TYLER JAMES WILLAIMS, Los Angeles August/September 2026

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CONTENTS ON THIS PAGE TYLER JAMES WILLIAMS IS WEARING BLAZER: Comme des Garçons JEANS: Hysteric Glamour BOOTS: Lucchese SUNGLASSES: Jacques Marie Mage WATCH: Blancpain

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ON THE COVER TYLER JAMES WILLIAMS IS WEARING FULL LOOK: Sandro GLASSES: Jacques Marie Mage NECKLACE: A.Jaffe WATCH: Blancpain

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6 COVER STORY

Tyler James Williams on directing Abbott Elementary Season 6 — and why fame was never the point

14 HAUTE TRAVEL

Discover the Haute Black difference in luxury travel, Hôtel Plaza Athénée’s place among Paris’ most iconic hotels, and The Maybourne Riviera’s modern take on the French Riviera

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Introducing the 2026 Aston Martin DB12 S Coupe, where legendary design meets exhilarating new power

22 HAUTE BEAUTY

A look at the new Dior Sauvage Extrait — the fragrance Francis Kurkdjian crafted for absolute nobility — and what U.S. Sauvage Grooming Ambassador Vince Garcia says makes it the ultimate finishing touch

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Louis Vuitton’s Mythica High Jewelry Collection — 110 pieces crafted for a woman who authors her own legend

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COVER STORY

AFTER MORE THAN TWO DECADES IN HOLLYWOOD, TYLER JAMES WILLIAMS ISN’T CHASING ATTENTION — HE’S CHASING AUTHORSHIP. THE ABBOTT ELEMENTARY STAR AND FOUR-TIME EMMY NOMINEE OPENS UP ABOUT DIRECTING, DEFINING SUCCESS ON HIS OWN TERMS, AND WHY PEACE — NOT FAME — IS LIFE’S GREATEST LUXURY. WRITING & BOOKING LAURA SCHREFFLER PHOTOGRAPHY JUAN VELOZ STYLING BROOKLIN PHELPS GROOMING CONSTANCE FOE BARBERING WILLIAM JAMES SHOT ON LOCATION AT THE LONDON WEST HOLLYWOOD, LOS ANGELES

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PART ONE : The director’s chair He’s wearing bubblegum-pink headphones on a set otherwise dressed head to toe in Serious Television, and if that isn’t the entire Tyler James Williams thesis in one image, I don’t know what is. The chair he’s in isn’t the one with his name on the back of it in the traditional sense — he’s not in it to be looked at. He’s behind the monitor on his Emmy-winning ABC series, Abbott Elementary, which, on a comedy set, means he’s the one person in the building who isn’t performing for anybody. Around him: the low hum of a crew resetting a shot, someone taping marks on linoleum that’s meant to look like it belongs to a public elementary school in Philadelphia, the specific choreography of people who’ve done this enough times that nobody’s shouting anymore. Later — much later, after we’ve talked our way through rhythm and restraint and the specific exhaustion of being underestimated for two decades running — I ask him which photograph, out of every chapter of his life and career, tells the truest story of who he is. Not the Emmy stage. Not Gregory Eddie’s cardigan. Not the kid from Everybody Hates Chris who was, improbably, playing a young Chris Rock before he could legally drive. He doesn’t hesitate. It’s the one behind the monitor. “I’m sitting in front of a monitor and I have these pink headphones around my neck,” he tells me, noting, “There are certain people on set who will talk about this — I get into a zone. It’s a certain level of seriousness that it’s almost like I black out, except I don’t, because I remember everything. It’s hard to explain. It’s a flow state. I become incredibly detail-oriented. I can see everything happening at one time. My brain splits into like five different places. I think that’s me at my most authentic self.” The headphones, it turns out, weren’t an accident either. “I remember I liked them,” he says. “It’s kind of fun in the midst of this — a whimsical choice in the midst of something that’s heavy and serious.” Here is the thing about Tyler James Williams that gets flattened every time someone writes the word longevity: it implies survival, endurance, a guy who simply didn’t quit. Fair enough. But spend an hour with him and you realize longevity was never the interesting part. Hollywood doesn’t have a great track record of letting child actors grow into respected adults without a tabloid detour in between. Williams skipped that chapter entirely. “When you’re a child, you assume adults know what they’re talking about,” he says, of the industry voices who spent his adolescence telling him who to be. “As you get older, hopefully you find yourself. For me, it was being really intentional — and being able to retire that idea of myself that was just kind of following the decisions of the people who were helping to guide and shape my career.” That retirement didn’t come free. “I had a whole period where I had to work through the hypervigilance and anxiety that built up in my body,” he says. “But on the other side of that, if you do the work, the strength it gives you is incredible. I know what I’m capable of now. I’ve had situations when I was thirteen or fourteen where there was no other choice, and you figured it out. My belief in myself has a level of security that I think people don’t reach until much later in life, because I’ve already proven myself right about those things before.”

Instead, he did the unglamorous thing. He worked. Dear White People, The Walking Dead, Detroit, The United States vs. Billie Holiday — a stretch of credits that reads less like a highlight reel and more like an apprenticeship, a young actor quietly proving he could do satire and horror and prestige drama without needing any one of them to define him. He built a body of work while everyone else was still waiting for the cautionary tale that never arrived. Then Abbott Elementary happened, and Gregory Eddie — reserved to the point of infuriating, in the way all the best romantic leads are — became the role that finally let the world catch up to what he’d been doing all along. It’s worth sitting with why Gregory works as well as he does, because on paper, he shouldn’t. He’s a man defined by what he doesn’t say. He deflects. He hedges. He takes an entire season to admit what everyone watching already knows. In lesser hands, that’s a frustrating character to spend thirty minutes a week with. In Williams’ hands, restraint isn’t the absence of feeling. It’s feeling with better posture. We’re talking days after he wrapped his first Abbott Elementary table read of the new season — Season 6 premieres October 7, and the show will run new episodes through next spring — and there’s something almost nostalgic in how he describes walking back into that room. “Nothing changed,” he says of the reunion. “We all fall into rhythm immediately. You hear the show, and you go, oh, there we are again.” That chemistry, he tells me, was there from the very first table read, before any of them had really gotten the chance to know each other off-camera. “Even though we couldn’t fully gel together because it was COVID — it’s not like we were hanging out — there were certain scenes that just felt too good, too fast. It’s kind of been like that from the beginning.” Ask him what’s animating Gregory this season, and the answer doubles as a small thesis statement on the kind of stories he wants to keep telling. “He’s trying to wrestle his life into shape,” Williams says, of Gregory’s slow-burn engagement plans. “I have the opportunity to tell the story of good men who are trying to connect their present to their future. That’s something to chase.” The accolades followed, and they followed fast once they started: a Golden Globe. An NAACP Image Award. A SAG ensemble win. Four Emmy nominations and counting, including this year’s. All earned by doing less, not more — and Williams, notably, doesn’t sound especially satisfied by any of it. “I’m critical of me,” he says. “I think that’s part of being an artist. You always want another take. If I could, I would still be shooting scenes from Season 1 right now.” But the acting was never going to be the whole story here, because somewhere around Season 4, Williams did the thing that separates a star from a storyteller: he asked for the monitor. He talks about the responsibility of it in almost physical terms. “There comes a time in the course of prepping and shooting an episode where you feel the weight of that responsibility on your shoulders,” he says. “If I don’t execute this and plan this the right way, the beautiful work that’s on the page won’t shine through on the screen. I think that weight is necessary.” @hauteliving HAUTE LIVING 9

