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HAIR: Mariana Padilla MAKEUP: Angloma
ON THE COVER—Dress BALENCIAGA 53RD COUTURE COLLECTION Ring SALMA’S OWN
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 Bag GUCCI

GRAND DAME 70
PHOTOGRAPHY BY Carla Guler
STYLED BY Giorgia Cantarini
Eclectic fashion and off-kilter design collide.

ADVENTURE TIME 78
BY Aemilia Madden
Industry insiders reveal the unique places on their travel wish lists for 2025.
Top and skirt KHAITE
Bracelet GRACE’S OWN GUCCI’S GOLDEN HOUR 86
PHOTOGRAPHY BY Boe Marion
STYLED BY Dione Davis
The accessories from Gucci Resort 2025 are made for today’s trailblazers.

SELF WORTH 18 HOT WHEELS 96

PHOTOGRAPHY BY Emily Soto PHOTOGRAPHY BY Glauco Canalis
STYLED BY Calvy Click STYLED BY Ben James Adams
BY Audra Heinrichs From Dior to Gucci, the season’s racier looks transport us from day to night.
Actor and musician Grace VanderWaal discusses childhood fame
and collaborating with Francis Ford Coppola. FLY ME TO LANZAROTE 104
PHOTOGRAPHY BY Tassili
Calatroni
MILITARY TIME 24 STYLED BY Enrica Lamonaca
PHOTOGRAPHY BY Pierre Crosby Escape to the lunar-like landscape of the Canary Islands.
STYLED BY Dione Davis
Embrace enduring style with double-breasted trench coats and new neutrals URBAN SPIRIT 114
like olive green and chocolate. PHOTOGRAPHY BY Jumbo Tsui
STYLED BY Takafumi Kawasaki
ROMAN HOLIDAY 30 Striking silhouettes take over the dashing streets of Ginza.
BY Caroline Cubbin
Creative Director Alessandro Michele explores a new era at the helm ALPINE AWAKENING 120
of Valentino. BY Monica Mendal
The art scene in the Swiss mountainside resort town St. Moritz makes
ONES FOR THE AGES 32 a splashy comeback.
PHOTOGRAPHY BY Mattia Lotti
STYLED BY Alessandra Faja L’LOOKBACK 124
The most cherished bags and shoes are more than just accessories. BY Carrie Wittmer
Interior designer Athena Calderone opens up her archive to L’OFFICIEL.
BEHIND THE ARCHIVES 42
BY Cristina Manfredi
Fashion archives serve as a source of inspiration while maintaining
the legacy of brands for generations. Harris Reed
Fall/Winter 2024
WONDER WALL 50
BY Savannah Eden Bradley
Harris Reed’s undeniable romance feels like home, thanks to
a collaboration with wallpaper studio Fromental.

CHART A COURSE 54
PHOTOGRAPHY BY Lauren Coleman
The latest High Jewelry collection by Van Cleef & Arpels will help you tackle
life’s towering tides.

SO SALMA 62
PHOTOGRAPHY BY Charlie Gray
STYLED BY Gaia Fraschini
BY Carrie Wittmer
Salma Hayek Pinault discusses her role in the war drama Without Blood,
and her mission to increase inclusion in the entertainment industry.

12
 GLOBAL
CHAIRMAN
Dr. Calvin Choi

CHIEF FINANCIAL OFFICER CHIEF CONTENT OFFICER CHIEF REVENUE OFFICER

Xavier Zee Giampietro Baudo Anthony Cenname

GLOBAL SALES GLOBAL EDITORIAL COMMITTEE DIGITAL PRODUCT

& GRAPHIC TEAM
Aileen Soh Giampietro Baudo (Europe)
Carlotta Tomasoni Caroline Grosso (USA) Giulia Gilebbi
Robert D. Eisenhart III John Ng (Asia) Babila Cremascoli
Ian Lee (Asia) Giuseppe de Martino Norante

USA

CHAIRMAN
Dr. Calvin Choi

EDITOR IN CHIEF GENERAL MANAGER & MARKETING OFFICER

Caroline Grosso Anthony Cenname

SENIOR FEATURES EDITOR

Carrie Wittmer CONTRIBUTORS
PHOTOGRAPHY FEATURES FASHION

FASHION ASSOCIATE Tassili Calatroni Savannah Eden Bradley Ben James Adams
Trinidad Alamos Glauco Canalis Caroline Cubbin Calvy Click
Lauren Coleman Audra Heinrichs Dione Davis
Pierre Crosby Aemilia Madden Alessandra Faja
Charlie Gray Cristina Manfredi Gaia Fraschini
SOCIAL MEDIA MANAGER Mattia Lotti Monica Mendal Takafumi Kawasak
Carla Guler Enrica Lamonaca
Allie DePinto Boe Marion
Emily Soto PRODUCTION CASTING
Jumbo Tsui Mariana Suplicy Lauren Tabach-Bank
ART DIRECTOR
Hanna Varady
INTERNATIONAL EDITIONS

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 Actor and musician Grace VanderWaal discusses childhood fame,
fame, exploring
womanhood,, and collaborating with Francis Ford Coppola
womanhood Coppola.

When we first met Grace VanderWaal, the year was 2016. remains steadfast, and her smile is as wide as ever. But she’s
America’s Got Talent reigned as a ratings juggernaut, and a growing up now. Within seconds of meeting at the Black Cat
12-year-old sporting an Anna Wintour bob and strumming café on Manhattan’s Lower East Side, we realize we share the
a ukulele possessed enough power to pull over 100 million same tattoo—a haphazard female gender sign misshapen by
views on YouTube. Looking every bit the part of a Crewcuts age and, in her case, an immature hand: her own, at age 14.
catalog model in a pair of yellow skinny jeans and ballet flats,
the Suffern, New York, native stole hearts on the competition “I was so young and such a late bloomer,” VanderWaal said
show’s stage. Her charisma was as obvious as her ear-to-ear with a rasping laugh while reflecting on her America’s Got
grin, and was matched only by the raw vocals of someone Talent fame. With it came the kind of rebellion inevitable to
at least twice her age. After Simon Cowell dubbed her “the every teenager. “Thinking about those memories…I looked
next Taylor Swift,” she was there to stay and, eventually, to like—well, you know what I looked like. A little kid. But
become the second female—and the first-ever child—victor I was drinking vodka and like, doing these stupid tattoos.”
in the show’s history.
Swilling liquor and sporting stick-and-poke tattoos seem the
Eight years later, VanderWaal has two EPs, one record extent of VanderWaal’s youthful disobedience, though. Despite
(another is on the way), and a brief but memorable cameo being as self-punishing as the average 20-year-old woman, she’s
in a Francis Ford Coppola film. In 2020, she starred in the remarkably self-aware. Coming of age on a national stage, it
romantic Disney film Stargirl, and its 2022 sequel. Her bob seems, tends to simultaneously impede and accelerate the

By AUDRA HEINRICHS Photography EMILY SOTO Styled by CALVY CLICK

18
maturity of someone who’s making a living from performing.
She’s working all of that out on the forthcoming album, though.
In the meantime, her audience is likely to expand following
the release of Megalopolis, Francis Ford Coppola’s epic Roman
Empire–inspired fable set in an imagined modern America. As
she fills me in on working with the acclaimed director, it’s clear
that the excitable 12-year-old is very much still in there.

VanderWaal spoke to L’OFFICIEL about her unlikely col-

laboration with Coppola, coming of age online, and some
questions she doesn’t yet have an answer to.

L’OFFICIEL: Megalopolis isn’t your first foray into film, but it’s cer-

tainly the most high-profile project. How did that happen?

GRACE VANDERWAAL: I got a call from my management and they

were like, “Francis Ford Coppola wants to have a chat with

you at his house.” I got there, and he was just sitting at the
kitchen table. What I didn’t know was that the casting direc-
tors were also sitting around the table. He started telling me
about this project, and my character, Vesta Sweetwater, and
I was like, This sounds insane but hey, I’ll rock with it. It was a
very stimulating conversation where I would push some ideas
beyond the script. That was refreshing, instead of just taking
it as is. I think that’s why I ended up in the project.

L’O: Your character is a singer. I heard you also wrote original music

for the role. How did that happen?

GV: [My character] writes a pop song about being celibate. I

wrote two songs for the movie. It ended up being so much

fun, and [Coppola] offered me a shocking amount of creative
agency. It was borderline collaborative. I love him, but also
that environment. He would always ask me what I thought
of things, and it’s kind of crazy to tell Francis Ford Coppola,
“No, I don’t really think I should do that…” Honestly, I
thought I was never going to act again or be in another movie
because I wasn’t able to connect to the art form. It just doesn’t
feel artistically fulfilling for me. But his environment was a
180 for me. I was like, “Oh, this is what this can be.”

L’O:Megalopolis is like a who’s who of Hollywood, from Aubrey

Plaza to Adam Driver. Was playing against some of these people
intimidating?
GV: Aubrey was so nice to me. And I think she was the only

one to follow me on Instagram. I’m a small part and my scene

is very isolated, so I wasn’t in the throes. Adam is tied to my
character, which was really, really cool. He’s literally an old
oak tree personified. He was definitely who I was most star-
struck by. He is really an amazing actor. I have one speaking
line—I had one job—and I just looked into his eyes and…all
I could think was I’m looking at Adam Driver. It was so embar-
rassing. He ended up taking me aside and really talked to me.
We talked about living in New York, and my perception was
that he was doing this to humanize himself. It was very kind.
I was like, I sense a kind soul in you.

LEFT, FROM TOP—CoatMARNI Earrings and ring TIFFANY & CO.

Bracelets throughout GRACE’S OWN Dress LOUIS VUITTON Earrings CHRISTINA CARUSO
Tights SAINT LAURENT BY ANTHONY VACCARELLO
OPPOSITE PAGE—Top, skirt, and shoes KHAITE Earring CHRISTINA CARUSO
Tights SAINT LAURENT BY ANTHONY VACCARELLO
PREVIOUS PAGE—Dress STELLA MCCARTNEY
Tights and shoes SAINT LAURENT BY ANTHONY VACCARELLO
 HONESTLY,
I THOUGHT
I WAS never
GOING to ACT
AGAIN or
BE in another
MOVIE
BECAUSE
I WASN’T
able TO
CONNECT
to the ART
FORM.

