WYCLEF JEAN, New York April/May 2026

WYCLEF JEAN

THE QUANTUM LEAP

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CREATIVE DIRECTOR

Michelle Restante michelle@hauteliving.com

AUTO CONTRIBUTOR

Tim Lappen

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Wyclef Jean’sQUANTUM LEAP

THREE DECADES AFTER REWRITING THE RULES OF GLOBAL POP, WYCLEF JEAN IS PREPARING HIS MOST AMBITIOUS PROJECT YET: QUANTUM LEAP , A SEVEN-ALBUM JOURNEY THROUGH THE GENRES, IDEAS, AND CULTURAL CURRENTS THAT HAVE SHAPED HIS LIFE.

BY LAURA SCHREFFLER

PHOTOGRAPHY ALBERTO GONZALEZ

STYLING KELLY BROWN

GROOMING DAR BALTHAZAR

SHOT ON LOCATION AT DUA MIAMI

The day after Easter, Wyclef Jean is in a car — fresh off a long-haul flight from Seoul, which, for most mortals, would constitute sufficient reason to be horizontal and unreachable until further notice. I know this because I am one of those mortals. I need a bath, two hours of silence, and at a minimum, one very good candle before I can be reasonably expected to interact with anyone after a long flight. I told him as much. He laughed. Because Wyclef Jean, it turns out, had spent Easter Sunday at his spa, getting his peace of mind back.

Only, his spa is a church. Specifically, his mother’s church — the one he flies back to, without fail, once a month, no matter where in the world the calendar has deposited him. Seoul this week, sure. But Easter Sunday? He’s in a pew, next to his mama, and by the time we speak the following day, he is energized in a way that makes me feel genuinely convicted about my own self-care routine (the bubble baths are good, but they are not this).

Here is what you need to understand about Wyclef Jean before you understand anything else about Wyclef Jean: he is a preacher’s son. Not in the metaphorical, vaguely-spiritual-artist way, but literally. His father built churches. Bilingual ones in Brooklyn, then another in Newark — always in the roughest neighborhoods, always on purpose. “People who already got faith don’t need faith,” Wyclef tells me, paraphrasing a man who clearly passed down both the theology and the logic. His father was, in his words, a community activist first and a pastor second. The church was just the most honest building he knew how to put up.

Wyclef grew up inside that building. Him, his brothers and sisters, a gospel circuit, a Haitian church band called the Gene Family — kid stars before anyone outside those walls knew their names. There’s an album cover of him at 16 in the church, he tells me, and he absolutely needs to find it and send it to me. “It’s pretty cool.” I believe him.

So: the church is the spa. And the spa explains the energy. And the energy explains everything else.

Because here’s the thing about the energy: it is not incidental to Wyclef Jean. It is the whole product. Anyone who has ever been to a Wyclef show — which, I will confess with some embarrassment, I have not, a fact he responded to with a very immediate “We gonna make that happen” — will tell you the man moves like he is being paid by the movement. They call him the energy god. His workouts are calisthenics and trampoline flips. Trampoline flips. Can we take a moment to unpack that? The man is 56 years old and still flipping, just on a trampoline now instead of a mat, which he describes as a concession to wisdom rather than age, and I respect the framing. He loves infrared saunas. He loves the inner child. He is, genuinely, one of those people for whom the phrase "me time" is not just a wellness buzzword, but an actual survival strategy — and he’s watched what happens when people skip it.

He brings up the late Swedish DJ Avicii quietly, the way you mention someone you loved and lost before you’ve figured out how to say it cleanly. Wyclef spent a whole winter with him in Sweden. Avicii called him his

Haitian uncle. And then one day the world lost one of its most brilliant people to the particular cruelty of moving too fast and forgetting to stop. “I’ve watched so many friends...” he says, and doesn’t finish the sentence, because he doesn’t have to. He doesn’t need to. Steve Jobs finished it for all of us — and Wyclef, who has been in rooms with some of the most brilliant and most broken people in music, knows exactly what that deathbed reckoning sounds like when it arrives too early.

The earth, as he puts it, is not going to stop for you. So you might as well find your church.

All of which is to say: when Wyclef Jean tells you he is about to release seven albums in one year — seven albums, seven genres, 49 tracks, one very ambitious man — you believe him in a way you might not believe anyone else. Because the infrastructure for this kind of output is not just talent (though the talent is, obviously, not in question). It’s the infrared sauna. It’s the trampoline. It’s the Easter Sunday pew next to his mama. It’s a man who has been quietly maintaining himself for thirty years while the world consumed itself whole.

The project is called Quantum Leap. He started it right before Covid, which, when you sit with it for a moment, says something about the kind of creative instinct that doesn’t wait for conditions to be ideal. It’s already 80 percent done. And the concept is — I want to say deceptively simple, except nothing about this is simple, it’s just that he explains it simply: seven albums, each one a different genre, each one a masterclass in a corner of music he has spent three decades inhabiting. No box. No genre. Just good music and bad music, and Wyclef Jean has opinions about which is which.

“I always told people, y’all will never be able to put me in a box,” he says, and it lands less like a boast and more like a statement of physics.

The albums roll out like a season of television — which is, not coincidentally, exactly how he conceived them. He watches shows the way a director watches them, downloading entire series on planes and consuming them whole, addicted to the cliffhanger, to the thing that makes you reach for the next episode before you’ve fully processed what you just watched. “What’s next?” he says. That’s the question he wants Quantum Leap to keep asking. That’s the architecture.

Here is the full lineup, because you’re going to want it:

Clef Notes drops in June, and it is the origin story. Hip-hop. The young Wyclef with his black-and-white notebook, pen to paper, before anyone knew what was about to happen. He describes it as his Shakespearean pen coming to life, like The Jungle Book, except the jungle is hip-hop and the boy who came out of it changed the genre’s entire sense of geography. The features are — and I say this with full awareness of how casually he delivered this information — G Herbo, Lil Wayne (not just his brother, he says, but his twin brother), and Andra Day, who played Billie Holiday and whose voice Wyclef describes as “so lush” with the reverence of a man who has worked with everyone and still gets moved.

The remaining albums have, at press time, a release order that is ambiguous. Caribbean Cowboy is his country album/opus, and before you raise an eyebrow, know that Wyclef Jean was combining hip-hop and country music before it was a conversation anyone was having. He called Kenny Rogers. At his ranch. To do a version of "The Gambler." Rick Rubin later called him for the Johnny Cash tribute. He performed "Delia’s Gone"; he did songs with Big & Rich. The man has receipts. On the album: Melissa Etheridge (who he says stops him every time she sees him to ask 'when is my song coming out,' which is the most relatable Melissa Etheridge detail I have ever encountered); and Drake White, who he describes as an 'amazing click,' which in Wyclef-speak I have come to understand means something like a person whose frequency matched mine immediately.