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His directorial debut, “The Science Fair,” was ambitious in the way first outings rarely are; his follow-up, Season 5’s “Mall Part 2: Questions & Concerns,” confirmed it wasn’t a fluke. The NAACP Image Award for Outstanding Directing came after. What he’s actually chasing now, he tells me, has less to do with scripts than with rooms. “I’ve learned over time, you only make the best things in good atmospheres,” he says. “I could look at a project that’s incredibly well written, with a great cast, and if certain positions aren’t filled by certain types of people, it’s going to fail. So it’s less about the creative that I look for. Who am I working with? What atmosphere are we creating?” Off the monitor, he’s become something closer to the show’s ballast. “Like an anchor, a little bit,” is how he puts it. “The only way I know how to be on a set is professional. On certain days, they’ll start with my scenes just to get off to a good start. That’s the role I feel like I serve here — let’s anchor the day. We’re going to have fun.” There are, by his own count, more kids on the Abbott set than adults some days, and he talks about that dynamic less like a burden than a discipline he’s spent years refining. “I have the emotional capacity to understand where they are, and empathy for them. But I also know what’s actually in them — what they’re capable of. Like a coach, you have to know where to challenge them, and where not to. It’s a delicate balance and dance, but it’s something I feel like I’m uniquely attuned to.” It’s a function he’s held since he was twelve years old, carrying a network sitcom on his shoulders with two hundred adults’ jobs riding on whether he showed up ready. It’s the same instinct that shows up when the conversation turns to fashion. Williams doesn’t talk about the Prada-and-Tiffany moments that have landed him on best-dressed lists the way most people talk about getting dressed up. “I see these award shows and carpet moments as expressions of self,” he says. For Williams, what he wears is another part of the performance — another opportunity to communicate something deliberately. “It’s got to be intentional. I don’t want to just be doing anything just to do it anymore.” That precision, he says, comes from a shift the whole industry has gone through. “Artists are just much more in control of their image than we had an opportunity to be in the early 2000s,” he says. “But with that ability to be in control, there’s an expectation of control, too.” He reaches, unprompted, for a Wes Anderson comparison — every shot deliberate, every color palette considered — and applies the same standard to his own tailoring, down to the half inch. “People overlook tailoring so often. Knowing when to bring in something by a half inch, even a quarter inch — that creates a silhouette.” Which is, if you’ve been paying attention, the same question he’s been asking about every choice he’s made since he was a kid actor playing someone else’s childhood on network television. The role. The chair behind the monitor. The suit. The life. He isn’t performing a version of authenticity for the cameras. He’s protecting the real thing from them. That same discernment shapes what he’ll actually say yes to. “I think for now, we’ve covered fairly well and extensively Black trauma and slavery. I think we got it. At a certain point it becomes chasing a pattern, and it’s gratuitous. I’m not trying to do anything trendy,” he says, “because if it’s in trend, it’s already done.” I ask him, toward the end, what he thinks Hollywood has gotten most wrong lately. He doesn’t hesitate on this one either. “Attention doesn’t mean respect,” he says. Every answer that afternoon — about directing, tailoring, leadership, even the things he’s said no to — pointed back to the same quiet philosophy. Which brings me to the photograph again. Bubblegum-pink headphones. Behind the monitor. Nobody watching. Twenty years in, and Tyler James Williams finally looks exactly like a man who knows where he’s headed. @hauteliving HAUTE LIVING 11

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It wasn’t on my list of questions, exactly, but astrology rarely announces itself politely. Somewhere past the halfway mark — after directing, storytelling, leadership, the whole architecture of a career built on saying less and meaning more — I asked Williams for his chart. He rattled it off like a man who’s been asked before and still finds it a little funny that he knows the answer: Sun in Libra. Moon in Pisces. Aries ascendant. Venus in Scorpio. Mars in Cancer. I told him what struck me immediately — that a Libra sun and an Aries rising sit on almost opposite ends of the wheel, which means the version of him that shows up in a room is often read as the near-opposite of what’s actually happening underneath it. “Yeah, no, it’s definitely accurate,” he said, without missing a beat. “I think I show up in a way that — because there’s so much thinking and brooding, I’m very cerebral while also being very emotional at the same time. People are surprised by that, because my forward-facing face, particularly when I’m directing, can be more stern. More distant. When in actuality, what I’m always looking for is connection.” That gap — between the stern face on set and the guy underneath actively hunting for connection — kept resurfacing throughout our conversation. A lifetime in public will teach a person which parts of themselves are safe to hand over in a ninety-second soundbite, and those safe parts start to calcify into something that looks, from the outside, like the whole picture. Williams has made an unusually deliberate peace with that gap. Ask him what he’s gotten better at protecting, and he doesn’t say privacy — he’s specific about the distinction. “Privacy is the ability and the space to live without judgment,” he says. “Your personhood is different. It’s the way you choose what you engage with, what you choose not to. Choosing not to join the circus.” He’s just as precise about which parts of his life he’s genuinely fine with the world getting wrong. “Any aspect of my personal life, I’m okay with that being misunderstood,” he tells me. “My job is to not fuel the fire and not join the circus. There’s going to be a circus in town. Just don’t join it.” It’s the same logic behind his choice to speak candidly, on his own terms, about living with Crohn’s disease since his 2015 diagnosis, including in his work with AbbVie’s “Beyond a Gut Feeling” campaign. Boundaries, for Williams, aren’t walls. They’re just decisions about what gets to be public. It’s why he keeps a foot planted in New York whenever the schedule allows it. “I moved back to New York because I needed normalcy,” he says. “I needed somebody who could see me walking down the street and go, cool. And that’s it.” It’s a small ambition, on its face, for a man with a Golden Globe and four Emmy nominations. There’s something almost playful in how he talks about managing the rest of it, the parts he can’t fully retreat from. Getting spotted, for him, has

become less a threat than a game he’s gotten good at winning. “If I can be somewhere and nobody will know I’m there, if I don’t want them to — you’ll never see me,” he says. “And that’s fun. Sometimes that’s the game of the day.” It’s a small tell about how he’s built the whole architecture of his privacy: not as a fortress, but as something closer to sport. That instinct extends to the platforms everyone assumes a person in his position has to be on. “Social media engagement” — he doesn’t hesitate when I ask what he’s said no to that has made everything else easier. “I never wanted to be on any of it. I cannot confuse being a celebrity for being a storyteller, because those are two very different things.” The Instagram account did eventually happen, but on his terms and someone else’s ask: Justin Simien needed help promoting Dear White People, an indie film with a small marketing budget, and made the case plainly. “He said, ‘We have to promote this movie somehow, and you’re the most recognizable face in this.’ I was like, very good point.” So he built the account and decided, on the spot, what it would be for. “I’ll use it like a billboard. If you want to know what I’m doing, here it is.” Everything past that has been treated as exactly that — a billboard, not a diary. “I don’t need to commodify my life,” he says. “That’s what makes everything work. And then what am I?” When I ask what his younger self would make of the man he’s become, the answer isn’t triumphant. It’s relief. “There were theories he was testing, even though he didn’t know whether they were right — there was no evidence to suggest they were, and plenty to suggest they weren’t,” he says, of the choices he made against industry advice as social media reshaped the business around him. “I think he’d be relieved to know: you were right in that way.” He adds: “I can sleep at night knowing I did it the way I wanted to do it. That’s really all you could ask.” I close every cover interview with the same question: what, to you, is the greatest luxury in life? He didn’t reach for a possession, a destination, a brand. He took a moment before answering. “It’s when you turn the lights out, turn the TV off, there’s no music playing,” he said. “You close your eyes, and in those moments before you fall asleep — are you at peace with how you got here? If you can say yes, that’s it. You can’t pay for that. A lot of people get to where they’re trying to get to, but they can’t sit there and say they’re at peace with how they got there. I’m at peace with how I got here. I’m good with this.” After an afternoon with him, it tracks completely. A man who’s spent his entire life in front of a camera, whose face has been recognizable since before he could vote, has landed on the one luxury no camera can capture: knowing exactly who you are once it stops rolling.

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island living unfolds among dramatic granite boulders, complemented by multi-day wellness and longevity programs at the Six Senses Spa. Sustainability-led experiences, from reef restoration and organic gardens to stargazing, deepen the connection to the natural surroundings.

HAUTE BLACK · PREFERRED PARTNER TRAVEL PROGRAM

hauteblack.com · @hauteblack · A Virtuoso Member Agency @hauteliving HAUTE LIVING 17

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THE MAYBOURNE RIVIERA: A MODERN TAKE ON FRENCH RIVIERA LUXURY THE MAYBOURNE RIVIERA, A STUNNING LUXURY HOTEL ABOV E THE MEDITERRANEAN WITH ELEGANT SUITES, FINE DINING, WELLNESS, AND PANORAMIC VIEWS. BY LAUREN MOSSERI PHOTOGRAPHY DORCHESTER COLLECTION

Set high above the Mediterranean in Roquebrune-Cap-Martin, The Maybourne Riviera occupies one of the most compelling positions on the Côte d’Azur. Overlooking the Mediterranean and the Principality of Monaco, with views extending toward the Italian coast, the property combines a remarkable natural setting with architecture, design, gastronomy, and hospitality that reflect the character of the French Riviera. That history is an important part of the hotel’s identity. During the celebrated golden age of the Côte d’Azur, the property welcomed prominent figures from the worlds of film and music, including Elizabeth Taylor, Richard Burton, and Frank Sinatra. The surrounding Riviera has similarly attracted generations of artists and cultural figures, creating a heritage that continues to shape the region’s atmosphere. The contemporary property was conceived by architect Jean-Michel Wilmotte, whose approach responds closely to the dramatic terrain. Rather than imposing itself on the landscape, the architecture follows the natural form of the rocky promontory, creating the impression of a structure suspended between the land and the sea.

