ALEX DE MINAUR, Miami March 2026

ALEX DE MINAUR

THE FIRE AND THE FOCUS

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Nicknamed “The Demon” for his blistering speed and competitive fire, Alex de Minaur is redefining what modern tennis dominance looks like

The 'It' product range of the moment comes courtesy of Dior

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AFTER THE FIRE

THE DEMON EXISTS FOR THE MATCH. ALEX DE MINAUR EXISTS FOR EVERYTHING ELSE.

“The Demon exists for the match.”

The match ends, the handshake happens, the cameras linger — and somehow, the Demon is already gone.

It's hard to explain to people who only know Alex de Minaur — known on-court by his nickname, "The Demon" — as a blur in motion: the elastic retrievals, the impossible sprints, the points he refuses to let die. On court, he can look like pure voltage: a player who can turn defense into offense in a single breath. But in conversation, he describes this shift with a kind of casual precision, as if he's talking about changing his shoes.

"When I'm on court, you'll see a lot of fire and passion," he tells me via Zoom from The Netherlands, where he’s about to play in the Rotterdam Open (where he will go on to defeat Felix Auger-Aliassime and simultaneously land one of biggest titles of his career). "But as soon as I'm off the court, I'm the most chilled out guy that you'll meet."

That "as soon as" is the tell. Not eventually. Not after a decompression ritual. Immediately. And maybe that's the point: Alex doesn't just play tennis — he toggles between identities. The Demon, you see, isn't a vibe — it's a setting; a switch he flips with the kind of intention most people reserve for major life decisions, except he does it multiple times a week, sometimes multiple times a day. One moment he's a coiled spring of competitive intensity, the next he's ordering a flat white and asking about the best coastal drive in whatever city he's landed in.

The origin story is built into his name and the way Australians pronounce it: de Minaur — Demon. It's a nickname that's followed him since he was young, and he doesn't reject it. He expands it, gives it dimension, lets it breathe. "It's got a lot of different variations," the current ATP No. 6 ranked player (at press time) says. His favorite? "I'm more like the speed demon emoj," he declares. "A cheeky kind of grin that likes to have a good time."

There's something almost affectionate in the way he talks about it — not as a burden or a brand to maintain, but as a genuine part of himself that he's learned to understand and deploy. But when he talks about it in the context of competition, it becomes something else entirely — an alter ego with a job to do, a version of himself built specifically for the demands of professional tennis. "It feels like that mindset and character that I bring on the court," he explains. "I transform into that person. I get fiery."

That transformation makes even more sense when you place it against the map of his life: Alex de Miñaur Román, born February 17, 1999, in Sydney, Australia, raised between two continents, two cultures, two ways of being in the world. His father, Aníbal, is Uruguayan. His mother, Esther, is Spanish. They met in Sydney, where Aníbal owned an Italian restaurant and Esther worked as a waitress. Together they raised six children — Alex, his two brothers Dominic and Daniel, and his three sisters Natalie, Cristina, and Sara — in a household shaped as much by movement as by tradition.

Alex spent the first five years of his life in the southern Sydney suburb of Carss Park before relocating to Alicante, Spain, a move that would quietly alter the trajectory of his career. He holds dual citizenship. He's fluent in English and Spanish, with working knowledge of French. He's a global citizen before he ever boarded the tour, carrying a blend of cultures that reads like a blueprint for his entire demeanor — cool surface, hot core.

It's the kind of thing you notice watching him, but it's another thing entirely to hear him articulate it. When I bring up the contrast, he agrees without hesitation.

"Once I'm off the court, I conserve a lot of energy. Everything's pretty laid back and easy, and that's probably the Australian way." And then, the flip: "Once I'm on the court, I'm focused, in the zone. I've got that fire and passion, that competitive spirit that a lot of Spaniards are known for."

It's not code-switching in the traditional sense. It's something more fundamental: a genuine integration of two cultural identities that would clash in most people, but in Alex, have found a kind of symbiotic balance. The Australian in him knows when to let go. The Spaniard in him knows when to hold on. Together, they've created a player who can be ruthless without being consumed, intense without being brittle.

What's true of his character is equally true of his game. The myth about Alex is that

speed is something you're born with — that he emerged from the womb with fast-twitch muscle fibers and an innate understanding of court geometry. But he's strangely charming when he dismantles his own legend. His version is less "God-given gift," and more "awkward adolescence plus repetition plus patience."

"As a junior, I was very uncoordinated," he says, and there's no false modesty in it, just matter-of-fact honesty. "Growing up, I had probably the same size feet that I have right now [a size 11]. I had this size shoe at 13 and 14, which felt like wearing clown shoes at the time. I was not the best mover by any means."

The image is almost comical: a teenage Alex, all limbs and oversized feet, trying to navigate a tennis court with the grace of a newborn giraffe. It's hard to reconcile with the player who now glides across clay and hard courts alike, who makes impossible gets look routine, who has built an entire reputation on being faster than physics should allow.

He describes those teenage years as a period of heavy emphasis on the technique of moving: footwork patterns, split-step timing, weight transfer, recovery steps. Hours and hours spent learning how to do what now looks like instinct. It wasn't glamorous. It wasn't highlight-reel material. It was repetition until the body remembered what the mind had to consciously direct.

And then, his body caught up. The clown shoes became assets. "Eventually I grew into my body, and then all of a sudden, it was like night and day," he recalls.

It's a very Alex way to explain excellence: not as fate, but as proof of work. Not as destiny, but as the logical outcome of thousands of hours spent doing something that felt impossible until suddenly it wasn't. There's no mysticism in his origin story, no moment of divine intervention. Just a kid with big feet and a willingness to do the boring, repetitive work that separates the good from the great.

That same tone — measured, un-dramatic, almost allergic to hype — shows up when we talk about his rise through the rankings. Was last year a breakthrough? He doesn't frame it that way. The word "breakthrough" implies surprise, a sudden rupture in the expected order of things. Alex sees it differently.

"I would classify last year as a confirmation of the year before," he says. The year prior, he explains, was the big move — breaking into the top ten, asserting his place among the tennis elite, proving he belonged in conversations about the best players in the world. The following year was about showing it wasn't luck. "It wasn't a fluke that I deserved to be there," he says, and the word he returns to is consistency: bringing results "all year round," proving it to himself and everyone else.

Consistency is an underrated virtue in tennis, a sport that rewards flash and punishes steadiness in the public imagination. But for players, for coaches, for anyone who understands the grinding reality of the tour, consistency is everything. It's the difference between a hot streak and a career. It's what separates the players who have one great season from the players who have ten. But there's always a next step. And in Alex's case, that step isn't only technical or tactical — it's mental. It's about belief, that slippery, essential thing that can't be coached or bought or willed into existence through sheer effort.

"[I'm not only] starting to believe that I'm good enough not just to make the numbers and go deep, but actually good enough to get some silverware," he confides. And he's specific about where that leap matters: the biggest tournaments, the Grand Slams and Masters — the places that define eras, the events that people remember decades later.

This is the frontier for Alex now: not proving he can compete with the best but proving he can beat them when it matters most. Not just reaching quarterfinals and semifinals, but winning finals. Not just being in the conversation, but changing it.

And when speaking on winning, inevitably, you end up talking about loss — not as tragedy, but as data. Not as failure, but as information to be processed, analyzed, and used. Does losing to someone like current No. 1 ranked player Carlos Alcaraz stay with him?

"It's a whole process," Alex admits, and his voice takes on a different quality — more thoughtful, more careful, as if he's walking me through a mental routine he's performed dozens of times. "Of course, it does sting and it hurts. You're constantly trying to put yourself in a position to beat these guys."

But he shifts quickly into the wider lens — the one that keeps a career steady, that prevents a single loss from becoming a spiral. "Ultimately, I'm losing to the very best players in the world," he says, naming the modern standard. "The last couple years I lost to Jannik (Sinner) and Carlos and they both ended up going on to win the tournament."

That's the benchmark; the bar. He's not losing in the second round to players ranked outside the top fifty: he's losing in the late rounds to the players who go on to lift trophies, to the ones who will define this era of tennis. There's a difference, and Alex is clear-eyed enough to see it.

That said, he's forever forward-facing. "It's about solving a problem, and keeping on giving myself chances," he says — knowing full well that most players haven't. Knowing that the gap between top ten and top three is wider than the gap between top fifty and top

ten. Knowing that what got him here won't necessarily get him there.

He talks like someone who understands that greatness is not a moment, but repetition under pressure. It's showing up again and again, asking the same question in slightly different ways, adjusting the variables, refining the approach, until one day the answer changes.

There's a patience in that philosophy that feels almost radical in a sport obsessed with youth, with prodigies, with players who win Grand Slams at nineteen and twenty. Alex is twenty-six now. He's not old by any reasonable standard, but in tennis years, he's entering the window where potential either becomes achievement or becomes a story about what might have been.

He knows this. He's not naive about the timeline. But he also knows that his path has never been the typical one — not the junior phenom who dominated from the start, not the player who won early and often. He's been the grinder, the accumulator, the player who got better every year through sheer force of will and work.

He is Australia’s hometown hero — emotionally and physically tethered to the place that grows loudest in January. Home is the start of the year; the Australian summer,” he tells me. “That’s my one chance: playing right in front of my home crowd. There’s that special feeling and buzz.”

And that’s where everything shifts.

If the Demon is the version of Alex built for the fight, then Australia is where the fight carries weight. It’s where the hours, the repetitions, the stubborn discipline translate into something bigger than ranking points or personal milestones. His success doesn’t belong to him alone there. It becomes collective. Charged. National.

Australia has always punched above its weight in tennis — but it has been waiting for another champion since Lleyton Hewitt. In Melbourne, when he steps onto the court, he isn’t just playing for himself. He’s carrying expectation, memory, history — and the kind of belief that can turn a grinder into something more.

Which is why, when we talk about national representation, his voice changes almost imperceptibly. There's a gravity that enters the conversation, a sense that we've moved from career to calling.

I ask about his Davis Cup tattoo: 109, marking him as the 109th player to represent his country in the competition. It is his only ink.

"One of my biggest goals growing up was to represent Australia for Davis Cup. And it was a very, very proud moment. This commemorates that moment," he explains.