21
 PATRIARCHY is within THE CORE
of who YOU ARE, AND there’s
a SENSE of resentment in FINDING OUT
HALF of your CORE isn’t YOURS.
L’O: The film premiered at the Cannes Film Festival in May, and, for

your debut, you wore a veil and a vintage gown from Desert Stars
Vintage in Brooklyn. Was there a specific intention behind the look?
GV: I think a lot of people are getting bored. And it’s not bene-

ficial to individual artists anymore to wear something boring.

They want a stylist who can collaborate on a vision and pull
anything to manifest it. We didn’t have time to work with a
stylist. It was so last-minute, but I knew that I wanted to do
this virginal goddess look. I was talked into that dress, and
then the veil was custom and came from NK Bride. Sometimes
with Janelle [Best, owner of Desert Stars Vintage] you wonder
if she’s in over her head, but somehow she never is. I think it’s
the happiest I’ve been with a look in my entire life.

L’O:What was it like stepping onto that red carpet for the first time?
GV: Have you ever seen the Grand Canyon, or something that
is so surreal to your human eyes that it looks like a simula-
tion? It’s almost like you’re high.

L’O:You’re working on a new record at the moment. How do you feel

your sound and songwriting are evolving as you age?
GV: I feel attached to this project that I’m working on right now

more than anything. It’s the best work I’ve ever done in my life.
People ask me what my next album is like, and I’d just say it’s a
lot of meaningful production. The sounds are extremely inten-
tional, and everything you’re hearing, I chose myself. I had so
many complex feelings about becoming a young woman, and I’m
very inspired by the future me, what my experience has been,
and also some feminist theory. Everyone’s like, “fuck the patri-
archy,” but it’s so much deeper than that. Patriarchy is within the
core of who you are, and there’s a sense of resentment in finding
out half of your core isn’t yours. That’s just a shocking feeling as
a young woman. I wanted to capture the nuance of that.

L’O: As someone who came of age in the spotlight, you probably have

quite a bit of source material.

GV: I’m very inspired by my personal story. I’ve been able to

analyze that to such an exaggerated extent. I wanted to feel

valuable. I wanted to make people proud of me because when
I do that, I get affirmed. Another aspect of it is racing to
adulthood. I think “golden children” would really be able to
relate to it. You’re holding this adult baggage and then being
Blazer, pants, earrings, and belt SAINT LAURENT BY ANTHONY VACCARELLO
commended for it, so you’re like, This is my role. This is what OPPOSITE PAGE—Top LUAR Tights, brief, and shoes SAINT LAURENT BY ANTHONY VACCARELLO
makes me good. You know? Then you’re an adult, but that’s the Earring GIVENCHY Bracelet TIFFANY & CO.

role you’ve built your entire value and identity on. You end up HAIR: Ledora using R+CO MAKEUP: Brigitte Reiss-Andersen A-FRAME AGENCY
asking yourself: What am I worth? PHOTO ASSISTANTS: Sidney Quinn and Trisha Harmsen STYLING ASSISTANT: Paul Burgo

23
 Embrace enduring style with double-breasted trench coats
coats,, sharp tailoring,
and new neutrals like olive green and chocolate.

Photography PIERRE CROSBY Styled by DIONE DAVIS

24
 LUANA: Dress BOTTEGA VENETA Earrings CARTIER
OPPOSITE PAGE—ANNIBELIS: Dress FENDI Earrings VAN CLEEF & ARPELS Bracelet TIFFANY & CO. Hat, gloves, tights, and shoes STYLIST’S OWN
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LUANA: Jacket and dress DAVID KOMA
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27
 FROM LEFT—TALI: Coat, top, andbelt TOM FORD Earrings TIFFANY & CO.
Jacket, top, and pants AKRIS Shoes MANOLO BLAHNIK

OPPOSITE PAGE—Coat, tights, and shoes FERRAGAMO Earrings VAN CLEEF & ARPELS

MODELS: Annibelis Baez FORD MODELS Luana Del Valle NEW YORK MODELS Tali Bulycheva THE SOCIETY CASTING: Tasha Tongpreecha
HAIR: Chika MAKEUP: Megan Kelly CREATIVE CONSULTANT: Mariana Suplicy PHOTO ASSISTANT: Brooks Foust STYLING ASSISTANT: Elle Dawson

28
 Creative Director Alessandro Michele explores
a new era at the helm of Valentino
Valentino.

After Pierpaolo Piccioli departed his long-held position of

creative director at Valentino in March, speculation on his
successor commenced immediately. But for the Roman mai-
son, there was only one clear candidate to take up the mantle:
Alessandro Michele. His two decades in Milan as a creative force
at Gucci were well spent honing a unique, identifiable style, but
the time had come at last for the Roman designer to return home.

“I know what women want. They want to be beautiful,” Valentino

Garavani famously said. Michele, too, knows what women
want, and through decades of experience as a visionary designer,
he’s found that Garavani’s original hypothesis still rings true.

Michele shocked the fashion world earlier this year after mov-
ing up his debut—originally slated for September’s Spring/
Summer 2025 collection—with an unexpected collection
image release of the Valentino Cruise 2025 collection, an
expansive line featuring more than 170 looks. Infused with
a retro-inspired glamour, each style is an effortless blend of
Valentino’s signature codes and Michele’s eccentric touch.

Th rough prim bow-toed kitten heels, generously pearled

jewelry, ruffle-collared chiffon blouses, and fur-trimmed
overcoats, Michele’s vision of timeless Roman elegance comes
All photos Valentino Cruise 2025, courtesy of Valentino

to life. Playful polka dots, sleek V-monogrammed handbags,

and gentle pastels touch on the late 1960s, early ‘70s, and
especially Valentino’s more opulent ‘80s, which Michele will
continue to explore in future collections. Michele never com-
promises, and future collections are sure to exude the same
ultra-cool, vintage-inspired allure.

By CAROLINE CUBBIN
30
32
The most cherished bags and shoes are more than just accessories
accessories::
They are living artifacts in your own personal museum
museum.

for
the
Photography MATTIA LOTTI Styled by ALESSANDRA FAJA
 Bag HERMÈS Shoes FERRAGAMO
OPPOSITE PAGE—Bag BALENCIAGA
PREVIOUS PAGE, FROM LEFT—Bag BOTTEGA VENETA Shoe GUCCI

35
36
Shoes SAINT LAURENT BY ANTHONY VACCARELLO
OPPOSITE PAGE—Bag PRADA
38
 Bag CHANEL
OPPOSITE PAGE—BagLOUIS VUITTON
40
 Bag LOEWE
OPPOSITE PAGE—Bag and charm MIU MIU

SET DESIGNER: Micol Giulia Riva

 Today more than ever, fashion archives serve as a source for inspiration
while maintaining the legacy of brands for generations to come.

By CRISTINA MANFREDI
42
 During the startup phase of fashion labels, cataloging pieces
was not always top-of-mind. But as fashion has evolved and
brands along with it, cementing a legacy by preserving and
referencing the past has become essential. Today, celebrities
increasingly wear archival pieces to events and on the red car-
pet, to the point that it has become commonplace. For example,
Zendaya wore the iconic Fall/Winter 1995 Mugler robot suit
to a premiere of Dune: Part Two earlier this year, and for the
Grammys in February, Olivia Rodrigo chose a Spring/Summer
1995 Versace gown famously worn by Linda Evangelista on the
runway. Brands with storied histories and newer brands alike
now maintain archives to gather and preserve their individual
aesthetic and cultural heritages. L’OFFICEL spoke to multiple
brands about how they use them.

IN the PAST,
ARCHIVES were
OFTEN poorly
organized;; NOW
organized
THERE is much
more CARE in
CATALOGING.
For many designers and creative directors, an archive
serves as inspiration to innovate as well as a way to honor a
brand’s legacy. Upon her arrival at Chloé, Chemena Kamali
examined the brand’s archive, with a particular eye on Karl
Lagerfeld’s creations of the late 1970s. Created in 2011 for
the “Chloé Attitudes” exhibition organized at the Palais de
Tokyo in Paris the following year, the archive is enriched
with contemporary garments as well as auctioned vintage
pieces and donations. At Balenciaga, an internal team deals
not only with acquiring clothes and accessories of the house:
it also hosts documents, sculptures, and furniture. For the
brand these pieces are also considered important, because
each object tells a story and allows a better understanding of
the techniques used by Cristóbal Balenciaga himself.

“The archives have always played an essential role in the heart

of our maison,” explains Olivier Bialobos, Deputy Managing
Director in charge of Global Communication and Image
at Dior. Creative Director Maria Grazia Chiuri “found the
key” to her ready-to-wear looks for Fall/Winter 2024-2025
from archival pieces from 1967. For Fausto Puglisi, creative
director of Roberto Cavalli, the archive starts as a learning
tool. “I always like to look to the future, but the beauty of
having an archive is that it allows you to know lesser-known

CLOCKWISE FROM TOP LEFT—Historic fabrics from the Etro archive, courtesy of Etro;
the Dior archive, courtesy of Dior; the Gucci archive, courtesy of Gucci;
the “Pradasphere II” exhibition in Shanghai, courtesy of Prada
OPENING SPREAD—The Balenciaga archive, with some couture pieces by Creative Director Demna

44
 NOW, it is clear TO EVERYONE THAT
fashion is NOT ONLY AN economic subject,
subject,
BUT ALSO A cultural phenomenon
phenomenon.
aspects of the founder’s creativity,” says Puglisi. “For exam- commissioned by companies that want to recover their pieces.
ple, the garments designed in the early 1970s when Roberto I have a network of specialized people between America, Asia,
was touring Saint-Tropez, and presenting his idea of denim Europe, and Africa, although the best way is to follow the gar-
with cut diamonds mixed with a personal reinterpretation of bage. There you can find fine clothing. It’s all about understand-
Tuscan brocades.” Cavalli’s archive is located in Milan and ing the journey of the garbage, intercepting the discarded pieces
there is also a digital archive. locally and doing careful authentication work.”