Roquebrune Bay toward Monaco. Natural materials, bespoke furniture, oak detailing, sculptural forms, and subtle colors create interiors that feel refined without distracting from the landscape beyond. The Signature Suites provide an even greater sense of space and privacy. The Horizon Suite offers a panoramic terrace and three flexible bedrooms, while the Azur Suite features generous interiors and two terraces. The Panoramic Suites open toward uninterrupted views extending from Italy to Monaco, while the Bleu Infini Suite includes a private infinity pool. Gastronomy forms another important part of the property. The Maybourne Riviera offers a collection of restaurants and bars designed to provide different expressions of the Mediterranean culinary experience. At abc kitchens riviera, Michelin-starred chef Jean-Georges Vongerichten brings his acclaimed concept to the Côte d’Azur. The rooftop restaurant emphasizes fresh, sustainable, and regional ingredients, with a market-to-table philosophy and a strong focus on plant-forward cuisine. Riviera Restaurant offers a more sophisticated interpretation of Mediterranean cuisine under Chef Guillaume Boumati. Drawing inspiration from Provence, Liguria, and the Italian Riviera, the restaurant explores the balance between land and sea through seasonal ingredients and precise technique. Wellness is equally central to the experience through Surrenne Riviera. Conceived as a destination that extends beyond the traditional hotel spa, the three-storey sanctuary combines scientific expertise, holistic traditions, innovative technology, and highly personalized treatments. Its offerings include advanced Biologique Recherche skincare, Lagree Fitness, cryotherapy, osteopathy, light therapy, yoga, and TRX, alongside personalized wellness programs and longevity retreats.

The interiors continue this dialogue with the landscape. The Maybourne Riviera brought together a distinguished group of architects and designers, including Bryan O’Sullivan Studio, André Fu, and London-based studio Rigby & Rigby. Maybourne Artistic Director Michelle Wu created cohesion between their different approaches through a considered combination of materials, colors, textures, and art. Works by Le Corbusier and JR are displayed throughout the property, alongside photographs by Edward Quinn, whose work captured the personalities and atmosphere of the Riviera’s celebrated era.

La Môme Riviera adds another dimension to the property. Located on the hotel’s private beach in a secluded cove, the destination combines the relaxed elegance of a Riviera beach club with an energetic dining and entertainment program.

Accommodation is designed around the setting, with the Mediterranean remaining a constant presence. Suites and studios range from 40 to 220 square meters and feature private terraces with views stretching from

For travelers looking for a sophisticated Mediterranean escape, The Maybourne Riviera offers something increasingly valuable: a sense of place that is impossible to separate from the experience itself.

With 65 suites and studios, each featuring a private terrace and sea view, multiple restaurants and bars, Surrenne Riviera, an infinity pool, a private beach club, and panoramic views across France, Monaco, and Italy, the hotel offers a distinctly contemporary interpretation of Riviera hospitality.

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A STAY AT HÔTEL PL A ZA ATHÉNÉE DISCOV ER WHY HÔTEL PLAZA ATHÉNÉE REMAINS ONE OF PARIS’ MOST ICONIC LUXURY HOTELS, FROM ELEGANT SUITES AND MICHELIN DINING TO THE DIOR SPA EXPERIENCE. BY LAUREN MOSSERI PHOTOGRAPHY DORCHESTER COLLECTION

There are luxury hotels, and then there are hotels that become part of a city’s identity. During my recent stay at Hôtel Plaza Athénée in Paris, it became clear why this legendary address has remained one of the French capital’s most coveted destinations for more than a century. Nestled on the prestigious Avenue Montaigne, where the world’s leading fashion houses line the elegant boulevard, the hotel effortlessly blends Parisian history, haute couture, and modern luxury into an experience that feels distinctly Parisian.

inspired L’Appartement with its private terrace to the spectacular Eiffel Suites and the magnificent Royal Suite spanning 450 square meters, every accommodation has been individually designed to showcase the finest elements of Parisian luxury. Altogether, the property offers 154 rooms and 54 suites, each reflecting either elegant classical French style or sophisticated Art Deco design.

Since opening its doors in 1913, Hôtel Plaza Athénée has welcomed royalty, fashion designers, celebrities, and discerning travelers seeking an authentic taste of Parisian glamour. The hotel occupies one of the city’s most enviable locations, just moments from the Eiffel Tower, the Seine, and the ChampsÉlysées, making it an ideal base for exploring the city’s most iconic attractions while remaining immersed in its fashionable heart.

One of the highlights of my stay was simply enjoying the hotel’s remarkable dining venues. Jean Imbert au Plaza Athénée offers a Michelin-starred culinary experience inspired by centuries of French gastronomy, where traditional recipes are thoughtfully reimagined with contemporary creativity. For a more relaxed atmosphere, Le Relais Plaza remains one of Paris’ classic brasseries, while La Galerie provides the perfect setting for afternoon tea beneath glittering chandeliers.

Step inside the lobby, and the atmosphere immediately shifts from the bustling streets outside to a refined world of quiet elegance. Every detail reflects the hotel’s long-standing relationship with French fashion. Rich fabrics, classical Parisian architecture, Art Deco accents, and thoughtfully curated artwork create interiors that feel sophisticated without being overwhelming.

No stay would be complete without visiting the Dior Spa Plaza Athénée. Designed around the philosophy of rejuvenation and wellbeing, the spa offers an oasis of calm in the middle of one of the world’s busiest cities. Elegant treatment rooms, steam facilities, and beautifully designed relaxation spaces make it easy to forget you’re in central Paris, even if only for a few hours.

The room perfectly balanced timeless Parisian charm with modern comfort. Soft neutral tones, luxurious fabrics, marble finishes, and elegant furnishings created a peaceful retreat after long days exploring the city. Many of the hotel’s rooms feature beautiful wrought-iron balconies overlooking either the Eiffel Tower or the picturesque courtyard, and it’s easy to understand why these accommodations have become favorites among honeymooners, celebrities, and luxury travelers alike.

What impressed me just as much as the surroundings was the level of service. Every interaction felt genuine rather than scripted. Whether arranging transportation, recommending restaurants, or simply greeting guests throughout the day, the staff consistently delivered the polished hospitality expected from one of the world’s finest palace hotels.

For guests looking for an even more extraordinary stay, the hotel’s signature suites elevate the experience further. From the Art Deco-

Hôtel Plaza Athénée has long been more than simply a luxury hotel. It represents the enduring spirit of Paris itself, where fashion, gastronomy, history, and impeccable hospitality come together in perfect harmony. While countless luxury properties promise unforgettable experiences, very few possess the heritage, character, and unmistakable sense of place found here. @hauteliving HAUTE LIVING 19

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2026 Aston Martin DB12 S Coupe All the beauty with increased gusto. GORGEOUS. POWERFUL. BALANCED. SVELTE. LUXURIOUS. RESPONSIVE. QUICK.

Now that I have your attention, please meet the Aston Martin DB12 S Coupe, the latest from the area that begat Shakespeare, Stratford-upon-Avon, which is about 100 miles from London, in the town of Gaydon. Rumors hold that the town was named due to the delight of driving an Aston Martin, but I could find no support for such a claim. Nevertheless, if the talent of William S. came from the water, it would make sense that Aston would be equally erudite when it comes to understanding and creating exactly what drivers want. Everyone loves a good origin story. Unfortunately, the one above is not exactly correct and apparently was created without the use of AI (“artistic integrity”). There are, however, a few smidgens of truth set forth earlier. Aston was founded in England, but in London, in 1913. It moved within England a few more times and has been in Gaydon since the early 2000s. More fun to read than paragraph one, though, isn’t it? Verily, or should I say “Word”? Back to the topic at hand, the DB12 S. Building on the already-sumptuous DB12, the S adds the extra oomph of an additional 20 ponies, bringing the power close to 700HP, which quickens the 0-60mph sprint somewhat, now clocking in at a quick 3.4 seconds. The few design modifications made the car somewhat sharper and perhaps a touch more modern but, like almost all of its predecessors, the DB12 S is a stunner.