The tattoo isn't large. It isn't flashy. It's on his left bicep, small and understated, the kind of thing you'd miss if you weren't looking for it. But for Alex, it represents something fundamental: the achievement of a childhood dream, the fulfillment of a goal that predated professional rankings and prize money and everything else that came after.

His body art is not just a commemoration — it's a boundary, a line he's drawn for himself. "The only other thing that could potentially make me think about getting another one would be winning the Davis Cup again in Australia," he says with a smile.

Even here, he's consistent. His body is not a canvas for whims, but rather, a record of what matters most. And what matters most to Alex is representing his country — not just participating, but winning. Not just being part of the story, but changing its ending.

Pressure is part of that territory too — especially now, as Australia's top-ranked male player, as the one carrying expectations that haven't been this high since Hewitt's prime. I ask if he feels the weight of it, if the noise gets to him.

And he doesn't pretend the noise doesn't exist. He's not that kind of athlete, the one who claims to be immune to external pressure, who insists they don't read the headlines or hear the commentary. "It's only getting louder and louder," he says, noting that it's become especially so around the Australian Open, where the scrutiny reaches its peak and every match becomes a referendum on Australian tennis.

But he reframes it in a way that feels like a practiced mental habit, a cognitive tool he's developed to turn potential poison into fuel. "The noise is a good thing," he says. "It means that I'm winning a lot of tennis matches; putting myself in a position to be playing for these big titles."

Expectation, in his mind, is evidence. If he weren't delivering, there wouldn't be anything to expect. The noise is proof that he's done something worth noticing, that he's earned the right to be in conversations about championships and legacy. It's a remarkably healthy way to process pressure — not as burden, but as validation.

This is how the Demon survives: by making pressure useful. By transforming external expectations into internal motivation. By understanding that the alternative to pressure isn't peace — it's irrelevance.

But that's only half the story.

Because the thing that might define Alex de Minaur more than speed, more than rankings, more than the nickname stitched to his surname... is what happens when he turns it all off. And therein lies the switch.

“Coming back down to being Alex — the human being — that’s important for me.”

WHAT FEEDS THE DEMON

I ask Alex de Minaur for something unexpected — a detail that doesn't align with the highlight reels, the nickname, the mythology. A random fact. Something that doesn't fit the image of the blur in motion.

He smiles almost immediately.

"It's very un-Australian of me," he says with genuine self-deprecation, "but I am not good at surfing."

For a player raised between Sydney and Spain's coast, it feels like a betrayal of national identity. You assume he surfs. You assume he grew up carving waves at sunrise. But the water, he admits, is not his element.

"I've attempted it a couple of times," he says, "and it is quite embarrassing."

He shares a recent attempt, vividly recounting how physically wrecked he was from the act of paddling. "I've never been so tired in my whole entire life," he admits, and you can hear the genuine bewilderment in his voice, as if his body betrayed him in ways he didn't think possible. "I think I was sore for the next month. I definitely struggled."

There's something oddly reassuring about an elite athlete saying that out loud, admitting without shame that there are physical challenges that humble him, that his body — which can do things on a tennis court that seem to violate the laws of physics — has limits that reveal themselves the moment he's out of his element. It's also the perfect demonstration of his overall energy: excellence without ego. Intensity without arrogance. The Demon can be relentless without insisting on being perfect at everything.

So if surfing won't slow him down, what will?

Off-court, he says, calm takes shape in quieter obsessions — especially anything vintage, mechanical, tactile. Things with history and weight and stories embedded in their design. "I've got a passion for classic cars; I enjoy the thrill of driving them," he shares.

He talks about design, about how modern shapes blur together in his mind, how contemporary cars all start to look the same — sleek, aerodynamic, efficient, but somehow soulless. Older cars, by contrast, have personalities. They have quirks. They demand attention not through aggression but through charm. He mentions rolling around in his 1975 Mini and watching people react: "People can't help but just laugh and smile and give me a thumbs up."

There’s a joy in that image — the 6'0" athlete folded into his tiny vintage car, looking slightly oversized but entirely unbothered because the feeling is right. The car makes him happy. And that happiness is contagious; strangers on the street feel it too.

His fascination with vintage cars isn’t about status, isn’t about the flex or the Instagram moment or building an investment portfolio. When I ask whether he collects with appreciation and resale value in mind, he almost brushes off the premise. That framework doesn’t interest him. He collects based on feeling — something intuitive, personal.

“I’m looking at what appeals to me instead of thinking too much about the monetary value.”

And that’s when it clicks.

The cars aren’t just cars. They’re counterbalance.

Then he says something that feels like the clearest explanation of his entire personality — the sentence that quietly unlocks everything else about how he moves through the world.

“Tennis is an insanely tense sport,” he says, and there’s weight in it — not complaint, but recognition. “There’s a lot of stress, a lot of drama. Everything is high speed. It is full on. It consumes you.”

Of course it does. The travel. The scrutiny. The points that swing careers. And because the sport demands everything, he needs something that slows time down.

“When I’m driving a classic car, all of a sudden I get a moment to breathe. I can relax. I feel centered. It’s my happy place.”

Suddenly the image makes sense — not as aesthetic, but as necessity.

He pauses, then adds softly, "One of them."

The other is his fiancée, British tennis player Katie Boulter.

If classic cars offer solitude — a space where speed becomes stillness — Katie offers something equally stabilizing: understanding without explanation. The couple, who announced their engagement in 2024, are planning their wedding in the middle of tour life, stitching together venues and decisions between tournaments and training blocks.

"One of the biggest advantages of having someone in the same world," he says, "is that they understand better than probably anyone else the thoughts and feelings — the doubts, the insecurities, the highs, the lows."

There's a depth to that gratitude. It isn't just romance — it's relief. The relief of not having to translate the emotional whiplash of professional sport. They've both lived it. They both know the mental toll of a loss and the strange quiet after a win.

"The wedding will be this year," he says. But planning it mid-season? That deserves a massive amount of respect, which I say. Alex laughs. "It's a long process. Lots of decisions. And we have to navigate it in season."

But the honeymoon — true stillness, true disconnection — feels even more elusive.

"When do tennis players have any sort of time?" he asks, almost rhetorically.

But when it does happen, he already knows the fantasy: somewhere unreachable. A private island. No phones. No notifications. No one who can reach them.

"There is nothing I would enjoy more," he says, and this time there's no joking. "No one can contact us. We can just live in the moment for a second."

Listening to him describe that stillness — the deliberate quiet, the absence of demands — I realize everything he's told me circles back to the same question. What, to him, is the greatest luxury in life? Is it that stillness, that quality time? Or is it something else entirely?

He doesn't say time. He doesn't say freedom. He doesn't say privacy, or watches, or cars, or trophies, or any of the material things that might seem like obvious answers for someone who has achieved what he has.

Instead, he says: "Company."

"It's the people you have around you," he continues. "If you have the right people — the ones that care about you, love you, want nothing but the best for you — they can make any bad situation a whole lot better. And I think that is priceless."

In a sport built on solitude, his definition of luxury lands differently. It's not aspirational as much as it is grounding. It's not about what you can acquire but about who you can keep. And suddenly all of it makes sense: the cars aren't just about slowing down, they're about the strangers who smile and give him a thumbs up. The city walks aren't just about decompression, they're about connection to the world beyond the baseline. Katie isn't just his partner, she's proof that the right company can make the pressure bearable, can turn the grind into something shared rather than endured alone.

It also makes the Demon feel less like a persona and more like a decision he makes for the people he loves: to do the job well, to keep climbing, to keep asking the question, to keep giving himself chances — and then come back to simply being Alex.

He is proof that the ability to switch off isn't softness, it's strategy. It's what allows him to bring the Demon back, match after match, season after season, without losing himself in the process.

The Demon arrives on cue. Alex knows when to let him go.

“Tennis consumes you. So when I step off the court, I need something that slows me down.”

CRÈME de la CRÈME

INTRODUCING DIOR BEAUTY’S NEW CAPTURE CREME COLLECTION.

BY ADRIENNE FAUROTE PHOTOGRAPHY COURTESY OF DIOR PARFUMS

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The Daytime SOFT CREME & RIcH CREME

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Meet the New Flagbearers of Audemars Piguet

New Royal Oak Chronographs, Perpetual Calendars, Offshore Divers, a New Jumping Hours Model, a 30-Complication Pocket Watch, and more.

BY ANDRE FROIS

AHEAD OF WATCHES AND WONDERS 2026, AUDEMARS PIGUET

surprised us with an array of remarkable offerings. While recent years’ novelties have focused on reinterpretations of the Royal Oak and Code 11.59, the timepieces launched this week include a new jumping hour model and a pocket watch with 47 functions.

Neo Frame Jumping Hour

Audemars Piguet introduced a sleek and sophisticated 34.6mm by 34mm (47.1mm lug-to-lug) 18K pink gold timepiece to the rapidly expanding market of jumping-hour watches. The Neo Frame Jumping Hour sets itself apart with exquisite details, such as a black PVD-treated sapphire dial and gold-toned microblasted apertures.

Its titanium hour disc has been finished by hand, as have its plates and bridges, which are adorned with traditional decorative techniques and can be viewed through its sapphire caseback. Themed on the Pre-Model 1271 from the year 1929, it features the Caliber 7122, which is the Le Brassus manufacture’s first self-winding jumping hour movement and is based on the Royal Oak Jumbo’s Caliber 7121.

150 Heritage Pocket Watch

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Code 11.59 by Audemars Piguet Selfwinding 38mm With Silver-Toned or Black Dial

The eye-catching hand-guilloche dial Yann von Kaenel created for Audemars Piguet in 2023 has returned in black- and silver-toned variants. Housed in 38mm pink gold cases, these two newest iterations of the Code

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The black dial version arrives on an alligator strap, while the silver-toned variant comes with a brown calfskin strap with white stitching. Both are powered by the Caliber 5900, best known as the workhorse movement that debuted in 2022’s 37mm Royal Oak.