The country album and the jazz album, he tells me, will surprise people the most. On the jazz: he studied it; he was a jazz major. And what he’s building is not a jazz album that jazz heads will roll their eyes at — it’s jazz fusion so sonically adventurous that he wants DJs to be able to pick it up and just play it. The album is called Q, and it is both dedicated to and an homage to the late, great Quincy Jones — his mentor, his North star, the man whose Gershwin brain Wyclef says he inherited when it comes to casting collaborators.

In between: Le Mardi Gras, the world album, which he describes as what it would sound like if he remixed "Hips Don’t Lie," "Maria Maria," and Brazilian funk all at once — your feel-good album, your dinner party album, your windows-down album. Then. The Prodigal Son, the gospel record, arriving in November, routed directly back to the 14-year-old in the pew and the church band and the father who built sanctuaries in neighborhoods that needed them. There's Grown and Sexy, the soul and R&B album — for Valentine’s Day, featuring, if Wyclef has his way, Jennifer Hudson. He told her on her own show: she needs to be on this album. He does not appear to have taken no for an answer, which tracks. And finally, closing the circle: One Night in Kingston, his first full reggae album, a Caribbean boy by way of Haiti, ancestors routed through Puerto Rico, Cuba, and Santo Domingo, coming all the way home just in time for the 30th anniversary of The Carnival.

That’s the journey. That’s all seven. I need a moment.

The casting of collaborators, he explains, comes from what he calls his Quincy Jones brain — which means he is not interested in follower counts or Billboard positions: he’s interested in discovery, in the person who makes him say 'whoa, who is this?' In the unexpected pairing that trips you out and makes you go back and listen again. “When Quincy Jones and Michael Jackson got together, they did Thriller,” he says, as if the example is obvious, which it is.

But there is one collaboration I haven’t mentioned yet, one that the internet has been quietly losing its mind about for months. The one that, when I bring it up, produces the most charged pause of our entire conversation.

Wyclef Jean and Ms. Lauryn Hill are back.

They’ve performed together at the Grammys, at SNL50, at Roberta Flack’s memorial. There is more to come — he says it carefully, the way you hold something precious — and the energy between them is, in his words, “definitely amazing.” He describes the reconciliation — that word, reconciliation, chosen deliberately — as the thing the world should be most grateful for. Not the music yet, but the repair. The fact that two people who made some of the most important music of a generation have found their way back to each other.

He refers to his former Fugees bandmate as the "Kobe Bryant and Shaquille O'Neal" of music. I ask him, because I have to, who is Kobe and who is Shaq in this scenario. He doesn’t even hesitate. Shaq is from Bergen County. He is definitely Shaq. She is definitely Kobe.

That is an objectively perfect answer and I will not be taking questions.

Part Two PURE SOUL, BIG PLANS, AND THE WJ CARNIVAL

After hearing Wyclef Jean describe his forthcoming music venue — the WJ Carnival, a diaspora experience disguised as a real estate venture, a place where you walk in because you can’t get to Jamaica or Trinidad or Bermuda and you walk out having been to all three — I try to put it into perspective. It's a massive undertaking.

“It sounds like Bad Bunny at the Super Bowl meets Cirque du Soleil meets American Idol," I say. But is it accurate?

He looks at me — or whatever the video-call equivalent of looking at someone is — and said: “You got it 100 percent. Yeah, you got it.”

I got it because it’s not actually that complicated, once you understand what Wyclef Jean has always been doing. The same thing Bad Bunny did on that Super Bowl stage — the thing that made half the country suddenly realize they had been sleeping on an entire hemisphere of American music — is the thing Wyclef has been doing since 1996. Only, he did it first, he did it before the algorithm existed to make it viral, and he did it with a guitar

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“THE EARTH IS NOT GOING TO STOP FOR YOU. SO YOU MIGHT AS WELL FIND YOUR CHURCH.”

and a Haitian accent and a refusal to explain himself to anyone.

The WJ Carnival is, in a sense, the physical address of that argument. He wants to pick up where Jimmy Buffett left off with Margaritaville, except the through line is not one genre or one vibe but an entire diaspora. The food, the performers, the staff — 70 percent of whom, he insists, will be super creatives, waiters and busboys who are secretly geniuses, the next Mariah Carey, the next Wyclef Jean, working tables while they wait for someone to notice. “I need a place where that kind of magic and raw talent can be cast again,” he says, and he sounds less like an entrepreneur and more like a man with a mission. Which, when you trace the lineage back to his father building churches in the roughest neighborhoods in Newark, makes complete sense.

He has the brain of Steve Rubell, the man who created Studio 54. He has the brain of Guy Laliberte, who gave the world Cirque du Soleil. He has thirty years of knowing exactly how to make a crowd feel something. What he is building is not a restaurant, not a music venue, not a talent showcase — it’s all three, curated by yours truly, and if you’re not excited about it then I don’t know what to tell you.

But here is the thing about Wyclef Jean, the thing that keeps catching me off guard throughout our entire conversation, the thing that makes him actually jump off the page instead of just filling it: he describes all of this — the venue, the conglomerate, the Magic Johnson years he’s gunning for — and then, when I ask him how he would describe himself, fundamentally, as a human being, he says:

“Pure soul. Like what you see is what you get.”

Not the Grammy winner. Not the Fugees mastermind. Not the man with more titles after his name than a medieval duke (Chief Creative Officer of OpenWav, Global Ambassador for Global Citizen, Global Culture Advisor of stablecoin Circle, consultant for Google DeepMind — we’ll get there). Just: pure soul. A person who moves through the world in his own skin and his own energy and has never felt the need to put on the fabricated mask that, he observes, everyone else seems to be wearing.

“Every part of the world, at least one person knows your name,” his friends tell him. He hears it, he processes it, and then he files it somewhere that doesn’t appear to affect his actual behavior. He likes to connect with humans. That’s the whole thing.

I find this genuinely disarming, and I find it even more disarming because everything else about his life in 2026 suggests a man who is operating on a scale that most people would find alienating at minimum and destabilizing at worst.

And on that note, speaking of scale, let’s get into the tech stuff, because it’s actually incredibly interesting.

Wyclef Jean is not at the table of the AI conversation because someone invited him: he is at the table because he walked in and sat down and started talking, which is more or less how he’s handled every room he’s ever entered. His position with Google DeepMind is as a consultant, and his position on AI in music is one of the more nuanced takes I’ve encountered from anyone, let alone someone who also plays upwards of 12 instruments and can still do a backflip.