One tell that you’re looking at the “S” variant of the DB12 is that the rear wing is fixed in the up position (a tell tail?), whereas in previous models it was retractable. Another change: the new stainless-steel quad-stacked exhaust pipes add a great look while providing additional aural pleasure. Together, they are giving a little “boy racer” vibe to the otherwise elegant machine. Coupled with the new front air splitter — sporting a dual-element design — and the hood louvers adding downforce and helping to reduce front-end lift while also assisting the extraction of hot air from the potent engine — the S has a more assertive look both coming and going. But it’s not just about the looks. A more robust anti-sway bar minimizes lean in the corners, and the electronic differential (“e-diff”) allows the power to be adjusted between the rear wheels to amplify the steering’s effect when cornering. Aston calls it an “impeccable balance of agility and exploitability — for ultimate confidence and enjoyment.’” Having spent a full day with the S in the hills and valleys around the foothills between Los Angeles and Ventura, I agree wholeheartedly with that statement. Cornering well used to require hard, bumpy riding, but today’s technology, like the software changes to the Bilstein DTX dampers that enhance both roll and pitch control, provides for a smooth yet controlled ride, one befitting a grand tourer.

PHOTOS COURTESY OF ASTON MARTIN

BY TIM LAPPEN

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Sure, it goes, but how well does it stop? Thanks for asking. The carbon ceramic brakes (“CCB”) are standard fitment on the S. Carbon ceramic is a high-tech material that gains less heat during braking, thus allowing for more consistent, impressive stopping power. Like many special cars today, the S’s brake calipers are available in a variety of colors, further evidence that a car can be both beautiful and a performer. The interior is great, too, starting with an available Alcantara heated sports steering wheel and red anodized knurled metal drive mode rotary controller with a boatload of options when it comes to seat, seatbelt, and stitching finishes. Aston knows well how to blend comfort, elegance, and purpose as the seats are supportive yet supple and the side bolsters are a welcome addition when one is cornering sprightly. Available in both coupe and “Volante” (convertible) forms, the DB12 S starts at about $270,000 and, depending upon your penchant for options, including bespoke paint, you can land in the first quadrant of the $400,000s. However, a “nicely appointed” DB12 S will run around $350,000. As you might imagine, at those price points, you have other options, but for my money, the looks, sound, performance, and overall joy of driving provided by the DB12 S are hard to beat. @hauteauto HAUTE LIVING 21

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FRANCIS KURKDJIAN SET OUT TO CREATE ABSOLUTE NOBILITY IN A MEN’S EXTRAIT — AND WITH SAUVAGE EXTRAIT, HE DID EXACTLY THAT. BY ADRIENNE FAUROTE

PHOTO COURTESY OF COURTESY OF DIOR PARFUMS

FINISHING

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“WHAT I REALLY APPRECIATE IS THAT DIOR DIDN’T JUST MAKE A STRONGER V ERSION; THEY CREATED SOMETHING WITH REAL CRA FTSMANSHIP. FROM THE 42-DAY AGING PROCESS TO THE ELEVATED BOTTLE DESIGN, EV ERY DETAIL FEELS INTENTIONAL.” — V I N C E G A R C I A US Sauvage Grooming Ambassador Vince Garcia PHOTO COURTESY OF VINCE GARCIA BY ARTHUR DE KERSAUSON FOR PARFUMS CHRISTIAN DIOR

PHOTO COURTESY OF COURTESY OF DIOR PARFUMS

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DIOR’S SAUVAGE HAS ALWAYS BEEN A STATEMENT — CLEAN, ICONIC,

immediately recognizable. Sauvage Extrait is what happens when the House takes that foundation and gives it time. Aged for 42 days and built around Vietnamese oud, creamy cedarwood, and layered woody notes, the new fragrance carries the DNA of the original while arriving at an altogether richer, more intentional place. Ahead, Haute Living sits down with US Sauvage Grooming Ambassador Vince Garcia — one of the most respected voices in men’s grooming — to talk about why fragrance is the last detail that makes everything else land, and what makes this one worth the wait. HAUTE LIVING: As a grooming expert and real leader in the industry, how important is incorporating fragrance into the routine? VINCE GARCIA: For me, fragrance is the finishing touch. You can have the perfect haircut and great grooming, but the scent is what people remember after you leave the room. It’s part of your personal style and the last detail that brings everything together. HL: Walk us through how you use fragrance as the ‘final step.’ VG: A couple of sprays before I walk out the door instantly makes me feel more confident and put together. Once the haircut is done and I’ve finished styling, fragrance is always the final step for a client. It’s the piece that completes the entire grooming routine. @hautetime HAUTE LIVING 23

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HL: How would you describe it next to Sauvage Eau de Toilette? VG: The Eau de Toilette is fresh, bright, and iconic. Sauvage Extrait takes that DNA and gives it more depth and intensity. The oud, creamy cedarwood, and woody notes make it feel richer while still staying true to what makes Sauvage so recognizable. What I really appreciate is that Dior didn’t just make a stronger version; they created something with real craftsmanship. From the 42-day aging process to the elevated bottle design, every detail feels intentional. It’s a fragrance that makes a statement without trying too hard, and that’s exactly what great style should do. HL: Describe the scent in three words. VG: Powerful. Smooth. Sophisticated.

PHOTOS COURTESY OF COURTESY OF DIOR PARFUMS

HL: Tell us about the new Sauvage Extrait fragrance — does it evoke any emotions for you? VG: Sauvage Extrait feels elevated and intentional. It’s richer and deeper, with a warmth that makes it feel really luxurious. Knowing it was aged for 42 days and crafted with ingredients such as Vietnamese oud makes it feel as though every detail was considered. It gives me confidence, but it also feels timeless and refined.

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VIP REAL ESTATE SERVICES At HL Real Estate Group, Haute Living’s boutique real estate brokerage, we are dedicated to surpassing expectations and empowering our clients to achieve their luxury real estate goals. Our bespoke solutions and expertise in luxury properties ensure unrivaled service. Contact us today call us at +1 (800) 257-5661

WWW.HLREALESTATEGROUP.COM

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Dior D de Dior Monk Derby shoe, price upon request; available at Dior boutiques and dior.com

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Dior tuxedo shirt, $910 and Dior Fine Jewelry Diorette necklace, price upon request; available at Dior boutiques, dior.com, and 1-800-929-3467

SLEEK STREAK BY ADRIENNE FAUROTE

PHOTOGRAPHY ERIK GUSTAFSSON

Jonathan Anderson’s vision for the Dior Winter 2026-2027 Men’s collection is dressed in contradictions — tailoring sliced to a razor’s edge, accessories stripped back to their most essential form, and a sense of eclectic opulence that makes sleek feel anything but simple.