As archives have not always been a priority for brands, some The Max Mara archive in the province of Reggio Emilia was
of the most renowned names in fashion are still on the hunt born spontaneously from the mind of Fashion Coordinator
for pieces of collections past. In Los Angeles, Italian collector Laura Lusuardi, and has been structured as BAI Max Mara-
Maurizio Donadi has been searching for vintage clothes for Corporate Archive and Library project since 2003. “In the
two decades. “In the past, archives were often poorly orga- archive many souls coexist, the Max Mara models from the
nized; now there is much more care in cataloging,” Donadi says. 1950s to today, with sketches of all collections and vintage
“My job is as a consultant mainly for creativity, but I am also items purchased around the world during my many research
46
trips,” Lusuardi says. Likewise, Gucci’s archive is its beating Some houses are equally committed to the spaces that house
heart: Founded in the late 1990s under the creative direction their archives. Armani/Silos, a space established by Giorgio
of Tom Ford, it has been based in Florence since 2021, where Armani in Milan for exhibition and the public, provided
a team deals with research and acquisitions and facilitates an opportunity to reconstruct the early years of the brand,
conversations between the present and the past. which was born in 1975, when archiving was not a famil-
iar practice. The Ferragamo Museum in Florence, where
At Louis Vuitton, the past is essential to the house’s present visitors can admire the brand’s rich archive, has a different
and future. This year marks the tenth anniversary of Petite origin. “Ferragamo’s genius has come to us thanks to his wife
Malle, the first bag created by Nicolas Ghesquière when he Wanda and his children, who have worked hard to preserve
debuted as creative director for womenswear. To develop it, what Salvatore left behind after his death in 1960,” museum
Ghesquière made an in-depth study of the historic trunks director Stefania Ricci says. “Now, it is clear to everyone
preserved by the label, especially for the 2014 model, which that fashion is not only an economic subject, but also a cul-
was inspired by a late 1800s trunk that had been specially tural phenomenon. Sometimes we receive donations, but
ordered by British conductor Leopold Stokowski. more often our team goes hunting for interesting pieces
at various auctions. Today, we are looking for pieces from
“The only way to find ideas is to look at what has been done in Salvatore’s Hollywood period.” A pair of Ferragamo pumps
the past,” said the late Vivienne Westwood. Westwood’s spirit belonging to Princess Diana of Wales were bought at auction
still animates the work of her brand’s heritage team today, led for $130,000, but the competition is fierce as pure collectors
by her husband Andreas Kronthaler. The Westwood archive come into play.
is a pillar of the brand’s London DNA, and the team works
closely with historians, collectors, museums, and cultural
institutions to verify the authenticity of found items and to FROM LEFT—The Ferragamo archive, courtesy of Ferragamo;
maintain a high level of accuracy. the Max Mara archive, courtesy of Max Mara

47
Italian designer Alberta Ferretti has thoughtfully built the
archive of her brand. “I have always been very careful to pre-
serve especially those special pieces that marked important
milestones in my career as a designer and entrepreneur,” she
says. “It is important to stop and take the time to archive, not
only because it tells the evolution of a brand, but also because
it reflects the changes that occur within the company. I try to
look at contemporary [inspiration] when I design my collec-
tions, but the archive is a great starting point when I create
clothes for celebrities. For the costumes of Taylor Swift, for
example, we started from archival clothes, adapting them to
her young woman’s sensitivity and performance needs.”

Prada, meanwhile, is constantly looking forward, and

Creative Co-Directors Miuccia Prada and Raf Simons look
to the past only on rare occasions (the Spring/Summer 2025
collection that debuted in September was one of those special
moments). However, the protection of its cultural heritage
is fundamental for the brand. Over the years, the group has
dedicated some spaces at its offices in Milan and Valvigna to
its historical archives, where clothing, footwear, and leather
goods are stored. All this is complemented by activities aimed
at the public, such as the exhibition Pradasphere II, held in
2023 at the Start Museum in Shanghai, where key pieces of
the archive from 1913 to more recent collections were exhib-
ited, repeating the success of the first edition that took place
in 2014 in London and Hong Kong.

Unlike other houses, Fendi has always had a habit of keeping

its most iconic pieces. The heritage team is fully involved in
new acquisitions across all product categories, because only
the experience within the brand allows them to recognize
the authenticity of products and link them to a particular
production or historical period. Current collections follow a
strict process: once their life cycle in stores is over, a group of
pieces are selected to enter the archive.

Etro founder Gerolamo Etro always valued collecting vari-

ous objects, a passion shared by his children and admired by
current Creative Director Marco De Vincenzo. On the top
floor of the Milan headquarters are rooms full of books and
fabrics (the oldest dates back to 1400), while at their location
Fino Mornasco, Etro keeps thousands of pieces dating from
1968, the year the brand was founded. The pieces come mainly
from auctions and from the acquisition of entire collections
and archives of internationally located textile companies. In
recent years, the archive team has been focusing on the search
for vintage items to be mixed with the heritage of the brand.

In a world battling climate change and the rise of fast fashion,

the significance of archives also ties to the concept of sus-
tainability: something old can be made new again as trends
come and go within a matter of weeks. Diving deeper into
the archives also allows fashion houses old and new to inform
their present, allowing for forward-thinking quality pieces
and practices in the future.

CLOCKWISE FROM LEFT—The Giorgio Armani archive on permanent display at the Armani/Silos in
Milan, courtesy of Giorgio Armani; the “Volez Voguez Voyagez” Louis Vuitton exhibition at the
Grand Palais in Paris; the Chloé archive, courtesy of Chloé; the Agnona archive containing an old
L’OFFICIEL cover, courtesy of Agnona

49
 WONDER

Harris Reed’s
Reed ’s
signature textures and
undeniable romance
feel like home, thanks
to a collaboration
with English wallpaper
studio Fromental
Fromental.
By SAVANNAH EDEN BRADLEY

50
“I think history is everything,” Harris Reed alacritous, brisk, full of life. The 28-year-old,
tells me, the lilt of his accent, a British- a 2020 graduate of Central Saint Martins,
American mélange, curling around the words. has a résumé many designers dream of,
“You learn the most from looking back.” built within just four years: well-received
collections, made notable by his fastidious,
It’s mere days after his Spring/Summer 2025 capital-R–romantic taste; a first-ever client
presentation—a paean to the world of lost in Harry Styles, whom he dressed in an
textiles, with structural gowns made from internet-breaking gown for Vogue; and, as
vintage haberdashery fabrics to 200-year-old of 2022, an appointment to creative director
Point de Venise lace tablecloths. I’ve caught at Nina Ricci. For a young designer moving
him in the flux period; he’s about to go do it rollercoaster-fast, looking to the past is not
all again at Paris Fashion Week. Any other just a way to slow it all down—it’s a way
designer would be out of puff, but Reed is to build an unshakeable foundation.
That foundation takes root in Reed’s longstanding partner-
ship with Fromental, a hand-painted and hand-embroidered
wallcovering atelier based in London. Led by husband-and-
wife team Tim Butcher and Lizzie Deshayes, the studio
shares a kindred brand philosophy with Reed’s. Here are
meticulously crafted silk wallcoverings, including fluid
and flowering chinoiserie; replicated travertine, glossed by
iridescent metallic paints in gestural motion; and distinctly
English bucolic landscapes, painted in the style of 19th-cen-
tury plein air prints, among countless others. Fromental, too,
nods to the past. For their 2022 collaboration with interior
design enterprise Rinck, Butcher and Deshayes carefully
wafted through the archives of Le Mobilier National—the
French government’s archive of furniture and textiles—to
find upholstery patterns from 20th-century objects. “At
Fromental, we strive to create pieces that are not just visually
striking, but that resonate on a deeper level, evoking a sense
of wonder and connection,” Butcher says.

The partnership materialized after Reed sought out Fromental’s

work for his London home. Butcher called their first meeting
an “alchemical reaction,” with common ground found in their
mutual love for rare textiles, archival textures, and chintzy
prints. Everything fell into perfect order—Fromental collabo-
rated with Reed on his Fall/Winter 2024 collection, “Shadow
Dance,” repurposing opulent Victoriana silk wallpapers as
fabrics, and, in May, embroidered an archived peony design
for Demi Moore’s flowerbomb Met Gala look.

“Taking wallpaper really worked well with our design pro-

cess,” Reed says. “The team was very worried knowing the
fragility, and knowing some of it had hundreds of hours of
hand embroidery and hand painting that was going to be
quite difficult to work with. But as someone who likes to
work with massive silhouettes and to push the boundaries
of how clothing can be worn, I was looking at the clothing
more like a Henry Moore sculpture, something that’s much
more sculptural. The wallpaper was incredible because it
allowed me to wrap it around the body, manipulate it, use
it, and make it more sculptural. A lot of times with my fab-
rics, I have to fuse canvas and horsehair to allow it to have
structure. The great thing about the wallpaper is it had that
rigidity and that stiffness to really allow the sculptures and
pieces to come together. So they really kind of brought one
another to life.”