He is not worried that AI will kill music —he is worried that humans will get indolent and let it. “Is the AI smarter than us,” he asks, “or are humans getting more lazy?” He thinks the answer is the second one, and he also thinks the solution is not protest or alarm but engagement — getting inside the machine, understanding it, being Voltron when you meet it on the corner. A real artist, he says, who actually puts in real time, who understands what’s happening — for them, this is an exciting moment. The only people sitting on the sideline of should have, could have, would have are the ones who decided the AI was a threat instead of a tool.

He built SodoMoodLab, a platform for young composers — 15, 16 years old — to learn to score for film and television, to build their catalogues, to let Hollywood find them before Hollywood outsources the whole job to a machine. His philosophy: AI can generate source music, sure. But a young human composer who understands AI as a tool is going to come up with things the AI is not thinking of. “I still want people in Hollywood and the

humans to still have faith,” he says, and there’s something almost pastoral about it, a preacher’s son trying to keep the congregation from losing theirs.

OpenWav is simpler in concept and quietly radical in implication: it gives artists a platform to own their IP and build direct relationships with their audiences. A thousand people giving you a hundred dollars a year. That’s it. You own your music. You have an AI assistant manager, you understand how your merch works. In an industry that has spent two decades finding increasingly elegant ways to pay artists less, this is either utopian or obvious, depending on how you look at it — and Wyclef presents it as obvious, which may be the most revolutionary thing about it.

And then there’s Circle — the stablecoin, USDC — where he is the Global Culture Advisor. He grew up watching people in Haiti wire money home through Western Union, watching those fees eat into every dollar that was supposed to feed someone. Stablecoin at scale — 1.5 billion people who currently can’t access traditional financial infrastructure — means a few pennies per transfer instead of an arm and a leg. It’s not crypto as speculation: it’s crypto as the thing his father was doing with those churches: going to the people who need it, not the people who already have it.

“In order to make a difference,” he tells me, “you can’t be outside the door, poking through the window. No one can hear you. I need to be in the room.”

His father would recognize that logic immediately.

Which, when you zoom out, is the whole thesis. Every room he's walked into — the tech boardrooms, the AI tables, the stablecoin summits — traces back to the same source code. The music. The mission. The preacher's son from Newark who never forgot where the church was built.

There's a version of this story that focuses on the legacy — the résumé, the three decades, the celebrity producing credits that trail behind him like a comet tail. But that version of the story, Wyclef makes clear, is not the one he's interested in telling right now. He's interested in the arc before 60, the chapter he didn't finish when he stepped away from music to run for president of Haiti and then came back to find the industry had rearranged itself entirely while he was gone. The sentence he left mid-thought.

“Musically, this project is going to complete that last arc,” he says. “Where my heart — I feel like I put it in.”

And then, going into his 60s, the next chapter opens. The WJ Carnival, the real estate, the Magic Johnson years, the conglomerate built on thirty years of cultural capital. He’s not retiring from music — he makes that clear, slightly amused that the question had to be asked — but he’s changing the ratio. Less stage, more seat. The JZ spaces, the Ellen spaces, whatever those spaces look like and whatever you want to call them when it’s Wyclef Jean sitting in them.

Either way, he promises this: “You’re about to get the best Wyclef." And the way he says it, unhurried, certain, not performing certainty but simply possessing it — I believe him. Everyone who has been listening since The Score, he promises, is going to hear him rap better than he rapped half a lifetime ago. A new generation that doesn’t know who he is — the ones who know the sample but not the source, who heard G Herbo’s “Emergency” built on his own “911” — is going to ask: "Who is this guy?"

They’re about to find out.

Before I let him go — and I stay too long, as you do when the conversation is this good — I ask him one more thing, my gold standard. What is the greatest luxury in his life right now? Not the career, not the ventures, but the life.

He doesn’t even have to think about it.

Going to church with his mama once a month. His daughter, Claudinel, who is 21 and still says, 'Dad, let’s watch a movie.' His wife, Claudinette — the woman who held him down since he was 19 — and, in his words, a "Netflix-and-chill evening" with no agenda and nowhere to be.

“The greatest luxury,” he says, “is the woman who held me down since I was 19 years old. Wifey. Just that kind of simplicity — I cherish that. I wouldn’t trade that for the universe.”

And there it is, right there, the very definition of "pure soul." That’s the whole bio. Everything else? That's the footnote.

“I ALWAYS TOLD PEOPLE, Y’ALL WILL NEVER BE ABLE TO PUT ME IN A BOX.”

RADIANT BY NATURE Rare by Design

INSIDE THE EXTRAORDINARY YLANG-YLANG AT THE HEART OF J'ADORE INTENSE.

BY ADRIENNE FAUROTE PHOTOGRAPHY COURTESY

There are ingredients, and then there are obsessions. For Francis Kurkdjian and the house of Dior, the ylang-ylang flower falls squarely into the latter. Sourced from the volcanic slopes of northwestern Madagascar, the ylang at the heart of J'adore Intense is one of the reasons the fragrance exists the way it does. Solar, sensual, and luminous in a way that few raw materials in perfumery can claim, this particular extract was chosen not only for what it smells like, but for how it is grown, harvested, and brought to life. The result is a fragrance that carries the warmth of a tropical flower and the conscience of a house that takes both beauty and responsibility seriously.

The ylang-ylang flower has captivated the world for centuries. An evergreen tree native to the Maluku islands of eastern Indonesia — known botanically as Cananga Odorata — it grows in shaded, nutrientrich soil among the tropical rainforests of Southeast Asia, northern Madagascar, and the Comoros archipelago. In Tagalog, the Filipino language, it is called the "flower of flowers." Sensual, sweet, and slightly spicy, the flower's rich fragrance releases captivating hints of jasmine and monoi, and its soothing, therapeutic qualities were prized by Asian princes who scented their palaces with it for centuries.

Distilled for the first time in 1860 in Manila by a navigator named Albert Schwenger, the ylang flower yields an essential oil of exceptional richness. To produce a single pound of ylang essential oil, harvesters must pick and distill between 40 and 50 pounds of flowers. That ratio alone explains why this ingredient is treated with the reverence it is.

The ylang-ylang selected for J'adore Intense has been grown in northwestern Madagascar since 1997, in the fertile plains of the Sambirano River at Ambanja, where volcanic soil and a tropical climate create optimal conditions for the flower to reach its fullest aromatic potential. It is cultivated there by families of producers whose knowledge of the flower and its land runs deep.

What makes this particular ylang extraordinary — both as a raw material and as a story — is the complete distillation process that Dior Perfumes employs. Rather than fractioning the essence, the process preserves every facet of the flower. The fruity banana accents that can characterize ylang in lesser extractions are minimized. What shines through instead is solar radiance — the luminous, warm quality that defines J'adore Intense and makes it unlike any other interpretation of the flower.