Code 11.59 by Audemars Piguet Selfwinding Flying Tourbillon With White Gold-and-Black Ceramic Case

The memorable 41mm Code 11.59 Flying Tourbillon, which Audemars Piguet first unveiled in 2018 as part of the Royal Oak Concept collection, returned with an ivory-toned dial and 18K pink gold accents. It relies on the Caliber 2950, which powers several iconic Royal Oak flying tourbillon timepieces.

Code 11.59 by Audemars Piguet Selfwinding Perpetual Calendar Openworked and Royal Oak Selfwinding Perpetual Calendar Openworked

Both 41mm in diameter, this pair of QPs are driven by the new Caliber 7139 that has succeeded the Caliber 5135, which was discontinued last year. It is bolstered by the impressive crown correction system that first appeared in last year’s Caliber 7138, and also leverages the extensive research and development that went into 2018’s RD#2 and its 5133 movement.

The former is the first Code 11.59 timepiece to feature an openworked perpetual calendar, and is housed within an 18K white gold bezel and black ceramic case middle, while its Royal Oak counterpart is enthroned in a titanium case, with a bezel that has been toughened by the Bulk Metallic Glass (BMG) hardening process.

Both showcase calendar details “European style,” with the month at 3 o’clock, the day at 9 o’clock, and the date at 12 o’clock, and like any perpetual calendar worth its salt, will be accurate till the year 2100, which is not a leap year because it is divisible by 100 but not by 400. This is a lesser-known rule of the Gregorian calendar designed by 16th-century Italian astronomer Aloysius Lilius.

Royal Oak Selfwinding Perpetual Calendar With “Bleu Nuit, Nuage 50” Ceramic Case

Speaking of the new standard-bearer QP movement, the Caliber 7138 it has returned in a 41mm “Bleu Nuit, Nuage 50” ceramic case. This rich shade of blue was specially developed to commemorate Audemars Piguet’s 150th anniversary last year. This hue also adorns the Grand Tapisserie dial of this ravishing timepiece, juxtaposed with 18K white gold hour markers and hands.

Royal Oak Offshore Flyback Chronograph in Ceramic or Titanium Case

The bold 43mm Royal Oak Offshore Selfwinding Chronograph returned in two renditions.

One reference features a “Bleu Nuit, Nuage 50” ceramic case with titanium accents, beige Méga Tapisserie dial with “Bleu Nuit, Nuage 50” accents, and textured calfskin leather strap in the same trademark hue.

The second sports a titanium case with a black ceramic bezel and pushers, smoked green PVD Méga Tapisserie dial, and grey-green rubber strap. These leather and rubber straps are easily interchangeable. Both timepieces are powered by the Caliber 4401, which has been a mainstay in the Royal Oak collection since 2021.

Royal Oak Offshore Diver in Pink, Turquoise And Deep Teal

The 42mm Royal Oak Offshore Diver, first released in 2021, returned in three scintillating colors. Powered by the Caliber 4308, this 300m dive watch is distinguished by its two black ceramic crowns and features a date window at 3 o’clock as well as 18K gold pointers and indices.

Royal Oak “Jumbo” Extra-Thin Openworked

Powered by the Caliber 7124, this new-generation Jumbo is housed in a 39mm titanium case with BMG bezel. Its rhodium-toned openworked dial is complemented by sloping 18K gold hour markers and a silver-graytoned inner bezel. Its bracelet, too, is made of titanium with GMB studs.

Royal Oak Double Balance Wheel Openworked

The highly sought-after 37mm Royal Oak Double Balance Wheel Openworked has been reimagined in 18K yellow gold. Its 3132 movement features its namesake double balance wheel mechanism, which increases rotational inertia for stability — two sets of balances and hairsprings

working in opposite directions help cancel out any errors. Similar to the new 39mm Jumbo, this timepiece is accentuated by rectangular 18K gold hour markers and a gold-toned inner bezel.

Royal Oak Selfwinding Malachite Dial

Available in 37mm and 41mm case sizes, these yellow gold novelties are beautifully contrasted by malachite dials. Like the dials of their turquoise predecessors of 2023, these precious stone dials are adorned by natural patterns that make each dial unique. The 37mm model sports the Caliber 5909, while the 41mm reference is equipped with the Caliber 4309.

Royal Oak Mini

These 23mm quartz timepieces were first released in 2024 and have returned with one version featuring a mirror-polished black onyx dial and brilliant-cut diamond markers, and another with an extra-white mother-of-pearl dial and 18K pink gold markers and pointers. While their predecessors sported frosted appearances, these renditions have been endowed with the maison’s acclaimed alternate finishing.

HAUTE HOROLOGY

Introducing the new Chanel Première Galon.

BY ADRIENNE FAUROTE

IN THE EVER-EVOLVING TAPESTRY OF WATCHMAKING, CHANEL’S PREMIÈRE collection has long stood as a beacon of audacious femininity, defying the rigid conventions of traditional timepieces. Launched in 1987 as the House’s inaugural foray into horology, the Première drew inspiration from the octagonal silhouette of the N°5 fragrance stopper and the interwoven leather strap of the iconic 2.55 handbag. This bold debut not only liberated women’s wrists from masculine aesthetics but also established a timeless archetype that blends fashion with function.

Fast-forward to 2025, and Chanel reinvents this classic with the Première Galon, infusing it with the intricate braid motifs that have defined the brand’s sartorial legacy.

At the heart of the Première Galon’s allure is its innovative bracelet design, which reimagines the braided trims Gabrielle Chanel employed to accentuate her tweed suits. These braids — knitted, woven, or twisted — once outlined pockets, cuffs, and edges, adding structure and graphic contrast to fluid silhouettes. Now, translated into watchmaking, the Galon features a rigid bangle crafted from 18K yellow gold, mimicking a twisted braid that encircles the wrist with effortless elegance. This departure from the original’s chain strap introduces a fresh wearing experience, one that’s both sculptural and supple, available in sizes from XS to L to accommodate diverse preferences. The case measures a compact 19.7 x 15.2 x 7.5 mm, maintaining the collection’s understated proportions while ensuring comfort for daily wear.

Technically, the Première Galon prioritizes precision and purity. Powered by a high-precision quartz movement, it delivers reliable hours and minutes functions without the clutter of additional indicators. The black-lacquered dial serves as a minimalist canvas, emphasizing negative space and allowing the octagonal form to shine. Water resistance up to 98.5 feet makes it suitable for everyday adventures, though its couture roots suggest it’s best suited for soirées rather than submersion. The non-screw-down crown, also in 18K yellow gold, adds a touch of refinement, with variations depending on the model.

Chanel offers the Galon in three iterations, each escalating in opulence while staying true to its jewelry-like ethos. The entry-level version features a solid 18K yellow gold case and braid bracelet, crowned with an onyx cabochon for a subtle, monochromatic contrast against the glossy black dial. For those seeking sparkle, the mid-tier model adorns the case with 52 brilliant-cut diamonds totaling approximately 0.24 carats, paired with a bracelet set with 80 more diamonds (around 0.76 carats) and a diamond-topped crown. This configuration strikes a balance between restraint and radiance, highlighting the braid’s contours with strategic gem placement.

The pinnacle is the fully diamond-encrusted Première Galon Diamonds, a veritable jewel on the wrist. Here, the dial itself is paved with 108 brilliant-cut diamonds (about 0.49 carats), complemented by gold hands that glide over the shimmering surface. The case remains unadorned, but the bangle and clasp erupt in 573 diamonds (nearly 4.90 carats), with the crown featuring a single 0.04-carat stone. In total, 682 diamonds amounting to roughly 5.43 carats transform the watch into a high-jewelry piece, where light dances across facets to mimic the texture of woven fabric.

As Chanel continues to blur the lines between fashion and fine watchmaking, the Première Galon stands as a new emblem, weaving its way into wardrobes worldwide.

GOD OF TIME

Jacob & Co. has created its fastest tourbillon ever.

BY ANDRE FROIS

Having already mastered everything from inclined tourbillons to the world’s first four-axis tourbillon, Jacob & Co. set its sights on a new benchmark: rotational speed. The tourbillon in the Jacob & Co. God of Time completes a full rotation every four seconds — 15 times faster than the conventional one-minute tourbillon.

Achieving this required ruthless weight reduction. Crafted from titanium, the tourbillon and its carriage together weigh just 0.27 grams, an exceptionally low figure for a structure measuring 12mm in diameter.

A BUKHARIAN JEWISH TEENAGER WHO MIGRATED TO NEW YORK CITY in 1979, Jacob Arabo would go on to embody a glittering version of the American Dream. Rising to prominence as a jeweler to New York’s rich and famous, he built a reputation on audacity and technical bravura — none more emblematic than his difficult, dazzling 288-faceted Jacob Cut.

Now in his 60s, Arabo shows no signs of slowing down. Instead, he has found renewed momentum in haute horlogerie, a field where spectacle alone is never enough. Over the past decade, Jacob & Co.’s Astronomia — the brand’s attention-grabbing, multi-armed satellite watch collection — has evolved into a proving ground for ever more extreme mechanical experimentation, particularly in the development of increasingly rapid remontoirs d’égalité.

Put simply, the remontoir d’égalité is a constant force mechanism designed to regulate the delivery of energy to the escapement. When power from the mainspring fluctuates — too strong at first, too weak towards the end — the remontoir acts like a pacer, re-arming the escapement at regular intervals to maintain a steady cadence. Last year, the Astronomia Revolution Fourth Dimension introduced the fastest remontoir ever created, rearming six times per second.

Not one to rest on its laurels, Jacob & Co. has now gone several steps further. With the unveiling of the aptly named God of Time, the maison presents not only the world’s fastest remontoir d’égalité, but also the fastest tourbillon ever made.

In the name of chronometric performance, the in-house JCAM60 movement employs a variable inertia balance wheel fitted with eight gold weights to improve rate consistency, alongside a high-efficiency hairspring with a Breguet overcoil.

Presiding over this mechanical feat is Chronos, the Greek god of time himself. Rendered as a rose gold sculpture, Chronos cradles the unprecedented tourbillon with pride and authority. Every vein, sinew, and contour has been engraved and burnished by hand, a reminder that despite its futuristic ambitions, this watch remains rooted in traditional craftsmanship.

Set against an aventurine backdrop symbolizing the infinite cosmos, the figure dominates a Greek pillar-shaped case. The architectural theme continues through the ribbed caseband and crown, echoing the fluted shafts of classical columns.