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Dior Medallion loafer, $1,500; available at Dior boutiques and dior.com

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Dior Large Medallion Messenger Flap bag, $5,100; available at Dior boutiques and dior.com

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DIOR Bolt crossbody, $5,200; available at Dior boutiques and dior.com

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Dior D De Dior Chelsea boot, $1,800; available at Dior boutiques and dior.com

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Dior D De Dior Chelsea boot, $1,800; available at Dior boutiques and dior.com

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Dior Bolt crossbody, $5,200; available at Dior boutiques and dior.com

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Dior Puffy Granville, $7,300; available at Dior boutiques and dior.com

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Dior Aristo Heeled Oxford Brogue, price upon request; similar available at Dior boutiques and dior.com

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Dior Roadie Lace-Up boot, $1,250; available at Dior boutiques and dior.com

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Dior Medium Jett Medallion Messenger bag, $4,400; available at Dior boutiques and dior.com

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AU NATUREL For the Louis Vuitton Fall-Winter 2026 Men’s collection, men’s creative director Pharrell Williams asks a single question: what does a wardrobe built to last actually look like? To capture this collection, we escaped to one of the most intimate addresses in Los Angeles’ Hidden Hills neighborhood, where the au naturel elements of the architecture and interior design echo the design ethos of the clothing and accessories. BY ADRIENNE FAUROTE PHOTOGRAPHY JUAN VELOZ STYLING ANDREW MCFARLAND GROOMING TARIA GROCE MODELS ZACHARY VELASCO AT SOUL ARTIST MANAGEMENT AND RAHEEM ROGERS AT STORM MANAGEMENT LA PHOTO ASSISTANT JOEY ABREU STYLING ASSISTANT MELISSA DAVIS 2ND STYLING ASSISTANT KAI GILLUM ALL CLOTHING AND ACCESSORIES BY LOUIS VUITTON MEN’S SHOT ON LOCATION AT THREE PLANES, HIDDEN HILLS BY JAE OMAR AND H2 DEVELOPMENT

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AN EXCLUSIVE LOOK INSIDE LOUIS VUITTON’S CARE & REPAIR SERVICE — WHERE THE WORLD’S MOST SKILLED ARTISANS RESTORE NOT JUST LEATHER AND HARDWARE, BUT THE STORIES HELD WITHIN. BY ADRIENNE FAUROTE PHOTOS COURTESY OF LOUIS VUITTON

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There is a particular kind of object that continues to withstand the test of time, no matter how many times it is worn, carried everywhere, and shaped by the life it accompanies until the two become inseparable. A Louis Vuitton bag is that kind of object — and it was always designed to be. Long before the industry started talking about longevity and circularity, Louis Vuitton was simply building things to last — and making sure that when they needed attention, they received proper care. In fact, repair has been part of Louis Vuitton’s DNA since the Maison opened its doors in 1854. The trunks Louis Vuitton built in the nineteenth century were designed to travel — to survive ship holds and rail cars and the particular violence of long journeys — and to be maintained. That philosophy never left. Every Louis Vuitton piece made today is still conceived with repairability in mind, built so that when the leather softens, the hardware dims, or the canvas shows the honest marks of years of use, the Maison can step in and address it without erasing the past. The scale of this commitment is significant. Across eleven workshops worldwide, Louis Vuitton’s Care & Repair teams handle nearly 600,000 pieces every year. By 2030, the service will expand to cover the full range of the Maison’s product categories. But numbers only tell part of the story. What happens inside those workshops — the precision of it, the patience of it, the genuine weight of responsibility each artisan carries — is something else entirely.

At Louis Vuitton, repairs begin with a conversation. When a client walks into a store with a piece to be restored, the first thing a client advisor does is listen — not to assess damage, but to understand history. Where has this bag been? Who carried it? What does its owner hope to preserve? The dialogue that unfolds is genuine, and it shapes everything that follows. This is, in itself, a remarkable thing: a luxury Maison with the infrastructure and the institutional commitment to treat every repair as a story worth understanding before it can be properly told forward. It takes years to become a Care & Repair artisan at Louis Vuitton. The training is rigorous, rooted in traditional techniques passed down with the same care that the artisans themselves later bring to the pieces entrusted to them. Patience is not a virtue in these workshops — it is a requirement. Outside Paris, Louis Vuitton operates an atelier dedicated entirely to Care & Repair, a facility whose scale and intensity mirror a couture house more than a service center. It is divided into distinct areas, each one devoted to a specific category of work. The Bag Spa handles leather goods. Coated canvas is cleaned with meticulous care. Smooth leather is treated with specialist polishes and recolored using resin creams blended with nourishing ingredients. Exotic leathers receive individual attention — on a crocodile bag, each scale is cleaned separately, then polished and conditioned with mink oil.

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A second area is dedicated to leather goods repair, a space where the artisans understand that each bag holds a history, and in some cases, a family heritage. The responsibility that comes with that understanding shapes every decision made at the workbench. A third area is given over entirely to trunks and cases — the grandest and most demanding of Louis Vuitton’s restorations, where brass hardware is polished by hand, and wooden structures are rebuilt with the same exacting standards that governed their original construction. This year’s Monogram anniversary campaign further spoke to Louis Vuitton’s commitment to the care and repair process. Launched at the start of the year around five of the Maison’s most enduring icons — the Keepall, the Speedy, the Alma, the Noé, and the Neverfull — the campaign was a celebration of the Art of Travel and of the objects that make it possible. It has been accompanied by a series of international pop-ups conceived in the aesthetic of a Louis Vuitton hotel: a lobby, a concierge, customization and care areas, each one offering an immersive experience in the world of the Monogram and the philosophy behind Care & Repair. The message is the same across the board: these pieces were made to go with you. What Louis Vuitton’s Care & Repair service offers, ultimately, is something the luxury industry talks about often and delivers rarely: true longevity. Not the kind that lives in marketing language, but the kind that lives in an atelier outside Paris where an artisan spends hours on a single crocodile bag, cleaning each scale by hand. The kind that lives in an 80-year-old woman carrying a Boston Sport she bought in the 1970s into the Champs-Élysées store, her granddaughter beside her, the bag in remarkable condition and ready to change hands. That is what 130 years of the Monogram actually means. 52 HAUTE LIVING hauteliving.com

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TEN YEARS IN, LOUIS VUITTON’S PARTNERSHIP WITH UNICEF HAS RAISED $28 MILLION — AND IT’S ONLY GETTING STARTED. BY ADRIENNE FAUROTE PHOTOS COURTESY OF LOUIS VUITTON

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On January 12, 2016, in Los Angeles, Louis Vuitton made a commitment alongside UNICEF that was always meant to be long-term — not a moment of philanthropy, but a sustained partnership rooted in a belief the Maison has held since its founding: that the most meaningful things are built slowly and passed forward to the next generation. Ten years later, that commitment has not wavered, and the numbers tell a significant story. Over the decade, Louis Vuitton for UNICEF has raised $28 million, surpassing its minimum annual commitment of 2 million euros every year. But what Louis Vuitton has built alongside UNICEF is harder to quantify than a dollar figure; it is a shared architecture of purpose and one that touches everything from the iconic Silver Lockit collection to the way Louis Vuitton employees experience the cause firsthand. In 2026, the partnership expanded into new territory: POWER4Girls, a global UNICEF initiative dedicated to pre-adolescent girls and young women across 120 countries in South America, Africa, and Asia. The program tackles gender-based violence, barriers to education and healthcare, and exclusion from economic participation. To date, it has reached 5.4 million girls and more than 11 million people. Louis Vuitton’s support aims to enable more than 100,000 girls each year to access the services and opportunities they deserve. 56 HAUTE LIVING hauteliving.com

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The anniversary has also produced three objects that embody the partnership in the most tangible possible way. The Silver Lockit collection, the visible symbol of Louis Vuitton for UNICEF since 2016, returns in three new limitededition bracelets: red cord, blue cord, and a black-and-white version featuring a football-shaped charm. Each piece generates a donation to UNICEF, from $100 per cord bracelet to $200 per silver chain or pendant. The collection has collectively raised $28 million for children worldwide. The second is REBONDS, a new edition of the book first published during the 1998 Football World Cup, which gathers more than 100 figures — among them Céline Dion, Zlatan Ibrahimović, Nigo, and Pedro Almodóvar — photographed across eight cities, each holding a Louis Vuitton Monogram ball. All profits go directly to UNICEF. And perhaps the most extraordinary object of the anniversary is the Louis Vuitton Unity Time Object — a one-of-a-kind horological creation that was auctioned at Sotheby’s in June, with the hammer price donated in full to UNICEF. Its openwork structure of interlocked hexagons and pentagons mirrors the geometry of a soccer ball, fused with the golden hardware of a Louis Vuitton trunk. Time is marked by 144 white diamonds for the hours and 120 black diamonds for the minutes, hand-set against a skeletonized form crafted entirely at the Maison’s historic Asnières workshop. It is presented in a Monogram canvas trophy trunk — and it is, by every measure, a collector’s piece in service of something much larger than collecting. Behind all of it is a commitment Louis Vuitton has been quietly insistent on from the beginning: that the people inside the House should feel this partnership, not just observe it. Each year, the LV World Run brings together employees and their families in Paris in a solidarity race. Each year, five employees travel alongside UNICEF teams in the field through the LV Reporters initiative, returning with stories that make the cause real for the Louis Vuitton family. @hauteliving HAUTE LIVING 57