The flowers themselves are fragile. They are handpicked every day and distilled immediately after harvest to preserve the full richness of their aromatic profile. After distillation, the flowers are not discarded. Instead, they are composted and spread back across the fields as fertilizer. The distilled vetiver roots grown on these same farms are used as mulch. Every element of the process circles back to sustain the land and the community that tends it. It is a supply chain that functions as an ecosystem — one that guarantees the quality of future harvests by treating the current one with respect.

The ylang extract at the heart of J'adore Intense guarantees a unique luminous and sensual signature — one that could only have come from this specific flower, grown in this specific place, handled in this specific way. Madagascar supplies exceptional natural materials, and the ylang from the Sambirano River plains is among the finest examples of what this island produces when expertise, ethics, and extraordinary terroir align.

Francis Kurkdjian, who created J'adore Intense, understood from the outset that the fragrance required the most beautiful, the most solar, and the most potently voluptuous ylang flowers available. The search ended in Madagascar. The result — a fragrance of warmth, radiance, and depth — is the fullest possible expression of a flower that has been called the flower of flowers for good reason.

J'adore Intense is, at its core, a story about devotion — to a flower, to a place, to a standard of craft that refuses to compromise at any stage of the process. Some ingredients are chosen, but this one was pursued across continents and through decades of cultivation, guided by an ethical framework that ensures the flower and the people who tend it will be there for generations to come.

Ferrari 12Cilindri Spider

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

BY TIM LAPPEN

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

Please note that Ferrari named it with no space between “12” and “Cilindri”, as they have done with other models on several occasions. Maybe, like the cars that they create, they’re always in a hurry. Regardless of the genesis of that nomenclature, this car is no poseur

as it has all of the class, nimbleness and oomph required to be a toptier two-seater grand touring convertible.

This is the part of the story where I typically would mention the supercharger or the twin-turbo and all of the power and torque which comes from that set-up. However, this is a naturally aspirated car, meaning that it breathes unfettered and unboosted air. That allows for a much more responsive accelerator pedal and a more appealing sound, unmuffled by any blockage of the intake or exhaust sounds. And when you buy a Ferrari, the sound alone is worth the price of admission so why not enjoy it, especially when this twelve-pot engine can redline at 9,500 RPM. It has the scream of the banshees, and I mean that in a good way. Some cars foreshadow their arrival with clever grilles, fancy headlights and multi-straked running lights. Ferraris arrive with great aplomb, being at once gorgeously elegant and menacingly snarling. The 12Cilindri does all that and more, especially at a time when all-electric seems to be the current moteur de jour. This is a car that joyously lights up any scene (and tire).

Now it’s time for the fun facts:

Horsepower – about 820

Displacement – 6.5 liters

Torque – 500 ft-lbs

Redline – 9,500 0-60 mph – Under 3 seconds

Those stats, when coupled with the looks and sound of this primo machine, typically bring the buyer home. The looks and performance of this machine are next-level.

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

Back to the original concept of the look of this wonderous machine, the stance is like a tiger getting ready to pounce, emphasized by the long nose/short tail and further enhanced by the stately 21” wheels which, depending upon the buyer’s desire, can be shod with low-profile tires framing colored-to-order brake calipers (“mine” wore gold, thank

you very much). And while we’re on the topic of the build sheet, take a gander at carbon fiber bits and pieces (engine covers, filter box cover, front spoiler, etc.), which added another five large to the total. Starting with a base price of $507,00 and change, my ride ended up with a total of $661,364 and; I thought that each of those options provided the perfect complement to an awesome car.

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

THE WATCH BUILT FOR TRAVEL

BY ADRIENNE FAUROTE

THERE IS A WORD THAT LOUIS VUITTON HAS CARRIED WITH IT FOR over a century, stitched into the lining of every trunk, embossed onto every case clasp, implicit in every journey the House has ever equipped. That word is “escale” — French for stopover, for the moment between departure and arrival, for the pause that makes the journey meaningful. It is a word that contains within it the entire philosophy of a House built on the romance of travel: that the destination matters, but so does everything in between.

The Louis Vuitton Escale watch collection was born from that philosophy. Since its debut, it has existed as a horological extension of the House’s oldest and most essential story — the idea that time, like travel, deserves to be experienced with intention, elegance, and a certain reverence for craft. Now, in 2026, the Escale begins what Jean Arnault, director of Louis Vuitton Watches, calls a new chapter. It is a chapter defined by four new in-house calibers, five new additions to the permanent collection, and a decisive step forward into the world of haute horlogerie complications. It is, by any measure, the most ambitious iteration of the Escale yet.

THE FOUNDATION

To understand where the Escale is going, it helps to understand where it came from — and what it has always represented within the Louis Vuitton watch universe.

The collection was born from the House’s identity as the original authority on the art of travel. Louis Vuitton has been equipping journeys since 1854, and the Escale was conceived as a direct horological expression of that heritage. Its design language draws explicitly from the House’s legendary trunks: the instantly recognizable lugs, inspired by the brass brackets and corners of

historical trunks, give the Escale its architectural identity in a way that no other watch collection in the world replicates. The connection between object and heritage is not symbolic alone — each Escale is delivered in a specially designed presentation trunk, a refined homage to the House’s storied travel history that makes the unboxing experience as considered as the watch itself.

Relaunched in 2024 with a refined design language and a time-only configuration, the collection established a new visual standard for the Escale before expanding into the territory it now occupies. The 2026 additions — four new in-house movements, five new references — represent not just a departure from that standard, but an evolution of it. “This new chapter for Escale is aligned with the transformation we have been going through over the last four years,” Arnault explains. “The challenge for us was to elevate historical icons like the Worldtime to our new craftsmanship standard, and the difference is incredible. Details around the case, dial, movement finishing — all the details were carefully thought through.”

The thread connecting every new piece is what Arnault calls a search for coherence among movement, purpose, and design. It is a simple idea, and a demanding one. In watchmaking, coherence of this kind — where every element of a watch justifies its presence by serving the whole — is far rarer than it should be. In the new Escale collection, it is everywhere.

At La Fabrique du Temps Louis Vuitton, the atelier at the heart of the House’s watchmaking ambitions, master watchmaker Michel Navas frames it in equally direct terms. “The new Escale represents functional watchmaking at its finest. Each caliber was designed with clarity and precision in mind — complications that truly serve the traveler, finished to the highest standards of haute horlogerie.” It is a statement of intent, and the watches deliver on it.