Turn the watch over, and another god of time reveals himself. Etched onto the sapphire caseback beside the flap winder is the face of Jacob Arabo, accompanied by his autograph and a stately reminder that he had just turned 60 last June. The time is set via the crown, while the movement is wound using the flap winder.

Limited to just 60 examples, the Jacob & Co. God of Time is housed in a 44.5mm rose gold case, water resistant to 30m. It offers 60 hours of power reserve and is secured to the wrist with a blue alligator leather strap and a rose gold deployant clasp.

DIAMOND WHISPERS

LOUIS VUITTON FINE JEWELRY UNVEILS THE LV DIAMONDS COLLECTION, A NEW CHAPTER IN THE MAISON’S JOURNEY INTO FINE JEWELRY. ANCHORED BY THE LV MONOGRAM STAR DIAMOND — A BOLD, 53-FACET CUT INSPIRED BY THE ICONIC MONOGRAM FLOWER — THIS COLLECTION FURTHER REVEALS THE EMOTIONAL CONNECTION WE HAVE TO DIAMONDS. FROM PLATINUM AND ROSE GOLD RINGS TO DIAMONDPAVED PENDANTS AND EARRINGS, EACH PIECE IS DESIGNED TO BE WORN SOLO OR LAYERED IN ENDLESS COMBINATIONS, CELEBRATING INDIVIDUALITY AND THE PRECIOUS MOMENTS THAT DIAMONDS WHISPER INTO OUR LIVES.

BY ADRIENNE FAUROTE

A new dawn

WITH JONATHAN ANDERSON NOW AT THE HELM OF DIOR AS THE CREATIVE DIRECTOR, THE HOUSE OF DIOR IS USHERING IN A NEW ERA — INVITING US TO DREAM BEYOND THE ORDINARY. ANDERSON PUTS THE MAISON IN FRESH BLOOM WHILE MAINTAINING DIOR'S DEEP ROOTS.

BY ADRIENNE FAUROTE

A lIvInG lEGEnd

LOUIS VUITTON CELEBRATES 130 YEARS OF ITS ICONIC MONOGRAM WITH A YEAR-LONG CELEBRATION.

BY ADRIENNE FAUROTE & SHELBY COMROE PHOTOGRAPHY COURTESY OF LOUIS VUITTON

Created in 1896 by Georges Vuitton as a tribute to his father, Louis — the visionary founder of the Maison — the Monogram has become one of the most enduring and revered emblems in luxury. Across the last several decades, this universal canvas has inspired generations through artist collaborations — from Takashi Murakami and Yayoi Kusama to Jeff Koons — proving its boundless creative power. Renewed yet

unmistakable, the Monogram bridges heritage and innovation, remaining the ultimate code of elegance, distinction, and the art of traveling.

This year, Louis Vuitton is paying its own tribute to the Monogram, inviting the world to rediscover the Monogram and all of its glory through dedicated collections, exclusive pop-ups, and a massive global campaign.

thE hIstOry

Inspired by Neo-Gothic ornamentation and the rising influence of Japonism, the Monogram was initially created to safeguard the authenticity of Louis Vuitton’s creations. Registered as a patent on January 11, 1897, it countered rampant imitations while forging a bold identity: one of the earliest modern logos.

The design quickly transcended its protective origins to become something far greater — a defining signature and hallmark of Louis Vuitton’s spirit. Georges envisioned an emblem that did not merely adorn objects but became a status symbol for luxury. Throughout its 130-year history, the Monogram has united generations of creators, collectors, and cultural icons. It has guided the hands of the House’s master artisans and shaped the vision of its creative directors.

Nicolas Ghesquière, artistic director of women’s collections since 2013, has continually reinterpreted its codes with poetic precision. Pharrell Williams, men’s creative director since 2022, brings fresh energy to its legacy. Earlier visionaries include Marc Jacobs, who served as artistic director of women’s and men’s collections from 1997 to 2013, and Virgil Abloh, who served as artistic director of men’s collections from 2018 to 2021.

The Monogram has also inspired exceptional collaborations with leading artists such as Takashi Murakami, Yayoi Kusama, and Richard Prince, each adding new layers to its cultural resonance.

As 2026 unfolds, Louis Vuitton celebrates the 130 years of the Monogram with a captivating campaign that spotlights five enduring icons. Debuting on January 1, the initiative reintroduces the Speedy (1930), Keepall (1930), Noé (1932), Alma (1992), and Neverfull (2007) in their signature Monogram, celebrating bags that continue to survive the test of time.

Each silhouette tells a story of innovation and elegance. The Speedy redefines personal mobility, blending compact versatility with effortless modernity. The Keepall stands as the ultimate emblem of freedom, its supple form perfect for spontaneous journeys. Born from ingenuity, the Noé — originally designed to carry five bottles of champagne — embodies creativity, joy, and playful sophistication. The Alma, inspired by Parisian architecture and Art Deco precision, radiates refined grace. Rounding out the lineup, the Neverfull serves as the essential modern companion, its adaptable design promising abundance and ease in everyday life.

Alongside the tribute to heritage icons, Louis Vuitton also unveiled the Monogram Anniversary Collection. Drawing on the codes of the House’s legendary trunk savoir-faire, three special-edition lines reinterpret the Monogram through modern design, diverse materials, and a masterful blend of cutting-edge and traditional craft techniques.

The Monogram Origine Collection revisits the original 1896 pattern through a brand-new Monogram canvas. This iteration revives the traditional jacquard weave, now crafted from a luxurious linen and cotton blend presented in a palette of soft pastel hues.

The VVN Collection serves as an ode to Louis Vuitton’s leather goods legacy. Crafted from the finest natural cowhide, each piece highlights the purity, authenticity, and tactile poetry of hand-finished leather. Over time, these creations develop a unique patina — a personal signature that deepens with every journey and touch.

Finally, the Time Trunk Collection bridges past and present through bold trompe-l’œil printing that faithfully reproduces the textures and metallic details of Louis Vuitton’s historic trunks. This artistic illusion transforms heritage into contemporary art, inviting a new dialogue between archival craftsmanship and modern perception.

ChECkInG IntO thE lOUIs vUIttOn hOtEl

To further celebrate 130 years, Louis Vuitton debuted a dedicated SoHo pop-up at 104 Prince Street, reimagined as a walk through the House’s most recognizable bags, staged as a hotel experience. The space unfolds room by room, with each setting designed around a different Louis Vuitton icon, inviting visitors to move through the archive as if checking into a temporary residence built entirely around travel, function, and design.

Inside, familiar silhouettes like the Speedy, Keepall, Neverfull, Noé, and Alma are each given their own environments. A Speedy-themed room nods to the bag’s early ties to movement and modern travel, while the Neverfull appears in a mirrored gym setting that plays on its capacity and everyday versatility. Elsewhere, a champagne bar pays homage to the Noé, originally designed to carry bottles, grounding the experience in the bag’s practical beginnings and its evolution into an everyday essential.

Throughout the space, the hotel's framing brings warmth and intention to the experience. Details emphasize materials, construction, and scale, encouraging visitors to slow down and take in how these bags were made and how they have been used. Alongside archival references, the pop-up also introduces new and exclusive Monogram editions, highlighting how the pattern continues to evolve while remaining instantly recognizable.

A care services area anchors the experience in longevity. Restoration, hot-stamping, and personalization services are offered on-site, and guests are encouraged to bring their own Louis Vuitton pieces. The message is clear: these bags are not meant to sit untouched, but to be worn, repaired, and kept over time.

Open through April, the SoHo pop-up offers a focused look at the Monogram through design, function, and craft, framed as a hotel stay that celebrates how Louis Vuitton’s most iconic pieces continue to move through the world.

JOIE DE VIVRE

NICOLAS GHESQUIÈRE'S LOUIS VUITTON SPRING-SUMMER 2026 COLLECTION CELEBRATES INTIMACY AS AN ART DE VIVRE — A POETIC ODE TO DRESSING FOR ONESELF FIRST. THE COLLECTION BLENDS REFINED TEXTURES, FLOWING DRAPERIES, AND LIBERATED ARCHETYPES INTO A MANIFESTO OF PERSONAL REVELATION AND EFFORTLESS INDIVIDUALITY.

THE RETURN TO ASPEN

CHANEL IS OFFICIALLY BACK IN ASPEN WITH AN EXCLUSIVE EPHEMERAL BOUTIQUE.

BY ADRIENNE FAUROTE

THIS FEBRUARY, CHANEL OPENED ITS NEW SEASONAL BOUTIQUE in Aspen, Colorado — a 2,693-square-foot, two-level space at 516 East Hyman Avenue that revives the House’s presence in this iconic alpine destination. The launch builds on the success of its 2022 ephemeral boutique, underscoring Chanel’s deep connection to the town’s refined mountain culture.

Designed as an intimate retreat, the boutique blends Chanel’s classic black, white, and beige palette with the warmth of an elevated alpine sanctuary. Beige stone, neutral plaster, plush carpeting, dark wood displays, white shelving, and black metal accents create a cocoon of comfort and sophisticated rhythm.

The ground floor features curated leather goods and accessories, flowing into a cozy ready-to-wear area and shoe corner, with two discreet fitting rooms nearby. It spotlights the Coco Neige 2025/26 collection: coordinated knits, playful outerwear, and layering pieces in luxurious fabrics that embody effortless mountain chic — for slopes or fireside evenings.

Upstairs, a long creamy tweed sofa with black puffer pillows and faux fur throws greets visitors. The space showcases Spring/Summer 2026 Pre-Collection pieces — neutral separates, supple leather jackets, and easy denim — to transition from winter to off-season elegance. A private fitting room, hidden behind a neutral tweed curtain, adds exclusivity.

A dedicated upper-level corner highlights Chanel Watches & Fine Jewelry, featuring icons like Coco Crush, N°5, Camélia, Première, and J12, plus the new Première Galon and recent Coco Crush novelties (chokers, supple necklaces), alongside the striking Première Ribbon Red Watch — perfect for personal layering and styling.

Through restrained architecture and rich materials, the Aspen boutique delivers an immersive vision of alpine luxury.