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Haute

TIME

SETTING THE STAGE Blancpain debuts the more compact 38mm Villeret Ultraplate in steel and red gold, with opaline and salmon dial options, while also revealing plans for an unforgettable fall 2026 ahead. BY ANDRE FROIS

trace its unbroken lineage back to 1735, to an era when Swiss farmers spent the harsh winter months crafting watch components as a side hustle. When Protestant reformer John Calvin banned the wearing of jewelry in Geneva in 1541, this nudged goldsmiths toward watchmaking, eventually leading to the outsourcing of component production to the surrounding countryside, and giving rise to the établissage system. Over the centuries, the manufacture was bolstered by industry vanguards and accomplished divers like Jean-Jacques Fiechter and Captain Robert “Bob” Maloubier, and sustained by the legendary workhorse movements of Frédéric Piguet. When his son Jacques Piguet and Jean-Claude Biver acquired the brand in 1981, the duo thrust Blancpain’s high-end, anti-quartz mechanical roots back into the spotlight to immense acclaim. Industry insiders like to joke that the ‘JB’ logo on Blancpain watches actually stands for ‘Jean-Claude Biver’ — and as with the best jokes, there is a kernel of truth to it. However, after Blancpain was subsumed into the Swatch Group in 1992 — and particularly after Swatch acquired Breguet in 1999 — Blancpain was positioned heavily around its dive identity. The Fifty Fathoms became an enticing, high-horology alternative to the submersible watches of Rolex and Omega. In recent decades, Blancpain’s elegant dress-watch heritage

PHOTOS COURTESY OF BLANCPAIN

BLANCPAIN IS THE ONLY SURVIVING WATCH BRAND THAT CAN

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TIME

PHOTOS COURTESY OF BLANCPAIN

was celebrated far more quietly, partly to avoid overlap with the demure, traditional aesthetic of its sister brand, Breguet. That changed in October 2025, when the relaunch of the 40mm Blancpain Villeret Ultraplate with subtle design updates served as a surprising declaration of intent. For decades, Blancpain’s dress watch line took a back seat to Fifty Fathoms, Bathyscaphe, calendar and moonphase models in both marketing and overall sales. However, recent releases signal a dramatic pivot — a direct response to the global market leaning back toward understated, throwback dress watches. In the 2000s and 2010s, status was signaled by massive cases and hyped silhouettes — you know the usual suspects. In recent years, however, as enthusiasts have gravitated toward sub-40mm proportions — and secondary market demand for vintage-style round dress watches has soared — prestige is speaking softly again. Blancpain has responded in kind with the new Villeret Ultraplate 38mm. It arrives architecturally modernized, intricately finished, and powered by the ultra-thin Blancpain Manufacture Calibre 1150 — a movement directly descended from the high-precision calibers of Frédéric Piguet. Priced at US$12,700 for stainless-steel references and US$26,100 for the red-gold iteration, the Villeret Ultraplate positions itself in direct competition with the recently relaunched Jaeger-LeCoultre Master Control and Omega Constellation Observatory collections in an increasingly popular segment of watch collecting. Measuring just 8.35mm thick with a compact 43.35mm lug-to-lug span, the Villeret Ultraplate features the brand’s classic sage-leaf hands and an openworked sapphire caseback. The lineup spans four distinct variants. Three models have gold-toned opaline dials: a red gold reference with matching red gold numerals, a steel reference with white gold numerals, and a boutique-exclusive steel reference with yellow gold numerals. They arrive alongside a striking steel model with a sunburst salmon dial. All models feature Blancpain’s new tool-free quick-change strap system. And this milestone is merely the opening act of an unforgettable summer and autumn for Blancpain. In August, a limited edition will celebrate the 70th anniversary of the Bathyscaphe, channeling the original 1956 model’s design codes into a more compact case size. This launch will be followed by a new ladies’ collection in September and will conclude with a new high complication in October 2026. @hautetime HAUTE LIVING 59

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TIME

THE FINAL STRETCH TAG Heuer marks the final Dutch Grand Prix at Zandvoort with two 38mm Formula 1 Solargraph limited editions. TAG Heuer is marking an ending. The Dutch Grand Prix will run at Circuit Zandvoort for the last time this year, and TAG Heuer has chosen the moment to introduce two new Formula 1 Solargraph watches, unveiled at the track on August 10, that translate the circuit’s orange-clad intensity into a compact 38mm package. The tie to racing is the whole point. The TAG Heuer Formula 1 line arrived in 1986, bringing color, attitude, and a direct connection to the track into a watch built for everyday wear, and it has stayed close to motorsport ever since. Zandvoort, with its narrow layout, banked corners, and shifting coastal conditions, fits that story, and the sea of orange that fills its grandstands gave TAG Heuer its palette. Both limited editions share a coordinated look. A gray dial is punctuated by an orange-and-red minute track that supplies immediate contrast and recalls the Zandvoort crowd, while the sandblasted steel case, drawn from the original Formula 1 silhouette, gives the watch a matte, purposeful presence. The 38mm diameter is a deliberate return to the collection’s early proportions. Around the dial, the bidirectional bezel carries the line’s daisy motif in orange TH-Polylight, and the signature shields at six, nine, and twelve o’clock, along with the original Formula 1 hour hand, keep the watch tied to its lineage. The two versions differ mainly in how they’re worn. The first, limited to 1,500 pieces, comes on an orange rubber strap that keeps it close to the racing environment. The second, an e-commerce exclusive limited to 1,000 pieces, arrives on a sandblasted steel three-row bracelet. Both are presented in dedicated Formula 1 Limited Edition packaging, and both are waterresistant to 100 meters.

Powering each is the Solargraph caliber TH50-00, which draws energy from natural and artificial light. A single minute in direct sunlight is enough to run the watch for a day; a full charge, reached in under 40 hours of light, delivers up to 10 months of autonomy in total darkness. Even after stopping, the watch restarts with 10 seconds of light, and its accumulator is rated to last up to 15 years. It’s a fitting engine for a watch built around endurance and momentum. Priced at $2,150 for the rubber-strap edition and $2,250 for the steelbracelet version, both are available from August 2026. As Zandvoort takes its final lap, TAG Heuer has locked the moment onto the wrist in a watch built to keep running long after the engines go quiet.

PHOTOS COURTESY OF TAG HEUER

BY ADRIENNE FAUROTE

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COSMOS ON THE WRIST Ulysse Nardin revives its Oechslin-designed Moonstruck in a 20-piece rose gold Blast with five astronomical indications. BY ADRIENNE FAUROTE

ULYSSE NARDIN HAS ALWAYS LOOKED TO THE SKY. THE LE LOCLE

PHOTOS COURTESY OF ULYSSE NARDIN

PHOTOS COURTESY OF TAG HEUER

TIME

Manufacture built its name on marine chronometers that guided ships by the stars, and in the 1980s it reinvented itself around the astronomical genius of Dr. Ludwig Oechslin. Its latest release draws on both: the Ulysse Nardin Blast Moonstruck in rose gold, a 20-piece limited edition that compresses an entire celestial model into a 45mm case. The Moonstruck first appeared in 2009, more than a decade after Oechslin completed his legendary Trilogy of Time, the Astrolabium, Planetarium, and Tellurium, which made Ulysse Nardin the pioneer of the astronomical wristwatch. Where those watches mapped the heavens in dazzling complexity, the Moonstruck distilled the idea to its essence: the Earth, Sun, and Moon in one intuitive, geocentric display. It embodies Oechslin’s guiding rule: keep the complexity in the movement, not in the reading. That reading is remarkable. Five astronomical functions are woven into a single system rather than scattered as separate complications: a worldtimer tracking all 24 time zones, the apparent positions of the Sun and Moon circling the globe, a moonphase accurate to within a day over 40.3 years, the days of the lunar month, and, in a nod to the brand’s maritime roots, the tidal coefficients that predict spring and neap tides. Because everything derives from the true geometry of the Earth-Moon-Sun

system, the illuminated face of the Moon always points toward the Sun, exactly as it does in the sky. The Blast case gives all of this a suitably dramatic stage. At its center, a three-dimensional Northern Hemisphere is engraved on the underside of a domed sapphire box and suspended above the dial, appearing to float over an aventurine base whose natural shimmer reads like a field of stars. The 45mm case pairs an 18-karat rose gold upper section with a black DLC-treated titanium middle and bezel, the contrast of precious metal and technical material that has become the Blast collection’s signature. Underneath is the automatic UN-106, a 338-component caliber with a 50hour reserve, running a silicon escapement and silicon hairspring, technology Ulysse Nardin introduced to modern watchmaking with the Freak in 2001 and still produces in-house. A patented mechanism lets the wearer jump local time forward or back in one-hour steps using case-side pushers, without disturbing any of the astronomical indications or the minute hand. The timing is fitting as Ulysse Nardin is marking its 180th anniversary in 2026, along with 25 years of the silicon revolution it started, and the Ulysse Nardin Blast Moonstruck is a concise argument for why the independent still matters: serious astronomical horology, made legible and worn on the wrist. @hautetime HAUTE LIVING 61