“The challenge for us was to elevate historical icons like the Worldtime to our new craftsmanship standard, and the difference is incredible. Details around the case, dial, movement finishing — all the details were carefully thought through.” — Jean Arnault

THE ESCALE WORLDTIME

The Escale Worldtime has been a defining model for the collection since its debut in 2014. Its return in 2026 — in two new platinum references — is, as Matthieu Hegi, artistic director of La Fabrique du Temps Louis Vuitton, puts it: “The Worldtime is where the Escale story truly began. Bringing it back wasn’t just a choice — it was essential.”

The first reference, W3PTA1, features a miniature-painted worldtime ring and a grained blue center dial powered by the new in-house LFT VO 12.01 caliber. A jumping hour disc improves legibility across all 24 time zones simultaneously and is adjustable via the crown. The 288-component selfwinding movement delivers a 62-hour power reserve.

The second, the Escale Worldtime Tourbillon (W3PT41), heightens the artistry considerably. The flags encircling the dial are rendered in grand feu enamel rather than miniature paint, and a central flying tourbillon — shaped as a Monogram flower, making one revolution every sixty seconds — transforms the heart of the dial into visible, perpetual motion. Powered by the 337-component LFT VO 05.01 caliber, it is one of the most visually extraordinary watches La Fabrique du Temps has produced. Both models are offered in platinum for the first time, each featuring an open caseback set with a saffroncoloured sapphire — the House’s quiet signature in precious stone.

The Worldtime dial is a work of art, and understanding how it is made changes the way you look at it. Each of the 24 flags representing major cities is individually hand-painted by a single artisan working from start to finish on that dial alone. Thirty-five colors are applied one by one with a fine-tipped brush; the dial is dried in an oven between each application. It takes an entire week to complete a single dial. The flags draw their forms from historical Louis Vuitton motifs — the malletage trunk lining, the Damier canvas, the Monogram Flowers pattern — making the Worldtime dial a visual atlas of the House’s own history.

For the Tourbillon, the flags are executed in grand feu enamel across more than 40 firings in five layers at temperatures ranging from 730° to 840°C, requiring over 80 hours of work by a Master Enameller. “Every Escale Worldtime dial is the work of a single artisan, who works one brushstroke at a time from start to finish,” says Hegi. “Each flag embodies a fragment of our history.”

The world does not divide neatly into 24 standard time zones. India adds 30 minutes. Nepal adds 45. Neither world time complications nor conventional GMT watches account for these offsets with complete accuracy. The Escale Twin Zone does.

References W3PT61 and W3PG71 feature two sets of hands on a single axis — an architecture unprecedented in GMT watches. An independently adjustable minute hand allows precise to-the-minute adjustment across every global time zone, including those with non-standard offsets. Full-bodied hands indicate local time; skeleton hands indicate home time. When at home, the skeleton hands can be hidden entirely, giving the dial the calm legibility of a time-only watch.

“The idea was to make a travel watch that works for everyone, not just those in the usual 24 time zones,” says Navas. “The Twin Zone allows for half-hour and quarter-hour offsets without adding complexity for the wearer.”

The rose gold reference W3PT61 features a silvery sunburst satin-finished globe dial engraved with meridians and parallels, its opaline flange punctuated with gold studs recalling the nails of Louis Vuitton trunk bindings. The platinum haute joaillerie reference W3PG71 carries the same movement within an entirely different aesthetic — an aventurine center dial alive with light, surrounded by 120 baguette-cut diamonds on the flange, 170 on the case and bezel, and more than 300 diamonds in total. “The gemsetting is executed with the same precision and intent as the movement itself,” says Hegi.

Both references are powered by the in-house LFT VO 15.01 — a 201-component self-winding caliber with 68 hours of power reserve.

“The idea was to make a travel watch that works for everyone, not just those in the usual 24 time zones.” — Michel Navas

THE ESCALE MINUTE REPEATER

The Escale Minute Repeater is the complication that stands apart from the others: not because it is technically more demanding, though it is, but because it operates in a dimension the others do not. It speaks.

Reference W3PGA0 houses the caliber LFT SO 13.01, a manually wound movement born from the shared heritage of La Fabrique du Temps Louis Vuitton and Gérald Genta. Michel Navas and Enrico Barbasini — both of whom worked with Gérald Genta in the 1990s — developed the 432-component caliber, which requires over four weeks to assemble and finish, and delivers an 80-hour power reserve.

The combination of a minute repeater with jumping hours and retrograde minutes is a rare accomplishment in modern watchmaking, requiring the synchronization of two independent time-calculation systems — one for the striking mechanism, one for the jumping display — with perfect reliability and energy efficiency. The black-polished hammers and gongs are hand-shaped and tuned by ear to achieve a crystalline chime of remarkable clarity. A nearly silent centrifugal governor, secured by an octagonal bridge recalling Genta’s inimitable aesthetic, ensures the sound carries cleanly.

The center dial is hand-guilloché on a traditional rose engine — a flammé pattern requiring up to 60 hours of savoir-faire — while the repeater slide is integrated into the lugs themselves, a subtle departure from convention. “Hiding the slide within the lug was a deliberate gesture,” explains Hegi. “It makes the activation of the repeater an almost private act — the complication is revealed only to the wearer.”

Adds Navas, “From the outset, we wanted the complication to feel effortless. It’s a contemporary way of expressing a very traditional complication.”

INTERSTELLAR

A HAUTE LOOK AT THE NEW OMEGA CONSTELLATION OBSERVATORY COLLECTION.

PHOTOGRAPHY JEFFREY WESTBROOK

PROP STYLING MIAKO KATOH

CREATIVE & FASHION DIRECTOR ADRIENNE FAUROTE

PRODUCTION SHELBY COMROE

THE SENTIMENT OF CREATION

DIOR'S ROSE DES VENTS COLLECTION RETURNS WITH NEW ONYX CREATIONS, WHITE GOLD ÉTOILE DES VENTS PIECES, AND A LONG CHARM NECKLACE THAT READS LIKE A PERSONAL TALISMAN. IT IS JEWELRY CONCEIVED NOT MERELY TO BE WORN, BUT TO HOLD GREAT SENTIMENT. “ROSE DES VENTS IS A METAPHOR FOR CREATION,” VICTOIRE DE CASTELLANE, THE ARTISTIC DIRECTOR OF DIOR JOAILLERIE, ELOQUENTLY NOTES. “CREATING MEANS TO SEARCH AND GO ROUND IN CIRCLES BEFORE FINDING YOUR BEARINGS AND SETTING OFF ON A JOURNEY. CREATION IS THE IMPRINT OF A MOTIONLESS JOURNEY.”

RELICS Revived

DIOR MEN'S FALL 2026 ACCESSORIES TELL THE FULL STORY — DIORETTE CHARMS WITH ROCOCO FLOURISHES, SOFT MESSENGER BAGS, AND LOAFERS AND SNEAKERS AGED WITH THE EASE OF A WELLTRAVELED WARDROBE. EVERY PIECE FEELS LIKE A FOUND OBJECT WITH A HISTORY WORTH KNOWING.