According to Reed, the partnership is a testament to the

“ethereal and the material,” and what we might glean from
looking to the past. Reed tells me that his design process
stems from tactile experience; the collaboration’s creative
emphasis was based on deadstock, esoteric materials. “It
really was whatever we found,” he says. “I knew we wanted
to play with color. I knew I wanted to play with texture.
I was really drawn to the heavily embroidered pieces, the
nature scapes, things that had birds and animals. We can use
old wallpaper and give it this new life, and Fromental really
CLOCKWISE FROM TOP—Harris Reed and models at the Spring/Summer 2025 show in
allowed us to do that.” London, photo by Jason Lloyd-Evans; Demi Moore wearing Harris Reed at the
2024 Met Gala, photo by John Shearer, Getty Images; Harris Reed Autumn/Winter 2024,
photo by Jason Lloyd-Evans; Fromental’s Kiku wallpaper in Meiji, room designed
The Harris Reed modus operandi—maximalism, romance, by Lucy Doswell, photo by Read McKendree, courtesy of Fromental
theatricality, fluidity—is perfectly squared against Fromental’s OPENING PAGES—Harris Reed Autumn/Winter 2024, photos by Marc Hibbert
 WE STRIVE to create PIECES
THAT are not JUST VISUALLY
STRIKING, but THAT
RESONATE on a DEEPER level
level.
delicate, ornate work on such massive canvases. “The collab-
oration reflects a commitment to craftsmanship, attention to
detail, and a deep respect for the materials we work with. It
also embodies the idea that true creativity often comes from
the meeting of different minds and disciplines,” Butcher says.

Butcher and Deshayes’s shared experience in fashion and

textiles—the pair have backgrounds in creating hand-
painted fabrics for designers and couturiers like Oscar de
la Renta, Matthew Williamson, Christina Kim, and Gilles
Mendel—are on full display. “Our initial journey and
vision for wallpapers was profoundly influenced by fashion.
To marry the discipline of fashion with the expansiveness
of interiors, creating something that is both intimate and
grand,” Butcher says. “Fabric and papers share a common
language of texture, pattern, and color. To come full circle
and bring 20 years of our experimentation into the collection
was a celebration and a homecoming.”

In September, Reed and Fromental collaborated once again

on his Spring/Summer 2025 collection, with scraps of hand-
painted silk wallpaper poxing the garments’ exaggerated outer
edges. There is a clear throughline between the wallcovering
collaboration and Reed’s personal fabrications: a desire not to
neglect history, nor repeat it, but instead to allow forgotten
stories a second retelling. “When you play with history and
you respect history, but you make it your own, something
really special comes along. That’s the most creative and the
most innovative thing of all,” Reed says. “It reflects the fact
that we’re a business founded around sustainability, fluidity,
and extravagance. Being able to give second life to show that
sustainability can be beautiful, sought after, [and] Met Gala–
worthy was so incredible to me. The time and love and effort
and thought and process Fromental puts into their wallpapers
is completely aligned with what we put into our pieces. To put
both of them together is just so special.”

I ask Reed what’s on the horizon—perhaps a foray into the

world of interior design? “We’ve had incredibly exciting
offers come to the table,” he says. “And for me, I think inte-
riors is a massive part of how I see growing the Harris Reed
brand. We are not just building clothing; we’re building
a world. For me, this was an incredible step forward. And,
you know, I think it’s just the beginning.”
53
 CHART
a course
The latest three-part High Jewelry
collection by Van Cleef & Arpels draws
inspiration from a literary classic.
classic
Journeying to faraway destinations, real or imagined? The three-
part High Jewelry collection from Van Cleef & Arpels will help
you tackle life’s towering tides. Its plunging necklaces, precious
clips, and ornamental bracelets emulate the 1883 adventure story
Treasure Island,
Island, capturing the invigorating sights and mood of
an epic voyage to a mysterious island. The maison creates a true
treasure trove, marrying architecturally innovative designs with a
crystalline clarity akin to the sparkling seas. Finely crafted pieces
contain strategically arranged colorful gemstones that evoke the
rich flora and fauna of marine life, and are a breathtaking interplay
of enticing shades and advanced materials. Pieces are polished and
engraved to perfection, exuding magnificent three-dimensional
realism and adventure-seeking character.

Photography LAUREN COLEMAN

54
56
 FROM LEFT—Emeralds, diamonds, and white gold ring VAN CLEEF & ARPELS
Sapphires, diamonds, and rose gold bracelet VAN CLEEF & ARPELS
OPPOSITE PAGE—Tourmaline, diamonds, white gold, and yellow gold ring VAN CLEEF & ARPELS
PREVIOUS PAGE, FROM LEFT—Sapphires, diamonds, and white gold transformable necklace VAN CLEEF & ARPELS
Sapphires, diamonds, and white gold brooch VAN CLEEF & ARPELS
 White and gray cultured pearls, diamonds, yellow gold, and white gold transformable necklace VAN CLEEF & ARPELS
OPPOSITE PAGE—Mauve and pink sapphires, diamonds, and yellow gold earrings VAN CLEEF & ARPELS

PRODUCED BY: Jordyn Payne PHOTO ASSISTANT: Sean Moser

58
 powering the world of art

Art is honor

Calida Rawles, Thy Name We Praise, 2023. Courtesy the artist and Lehmann Maupin. © Calida Rawles

Miami Beach
Convention Center Buy tickets

December 6 - 8, 2024
In this issue, the realms of fashion, design, and
travel converge in a celebration of community and
discovery. Actor and philanthropist Salma Hayek
Pinault graces our cover. Through her tireless
advocacy for women and Latino representation in
cinema and beyond, Hayek Pinault brings people
together and elevates narratives that resonate
across cultures, enacting meaningful change. Yet
with her remarkable success also comes a familiar
insecurity—something many women can relate
to. “Embracing your insecurities, it’s part of being
confident,” she tells L’OFFICIEL.

Much like cinema, travel serves as a profound

teacher, offering opportunities to broaden per-
spectives and cultivate compassion. Adventure
Time, pg 78, delves into travel ideas that encour-
age discovery and create belonging, curated by
a creative community that we admire.

L’OFFICIEL’s fashion editors have been work-

ing overtime to showcase the best looks from the
Fall/Winter 2024 runways, captured in stunning
destinations from Italy to Japan—with a stop in
Lanzarote, an island getaway garnering attention
for its otherworldly, almost lunar-like landscape.

Elsewhere in this issue, travel writer Monica

Mendal examines the rebirth of the art scene
in St. Moritz. Dipping into her archive of flea-
market finds, designer Athena Calderone reflects
on her multidisciplinary career.

In these and so many other stories, fashion,

design, and travel are revealed yet again to be
inextricably linked. This issue aims to enrich your
future explorations and foster an appreciation
for the many people and places who shape our
perspective. Bon voyage.

61
 Actor and producer Salma Hayek Pinault
discusses her role in Without Blood,
Blood, her deep bond
with Angelina Jolie, and KHUFRQùGHQFH
KHUFRQùGHQFH.

By CARRIE WITTMER
Photography CHARLIE GRAY
Styled by GAIA FRASCHINI
62
63
 “You are so confidently insecure.” Salma Hayek Pinault
tells me that Channing Tatum, her Magic Mike’s Last Dance
costar, once made this observation about her. According to
Hayek Pinault—who recalls this with a laugh—it’s accu-
rate. Since entering Hollywood in the 1990s after working
on telenovelas in Mexico, Hayek Pinault, 58, has projected
an intoxicating, inspiring confidence. But underneath that
confidence is insecurity. Despite decades of successes, includ-
ing roles like the Vampire Queen in From Dusk Till Dawn,
an Oscar-nominated performance in Frida, a starring role
in the romcom Fools Rush In opposite Matthew Perry (one
of her favorites), and a guest-starring role on the Emmys
darling 30 Rock, Hayek Pinault is a woman who has been
hard at work her entire professional life. The Mexican actor
has fought for inclusion, bolstering actors and entertainment
centering Spanish-speaking characters. She was a producer on

ANY TIME
YOU TRY to RÿHU
ORIGINALITY,
HYHU\ERG\ PANICS.
the American adaptation of Ugly Betty (she had “no doubt” it
would be a huge hit but still got pushback), and has her own
production company, Ventanarosa. Its latest project, a televi-
sion series adaptation of the popular 1989 Mexican novel Like
Water for Chocolate by Laura Esquivel, comes out on Max on
November 3. Set during the Mexican Revolution, the story
follows a couple who are in love but cannot be together due
to family traditions and obstacles. “One of the challenges was
to adapt it to these times where those traditions don’t exist
anymore,” she says. “There is an interest in how many ways
women have been wronged throughout history,” she says with
a bit of a chuckle. Hayek Pinault is natural and funny—and
naturally funny—with a somewhat twisted sense of humor.
The longer you chat with her, the more Tatum’s observation
makes sense. (It made sense to me after only five minutes.)

Although Hayek Pinault has seen some improvement, it’s

still a struggle to get projects centering Mexican or Spanish-
speaking characters made. Like Water for Chocolate, for
example, was in the works for six years. “I tried to explain
to the industry that they were missing out on a very import-
ant market that deserves to have some representation, since
they have such a presence. There are 600 million Spanish-
speaking people in the world. Then there are some Latinos
that don’t even speak any Spanish, but they come from a
Hispanic background, and they were not being taken into
consideration,” she says.