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Louis Vuitton’s Mythica High Jewelry Collection is an epic in 110 pieces — rubies, emeralds, zircons, and LV Monogram-cut diamonds forged into the story of a woman who authors her own legend. BY ADRIENNE FAUROTE STILL LIFE & SAVOIR-FAIRE IMAGES LAZIZ HAMANI WORN IMAGES NICOLAS KANTOR

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Louis Vuitton Mythica Collection, Louis Vuitton High Jewelry Mesmerism earrings in white gold and platinum, two octagonal step-cut emeralds of 1.42 carats and 1.41 carats, and diamonds, Mesmerism necklace in white gold and platinum, one octagonal step-cut emerald of 17.19 carats, one LV Monogram Flower cut diamond of 3.03 carats, and diamonds, and Mesmerism ring in white gold and platinum, one pear-shaped stepcut emerald of 5.50 carats, and diamonds

@hauteliving HAUTE LIVING 15

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Louis Vuitton Mythica Collection, Louis Vuitton High Jewelry Enigma pendant in white gold and platinum, one oval step-cut Santa Maria aquamarine of 52.55 carats, one oval cabochon-cut white Cat’s Eye topaz of 29.69 carats, one oval cabochon-cut pastel greyish-blue Cat’s Eye topaz of 27.12 carats, one LV Monogram Star diamond of 3.56 carats, triangle-cut diamonds and diamonds

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Louis Vuitton Mythica Collection, Louis Vuitton High Jewelry Enigma necklace in white gold and platinum, one oval cabochon-cut white Cat’s Eye topaz of 127.66 carats, two oval cabochon-cut pastel greyish-blue Cat’s Eye topazes of 23.40 carats and 19.23 carats, two round cabochon-cut pastel greyish-blue Cat’s Eye topazes of 19.81 carats and 18.06 carats, five octagonal step-cut Santa Maria aquamarines of 24.80 carats, 11.69 carats, 11.49 carats, 11.10 carats, and 11.01 carats, and diamonds

FASHION

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FASHION

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Louis Vuitton Mythica Collection, Louis Vuitton High Jewelry Conquest earcuffs in white gold and yellow gold, two LV Monogram Star cut diamonds of 1.20 carats each, onyx, and diamonds and Conquest necklace in white gold and yellow gold, twenty-one cushion step-cut rubies for 21.86 carats, one LV Monogram Star cut diamond of 1.07 carats, onyx, and diamonds

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FASHION

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Louis Vuitton Mythica Collection, Louis Vuitton High Jewelry Fortitude necklace in white gold, one cushion step-cut blue zircon of 82.14 carats, and diamonds

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Louis Vuitton Mythica Collection, Louis Vuitton High Jewelry Sirius ring in white gold, one cushion step-cut pastel bluish-green tourmaline of 23.71 carats, Paraiba tourmalines, blue sapphires, emeralds, and diamonds and Sirius ring in white gold, one cushion step-cut pastel blue aquamarine of 17.64 carats, Paraiba tourmalines, blue sapphires, emeralds, and diamonds

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Louis Vuitton Mythica Collection, Louis Vuitton High Jewelry Fortune necklace in yellow gold and white gold, one LV Monogram Star cut diamond of 5.12 carats, yellow diamonds, and diamonds

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Louis Vuitton Mythica Collection, Louis Vuitton High Jewelry Fortune necklace in yellow gold and white gold, twenty-five yellow pearls for 511.28 carats, yellow diamonds, and diamonds

FASHION

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Market: Chicago Specialty: Immigration

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The Haute Residence Real Estate Network boasts the most prominent global directory of top agents and brokers. Designed as a partnership-driven portal, HauteResidence.com connects its affluent readers with the real estate professionals they need. The digital platform features the latest in real estate news, showcasing the world’s most extraordinary residences on the market and expert advice from its real estate partners.

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h a u t e r e s i d e n c e N E T WO R K

Christine Hong

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Lanna Parker

Market: Bel Air, Los Angeles, CA Hilton & Hyland | Forbes Global Properties

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Myra Nourmand

Jeff Chertow

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Riskin Partners Estate Group

Rachel and Reid Hansen

Market: Los Angeles, CA Nourmand & Associates

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805.565.8600 team@riskinpartners.com riskinpartners.com

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Market: Beverly Hills, CA Coldwell Banker Global Luxury

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Market: Boca Raton, Florida Douglas Elliman Real Estate

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h a u t e r e s i d e n c e N E T WO R K

Reggie Bouzy

Mauricio J. Barba

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Carsa Craighton & Romaello D’Franco

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Stefano Balli

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Market: South Beach, Miami, FL Douglas Elliman Real Estate

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Market: Puerto Vallarta, Mexico Tropicasa Realty

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h a u t e r e s i d e n c e N E T WO R K

Melissa Barragan

Jennifer Zales

305.988.4351 melissa@dezer.com melissabarragan.com

813.758.3443 jennifer@jenniferzales.com jenniferzales.com

Debra Johnston

Carrie Nicholson

404.312.1959 debra.johnston@cbrealty.com debraajohnston.com

808.896.9749 cnicholson@kohanaiki.com www.kohanaiki.com

Neal Norman

Dina Singer

808.651.1777 neal@hawaiilife.com nealnorman.com

808.640.2705 dinasinger@gmail.com dinasinger.com

Charlene M. Hamiwka

Vicki Gaily

207.671.0085 charlene@harcourtswfp.com waterfrontandfineproperties.harcourtsna.com

Office 201.934.7111 Cell 201.390.5880 vgaily@specialproperties.com specialproperties.com

Frank D. Isoldi

Michael DeRosa & Kelli Ide

Market: Sunny Isles Beach, FL Dezer Platinum Realty

Market: Atlanta, GA Coldwell Banker Realty

Market: Kauai Island, HI Hawaii Life

Market: Maine Harcourts Waterfront & Fine Properties

Market: Westfield, NJ Coldwell Banker Global Luxury Office direct 908.301.2038 Cell 908.787.5990 frankisoldi@gmail.com theisoldicollection.com

Market: Hawaii Island, HI Kohanaiki Realty, LLC

Market: Hawaii Island, HI Real Broker

Market: Bergen County, NJ Special Properties div. of Brook Hollow Group

Market: Skaneateles, NY Michael DeRosa Exchange, DeRosa & Ide 315.406.7355 michaelderosa@michaelderosaexchange.com DeRosaExchange.com KelliIde.com

Sylvia Woods

Leslie S. Modell

914.523.5624 sylvia@sylviawoodsrealty.com wrheritageproperties.com

212.606.7668 leslies.modell@sothebys.realty modellteam.com

Market: Rochelle, NY Weichert Realtors, Heritage Properties

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Market: Tampa Bay, FL Coldwell Banker Global Luxury

Market: Midtown East, NY Sotheby’s International Realty

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h a u t e r e s i d e n c e N E T WO R K

h au t e re si d e n c e . co m

The premier list of the world’s most exclusive properties by some of the most renowned real estate development companies.