BY ADRIENNE

Louis Vuitton Is Building a Better World

THE HOUSE THAT INVENTED THE ART OF TRAVEL IS NOW REIMAGINING WHAT IT MEANS TO BE A RESPONSIBLE GLOBAL CITIZEN — AND THE RESULTS ARE EXTRAORDINARY.

BY ADRIENNE FAUROTE & SHELBY COMROE PHOTOGRAPHY COURTESY OF LOUIS VUITTON

At the heart of Louis Vuitton lies a simple truth that has been there since the first travel trunk was made: the world is meant to be explored. But a world worth exploring demands care. As climate change, biodiversity loss, and water scarcity increasingly define the landscape of our time, Louis Vuitton is doing something that requires more than good intentions — it requires science, innovation, and the full weight of a 170-yearold institution moving in a single direction. That direction is regeneration.

With the launch of Regeneration 2030, Louis Vuitton has introduced its most ambitious environmental roadmap to date — a program that moves deliberately beyond preservation and into the active work of restoring the ecosystems and communities that make the world worth returning to. Guided by Louis Vuitton's Creative Circularity approach and structured around three pillars — contributing positively to environmental transition, deploying Circular Creativity, and innovating in sustainable operations — the program is applied across the full life cycle of every creation the House produces. This is not a pivot; it is an evolution, and it has been building for years.

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.

On climate, Louis Vuitton established a formal trajectory in 2021 to reduce greenhouse gas emissions, validated by the Science-Based Target Initiative in 2025, and aligned with the Paris Agreement. The main contributors to the House's carbon footprint are raw materials, transportation, and energy, and Louis Vuitton's action plan addresses all three directly.

In its workshops, energy consumption decreased by 30 percent between 2021 and 2025 following the implementation of a comprehensive reduction plan. The l'Oratoire workshop in central France — one of the most recent additions to the House's manufacturing network — was designed using a bioclimatic approach that achieves up to 40 percent greater energy efficiency compared with earlier facilities. Ten workshops and logistics sites are now fully equipped with photovoltaic panels. In 2025, 95 percent of the electricity consumed in workshops came from renewable sources, up from 69 percent in 2020. Beyond the workshops, 91 percent of Louis Vuitton stores now have energy-efficient LED lighting systems, up from 32 percent in 2020.

Transportation presents one of the most compelling innovation stories in the entire program. In partnership with French startup Grain de Sail, Louis Vuitton is testing transatlantic shipping solutions using sailing cargo vessels, a mode of transport that reduces CO2 emissions by 90 percent compared to conventional cargo. Nine crossings were completed between 2024 and 2025. It is the kind of initiative that reads as visionary until you consider that ocean liners were, once upon a time, exactly how a Louis Vuitton trunk made its way around the world. There is something deeply fitting about the House returning to wind.

Circular Creativity is the principle that connects Louis Vuitton's environmental ambitions to its creative process — the idea that how a product is designed, made, used, and renewed is inseparable from its value as an object. Since 2025, every product category has integrated environmental criteria at the design stage. The result is a House that considers the end of a product's life from the very beginning of its creation.

The Boro Landscape Denim collection, presented during the Men's Fall Winter 2026 fashion show, reinterpreted iconic bags — the Speedy, Keepall, and Neverfull — using denim panels sourced from existing stock, nearly two miles of material that might otherwise have remained unused. It is fashion as resourcefulness, with no compromise on craft.

All fragrances and products from the La Beauté Louis Vuitton lines are designed to be refillable. The Care & Repair service covers every product category, with nearly 600,000 items restored each year by 400 artisans across 11 ateliers in eight countries. Repair has been part of Louis Vuitton's heritage since its founding — each creation designed not merely for elegance and utility but as a lasting legacy meant to be preserved, cared for, and passed down.

The numbers behind Circular Creativity in events are equally striking. In 2025, 97 percent of materials used in fashion shows were reused or recycled. For the Cruise 2026 show in Avignon, 96 percent of materials were reused, recycled, or donated. For the Men Spring-Summer 2026 show at Center Pompidou in Paris, more than half of all materials were rented. The Monogram has transcended generations. Now it is transcending waste.

The most personally resonant dimension of Regeneration 2030 is also one of its least expected: a five-year partnership with People For Wildlife, a conservation charity supporting biodiversity regeneration in Northeast Australia, launched in February 2023.

The partnership protects and restores biodiversity across nearly one million acres — a landscape hosting approximately 4,300 species of flora and fauna, 293 of which are classified as endangered, including the Jardine River turtle, the saltwater crocodile, and the palm cockatoo. Each year, 60 miles of fire breaks are established to protect some 740,000 acres of land from wildfire, including up to 173,000 acres of sensitive wetland habitat.

People For Wildlife's model enables local communities to generate sustainable income through responsible harvesting of natural resources

— making conservation a source of livelihood rather than a constraint on it. Indigenous-owned businesses are established as part of the process. The results are extraordinary in their specificity. Monitoring has identified three previously undocumented species — two chanterelle mushroom species likely endemic to the Apudthama region and a grey and brown python. In September 2024, efforts began to support the palm cockatoo, one of Australia's most endangered birds, through the installation of artificial nesting hollows made from fallen trees. In December 2025, the first successful breeding in one of those hollows was recorded. In October 2025, People For Wildlife received the prestigious Australian Geographic Award for Nature in recognition of this work. The initiative contributes to LVMH's objective of rehabilitating more than 12 million acres of flora and fauna habitat by 2030.

Looking at the full scope of Regeneration 2030 — from the Rivoli sneaker to the sailing cargo vessels, from the grand feu enamel dials to the palm cockatoo hollow in Apudthama — what becomes clear is that Louis Vuitton is not treating sustainability as a separate initiative running alongside its creative work: it is treating it as the same work. The world is meant to be explored. Louis Vuitton intends to make sure it still can be.

DRESSING WITH INTENTION

PHARRELL WILLIAMS HAS ALWAYS UNDERSTOOD THAT LOUIS VUITTON IS, AT ITS CORE, A HOUSE OF TRAVEL. FOR MEN’S SPRING-SUMMER 2026, HE TAKES THAT CONVICTION TO ITS MOST EXPANSIVE CONCLUSION YET, DRAWING ON THE SARTORIAL RICHNESS OF MODERN INDIA TO REDEFINE WHAT IT MEANS TO DRESS WITH INTENTION. THE COLLECTION THAT EMERGED IS RICH IN TEXTURE, COLOR, AND CRAFT — A WARDROBE THAT MOVES AS FLUIDLY BETWEEN THE STREETS OF NEW YORK AND THE BOULEVARDS OF PARIS AS THE MAN WHO WEARS IT.