Top INTIMISSIMI Earrings and necklace BOUCHERON Ring throughout SALMA’S OWN
PREVIOUS PAGE—Dress and shoes GUCCI Ring BOUCHERON

64
 With Ventanarosa, her production company founded with pro- says, and not something she talks about often or displays on her
ducing partner Jose Tamez in 1999, Hayek Pinault seeks projects Instagram grid. “It’s something special. I can’t describe it, but
(“little jewels,” she calls them) that have a strong Latino identity I can see it in your eyes that you understand what I’m trying to
that comes from Latino culture, but are ultimately universal. say.” What Hayek Pinault appears to admire most about Jolie is
“We only do projects that we think are for all human beings, and her fearlessness—she’s opinionated and unafraid to be brutally
the originality comes from the richness of that culture, but many honest—which also happens to describe Hayek Pinault.
other cultures are similar, and will identify with it. We try to do
original projects that are for everyone. We don’t try to isolate Hayek Pinault calls Jolie a “generous” director and, several times,
audiences and say, Oh, this is so intellectual. But we don’t do cheap, uses the word delicious to describe the experience of working on
over-commercialized projects either. We always look for origi- her set. Hayek Pinault and Jolie, who convinced Hayek Pinault
nality and universality at the same time.” Originality is vital to to star in the project, are both devoted mothers, too. Hayek
Hayek Pinault, though it has become increasingly difficult to sell Pinault has one child with her husband, French businessman
in this era of Hollywood’s obsession with intellectual property, François-Henri Pinault, and is stepmother to his three children.
remakes, reboots, and more of the same. “Any time you bring The couple, who married in 2009, have a family code of sorts:
up originality, they fight you,” she says. “Even if it’s not a Latino they will not spend more than two weeks at a time away from
project, any time you try to offer originality, everybody panics.” family (with some exceptions), which can be a “nightmare” for
Hayek Pinault credits her success to never giving up, and calls scheduling and starring in projects. Jolie adjusted, no problem.
Like Water for Chocolate a “miracle.” “You don’t understand all
the things I had to do to get it on the air,” she says. A Mexican Unprompted, Hayek Pinault mentions Jolie’s treatment in
film adaptation of Like Water for Chocolate was released in 1992. the press. “I’ve never met somebody more misunderstood,”
she says. “I hear things that are so far away from reality. It’s
This fall, Hayek Pinault also stars as Nina in Without Blood, been kind of shocking to witness that.” Hayek Pinault has,
directed by Angelina Jolie, which premiered at the Toronto too, experienced falsehoods “many, many times.” Too many to
Film Festival in September. The film, based on Italian writer count, even. “There was a time a while ago when in Mexico,
Alessandro Baricco’s short novel of the same name, centers the they said that I didn’t know how to speak Spanish anymore,
individual trauma of the brutality of war. Nina has first-hand that I forgot my mother language. Meanwhile, in America,
experience, having witnessed her father’s execution at a young they’re saying, Can you get rid of the accent?”

I LOVE MY insecurity
insecurity..
I don’t LET IT DÿHFW
DÿHFWME
ME OR WDNHPH
OVER. THAT’S THE secret secret.
age, and, throughout the movie, she confronts her trauma. Even before she was a public figure, Hayek Pinault devoted
Despite its challenging themes and material (“a lot of mono- much of her time to charity work, specifically supporting
logues”), Hayek Pinault describes it as one of the easiest jobs victims of domestic violence. “It’s really hard for us; we don’t
she’s ever done. “This was the easiest time that I’ve ever had, feel safe as women,” she says. Her involvement in such work
just automatically memorizing lines without effort. It was so was “always automatic,” something that’s come naturally to
weird. At the beginning, it was a process because the first day her. Now, she and Pinault are on the board of the Kering
after I went home, I had a breakdown because I had held those Foundation, whose mission is to “eradicate gender-based
emotions for so long.” For the role, Jolie encouraged Hayek violence.” In September, the foundation hosted a gala, the
Pinault to hold on to her emotions rather than let them go. Caring for Women dinner, in New York, attended by celebs
including Kim Kardashian, Dakota Johnson, and Julianne
This pleasant—or, given the material, as pleasant as possible— Moore. For Hayek Pinault, it’s important that “95 percent”
experience on such an emotionally challenging film is thanks of this work is not done in front of the cameras. “I’m very
to Jolie, whom Hayek Pinault recalls meeting in passing years strategic,” she says. “I give myself an infrastructure for it.
ago—as one does at industry events. But they didn’t get to know You don’t see me talking about it on Instagram.” Rather, her
each other in earnest until filming Eternals, a 2021 Marvel film Instagram is a place for pure joy: bikini photos, moments
they were in together with “a huge group of people” [includ- from Paris Fashion Week (like a video of her with Harry
ing Richard Madden, Gemma Chan, Kumail Nanjiani, Kit Styles at the Valentino show), and behind-the-scenes photos
Harington, Barry Keoghan, and Harry Styles]. When Hayek from other events. Hayek Pinault tells me a question that’s
Pinault speaks of Jolie, she glows, her voice excited but calm always bothered her that she’s often asked about her charity
at the same time. “Slowly, and in a very authentic way, we work: She’s asked if she ever personally experienced domestic
really started seeing each other, not what other people see, as violence, which she has not. When she says so, they ask why
if we were in tune or something,” she says. When the movie she’s involved. “If you only get involved in the things that are
finished, they continued their friendship. “It’s very real,” she self-serving, are you really getting involved?”
66
Dress MCQUEEN
BY SEÁN MCGIRR
 Hayek Pinault has always been outspoken and candid about
the treatment of women in the entertainment industry and out,
and about her experiences as a woman of color in the enter-
tainment industry, which has always inspired her to champion
others like her, including her best friend, Penélope Cruz,
whom she took in when Cruz first came to Hollywood. In
2006, they starred in Bandidas together, and Hayek Pinnault
tells me that she wants to work with Cruz again before she dies
(with a laugh, of course). But Hayek Pinault has, at times, sec-
ond-guessed her outspoken nature. “Afterwards I say, Oh my
God, what have I done? But now I’m not so outspoken because
now everybody is too outspoken,” she says. “Everybody’s
become so black-and-white,” she says, “so I keep my mouth
shut. I find the conversations that have nothing to do with the
real issues and everything to do with everyone having this des-
peration to have attention boring. A lot of people don’t care as
much as they think they care about the actual issues as much

IT’S really
HARD FOR US;
WE don’t feel SAFE
as WOMEN.
as they care about being right. It becomes about them. Frankly,
there are issues that are so deep that I don’t have this delusion.
I’ve been doing this work for so long that my opinion isn’t
going to change anything.”

In her free time, Hayek Pinault has been watching “a lot of

bad stuff” [unspecified], because it’s the only way she can relax.
“The good stuff is work for me,” she says. If she watches some-
thing good, her brain is too activated; a producer brain, so to
speak. “I am finding some comfort in mediocrity. I’m making
mediocrity work for me.”

It’s impossible to measure exactly the influence of Hayek

Pinault’s work, both charitable and entertaining, but her fight
for the inclusion of Latinos in the industry has had real results.
Ugly Betty was a smash network hit that certainly sparked
watercooler conversations, and since, more Latino-focused
films and series—involving Hayek Pinault or not—have been
made, including Jane the Virgin, Roma, and Coco. When I ask
what she is insecure about, she doesn’t give an exact answer.
But her success and influence might be one of the many things
she feels insecure about—an all-too-common trait women
know well. “I have moments where I’m super-insecure about
something, and then I bounce into a confident place. I love my
insecurity,” she says. “I don’t let it affect me or take me over. Cape and jumpsuit ELIE SAAB
That’s the secret. If I was not insecure, I would be arrogant
HAIR: Mariana Padilla
and would never learn. Embracing your insecurities, it’s part MAKEUP: Angloma
of being confident,” she says. “A lot of our insecurities come MANICURE: Jessica Malige
PRODUCED BY: Joshua Glasgow
from a collective undermining of women. In time, you can stop PHOTO ASSISTANTS: Garth McKee and Lautaro Ceglia
feeling guilty for wondering if maybe you are extraordinary.” STYLING ASSISTANT: Nadia Gil

68
 Eclectic fashion
and RÿNLOWHU
design collide in
a space that only
a true arbiter
of individual style
can call home.

3KRWRJUDSK\CARLA
3KRWRJUDSK\ CARLA GULER
Styled by GIORGIA CANTARINI
71
 Jacket and top FENDI Earrings SWAROVSKI Shoes SEBAGO
OPPOSITE PAGE—Dress and gloves PRADA
PREVIOUS PAGE, FROM LEFT—Jacket, top, pants, and shoes HERMÈS Necklace MARCO BICEGO Rings GIOVANNI RASPINI
Jacket, pants, and shoes FERRAGAMO Earrings SWAROVSKI
73
74
 Shirt and skirt AKRIS Necklace and rings GIOVANNI RASPINI Shoes SEBAGO Bag HERMÈS
OPPOSITE PAGE—Dress, shirt, andpants ISSEY MIYAKE Necklace and ear cuffs MARCO BICEGO
 Jacket, top, skirt, earrings, necklace, and bracelet CHANEL
OPPOSITE PAGE—Cardigan, top, skirt, and shoes MCQUEEN BY SEÁN MCGIRR Bracelet SWAROVSKI

MODEL: Julia Belyakova LAB MODELS HAIR: Daniele Villanueva AVEDA ITALY MAKEUP: Greta Ceccotti
STYLING ASSISTANTS: Alberto
Carlo Bergalio and Federica Mele LOCATION: Villa Eugenie

76
Industry insiders and creatives reveal to L’OFFICIEL
the unique places they’re traveling to in 2025.

By AEMILIA MADDEN
The iconic public intellectual and writer Susan Sontag once
said, “I haven’t been everywhere, but it’s on my list.” No matter
what spurs the desire to travel—an Instagram photo, a friend’s
recommendation, or even just spinning the globe and point-
ing—there’s always somewhere new to discover. As younger
generations continue to make travel a priority, weighing expe-
riences over material goods, the diversity of offerings, from
luxury spas to immersive getaways, only continues to grow.

Looking ahead to the new year, L’OFFICIEL asked a range

of creatives to share where they’re planning to touch down
in 2025. From a private island in Patagonia to the gem show
in Tucson, here is an eclectic assortment of dreamy offerings
that may just inspire your next trip.

IRA MADISON III, Writer

“Ever since I saw Under the Tuscan Sun, I’ve wanted to visit
Italy, but Tuscany specifically. I want to visit Tuscany and
not only try the food but learn how to make it. I’ve been
eyeing this three-day cooking class at Juls’ Kitchen in the
Tuscan countryside, which teaches seasonal dishes—you’ll
shop at local markets and butchers, bake your own bread,
and, of course, learn the art of making pasta.”