WELCOME HOME

In the heart of Sunset Harbour, the Lebanese-Yucatecan dining destination, Bey Bey, reopened its doors. Ahead, Haute Living sat down with its creator, Tiger Saliba, for an exclusive look inside the new Bey Bey.

BY ADRIENNE FAUROTE

HAUTE LIVING: Can you walk us through the reopening of Bey Bey?

TIGER SALIBA: When we acquired the space in 2023 — after its initial opening — the kitchen simply wasn’t built to the standard we needed. More importantly, it didn’t allow for live-fuel cooking, and for me, that was a dealbreaker. I’ve loved cooking over fire since I was a kid; real charcoal and wood are central to how I think about food. We operated as a pop-up with Chef Geoff Lee, and the response was strong, but demand quickly outpaced our ability to execute because the infrastructure wasn’t there. Chef Geoff did an exceptional job within those limits, but we chose to do it properly: we closed, went through permitting, and rebuilt the kitchen from the ground up around a proper charcoal-and-wood hearth. Today, everything that leaves the kitchen is cooked over live fire — a rare setup in the city. Once we committed to rebuilding, it felt natural to expand the culinary vision. Chef Geoff traveled to Mérida to meet Roberto Solís, and from the start, there was mutual respect. Their exchange of techniques and fire traditions is what ultimately shaped the relaunch and allowed Bey Bey’s vision to fully evolve.

HL: Bey Bey is rooted in the Lebanese phrase “Beyte Beytak” — “my home is your home.” What inspired you to bring that sentiment to Miami?

TS: Home is everything to me. I grew up in a five-generation house my great-great-grandfather built; home was identity, memory, grounding. After everything unraveled and I had to leave my country, shaping this space gave me a way to rebuild what I’d lost. Designing Bey Bey felt like designing my own home in a new country. From the moment you walk in, it doesn’t feel like a restaurant: the kitchen counter is a real kitchen counter, the bar sits at kitchen height, and refrigerators are integrated into the back bar like at home. The living room reads like your best friend’s tasteful 1970s house; the garden, tile, textures, and artwork — some pieces flown in from Beirut or donated by partners — carry memory. These aren’t decorative choices; they’re personal. The place is meant to embrace, not impress, and that warmth is immediate and genuine.

HL: Bringing Chef Roberto Solís to Miami for his first U.S. project is a major coup. What are some standout dishes and cocktails on the menu?

TS: Guests consistently rave about the short rib — it’s become a signature that captures the depth and intensity of our live-fire approach. Personally, the kibbeh steak tartare is my obsession: I love tartare, and our version channels that through a Lebanese lens — elegant, precise, and craveable. I recommend it to every table and still get excited about it every time. Cocktail highlights and the broader beverage program are evolving; we’re building toward something very considered to match the food.

HL: Looking ahead, what’s next for you in Miami’s hospitality scene?

TS: Right now, it’s about focus — making sure Bey Bey and Café du Bey are executed at the highest level and built to last. I have big ambitions for expansion and maybe even someday, a Hotel du Bey. And we have immediate plans to build a 360-degree back-bar to pursue a world-class cocktail program. But right now, I am laser-focused on fine-tuning the experiences that are slowly evolving into what we aim for them to be at Bey Bey and Café du Bey.

HAUTE SPOTS

HAUTE LIVING ’S CURATED SELECTION OF THE BEST NEW HOTELS OPENINGS AROUND THE GLOBE.

BY LAURA SCHREFFLER

FAENA NEW YORK

Faena New York steps onto the stage. Opened along the High Line in Manhattan, the hotel brings Faena’s unmistakable world-building to New York, where art, performance, dining, and design are treated not as amenities but as the experience itself. Conceived by founder Alan Faena, the property feels intentionally cinematic, unfolding as a series of richly layered spaces that reward curiosity and movement. Interiors, developed in collaboration with Peter Mikic, channel old New York glamour through Faena’s maximalist lens, while a monumental mural by Argentine artist Diego Gravinese anchors the soaring lobby. 500A W 18th St, New York, NY 10011

THE ST. REGIS ARUBA RESORT

In a destination known for ease and familiarity, The St. Regis Aruba introduces something more composed — a polished addition to the area that feels refreshingly intentional. Opened along the island’s most coveted stretch of sand, the resort brings the brand’s signature sense of ceremony to the Caribbean without overpowering its setting. Designed by Hirsch Bender Associates, the architecture and interiors take cues from Aruba’s Dutch-Caribbean heritage and natural landscape: softened palettes, breezeways, and generous terraces that keep the focus on light, sea, and horizon. The 252 guest rooms and suites feel tailored rather than grand, balancing resort comfort with genuine privacy. Dining plays a central role, led by the rooftop outpost of Akira Back, where Japanese- and Korean-influenced menus meet panoramic ocean views, alongside more relaxed beachside and Caribbean-forward concepts that suit the rhythm of the island. Six pools, a full-service spa, and the brand’s attentive butler service reinforce the feeling of considered luxury, while signature rituals — like the house Bon Bini Mary — nod quietly to local culture. Rather than reinventing the island, The St. Regis Aruba elevates the experience, offering a refined, unhurried alternative that feels in step with Aruba’s natural grace.

J.E. Irausquin Blvd 75 E, Noord, Aruba

AMAN NAI LERT BANGKOK

Bangkok pulses with movement. Yet, Aman Nai Lert Bangkok is designed around stillness. Opened within the green expanse of Nai Lert Park, the property introduces Aman’s signature sense of sanctuary to central Bangkok, offering a rare buffer of nature amid the city’s density. Designed by longtime Aman collaborator Denniston Architects, the hotel draws deeply from Thai heritage and the legacy of Nai Lert, one of Bangkok’s most influential cultural figures, translating tradition through a contemporary, rigorously restrained lens. Interiors emphasize toneon-tone palettes, bespoke furnishings crafted by local artisans, and a thoughtful dialogue between light, space, and material. The suites, arranged around soaring atriums with reflective pools and garden motifs, feel inward-looking and contemplative, reinforcing privacy over panorama. Dining unfolds across multiple levels, from Arva — Aman’s refined Italian concept — to Japanese omakase experiences reserved for Aman Club members, positioning gastronomy as an extension of place rather than a standalone attraction. Wellness anchors the experience through a flagship Aman Spa & Wellness center that merges traditional Thai healing practices with advanced medical and performancedriven treatments. The hotel offers a counterbalance to the city’s energy — an urban retreat that feels deeply grounded, culturally fluent, and unmistakably Aman. 1 Soi Somkid, Lumphini, Pathum Wan, Bangkok 10330, Thailand

THE CHANCERY ROSEWOOD

Some hotels arrive with fanfare; The Chancery Rosewood arrives with authority. Set within London’s former U.S. Embassy on Grosvenor Square, the all-suite property reclaims a midcentury landmark and reframes it as a new focal point for modern Mayfair. Architect Sir David Chipperfield’s restoration preserves the building’s original gravitas, while interiors by Joseph Dirand introduce a quieter, more residential sensibility — one defined by restraint, proportion, and texture rather than excess. With 144 suites, the hotel prioritizes space and composure, offering a sense of calm that feels increasingly rare in central London. Dining and social life are integral to the experience, with eight restaurants and bars — including the first European outpost of Carbone — while the rooftop Eagle Bar, crowned by the building’s restored golden eagle, feels poised to become a destination in its own right.

30 Grosvenor Sq, London W1K 9AN, United Kingdom

BRACH MADRID

Brach Madrid reveals itself over time. Now open on Gran Vía, the five-star property marks Evok Collection’s first foray into Spain, bringing its signature blend of design, intimacy, and cultural fluency to the Spanish capital. Housed in a 1920s building, the hotel has been reimagined by Philippe Starck, whose “modern nostalgic” approach layers Madrid’s past and present into a space that feels both theatrical and personal. With just 57 rooms, the hotel favors atmosphere over scale, each room designed to feel like a lived-in private residence — warm woods, softened jewel tones, and subtle details that suggest memory rather than decoration. Dining anchors the experience, with a Mediterranean-leaning restaurant centered on open-fire cooking and seasonal Spanish ingredients, an intimate bar that nods to neighborhood cafés, and a pâtisserie that bridges Parisian technique with local flavors. Gran Vía, 20, Centro, 28013 Madrid, Spain

COLLEGIO ALLA QUERCE, AUBERGE COLLECTION

High above Florence’s UNESCO-listed Centro Storico, Collegio alla Querce offers a vantage point that feels both literal and philosophical. Named for the ancient oaks that shade its terraced gardens, the 16th-century former academic institution has been reimagined as an 83-room hotel that balances Renaissance gravitas with contemporary ease. Once a center of learning where scholars moved between library, chapel, and theater, the property has been thoughtfully restored under the vision of Leeu Collection founder Analjit Singh, with architecture by Esteva i Esteva and interiors by ArchFlorence preserving its original soul. The setting is its quiet triumph: cascading Medici-era gardens lead to a pool and oak-fringed bar, while rooms and suites frame sweeping views over terracotta rooftops toward the Duomo. Via delle Forbici, 21B, 50133 Firenze FI, Italy

PARK HYATT CABO DEL SOL

At Park Hyatt Cabo del Sol, luxury is expressed through space, light, and restraint rather than excess. Opened along a quiet stretch of Baja coastline within the private Cabo del Sol community, the resort marks the Park Hyatt brand’s debut in Mexico, and it arrives with a clear sense of place. Architecture by Sordo Madaleno is grounded and low-slung, allowing the Sea of Cortez to remain the focal point, while the concept design by the likes of designers like Yabu Pushelberg bring warmth and refinement through natural materials and soft, coastal tones. The property hosts many oceanview rooms and suites, along with villas and residences, are designed to feel expansive and unhurried, blurring the line between indoor and outdoor living. Dining follows the same understated philosophy, with a Levantine-leaning signature restaurant, a Mexican concept, and a beach club that keeps the mood relaxed and unfussy. Carr. Transpeninsular KM 10.3, Tourist Corridor, DEL SOL, 23410 Cabo San Lucas, B.C.S., Mexico