BY ADRIENNE FAUROTE

PHOTOGRAPHY CODY LIDTKE

STYLING SEPPE TIRABASSI

GROOMING ANGELLA VALENTINE AT SEE MANAGEMENT

MODEL AIDAN SCOUT AT KEV MGMT

SENIOR FASHION CONTRIBUTOR SHELBY COMROE

DP KENNETH MARTELL

1ST PHOTO ASSISTANT ANDREW WOMACK

STYLING ASSISTANT AMANDA ESTRADA

ALL CLOTHING & ACCESSORIES BY LOUIS VUITTON MEN

SHOT ON LOCATION AT THE PARK LANE HOTEL NEW YORK

Cartier LOVE Unlimited bracelet in 18k yellow gold, $9,400; available at Cartier boutiques nationwide, cartier.com, and 1-800-227-8437

Fendi FF Diamonds Wallet On Chain in anemone purple leather, $1,350; fendi.com

Bvlgari Serpenti Tubogas watch, 35mm in 18k yellow gold with curved case set with diamonds, $57,000; bulgari.com and 1-800-285-4274

Dior J’adior Solid Perfume L’Or de J’adore, $109; dior.com

Mother's Day IN LUXURY

Van Cleef & Arpels “Lucky Spring” earrings featuring white mother-of-pearl and 18k yellow gold, $5,350; available at Van Cleef & Arpels, vancleefarpels.com, and 1-877-826-2533

FASHION’S MOST LUXURIOUS MOTHER'S DAY GIFTS THIS SEASON — FOR THE WOMAN WHO HAS EVERYTHING AND DESERVES EVEN MORE.

BY ADRIENNE FAUROTE

Tiffany & Co. Tiffany HardWear Graduated Link necklace in yellow gold with pavé diamonds, $59,000; available at select Tiffany & Co. locations, tiffany.com, and 800-843-3269

Dior Ribbon sneaker, $650; available at Dior boutiques nationwide and 1-800-929-3467

Gucci Paparazzo medium top handle bag in GG Canvas, $3,250; available at select Gucci stores nationwide and gucci.com

CHANEL Coco Beach 2026 sunglasses, $950; available at select CHANEL boutiques nationwide and 800-550-0005

CHANEL Fine Jewelry Coco Crush supple choker in quilted motif, flexible design, and 18k white gold and diamonds, price upon request; available at select CHANEL boutiques nationwide and 800-550-0005

Louis Vuitton Eau de Parfum miniature set, $405; available at select Louis Vuitton stores, louisvuitton.com, and 1-866-884-8866

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805.565.8600 team@riskinpartners.com riskinpartners.com

Tadia Silva

Market: Bal Harbour, FL

Charles Rutenberg Realty

305.439.1286 emailtadia@gmail.com

Margarita Sanclemente

Market: Brickell, FL

Douglas Elliman Real Estate

margarita@sanclementegroup.com sanclementegroup.com

Joyce Rey

Market: Beverly Hills, CA Coldwell Banker Global Luxury

310.285.7529 joyce@joycerey.com joycerey.com

Lanna Parker

Market: Downtown San Diego, CA Compass

619.909.7552

lanna@sandiegoh.com sandiegoh.com

Jeff Chertow

Market: Malibu, CA Pinnacle Estate Properties

310.456.3469 jeffchertow@gmail.com malibudreamhomes.com

Rachel and Reid Hansen

Market: Aspen/Snowmass, Snowmass Village, Woody Creek, Basalt, Carbondale, CO

970.456.2464 | 970.948.7028

rachel.hansen@christiesaspenre.com reid@christiesaspenre.com

Giovanna Guzman

Market: Brickell, FL International Realty Group

786.879.3814 Giovanna@internationalrg.com Internationalrg.com

Leah & Alex Sajovits

Market: Boca Raton, Florida

Douglas Elliman Real Estate

team@leahandalexs.com leahandalexs.com

Reggie Bouzy

Market: Coral Gables, FL The Bouzy Group

info@bouzygroup.com www.thebouzygroup.com

Destin Lowery

Market: Destin, FL Home Town Realty Partners LLC

850.225.5009

destinsellsdestinfla@gmail.com southeastluxuryagents.com

Eric Woodward

Market: Key Largo, FL Sotheby’s International Realty

305.394.4461 eric.woodward@sothebysrealty.com

Priscilla Haisley

Market: Miami Shores, FL Luxe Properties

305.322.3665

priscilla@luxeknows.com miamidreamcasa.com

Wesley Ulloa and Bianca Guevara

Market: Pinecrest, FL LUXE PROPERTIES

Bianca: 786-632-2640 / Wesley: 305-986-7041 bianca@luxeknows.com / wesley@luxeknows.com

Mauricio J. Barba

Market: Coral Gables, FL Compass

305.439.8311

mauricio@miamisignaturehomes.com miamisignaturehomes.com

Anca Mirescu

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

646.707.1498 anca.mirescu@elliman.com elliman.com/ancamirescu

Carsa Craighton & Romaello D’Franco

Market: Fort Lauderdale, FL ONE Sotheby’s International Realty

718.791.5420

ccraighton@onesothebysrealty.com carsacraighton.onesothebysrealty.com

Chris Sullivan

Market: Marco Island, FL RE/MAX Alliance Group

239.404.5548

chris@marcoluxuryhomes.com marcoluxuryhomes.com

Dante Disabato

Market: Naples, FL William Raveis Real Estate

239.537.5351

dante.disabato@raveis.com DanteDiSabato.com

Stefano Balli

Market: Ponce-Davis, FL Compass

305.915.2572 stefano.balli@compass.com compass.com/agents/stefano-balli

Elisa J Lipton

Market: Miami Beach, South of Fifth, South Beach, Miami, FL Fortune | Christie’s International