ANA KRAŠ, Designer, Artist,

Photographer, and Cofounder of Teget
“Far and long trips deeply exhaust me, so these days I like to aRICHARD CHRISTIANSEN,
take a train to a new country instead. I have never been to Founder, Flamingo Estate
Amsterdam, strangely; somehow nothing ever brought me “I’m excited to return to the Faroe
there. I am looking forward to visiting it soon, and I plan Islands, a rocky gaggle of islands in
on staying at Carmen. I love that it’s family-run and very the Arctic Circle, technically part of
beautiful, but not pretentious. There are a few Teget pieces Denmark but really a whole different
in the space, so it will be new and interesting for me to stay world. The wild, brutal coastline makes
with my own designs, outside of my own space. It’s never everyone feel warm and welcomed.
happened before.” No chain stores, no luxury brands, no
familiar signage, but hundreds of sheep
TESSA TRAN, Creative Director and CEO, Chan Luu on the roads (there are more sheep than
“When I travel for pleasure, I’m not usually one to visit the people). The unfamiliarity of it all gives
same place twice, since there are so many places I want to see. the island a unique sophistication, like
But after visiting Saint-Tropez earlier this month, I’ve already you’re seeing a world with new eyes.
rebooked my trip for next year. I stayed at Hotel La Ponche, I stayed at Hotel Føroyar, founded by
which I found to be the most centrally located, within walking Johannes Jensen. He has started over a
distance of all the shops, and close to the port.” dozen restaurants showcasing Faroese
cuisine to both a national and interna-
MICHELLE LI, Writer and Stylist tional audience. I recommend going in
“The Dolomites are high on my bucket list for 2025 because the winter: embrace the place without
I love to build my trips around activities. Going on long hikes the crowds.”
and then hitting the sauna, and eating delicious food in the
Italian Alps, sounds like the perfect balance of relaxation
and adventure. I really enjoy being able to go out and hike
and then come back to a luxury experience, and a few close
friends suggested Sonnwies Dolomites Hotel. The hotel
is family-owned and located on a farm with animals and Portrait of Richard Christensen at Flamingo Estate, photo by Hugh Davison
organic food and vegetables.” OPPOSITE PAGE—The Faroe Islands, photo by Richard Christensen

79
ALEXANDER HANKIN, one, involving three flights, but as soon as I arrived, I knew it
Real Estate Developer and Social Commentator was worth it. The natural beauty of Patagonia is breathtaking.
“The trip I’m most looking forward to is with the Frick Young Francis’s attention to detail was unparalleled to anything I
Fellows to the English countryside. While I am in London had ever felt before.”
often I rarely get to explore the countryside. We’ll be staying
at the Royal Crescent Hotel in Bath, a stunning 250-year- KRISSY JONES, Founder, Sky Ting
old Georgian estate in Bath. I have a deep appreciation for “In March, I’m embarking on a long-awaited journey to
Old Master paintings, and since I’ve recently acquired a India, diving deep into a blend of yoga, wellness, and cultural
Gainsborough painting, I can’t wait to view more of his works, exploration. My first stop will be Jaipur, where I’ll be study-
along with pieces by Joshua Reynolds and other remarkable ing with my Indian yoga teacher in the vibrant Pink City.
18th-century artists that are rarely, if ever, on public display.” Jaipur is known for its stunning palaces, bustling bazaars, and
rich history. Next, I’ll travel to Rishikesh, the yoga capital
ALEXANDRE BENJAMIN NAVET, Artist and Designer of the world, nestled in the foothills of the Himalayas along
“Next year I’d love to travel on the Eastern & Oriental Express the sacred Ganges River. My trip will end in Goa, where I’ll
train by Belmond. From Singapore up to the lush green jungles unwind at The Leela Goa. I’m excited to explore the beaches
of Malaysia, this train journey sounds like a dream. I’ll defi- of southern India, and hopefully come back to New York
nitely be bringing my sketchbook and pencils along.” feeling incredible and inspired.”

VERONICA DE PIANTE, Fashion Designer YASMIN SEWELL, Founder, Vyrao

and Founder, Veronica de Piante “I love to travel somewhere that really shifts my mind away
“In March 2022, I went on a solo trip to La Isla, in Lago La from my everyday, something that feels spiritual, positive,
Plata, Southern Patagonia, a private island belonging to my and historic—I want to feel like I’m on another planet if I
good friend, Chef Francis Mallmann. The journey was a long can—the rock-hewn churches of Lalibela in Ethiopia would
 a
BERNARD JAMES,
Founder and Creative Director, Bernard James

“At the top of the travel list for 2025 is Brazil, specifically
Ipanema in Rio. Last year, I was able to pull myself away from
life in New York for three weeks, to be captivated by a country
whose rich history is reflected in its food, music, art, and over-
all lifestyle. Although Bahia had an energy and concentration
of culture that I feel is unmatched, the juxtaposition of the
natural beauty and engineered structures in Rio left a perma-
nent mark on me. I want to explore and dive more into Brazil’s
FROM LEFT—A beach in Rio de Janeiro,
hidden gems, both in and out of the iconic cities we’re familiar
shot by Bernard James; portrait with. And, of course, I want to visit the country’s incredible
of Bernard James by Miller Lyle,
courtesy of Bernard James
mines and dive deep into how the country’s natural resources
influence the global jewelry industry.”

be incredible for this, a World Heritage site in the western my surroundings. Because of my love for these journeys, I’ve
Ethiopian Highlands. I haven’t decided where to stay yet; I just long dreamed of embarking on an overseas trip dedicated
want to experience the tranquility and history of this place.” entirely to epic walks. Assisi has captivated me for years; it
boasts numerous trails that showcase the stunning scenery
CONSTANCE JABLONSKI, Cofounder, French Bloom of Umbria. Imagine walking through serene forests while
“I’m traveling to Japan in 2025, and am staying at the Six ‘forest bathing,’ meditating on the teachings of Saint Francis
Senses Kyoto. This is one of my favorite hotels, so I am of Assisi amidst so much rich history of art in the area, and,
thrilled for our nonalcoholic French bubbly, French Bloom, of course, indulging in all the pasta along the way! To me,
to be served there. In Kyoto, I enjoy visiting vintage bou- that sounds like the perfect wellness retreat. I’d finish the trip
tiques, wandering around the streets trying street food, and with a stay at the nearby Hotel Reschio.”
visiting the Kyoto Botanical Gardens. My favorite restaurant
in Kyoto is the Chef ’s Table in the Kyoto Ritz Hotel.” ARI S. HECKMAN, Cofounder and CEO, Ash
“As a hotelier myself, I’ve learned that I’m most fulfilled when
JIMENA GARCIA, Chanel Brow Artist I organize my travels around hotels I want to visit. Not only
“At least once a week, I rise early and set off for a walk, is this a great way to draw inspiration for my own properties,
allowing myself to wander freely and absorb the beauty of but a good hotel gives you a passport to the other highlights
81
 `JEAN PROUNIS,
Jewelry Designer, Prounis
“I’m headed to Tucson in February
for the gem show. It’s an annual trip
that never gets old—the medley of
gems, landscapes, burritos, and ado-
bes makes for a captivating visit year
after year. I love driving through
Gates Pass to catch the expansive
Arizona sunset to reset my eyes.
My friends Salima and Roberto,
both natives of Tucson, who co-own
Desert Vintage (a must-visit while
in town), put me onto this scenic
drive, among many other recom-
mendations for the area.”

FROM LEFT—The Tucson desert,

photo by Jean Prounis;
portrait of Jean Prounis by Emma Marie
Jenkinson, courtesy of Jean Prounis

82
 OLYMPIA GAYOT, Creative Director, J. Crew
“Japan, especially Tokyo, is always such an inspiring place
for me. I went seven years ago when I was pregnant, and
I’m returning this spring for the first time since. The culture,
architecture, and food are all so thoughtful and exceptional.
I’ll be there during cherry blossom season, which makes it
even more magical. One specific thing I love about Japan is
their incredible interpretation of ‘Americana.’ Their vintage
collections of 1960s and ‘70s denim, bandana prints, and
Western shirts are unmatched. And, of course, I can’t miss
Hands in Shibuya, a department store with an extensive
selection of crafts. They have everything from stationery and
pens to costumes. It’s such a unique experience, and one of
my favorite places to visit.”

CHRISTINA MARTINI, Cofounder

and Creative Director, Ancient Greek Sandals
“I’ve always wanted to visit the tiny island of Kastellorizo,
which is at the southeastern most corner of Greece, just
a breath away from Turkey. At one point, it was almost
of a destination, whether they be cultural, culinary, retail, or deserted, as many of its inhabitants emigrated to Australia
natural. Next year, I plan to visit Villa Mabrouka in Tangier. or the U.S. At the port, you can swim in the most crys-
I have never been to Tangier and admire everything Jasper tal-clear water. You can watch sea turtles swimming by as
Conran touches, so this is top of my list.” you enjoy an ouzo at a taverna. The island also has one
of the largest caves in the Mediterranean, with the bluest
JIAN DELEON, Men’s Fashion Director, Nordstrom water you can imagine. There are plenty of places to explore
“Every time I’m in Florence I make sure to have a meal at on foot, whether you’re looking for the perfect sunset or
Pensavo Peggio. It’s a family-owned spot that I learned about fantastic Greek delicacies. In my mind, this unspoiled
through my friend Jeremy Kirkland, and apparently it’s a favor- island with colorful houses from another era is my carefree
ite of renowned Florentine tailor Antonio Liverano. The name summer dream.”