THE RED SEA EDITION

Few hotel openings carry the weight of being first. Set along the white sands of Shura Island on Saudi Arabia’s western coastline, The Red Sea EDITION manages to do just that, debuting as the inaugural hotel on the pristine island, positioning itself at the center of the country’s most ambitious luxury and regenerative tourism project to date. Stretched across a half mile of private beachfront, the resort unfolds as a series of low-profile stone and wood pavilions with uninterrupted views over the Red Sea’s turquoise waters and the lush fairways of Shura Links, the kingdom’s first island golf course. Designed by Rockwell Group, the architecture and interiors draw directly from the surrounding landscape — earth walls, coral stone floors, natural oak, and softened textiles echoing desert canyons, coral reefs, and wind-shaped dunes — while maintaining EDITION’s signature restraint and residential ease. The 240 rooms and suites feel calm and inward-looking, many opening onto terraces or plunge pools that blur the line between indoors and shoreline. Shura Island, Hanak 48313, Saudi Arabia

1 HOTEL TOKYO

1 Hotel Tokyo has arrived in Japan with a distinct point of view and unmistakable sense of place. Set high within the Akasaka Trust Tower, part of Mori Trust’s ambitious Tokyo World Gate Akasaka development, the hotel rises above the city as a biophilic sanctuary, merging nature, design, and sustainability in one of the world’s most forwardthinking capitals. The property reflects Mori Trust’s shared vision for future-facing luxury — rooted in environmental responsibility without sacrificing beauty or soul. From the moment guests arrive, nature is woven into the experience, from preserved greenery and sculptural stone to organic textures that reference Japan’s wabi-sabi philosophy. Located on the tower’s upper floors, the hotel offers sweeping views of the Imperial Palace gardens, Tokyo Tower, and the evershifting skyline beyond. 2 Chome-17-22 Akasaka, Minato City, Tokyo 107-0052, Japan

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ROLLS-ROYCE AND McLAREN FOR THE WYNN

Wherein your faithful servant partakes of some of the finer things in Las Vegas.

BY TIM LAPPEN

LAS VEGAS IS A PLACE OF MANY OPTIONS, BUT THE ONES OFFERED to me recently really were too good to pass up:

• Seat time with three different Rolls-Royces — the Spectre, Ghost and Cullinan — on long stretches of desert highways, across hills and valleys, and drifting on a dry lake bed outside of town

• Track time with the McLaren 750S Artura, and the Artura GT race car on the Dream Racing track at Las Vegas Speedway

• The Sunset GT event of the season on the roof of the Wynn parking lot on Friday night

• Dinner Friday night with McLaren at SW Steakhouse at the Wynn

• Saturday on the golf course for the Las Vegas Concours at Wynn, with a field so disparate that vintage classics shared the turf with Rolls-Royce and McLaren celebrating the unveiling of some new members of their respective families, various high-performance and luxury models, plus what was reportedly the largest collection of Paganis and Bugattis at one place at the same time

• Dinner Saturday night with Rolls-Royce at Mizumi Japanese restaurant at the Wynn

• Sunday drive on the sweeping highways out of town to a dry lake bed for some handling and drifting experiences Choices, choices, choices! Luckily, the planning gods made it work so that I was able to enjoy them all, seriatim, with no overlaps to fret about.

McLaren Track Day: Channeling My Inner Lando Norris

Shortly after arriving at the Wynn, we were whisked away to the Las Vegas Speedway for the McLaren performance experiences. We were offered a bevy of 750S and Artura models, each with a professional driver as a co-pilot, to channel our inner Lando Norris (who, not incidentally, was the Formula 1 Driver of the Year for 2025, which he achieved driving for Team McLaren). I am pleased to report that the 750S and the Artura were able to take me as fast as my skill would allow (insert selfdeprecating snide remark here), well past 125 mph on the front stretch.

I then was provided a thrill ride par excellence in an Artura GT race car. Blistering acceleration, jarring braking and being whipped into the corners which at times sent my helmeted head careening like a pinball in an arcade game. How the drivers do that for lap after lap is a testament to their grit and neck muscles. What an awesome machine, clearly purpose-built for on-track performance.

Sunset GT: A Billion-Dollar Parking Lot

Next on my dance card was the Sunset GT event of the season, located on the roof of the Wynn parking lot on Friday night. It was far different from the local cars-and-coffee events held every week in many American towns. McLarens, Ferraris, Lamborghinis, Paganis, Astons — oh my! — each one more special than the last. To give you an idea of the blingification level, it's the only time I've ever seen an Aston Martin Valkyrie Spider (a $3.5 million rarity in its own right) covered in a reputed 300,000 crystals. Now that's a stand-out in any crowd.

SW Steakhouse: A Dinner Par Excellence

After having our need to view automotive splendor sated, it was time for dinner at SW Steakhouse. If this were a food-focused article, there would be a lot more meat here, but suffice to say that it was a delicious dinner in an elegant setting, and I will gladly return here on my next trip to Vegas. Thank you, McLaren, for the day's amazing confluence of activities, including that wonderful meal.

The Las Vegas Concours: Where Legends Gather Saturday morning and afternoon we had free time to visit the annual Concours at Wynn Las Vegas on the resort's adjacent golf course. This was my second visit to this stellar event, and it was bigger and better than ever. To give proof of the stature of this show, it hosted the first showing of the "McLaren Project: Endurance and Project Viva." The ringmaster for those unveilings was racing legend Derek Bell, who piloted McLarens and other marques in Formula 1 and Le Mans events, and who has been described as "one of the most liked drivers of his generation."

The show also was highlighted by Rolls-Royce's reveal of the "Phantom Centenary Private Collection," a limited-edition series of just 25 bespoke Phantom sedans created to celebrate the model's heritage, each featuring a unique solid-gold Spirit of Ecstasy hood ornament.

Also receiving a warm welcome at the show were Christian von Koenigsegg and his wife, Halldora, who personally unveiled the new track-focused Jesko Absolut. Horacio Pagani also was there to reveal the new Huayra Codalunga Speedster. Both designers were treated like rock stars, with a bevy of faithful followers vying for time to visit with them following the introductions of their newest models.

The show also brought the world's largest assemblage of Bugattis (close to 50 Veyrons, Chirons, Divos, and others were shown as Bugatti celebrated the 20th anniversary of the Veyron!) and Paganis (over 40 were on display). Frankly the show was a lot to take in. No wonder one report stated that the event brought together over $1 billion worth of cars.

Mizumi: A Feast for All the Senses

Rolls-Royce's dinner that night at Mizumi in the Wynn was simply sublime. The setting — a patio alongside a large natural pool with a huge waterfall on which are projected breathtaking scenes and animated activities — was by itself worth the price of admission. The sushi and other dishes were incredible, so Mizumi now is at the top of the list of must-dos in Las Vegas.

Desert Drifting in a Rolls-Royce: The Ultimate Juxtaposition Cool, clear blue skies welcomed us to Sunday morning's Rolls-Royce event, a drive about an hour outside of town into the desert landscape and a sojourn to a dry lake bed.

We arrived at the turn-off for our day's activities, a nondescript dirt road which likely had not seen any Rolls-Royces up to that point. At the dry lakebed, we saw other enthusiasts, but the area was big enough for us all. We partook of some straight-line acceleration runs and then got into the drifting part of the program. What a surreal experience: encased in a climate-controlled, high-powered module, hurtling along at speed and then sliding into the turns, all while comfortably ensconced in an air-conditioned and air-purified environment. The fact that the Rolls-Royces performed with both great alacrity and wonderful aplomb was yet another testament to the engineering and performance of these awesome machines.

In Summation

It was a full weekend indeed, with a thrilling McLaren track day, incredible show cars, unbelievable meals, and topped off by being able to put the Rolls models through their paces heretofore unseen (at least by me), all while enjoying the creature comforts and the magnificent meals at the Wynn Las Vegas. Although I have been a fan of both automotive brands for years, the McLaren event provided even greater appreciation for the racing chops of the marque, and the Rolls event showed the inconceivable range of abilities of their cars. Having the companies jointly sponsor the weekend and scheduling it the same time as the Las Vegas Concours was truly inspired, and resulted in a very memorable event.

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The Momentum of Kimberlie Glaser:

A Life Built on Drive and

Discipline

A Haute Living conversation with Kimberlie Glaser on business, philanthropy, resilience, and a life in constant motion.

For Kimberlie Glaser, life unfolds across multiple states, multiple industries, and multiple passions, from commercial real estate to the car business, from boating in the Bahamas to building hundreds of apartments in upstate New York. Her days are full, her nights are short, and her definition of success is grounded not in the trappings of achievement, but in the discipline of perseverance.

With a Global Express business jet, a life rooted between Ohio and South Florida, and a portfolio of developments that stretches across the country, Glaser moves with both ambition and humility. In this conversation, she opens up about business, aviation, setbacks, sisterhood, and the values that guide her forward.

A Life Between Worlds

Glaser divides her time between Ohio, South Florida, and wherever her work requires. While Florida feeds her love for the outdoors, boating, and life on the water, Ohio still feels like home in a different way. She values its four seasons, nature, and the grounding rhythm it provides. She also frequently travels by boat to the Bahamas, with Paradise Island and Atlantis among her favorite destinations.

Whether traveling or staying put, Glaser is always working. Her days are filled with evaluating new deals, acquiring businesses, trading in the stock market, overseeing her car leasing company, and managing large-scale real estate development projects, including nearly 300 apartments

that recently received approval. Across real estate, construction, automotive ventures, and new opportunities, her pace rarely slows.

Building a Career Brick by Brick

Glaser’s professional journey began more than 30 years ago in Rochester, New York. Her early path was unconventional. She studied botany, attended nursing school, and competed in beauty pageants before ultimately finding her way into commercial real estate. What began as brokerage evolved into development, where she became an exclusive developer for major national brands such as CVS, Circuit City, and Walgreens.

From there, she began purchasing land, securing anchor tenants like grocery stores and large retailers including Home Depot and Target, and building around them. As her portfolio expanded, so did her understanding of time, scale, and mobility. While much can now be handled by phone, she notes that as opportunities grow larger, the ability to move quickly when it matters becomes increasingly important.