808.726.5408 elisa@elisajae.com fir.com/agent/elisa-lipton

Melissa Barragan

Market: Sunny Isles Beach, FL Dezer Platinum Realty

305.988.4351 melissa@dezer.com melissabarragan.com

Debra Johnston

Market: Atlanta, GA Coldwell Banker Realty

404.312.1959

debra.johnston@cbrealty.com debraajohnston.com

Neal Norman

Market: Kauai Island, HI Hawaii Life

808.651.1777 neal@hawaiilife.com nealnorman.com

Charlene M. Hamiwka

Market: Maine

Harcourts Waterfront & Fine Properties

207.671.0085

charlene@harcourtswfp.com waterfrontandfineproperties.harcourtsna.com

Frank D. Isoldi

Market: Westfield, NJ Coldwell Banker Global Luxury

Office direct 908.301.2038

Cell 908.787.5990 frankisoldi@gmail.com theisoldicollection.com

Jennifer Zales

Market: Tampa Bay, FL

Coldwell Banker Global Luxury

813.758.3443

jennifer@jenniferzales.com jenniferzales.com

Sylvia Woods

Market: Rochelle, NY

Weichert Realtors, Heritage Properties

914.523.5624

sylvia@sylviawoodsrealty.com wrheritageproperties.com

Carrie Nicholson

Market: Hawaii Island, HI Kohanaiki Realty, LLC

808.896.9749

cnicholson@kohanaiki.com www.kohanaiki.com

Dina Singer

Market: Hawaii Island, HI Real Broker

808.640.2705 dinasinger@gmail.com dinasinger.com

Vicki Gaily

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

Office 201.934.7111

Cell 201.390.5880

vgaily@specialproperties.com specialproperties.com

Michael DeRosa & Kelli Ide

Market: Skaneateles, NY Michael DeRosa Exchange, DeRosa & Ide

315.406.7355

michaelderosa@michaelderosaexchange.com DeRosaExchange.com KelliIde.com

Leslie S. Modell

Market: Midtown East, NY

Sotheby’s International Realty

212.606.7668

leslies.modell@sothebys.realty modellteam.com

Eugenia C. Foxworth

Market: Uptown, New York Foxworth Realty

212.368.4902

eugenia@foxworthrealtyonline.com foxworthrealtyonline.com

Moira E. Holley

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

206.612.5771

moira@moirapresents.com moirapresents.com

Blue Zone Realty

International - Tim Fenton

Market: Utiva Puntarenas, Costa Rica

415.251.2332

tim@bluezonerealty.com bluezonerealty.com

LUXE Forbes Global Properties

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

503.389.2112

info@luxeoregon.com luxeoregon.com

Robert F. Davey

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

506.8870.8870

bob@bdavey.com costaricachristiesrealestate.com

Jorge A. Guillén

Market: Puerto Vallarta, Mexico Tropicasa Realty

322.306.0535 jorge@tropicasa.com tropicasa.com

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

Group

305.669.5160 | theballigroup.com info@theballigroup.com

Binst Architects, Luc

+32.3.213.61.61 mail@binstarchitects.be

954.609.7113 | dawn@dawneliseinteriors.com dawneliseinteriors.com

917.309.4354 | karen@aspreastudio.com aspreastudio.com

HAUTE LIVING AND PRISTINE JEWELERS CELEBRATE JUANMA BARRIENTOS

AND J BALVIN

ELCIELO NEW YORK, BENEATH THE NOW-ICONIC starlit ceiling, Haute Wine & Spirits, Haute Living, and Pristine Jewelers gathered to honor chef Juan Manuel “Juanma” Barrientos and global superstar J Balvin, celebrating their 15-year friendship and shared Colombian roots. Pristine Jewelers, the New York atelier renowned for adorning music’s biggest names in bespoke high jewelry, served as main sponsor.

Long before Michelin stars, arena tours, and fashion campaigns, there was Medellín, and there was vision. Elcielo is the physical manifestation of that ethos: deeply Colombian, uncompromisingly modern, and globally fluent.

Juanma and Balvin welcomed guests including Haute Living editor in chief Laura Schreffler and managing director April Donelson, model Valentina Ferrer, María Antonia Idárraga, and Ofir and Elena Benshimon of Pristine Jewelers.

Cocktail hour featured the tropical Doña Gloria and Balvin’s signature Don Jose, followed by an abbreviated tasting menu of Kampachi and lulo ceviche, aged beef with fermented yuca and mushrooms, and mead with golden berries, each paired with selections from OVID Napa Valley.

The finale was a toast led by Louis XIII, crystal glasses catching candlelight, amber cognac glowing with quiet authority.

Colombian culture has long been exported through music and cuisine, often separately. That night, they stood together, carried by friendship and a refusal to dilute identity. It was not just a dinner. It was a statement of arrival.

HAUTE LEADERS GATHER FOR AN ELEGANT DINNER AT ONE40

ROOFTOP IN NEW YORK CITY

1. April Donelson, Esther Alvarez, and Liza Nair

2. Camilla Olsson, Donelson, Dr. Mimi Yeung, Sonali Pai, and Tanielle Powell

3. The scene at One40 Rooftop

4. A toast above Manhattan

5. Balma Sales, Arianne Oviedo Serrano, Vishaal Reddy, and Alvarez

6. Crispy skin-seared black cod with cauliflower rice and lemon caper beurreblanc

HAUTE LIVING RECENTLY HOSTED AN INTIMATE HAUTE LEADERS dinner at One40 Rooftop, perched on the 20 th floor of the Club Quarters Hotel near the World Trade Center, where sweeping skyline views and refined hospitality set the tone for a memorable evening in Lower Manhattan.

Guests were welcomed with a cocktail reception and a series of elegant passed hors d’oeuvres, including mini tomato and ricotta tarts, gravlax canapés with lemon caviar, and miniature Wagyu beef tartare crostini. The seated dinner featured a curated menu of seasonal dishes, from a mushroom vol-au-vent and tuna carpaccio to an organic prime filet mignon, crispy skin-seared black cod, and a plant-forward seasonal squash course. Dark chocolate mousse, vanilla cheesecake, and fresh seasonal fruit closed the meal.

Throughout the evening, entrepreneurs, executives, and innovators connected over organic dialogue and shared experiences — embodying the spirit of the growing Haute Leaders network.

TERENCE CRAWFORD HONORED AT

EXCLUSIVE NEW YORK RETIREMENT DINNER HOSTED BY HAUTE LIVING AND ULYSSE NARDIN

HAUTE LIVING, IN PARTNERSHIP WITH ULYSSE NARDIN, hosted an exclusive retirement dinner honoring boxing legend Terence Crawford at American Cut in TriBeCa. The intimate evening brought together collectors, entertainers, and notable figures to celebrate one of the most dominant champions in modern boxing history.

Crawford, a Nebraska native and undisputed three-weight world champion, built a career defined by precision, adaptability, and an unmatched ability to read opponents. Ulysse Nardin elevated the evening with a curated showcase of standout pieces from its collection, offering guests an intimate look at its signature craftsmanship and artistry up close. The presence of guests such as music icon 50 Cent and rapper Uncle Murda reflected the cultural influence Crawford carries well beyond the sport.

Among the evening’s most memorable moments: artist Tre Taliaferro personally presented Crawford with a commissioned artwork arranged by Haute Living as a tribute to his lasting legacy.

Guests also enjoyed refreshments from No Days Off Premium Water while Silver Oak Wine Cellars provided the wine selections. The celebration was presented in partnership with LDV Life, reinforcing the spirit of excellence surrounding the evening.

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