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h a u t e D E V E L O P E R N E T WO R K

Eugenia C. Foxworth

LUXE Forbes Global Properties

Market: Uptown, New York Foxworth Realty

Market: Lake Oswego / Portland / West Linn / Bend, OR

212.368.4902 eugenia@foxworthrealtyonline.com foxworthrealtyonline.com

503.389.2112 info@luxeoregon.com luxeoregon.com

Moira E. Holley

Robert F. Davey

206.612.5771 moira@moirapresents.com moirapresents.com

506.8870.8870 bob@bdavey.com costaricachristiesrealestate.com

Market: Seattle, WA Realogics | Sotheby’s International Realty

Market: Costa Rica / Nicaragua Christie’s International Real Estate Costa Rica

Blue Zone Realty International - Tim Fenton Market: Utiva Puntarenas, Costa Rica 415.251.2332 tim@bluezonerealty.com bluezonerealty.com

FOUR SEASONS PRIVATE RESIDENCES COCONUT GROVE

2699 South Bayshore Drive, Miami , Fl 33021

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phone: 305.800.2699 |

info@2699coconutgrove.com |

2699coconutgrove.com

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h a u t e D E V E L O P E R N E T WO R K

h au t e re si d e n c e . co m

MV GROUP USA / MANNY ANGELO VARAS

MIAMI - 1200 Brickell Ave, Suite 600 Miami, FL 33131 | FORT LAUDERDALE - 3020 NE 32nd Ave, Suite 117 Ft. Lauderdale, FL, 33308 WEST PALM BEACH - 1217 South Flagler Dr St. 300 West Palm Beach, FL, 33401 | phone: 305.809.8917 | mvgroupusa.com

BLUE HERON

W Sunset Rd. Ste. 501 Las Vegas, NV 89113

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phone: 702.256.8866 7900

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marketing@blueheron.com |

blueheron.com

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h a u t e D E S I G N N E T WO R K

Market: Coral Gables, FL

Balli Group

DawnElise Interiors

3 05 . 6 69 . 51 6 0 | t h e b a l l i g ro u p. c o m i n fo @ t h e b a l l i g ro u p. c o m

9 5 4 . 6 0 9 . 7 1 1 3 | d aw n @ d aw n e l i s e i n t e r i o r s . c o m d aw n e l i s e i n t e r i o r s . c o m

Market: Belgium

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Market: Fort Lauderdale, FL

Market: Coral Gables, FL

Binst Architects, Luc

Karen Asprea

+ 32 . 3 . 2 1 3 . 61 . 61 m a i l @ b i n s ta r c h i t e c t s . b e

917.309.4354 | karen@aspreastudio.com aspreastudio.com

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HAUTE

LOS ANGELES

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CELEBRATES KAWHI LEONARD’S COVER AT KATSUYA BRENTWOOD 1

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ON TUESDAY, JULY 21, GUESTS GATHERED FOR AN INTIMATE

dinner at Katsuya Brentwood’s Dragon Room in celebration of Haute Living’s July 2026 cover star, NBA legend, and Clippers All-Star Kawhi Leonard. Candle accents, mirrored decor, and the room’s celebrated mural wall set an elevated, intimate tone for 30 guests. Katsuya, the Japanese restaurant concept from sbe (led by Sam Nazarian) and Master Sushi Chef Katsuya Uechi, is known for its Philippe Starck-designed interiors and theatrical dining spaces. Leonard arrived with partner Kishele Shipley, joined by Haute Living’s April Donelson and Elle Harrington, sbe’s Jay Patel and Frankie Delgado, Dr. Sep Pouresa, Ali Lasky, and Leonard’s personal guests. The menu featured wagyu gyoza, chicken katsu, tomahawk short rib, and miso black cod, paired with Malibu Rocky Oaks wine and signature Patrón cocktails. Donelson closed the night with a toast to Leonard.

PHOTOS COURTESY OF NICK VELASCO

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1. The Dragon Room 2. Kawhi Leonard at Katsuya Brentwood 3. Guests seated at dinner 4. Leonard and guests at Katsuya Brentwood 5. Sushi from Katsuya Brentwood 6. A toast to the Haute Living July 2026 cover star

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CELEBRATES PJ WASHINGTON’S COVER AT AVRA DALLAS, PRESENTED WITH RTS 1

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ON TUESDAY, AUGUST 25, HAUTE LIVING CELEBRATED

Dallas Mavericks standout PJ Washington with an intimate dinner at AVRA Dallas, presented in partnership with Recycle Track Systems (RTS), a technology-driven waste management and sustainability company with a presence across the Dallas market. The evening marked a homecoming celebration for the Dallas native. Long before the NBA, Washington kept a handwritten list of goals beside his bed, including one day playing for his hometown Mavericks. Drafted 12th overall by Charlotte in 2019, Washington was traded to Dallas in February 2024 in exchange for Seth Curry and Grant Williams, helping push the Mavericks to the 2024 NBA Finals in his first postseason with the team. He has since signed a fouryear, $88.8 million extension. Washington was joined by wife Alisah Washington and a room of family and friends including Les Coney, Greg Lettieri, and Kevin Kelly. 5

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PHOTOS COURTESY OF OMAR VEGA

1. Guests at AVRA Dallas 2. PJ Washington 3. Washington with guests 4. Washington and Alisah Washington 5. Washington at dinner 6. AVRA Dallas Menu 7. April Donelson and Lorraine Lettieri 6

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Haute

PARTNERS

Architectural Cosmology Introducing ‘Three Planes’ by Jae Omar & H2 Development. ‘THREE PLANES,’ THE LATEST ARCHITECTURAL REVERIE FROM

visionary designer Jae Omar and H2 Development, is a modern equestrian estate nestled in the gated and exclusive enclave of Hidden Hills. Drawing respectful inspiration from the Chumash people, the Native American tribe who once inhabited this land, the residence is a spiritual and architectural homage to their cosmology — three interconnected worlds: the sky, the earth, and the underworld. Unlike Western belief systems, the Chumash held that humans could, with great effort, traverse these realms. Three Planes is a physical manifestation of that mythic journey. “The Chumash cosmology speaks of the three realms, and I wanted to create a space where you could feel all three at once, and move between them with intention. Every material, every line, every shadow was chosen to honor the Chumash belief in transformation and transcendence,” notes Omar. Set on a generous property that spans over an acre, the approximately 11,000-square-foot newly constructed residence unfolds across two levels, with a layout that balances grandeur and intimacy. The inspired home features five bedrooms, six full bathrooms, and an additional powder room. The spa-grade primary suite sits on the main floor, while the upper level features all four secondary bedrooms, each with an ensuite bathroom. Ideally positioned, a dedicated wing of the home offers a sanctuary of wellness and entertainment. Upon arrival, the grand exterior greets you with a tactile blend of Shou Sugi Ban siding, Santa Barbara stone cladding, and hand-applied plaster, all crowned by slate and metal roofing — a modern ranch aesthetic that seamlessly integrates into Hidden Hills’ equestrian heritage.

Inside, Omar’s signature organic modernism takes form through rich woods, textured stone, and earth-toned plaster finishes. Vaulted ceilings with exposed wooden beams soar above the living spaces, while lightcolored wood flooring and plush, neutral-toned furnishings create a grounded, serene atmosphere. Wall niches throughout the home cradle a curated collection of antique pottery, a silent tribute to the Chumash’s artistic legacy and spiritual depth. Anchoring the home is a bespoke kitchen finished with the highest-end materials and appliances, joined by a generous breakfast nook, walk-in pantry, and access to both the formal living and formal dining rooms. A plush media room, convenient wet bar, and private study round out the primary living areas, while a temperature-controlled wine room offers a refined touch for collectors. The primary suite is a retreat unto itself, featuring a spa-level bathroom with steam, sauna, and a sculptural soaking tub. The wellness wing includes a fully equipped gym and dedicated spa, designed for both physical rejuvenation and spiritual reflection. Outside, the property continues its narrative with a resort-style pool and spa, fire pit, outdoor kitchen, and a yoga deck. Rounding out the property is a detached horse stable that stands as both a functional amenity and a nod to the region’s equestrian soul. Throughout Three Planes, every material, detail, and spatial gesture is imbued with meaning, creating an architectural journey through the Chumash belief in transformation, transcendence, and connection. The property is located at 24877 Eldorado Meadow, Hidden Hills, CA.

PHOTOS COURTESY OF CRUZIO STUDIOS

BY HAUTE LIVING

86 HAUTE LIVING hauteliving.com

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PARTNERS

9/19/26 7:11 PM

HB | HAUTE BLACK

THE WORLD, AT YOUR REACH From the temples of Kyoto to the peaks of the Dolomites, the plains of the Serengeti to the shores of Bali – Haute Black opens the door to the world’s most coveted destinations. 50 HAUTE LIVING hauteliving.com ADS.indd 1

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