Navigating a Male-Dominated Industry

Commercial real estate and the car business remain heavily male-dominated fields. For Glaser, one of the most difficult challenges has not only been navigating those environments, but also witnessing how women sometimes treat one another within them. She believes deeply in supporting other women and wishes there were more unity and encouragement instead of competition that

undermines success.

Her advice to young women entering business is straightforward and hard-earned: pursue something you truly love, work relentlessly, and never give up. Many of her projects take years just to receive approvals, and none of them come easily. Persistence, she believes, is the differentiator.

Resilience, Setbacks, and Staying Grounded

Glaser is candid about the realities of leadership. Every day brings new challenges, and setbacks are part of the process. She sleeps little, thinks constantly, and plans relentlessly, but remains grounded by the belief that each new day brings opportunity. Difficult moments push her to work harder and become stronger.

Places That Feel Like Home

When she travels, Glaser leans toward stays that balance elegance and comfort, favorites include The Plaza and The Baccarat in New York, and The Wynn or The Bellagio in Las Vegas during industry conventions. In Florida, she’s most at home at her own oceanfront property, a rare twoacre retreat she considers irreplaceable.

Purpose Beyond Business

Despite her professional success, Glaser remains deeply motivated by her past. Raised by a single mother in poverty, she experienced firsthand the stress of financial insecurity and the absence of a support system. Her mother had her at 17, and

they were close not just as family, but emotionally, like sisters. Losing her mother at a young age was her greatest personal setback and a defining moment that continues to shape her outlook.

That experience fuels her desire to give back, particularly to children without fathers and those facing instability. She actively supports organizations including St. Jude Children’s Research Hospital, the Boys & Girls Club, Furry Friends, and Big Dog Ranch. Helping children and animals remains central to her sense of purpose.

Defining Success

For Glaser, success is not about comfort or arrival. It is about forward motion. She admits she is never fully satisfied, always striving to do more, build more, and help more people. Each challenge overcome strengthens her resolve and expands her vision. Success, in her view, is resilience in action.

More about Kimberlie Glaser’s work can be found at scuttiproperties.com

Success, in her view, is resilience in action.

Ciao, NoBe: 72 Carlyle Brings Italian Riviera Glam to Miami Beach

BY LAURA VALLINA

IN MIAMI BEACH’S NORTH BEACH NEIGHBORHOOD, PALM-LINED

streets sway to the cadence of a new residential rhythm. 72 Carlyle, Lefferts’ newest luxury condominium partnership with Russell Galbut at 600 72nd Street, a refined, design-driven residence that brings the elegance of the Italian Riviera to NoBe.

Rising 20 stories with 134 residences, 72 Carlyle is the third and most elevated expression of Lefferts’ long-term vision for North Beach, following the completion of 72 Park and the forthcoming PALMA Miami Beach Residences. Designed by internationally acclaimed Italian architect and designer Piero Lissoni in collaboration with Lissoni Architecture New York, the building blends Mediterranean sophistication with Miami Beach’s evolving cultural and architectural identity.

From the moment residents and guests arrive, 72 Carlyle sets a calming tone. A double-height lobby, framed by floor-to-ceiling windows, creates an immediate sense of openness: think more coastal villa than high-rise tower. A 24-hour attended reception ensures privacy and personalized service, while a private porte cochère with valet parking and EV charging stations offers seamless arrivals and departures, reinforcing the building’s emphasis on ease and discretion. Every detail of the arrival experience reflects Lissoni’s signature philosophy: refined, unfussy luxury rooted in proportion, materiality, and atmosphere.

The residences at 72 Carlyle are designed to prioritize privacy, natural light, and effortless indoor-outdoor living. The collection includes one-, two-, and three-bedroom homes, along with 11 penthouse residences, each custom designed by Lissoni and executed with European craftsmanship.

All residences feature expansive private terraces, with select homes offering outdoor summer kitchens ideal for entertaining. Floor-toceiling sliding glass doors frame sweeping views of the Atlantic Ocean, Intracoastal Waterway, and surrounding parks, while 10-foot ceilings and impact-resistant glass enhance light and openness throughout. Integrated smart home technology and high-speed fiber-optic internet ensure modern convenience without compromising design integrity.

The undeniable favorite? The kitchens. Sleek and architectural, with Italian cabinetry, full Gaggenau appliance suites, and imported stone countertops and backsplashes that elevate everyday living with refined materiality. Primary bathrooms are conceived as spa-like sanctuaries, finished in elegant stone surfaces, with select residences offering standalone soaking tubs, glass-enclosed rainforest showers, and imported European dual vanities. Select homes homes offer closets that feel lifted from your 2026 vision board: customizable walk-in closets, complete with illuminated built-in shelving for clothing, shoes, jewelry, and watches.

“I wanted to create an amenity collection that was picture perfect,” says Lissoni. “Miami Beach is all about socializing, wellness, and relaxation by the water. Here we add a stylish dose of Italian flair to the beach lifestyle, delivering a true coastal experience.”

The amenity collection includes an aperitivo lounge, wine cellar with chef’s table, chef’s kitchen, and multiple indoor and outdoor entertaining spaces. Wellness is equally prioritized, with a fully equipped Technogym fitness studio, Pilates and yoga studios, an outdoor landscaped terrace, along with a residents’ spa featuring treatment rooms, steam and sauna facilities, locker rooms, and hot and cold plunge pools.

MM100: AN EVENING HONORING MARILYN MONROE AT SOFIA DURING ART BASEL MIAMI

HAUTE LIVING AND AUTHENTIC LIVE UNVEILED MM100 on Friday, Dec. 5, the official Marilyn Monroe Centennial Kickoff presented by Velocity Black. The immersive evening welcomed about 250 guests to Sofia in the Palm Court Dome in the Miami Design District, celebrating Monroe through the artwork of Russell Young during Miami Art Basel.

The night began with an invitation only dinner, offering select guests a first look at Young’s Monroe collection and sparking conversation around her legacy and his contemporary interpretation. As the evening progressed, Sofia transformed into a living gallery for a larger reception of collectors, tastemakers, and art enthusiasts.

A red carpet moment and celebratory toast set the tone for an elevated cocktail reception, featuring Monroe-inspired cocktails and curated bites, complemented by Piper-Heidsieck champagne. MM100 opened the Marilyn Monroe Centennial by bridging the past with a modern cultural lens.

MISSONI SS26: AN INTIMATE ART BASEL PREVIEW

WEEK IN MIAMI IS A SENSORY RUSH: Gallery openings, fashion unveilings, and creatives filling the streets in expressive looks. Amid the city’s most electric week, Haute Living and Missoni hosted an exclusive SS26 preview inside the brand’s newly opened Design District boutique — a serene pause amid Basel’s frenzy where luxury, texture, and atmosphere converged.

Inside, contemporary lines, exposed ceilings, and cement resin floors created a sleek foundation, softened by Missoni Home textures and warm lighting. A DJ in shimmering Missoni set the mood with understated beats. Guests sipped champagne as small bites circulated, keeping the spotlight on SS26. The collection drew them in to feel fabrics, study silhouettes, and build wish lists. The boutique quickly filled with admirers of Missoni’s signature knits and bold chevrons — an intimate glimpse of refined minimalism and confident craftsmanship.

HSBC CELEBRATES LATIN AMERICAN ART AT ART BASEL MIAMI BEACH

HAUTE LIVING CELEBRATED EXCELLENCE ON DECEMBER 3RD, 2025 with its January 2026 Miami cover star, 3 Michelin-starred chef Thomas Keller, at his Bouchon Coral Gables, in partnership with J.P. Morgan Wealth Management.

Keller moved through the room to greet guests and set a warm tone for the dinner ahead. Once seated, Haute Media Group CEO Kamal Hotchandani opened the evening with welcoming remarks before introducing Janet Sweeney of J.P. Morgan Wealth Management, who shared a few words on the partnership and introduced chef Keller. Lucy Hammel of Jacob & Co. was also in attendance, offering guests a look at timepieces displayed throughout the space.

Keller spoke to the inspiration behind the menu, highlighting ingredients and pairings for each course. Vanessa Conlin, a master of wine and North American ambassador for Château DucruBeaucaillou, guided guests through the pairings, from rare vintages to signature bottles. The multi-course dinner featured a grand plateau of seafood, gnudi aux truffes with Périgord truffles, Snake River Farm ribeye, a fromager selection, and tarte au citron, each paired with wines from Ducru.

The night celebrated Keller’s legacy, exceptional food and wine, and a community brought together through shared appreciation of craft and conversation.

AT ART BASEL MIAMI, MANDARIN ORIENTAL RESIDENCES, GRAND CAYMAN INTRODUCES

A NEW KIND OF ISLAND DREAM

BASEL MOVES FAST AND DAZZLES, PULLING YOU FROM spectacle to spectacle. But just beyond Wynwood, something softer emerged: an intentional pause.

Mandarin Oriental Residences, Grand Cayman, unveiled a commissioned work by Toronto artist Daniel Mazzone. The reveal was understated, reminding guests that powerful art earns attention rather than demands it.

The painting, “The Boy,” depicts a child chasing butterflies, a simple image that unfolds into something deeper. The butterflies float like fragile ambitions. The child’s gaze holds steady — fearless, hopeful. It is a portrait of becoming.

For Ryan Melkonian, managing partner of Melkonian Capital Management, the work represents more than aesthetics. It is emotional architecture — a visual language that suggests how a place should feel before it is lived in.

The evening drew collectors, creatives, cultural leaders, and athletes, including Xavien Howard, a former Miami Dolphins star honored for his community contributions.

When “The Boy” moves to Grand Cayman, it will live not just on a wall, but as a symbol of a new island philosophy, one where luxury is defined by intention, imagination and the courage to reach for what feels just beyond grasp.

“The Boy” by Mazzone

April Donelson and Kiki Barth

& 7. Ocean House penthouse rendering, Mandarin Oriental Residences, Grand Cayman

HSBC CELEBRATES LATIN AMERICAN ART AT ART BASEL MIAMI BEACH 2025

DURING ART BASEL, HAUTE LIVING PARTNERED WITH HSBC to host a VIP evening for clients and invitees, bringing together collectors, investors and cultural leaders for conversation and connection.

