the works reveal a creative entrepreneur unafraid to merge toughness with vulnerability, grit with elegance, and passion with precision. With Bully Lifestyle: Hustle and Bloodlines, Demetrius A. Matthews isn’t simply documenting a community — he’s defining an entire aesthetic philosophy rooted in legacy, creativity, and the pursuit of excellence.