I really ENJOY BEING ABLE to GO

OUT and HIKE and then COME
BACK TO a luxury EXPERIENCE.
—MICHELLE LI

literally translates to ‘I thought worse,’ which reflects the kind of ANNA JEWSBURY, Artistic Director, Completedworks
homegrown humility that makes it one of my favorites—because “I’m planning a trip to Japan in 2025 to visit one of our retail
despite the name, the food is amazing. I’ve never finished a meal partners, Dover Street Market, in Ginza, Tokyo. I’d like to
without a complimentary shot of limoncello with the owners.” stop by Hakone for the onsen and to visit the Hakone open-
air museum. Then I’m planning to travel down to Naoshima
MAAYAN ZILBERMAN, Visual Artist in the Seto Inland Sea of Southern Japan. It’s an incredi-
and Founder, Sweet Saba ble destination for contemporary art and architecture, and
“This year we are completing a full renovation of our home also a place to slow down. At the Chichu Art Museum, for
in Brooklyn Heights. Once it’s complete, I look forward to example, they have the big Water Lilies series of paintings
visiting my friends in Palm Springs so we can furnish our by Monet in this beautiful Tadao Ando–designed space, and
place with unusual pieces from Nok Nok Gallery. It’s run by you’re instructed to remove your shoes before entering—it’s
our dear friend Alfonso Navarro, who collects postmodern akin to a religious experience.”
and Bauhaus pieces from estates in his native Mexico; he and
artist wife Denisse Wolf find items you wouldn’t see in most JAC CAMERON, Founder, Rùadh
galleries. I can’t wait to drive around the desert together and “Having lived in New York most of my adult life, I have
dream up our new home with friends.” learned to appreciate the beauty that my homeland has to
 _
FRANCISCO COSTA,
Founder, Costa Brazil
“This upcoming year, I’ll be visiting the
Amazon Rainforest. I feel so inspired
in the Amazon, and I learn something
new each visit. This June, I’ll be visiting
Lençóis Maranhenses. It is one of the
The Amazon rainforest, most spectacular spaces situated in the
photo by Edgar Azevedo;
Francisco Costa in the Amazon,
northwest part of Brazil. It is an incred-
photo by Edgar Azevedo ible and beautiful nature reserve created
OPPOSITE PAGE—Mountains in
Oahu, photo by Lindy McDonough;
by moving dunes. I will also visit the
portrait of Lindy McDonough Cristalino Lodge, based in the southern
by Emma Marie Jenkinson,
courtesy of McDonough
part of the Amazon, and it is the most
picturesque location.”

offer and enjoy taking my husband, a New Yorker, born and Ethical sourcing is at the heart of our brand, and visiting the
raised, back to experience the highlands in Scotland. Its mines allows me to witness firsthand the working conditions
landscape is lush and majestic and feels otherworldly. It has and ensure they align with industry best practices. I’m also
been a dream of mine to travel on the Royal Scotsman, a deeply invested in the well-being of the communities that live
luxury train that journeys through some of Scotland’s most near these mines. This connection to the source is a vital part
iconic landscapes, including the Cairngorms, Inverness, and of our mission at Tabayer, ensuring that the materials we use
the Isle of Skye. The train has grand suites and a Dior spa, reflect both quality and responsibility.”
and offers a guest chef to create a one-off menu with fresh
produce from the farms and landscapes along the journey. SONIA MOSSERI, Cofounder and Creative Director, and
While up there, I will book The Fife Arms, a boutique cas- Maurice Mosseri, Cofounder and COO, Still Here
tle–like, art-filled hotel in Braemar that looks and feels like “We are excited to travel to Paris this year and stay at Château
stepping back in time.” d’Eau. The hotel caught our eye because of the incredibly
tasteful design and attention to detail. Every year we plan
NIGORA TOKHTABAYEVA, a non-work-related trip to reconnect and feel inspired to
Founder and Creative Director, Tabayer dive into the upcoming season. Aside from the Paris Flea
“In 2025, I’m most looking forward to traveling to Colombia and some museum stops, we enjoy wandering around Paris
to visit the gold mines from which we source our materials. without destination, happening upon gems of the city.”
84
I’VE long DREAMED of EMBARKING
on an OVERSEAS TRIP dedicated
ENTIRELY to EPIC walks
walks.. —JIMENA GARCIA

a
LINDY MCDONOUGH,
Creative Director and
Cofounder, Lindquist
“Every January after the
holiday rush, my husband
Conor and I (now joined
by our baby, Ulla) visit our
best friend Andrew Mau
in Oahu. In the vibrant
neighborhood of Kaimuki,
Andrew has a shop called
Island Boy. The store features
many friends and Hawaiian
creatives, including Rumi
Murakami, Matt Bruening,
and Oshan Essentials. I have
a deep obsession with mid-
century furniture and design,
and Oahu has an abundance
of incredible midcentury
architecture. This year, we
are planning a shoot for
Lindquist at the Liljestrand
House, which feels like a
dream come true.”
 Photography BOE MARION Styled by DIONE DAVIS
86
 GUCCI’S
GOLDEN
HOUR

The accessories from Gucci Cruise 2025 are reimagined

for today’s trailblazers
trailblazers,, but honor the house’s legacy looks
looks..
This fall, frolic in the archival-inspired Gucci B
and Blondie bags (a 1970s icon) and the latest iteration
of the Italian house’s signature Horsebit ballerina flats.
flats.
The retooled classics are joyful and elegant
elegant—and
—and
pair perfectly with the collection’s free-spirited mood.
Shirt, shoes, and bag GUCCI
OPPOSITE PAGE—Shoes GUCCI
PREVIOUS PAGE, FROM LEFT—Brief, socks, shoes,
and bag GUCCI Coat, skirt, socks, and shoes GUCCI

89
90
 Brief and bag GUCCI
OPPOSITE PAGE—Jacket, bra, pants, choker, belt, and shoes GUCCI

91
92
 Cardigan, bra, skirt, choker, shoes, and bag GUCCI
OPPOSITE PAGE—Top, shorts, choker, and shoes GUCCI
 Jacket, skirt, brief, shoes, and bag GUCCI
OPPOSITE PAGE—Jacket, top, shorts, and choker GUCCI

MODEL: Jiashan Liu IDENTITY MODELS

CASTING: Margeaux Elkrief
HAIR: Ben Jones
MAKEUP: Alex Levy
CREATIVE CONSULTANT: Mariana Suplicy
PHOTO ASSISTANT: John Law
SET DESIGN: Bjelland and Closmore

95
 Fall calls for sleek
sleek,, edgy clothes with undeniable drama
drama.. From Dior to Gucci
Gucci,,
the season’s racier looks transport us from day to night.

Photography GLAUCO CANALIS Styled by BEN JAMES ADAMS

96
 ABOVE—Top and dress SCHIAPARELLI
shoes DIOR
OPPOSITE PAGE—Blazer, bra, brief, tights, ring, and
PREVIOUS PAGE—Top, pants, and shoes DSQUARED2 Earrings and ring SARA BARBANTI

99
 ABOVE—Dress, necklace, and gloves VERSACE
OPPOSITE PAGE—Dress, bra, and gloves GCDS

100
 ABOVE—Coat, jumpsuit, scarf, choker, and boots GUCCI
OPPOSITE PAGE—Dress LOUIS VUITTON
MODEL: Angel Galego WHY NOT MODELS CASTING: COMA CASTING
HAIR: Domenico Papa JULIAN WATSON AGENCY MAKEUP: Chiara Guizzetti GREEN APPLE
DIGITAL TECH: Marella Bessone LIGHTING ASSISTANTS: Gianpietro Recchia and Giorgio Garzella
STYLING ASSISTANTS: Martina Pastrana and Pía Payró
PRODUCED BY: Nicole Sancassani, Federico Arosio, and Roberto Vanacore
SET DESIGN: Carlotta Angelucci

103
 Experience a lunar-like landscape
off the coast of West Africa.
Africa

The closest thing to flying to the moon: Escape to Lanzarote, an out-of-this-world–seeming

topography in the Canary Islands, just off the coast of West Africa. Owned by Spain, the island
offers a unique panorama of rocky land, volcanic earth, black sand beaches, and lava fields.
The rich colors and extraterrestrial textures of the lush warm-weather paradise set a perfect
stage for pieces that complement the inherent beauty of Lanzarote: Tall, lace-up leather boots
suited for trekking through vast mountainous deserts, breezy silhouettes that harmonize with
the terrain, and softly draped silk gowns in hues that blend with the sun-kissed rocky plains.

Photography TASSILI CALATRONI Styled by ENRICA LAMONACA

105
106
 Dress, sunglasses, and earrings CELINE BY HEDI SLIMANE Watch AUDEMARS PIGUET
OPPOSITE PAGE—Cape, dress, and boots HERMÈS Earrings VERSACE
PREVIOUS PAGE—Dress AKRIS Earrings CRILOI Watch AUDEMARS PIGUET Boots AMI PARIS
 Dress DIOR
and pants ALBERTA FERRETTI
OPPOSITE PAGE—Top
Earrings CHANEL Watch AUDEMARS PIGUET
109
 Dress FERRAGAMO Watch AUDEMARS PIGUET Boots HERMÈS

110
 Coat, top, and pants ISSEY MIYAKE Earrings VERSACE Boots HERMÈS
OPPOSITE PAGE—Dress MUGLER

MODEL: Nastasia Koechy IMG MODELS

HAIR AND MAKEUP: Riccardo Morandin W-MMANAGEMENT using MAC COSMETICS

113
Striking silhouettes take over
the dashing streets of Ginz
Ginza.
a.

Photography JUMBO TSUI

Styled by TAKAFUMI KAWASAKI
 Top, bra, skirt, hat, gloves, and shoes DOLCE & GABBANA
OPPOSITE PAGE—Coat, brooch, and shoes MCQUEEN BY SEÁN MCGIRR Necklace MIKIMOTO

115
 Coat and shoes MAX MARA
OPPOSITE PAGE, CLOCKWISE—Coat, choker, scarf, andboots GUCCI
Dress, bra, shorts, and boots SACAI
Dress and boots TOD’S
Top, skirt, gloves, shoes, and bag MARNI

117
 Dress and bracelet GIORGIO ARMANI
OPPOSITE PAGE—Jacket, dress, and shoes YOHJI YAMAMOTO

MODEL: Kiko Inagaki HAIR: Tomihiro Kono MAKEUP: Hisano Komine

118
 Alpine
REAWAKENING The art scene in the Swiss mountainside resort town
St. Mortiz makes a splashy comeback.
By MONICA MENDAL