HSBC’s deep ties to Latin America and its commitment to the arts shaped the program, encouraging attendees to exchange ideas and gain new perspective on celebrated artists. A panel led by gallerist Gary Nader anchored the evening, exploring Miami’s growing role in the global art community.

Raised in the Dominican Republic, Nader came to the United States in 1985 and established an art center focused on Latin American art. His four-decade legacy includes one of the world’s largest collections of sculptures and paintings by Fernando Botero.

Nader spoke to sustained demand for master artists such as Pablo Picasso and Botero, born in Spain and Colombia, respectively, noting Picasso’s influence on generations of Latin American artists, particularly Botero. He added that fine art remains a meaningful and lucrative long-term alternative investment.

Highlights included a performance by the Florida Grand Opera and remarks from George Moscoso, head of Latin America and the South and Mid-Atlantic region at HSBC Private Banking U.S., who called Miami and Art Basel “cornerstones” of HSBC’s relationship with the arts.

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WHERE LEGACY MEETS ART: THE CONEY FAMILY MARKS FIVE YEARS OF CULTURAL IMPACT AT ART BASEL

IN 2025, THE CONEY FAMILY CELEBRATED THE FIFTH ANNIVERSARY of its annual Art Basel Recognition Reception, a tradition established by Les, Chanel, and Javon Coney to honor Black artistic excellence during one of the world’s most influential contemporary art gatherings.

Held at The Setai, Miami Beach, the reception has recognized five visionaries over five years: Denise Gardner, the first woman and first person of color to chair the Board of Trustees of the Art Institute of Chicago; textile artist Bisa Butler; artist Nick Cave, known for his iconic “Soundsuits”; photographer and sculptor Hank Willis Thomas; and this year’s honoree, Mickalene Thomas, whose bold compositions redefine beauty, identity, and Black womanhood in contemporary art.

What began as a vision to uplift African American artists has evolved into a defining cultural touchpoint — a gathering where patrons, collectors, artists, and curators come together to honor excellence and affirm the essential role of African American voices in shaping global culture.

ARTISANS OF WINE & FOOD RETURNS TO THE BOCA RATON WITH ITS MOST AMBITIOUS EDITION YET

1. Napa Valley wines being poured at The Boca Raton

2. Artisans After Hours lights up the sky above The Boca Raton

3. The Artisans of Wine & Food signage at The Boca Raton, presented by Capital One

4. A Carbone table setting at the Vintners Gala in The Boca Raton’s Grand Ballroom

5. Precision on the plate at Artisans of Wine & Food

6. Guests explore the Discover Napa Valley Tasting Pavilion at The Boca Raton

THE BOCA RATON WELCOMED THE SECOND EDITION OF Artisans of Wine & Food from Jan. 16–19, marking the largest gathering of Napa Valley Vintners ever assembled outside of Napa Valley. Presented by The Boca Raton in partnership with Napa Valley Vintners and presenting sponsor Capital One, the four-day event brought together 152 winery representatives from 113 wineries alongside more than 20 Michelin-starred and acclaimed chefs.

More than 3,000 bottles were poured across 20 varietals, with 16 of Napa Valley’s 17 nested AVAs represented. Guests engaged directly with vintners and winemakers in intimate tasting environments across the resort’s historic ballrooms, marina-front venues and open-air lawns. The weekend’s highlights included a Parisian-inspired dinner by two-Michelin-starred chef Guy Savoy, an omakase experience by Takato founder Taek Lee, and a black-tie Vintners Gala headlined by chef and restaurateur Mario Carbone, wich was attended by 759 guests.

The weekend raised close to $500,000 for Place of Hope and the Napa Valley Vintners Youth Wellness Initiative, closing with Sunday Showdown — a celebration of country music, barbecue, and Napa Valley wines.

INSIDE THE ART BASEL DINNER HONORING DAVID LACHAPELLE AT SERAFINA

1. Ryan Knowles, Chas Riebe, Bruce Halpryn, David LaChapelle, and friend

2. LaChapelle, Haute Living’s Art Basel cover star

3. LaChapelle toasts with family and gallery partners over Louis XIII

4. Louis XIII in its signature crystal

5. The tablescape at Serafina

6. April Donelson and LaChapelle

DURING ART BASEL, HAUTE LIVING GATHERED AT SERAFINA Downtown Miami Worldcenter to honor cover star David LaChapelle, whose surreal imagery has shaped pop culture for three decades.

LaChapelle’s work blurs fantasy and reality, creating images that feel both otherworldly and deeply human.

Serafina set the tone with warm lighting and Italian, family-style dining.

After plates were cleared, remarks began. April Donelson, managing director of Haute Living, welcomed LaChapelle, who was joined by his family and gallery partners. Guests then raised glasses of Louis XIII for a toast that compared artistic legacy to cathedral building: those who begin rarely see the final result, yet they build regardless. The sentiment landed with quiet resonance, underscoring creation as devotion and art as endurance. Guests lingered long after dessert, with conversation unhurried and deep.

INSIDE THE 2025 HAUTE 100 CELEBRATION WITH LAMBORGHINI

SOUTH DADE BY THE COLLECTION AT AVA MEDITERRAEGEAN COCONUT GROVE

MARKED A POWERFUL CLOSE to the year as Haute Living gathered the city’s most influential voices for an elevated evening honoring leadership, innovation, and cultural impact across business, philanthropy, culture, and creativity.

The Haute 100 2025 celebration welcomed an accomplished mix of entrepreneurs, philanthropists, power couples, developers, creatives, athletes, and hospitality leaders for an elevated night in Coconut Grove, highlighting the forces driving Miami’s continued evolution. Haute Living honored this year’s list alongside Lamborghini South Dade by THE COLLECTION and ARTLIFE, helping bring the Haute 100 celebration to life. Custom artwork by Mister E appeared throughout the venue, in paintings and sculptural elements, thoughtfully designed to complement the evening’s aesthetic.

The celebration took place at Riviera Dining Group’s (led by Haute 100 members Marine and Greg Galy) latest South Florida dining destination, AVA MediterrAegean Coconut Grove. AVA MediterrAegean in Miami’s Coconut Grove is a vibrant, multisensory escape that channels the soulful spirit of the Greek Mediterranean through its celebration of PAREA — bringing friends together for refined coastal cuisine, genuine hospitality, and an atmosphere brimming with freedom, beauty, and joy.

Your Sanctuary on the Bay

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Your Sanctuary the Bay

Robert A.M. Stern Architects,

Designed acclaimed A.M. The Miami along the beautiful South Brickell, a private marina, and restaurant by chef Fabio Trabocchi. The lifetime legendary moments and of enable way life, service and connoisseurship.

Designed by internationally acclaimed Robert A.M. Stern Architects, The St. Regis Residences, Miami are situated along the beautiful coastline of South Brickell, with exquisite bayfront views, a private marina, and an exclusive fine-dining restaurant by MICHELIN-starred chef Fabio Trabocchi. The Residences offer a lifetime of legendary moments — a place where the history and heritage of a timeless brand enable a signature way of life, propelled by impeccable service and unparalleled connoisseurship.

Now Under Construction 1809 Brickell Avenue, Miami, Florida 33129

Schedule an Appointment 786 713 3514 MiamiSRR.com

St. Regis are situated beautiful coastline of South with exquisite bayfront and exclusive fine-dining restaurant MICHELIN-starred chef Fabio Trabocchi. of legendary place where the history heritage of a brand a way of life, Under Brickell Miami, an Appointment 786 3514 MiamiSRR.com

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE.

REPRESENTATIONS CANNOT RELIED CORRECTLY REPRESENTATIONS OF FOR CORRECT REPRESENTATIONS, THIS BROCHURE AND TO SECTION FLORIDA DEVELOPER TO A BUYER OR LESSEE.

Construction Avenue, Florida Schedule Appointment 786 713 3514 AS REPRESENTATIONS DEVELOPER. MAKE REFERENCE THE DOCUMENTS 718.503, FURNISHED BY A A 1809 Brickell LLC and of The Regis Residences, This offering is Regis by affiliates, which not the statements about the project. Images artists’ renderings exact reflections of finished product nor view to understand this offering, fees, specifications, Unit dimensions and method for to learn what payment of assessments. are and features, packages, or been Massachusetts of of Real Salespersons The complete for residents are available the at CP23-0071. California Department has inspected, or qualified offering. advertisement a for of Registration No 1809 Owner, LLC 2025.

1809 Brickell Property Owner, LLC is the developer and the offeror of The St. Regis Residences, Miami. This offering is not intended for any resident of a jurisdiction where such an offering is prohibited. The St. Regis Residences, Miami is not owned, developed, or sold by Marriott International, Inc. or its affiliates, which has not confirmed the accuracy of any of the statements or representations made about the project. Images are artists’ renderings and not exact reflections of the finished product nor the precise view from each Unit. Consult the Developer’s Prospectus to understand this offering, the amenities, the proposed budgets, terms, conditions, fees, specifications, Unit dimensions and method for Unit calculation, site plans, and to learn what is included with purchase and by payment of regular assessments. All prices are subject to change and do not include optional features, design packages, or premiums for upgrades. This Condominium has been registered with the Massachusetts Board of Registration of Real Estate Brokers and Salespersons F-1287-01-01. The complete offering terms for New York residents are in a CPS-12 application available from the offeror at File No. CP23-0071. WARNING TO CALIFORNIA RESIDENTS: The California Department of Real Estate has not inspected, examined, or qualified this offering. This advertisement is a solicitation for the sale of units in 1809 Brickell Condominium N.J. Registration No 23-04-0009. 1809 Brickell Property Owner, LLC 2025.

Owner, the developer offeror of St. Miami. This offering not intended for any resident of a where such prohibited. The St. Residences, Miami owned, developed, or sold Marriott International, Inc. or its has not confirmed accuracy any made about the project. Images are renderings and the finished from Consult the Developer’s Prospectus amenities, the proposed budgets, and calculation, site plans, and to learn included with assessments. All prices are subject to change not include design or premiums for This Condominium been with Massachusetts of Real Estate Brokers Salespersons F-1287-01-01. for York residents a CPS-12 application at No. WARNING TO Department of Real not examined, qualified this This solicitation the of in 1809 Condominium N.J. 23-04-0009. Brickell Property LLC