Referring to St. Moritz’s art and culture scene as “burgeoning” culture scene has long maintained a quiet momentum that has
would feel trite—daft, even, as it would discount the decades continued over time and never quite slowed, but there is unde-
of rich cultural history in which art contributed to the fabric niably something of a renaissance happening there today: it
of the place. While perhaps more widely known for its winter feels more dynamic than ever. With the advent of international
alpine tourism, the Swiss resort town has been a lively art hub galleries popping up over the past decade, as well as traveling
since the 1960s, when writers, artists, and collectors descended art shows and glamorous cultural events securing their perma-
on this small town in the Upper Engadin, drawn to its sensa- nent spots on an already packed calendar, the elegant ski resort
tional valley views and its iconic frozen lake. Ultimately, Swiss is burnishing its reputation among the international art and
art dealer Bruno Bischofberger was inspired by the influx to culture communities. Here, L’OFFICIEL highlights some of
open St. Moritz’s first gallery in 1963. The St. Moritz art and the key people at the forefront of this moment for St. Moritz.
 NICOLAS BELLAVANCE-LECOMPTE
AND GIORGIO PACE
Founders of Nomad Circle

Nomad Circle is a traveling art fair that

brings together the world’s leading contem-
porary galleries and collectible design, host-
ing exhibitions in unique intimate settings in
destinations around the world—from Capri
to St. Moritz. “Hosting Nomad in St. Moritz
was a strategic decision rooted in our desire
to transform the cultural landscape of this
historic town,” says Nicholas Bellavance-
Lecompte. Nomad’s past 13 shows have been
held in iconic spaces around St. Moritz—from
a raw construction site of a former historic
hotel, to a traditional Engadin Sgraffito–style
farmhouse-turned–culture center—and boast
a curated lineup of gallery presentations,
talks, and bespoke commissions with highly
regarded creatives, curators, and brands. “In
recent years, St. Moritz has emerged as a prime
destination for art collectors from around the
world, largely due to its evolving art scene,”
Bellavance-Lecompte says. “The influx of
international collectors and the establishment
of prominent galleries and art fairs have posi-
tioned the town as a pivotal hub for contem-
porary art and design.” Their favorite culture
highlight in town is Tschudi Gallery, which
features innovative contemporary exhibitions.
The upcoming edition of Nomad will take
place next year, from February 20 to 23.
121
 BARBARA CORTI MARCO MAKAUS
Partner and Senior Director of Founder of I.C.E. St. Moritz
Hauser & Wirth St. Moritz
Marco Makaus, a self-described “car guy,”
“The opening of Hauser & Wirth St. Moritz in first hatched the idea for The International
December of 2018 was really a natural exten- Concours of Elegance, known as I.C.E., a cul-
sion of the gallery’s activities in Switzerland,” tural and lifestyle automotive event, in 2019.
explains Barbara Corti, who’s based in Zurich Due to delays caused by the pandemic, the first
and oversees the St. Moritz gallery’s pro- I.C.E. event debuted in 2022. Now held every
gramming. Founded in Zurich in 1992, the winter, I.C.E. is the world’s chicest classic car
gallery is a destination that has seen tremen- show, attracting stylish crowds—from drivers
dous success over the past 30 years for Iwan and collectors to enthusiasts—who descend on
and Manuela Wirth, who also have personal St. Moritz’s frozen lake in mink coats for an
connections to the Engadin, which has long afternoon of glamour. “The I.C.E. is a celebra-
possessed a rich cultural heritage and a thriv- tion of the easier times of the 20th century,”
ing art scene. As Hauser & Wirth already has Makaus says, “in which cars were the medium
many close partners and collectors who live in that brought together like-minded people for
or have homes in this part of the Alps, Corti a weekend of fun.” Marco is an unapologetic
says, it’s been an opportunity to engage with aesthete, lover of all things art, craftsmanship,
them outside of their urban centers, as well as and quality. “The I.C.E can only happen in St.
to offer their artists and estates a backdrop of Moritz, because it is the only international and
great natural beauty against which to exhibit cosmopolitan Alpine city and sports resort
their work. “St. Moritz is steeped in artistic with an unparalleled experience in hospital-
tradition,” she says. “The Engadin region has ity and event organization,” he says. “It has
been visited by a number of cultural intel- a unique blend of obsession for quality and a
lectual figures from the past century.” These casual sporting atmosphere.” The most com-
include philosopher Friedrich Nietzsche, pelling reason, however, for St. Moritz to host
writer Thomas Mann, and dancer Vaslav the event is its optimal location, sitting over
Nijinsky, to a host of artists including Dieter 5,000 feet above sea level, which ensures the
Roth, Julian Schnabel, Richard Long, Joseph lake is properly frozen every year. St. Moritz’s
Beuys, Jean-Michel Basquiat, and Gerhard strong relationship with culture and art has
Richter, whose Engadin works the gallery long been woven into its identity. “There are
exhibited last December in collaboration so many places to go and things to do, I can’t
with local institutions Segantini Museum even start to list them. So, I will suggest one:
and Nietzsche-Haus [where Nietzche lived the Segantini Museum. Giovanni Segantini
during his visits to the Engadin]. Conti notes was a pioneer in that he came from a big city—
that the latter are must-sees for travelers vis- Milan, where he studied at Brera Academy—
iting St. Moritz, as they are full of regional and used to live in the European art milieu,
significance. but decided to move up to the Alps in the St.
Moritz area. Everything starts there with him,
even the relationship between art and motors,
as his life partner was Bice Bugatti, the aunt
of Ettore Bugatti.”

122
 VITO SCHNABEL FLORIAN THÖNI
Founder of Vito Schnabel Gallery Marketing Manager of Suvretta House

Two years after American gallerist Vito Nestled in the mountainside behind the main
Schnabel opened his first New York City village of St. Moritz, Suvretta House has
gallery devoted to modern and contemporary been frequented by actors, writers, and artists
artists and estates, he was presented with an since the beginning of the 20th century. Its
interesting opportunity. “Legendary Swiss commitment to preserving its history while
dealer Bruno Bischofberger was planning on thoughtfully evolving with the contemporary
closing his space in St. Moritz and offered it art and culture scene is reflected through its
to me,” Schnabel says. “It was an opportunity participation in various art shows, brand acti-
that I am very grateful for; St. Moritz has vations, and cultural events. Beyond the hotel’s
[an] incredible history with artists… Warhol, own in-house contemporary gallery, Gallery
Basquiat, Clemente, and others all spent time Elle by Atossa Meier, which showcases works
painting here.” So he decided to accept the by artists Ana María Hernando, Ian Fisher,
offer and opened his second gallery—and and Mathias Kiss, and the hotel’s participation
first European location—in Bischofberger’s in iconic cultural events, such as the British
former space in 2015. For Vito, it felt like the Classic Car Meeting (the oldest classic car
ideal place to showcase his extensive breadth event in St. Moritz, which debuted in 1994),
of artists, including well known names like the hotel also hosts its own Leica photo work-
Ai Weiwei, Man Ray, and Ron Gorchov, shops, art weeks with artist Nicki Heenan, and
as well as to introduce young artists, such a writing workshop with Kein and Aber Verlag.
as Angel Otero, Trey Abdella, and Ariana Behind the brand is the property’s gatekeeper
Papademetropoulos, to the European market. of cool: Marketing Manager Florian Thöni,
In addition to his gallery, he highlights the who oversees the hotel’s myriad special projects
Giacometti Museum as an inspiring stop for and is responsible for the general brand image
art lovers visiting St. Moritz. “The Engadin and mood of the hotel, organizing unique col-
Valley has always been a cultural destination. laborations that appeal to the younger, stylish
Giacometti, Not Vital, Warhol, Basquiat, crowds. “The most respected people from the
my father Julian [Schnabel], and many other art scene come to St. Moritz—at least once a
artists have spent time in the area and created year,” he says. As the only ski-in and ski-out
work here,” Schnabel says. “It is a small town hotel with a private ski lift in St. Moritz, along
but has a global audience.” with their mountain restaurants Chasellas and
Trutz, Suvretta has the ability to host immer-
sive brand events, like last year’s lunch hosted in
partnership with Extreme Cashmere at Trutz,
where the cult-favorite cashmere brand took
over the sundeck to introduce the brand’s new
St. Moritz shop. Florian’s vision blends Suvretta
House’s traditional sensibility with a modern
OPENING SPREAD—Snow covered mountains,
photo by Deimagine, Getty Images
élan that feels fresh and pertinent. For travel-
CLOCKWISE FROM LEFT—portrait of Barbara Corti, photo by Linus Bill, ers looking to immerse themselves deeper into
courtesy of Hauser & Wirth; portrait of Marco Makaus, photo by
Davide de Martis, courtesy of I.C.E.; the Hauser & Wirth Gallery, photo
the scene outside of the hotel, Florian suggests
by Katharina Lütscher, courtesy of Hauser & Wirth; a ski lift at Suvretta beginning with a coffee or glass of champagne
House, photo by Steve Hadorn, courtesy of Suvretta House; portrait
of Vito Schnabel, photo by Argenis Apolinario, courtesy of Vito Schnabel
at Café Belmont, before heading to the new
Gallery; portrait of Florian Thöni, photo by Steve Hadorn, courtesy of Cresta & Bob Museum located at the Scala
Suvretta House; Angel Otero, The Ocean in My Room Installation, 2023;
the 2023 Nomad Circle exhibit, photo by De Pasquale+Maffini;
Cinema, which features a James Turrell room
the 2023 I.C.E celebration, photo by Pietro Martelleti that doubles as a cocktail bar on weekends.
123
 FROM LEFT—Portraitof Athena Calderone by Brett Warren;
Athena Calderone’s thrifted vase, courtesy of
Athena Calderone; a 1930s-inspired lamp, designed
by Athena Caldrone for Crate & Barrel, photo by William
Jess Laird, courtesy of Crate & Barrel

The SOUVENIR Athena Calderone opens up her archive

to L’OFFICIEL
L’OFFICIEL,, and shares a úHDPDUNHWãùQG that embodies
her ongoing evolution as an interior designer.
By CARRIE WITTMER
Athena Calderone seeks inspiration across the globe and in your life, where you were in the world, but also where you
the past. The interior designer is drawn to the 1930s—both were in your life,” she says.
in her recent collaboration with Crate & Barrel, released
this fall, and in her Tribeca home currently under renova- In fact, it is a vase—a more recent purchase—that holds a special
tion. “My design is almost like a visual autobiography of place in her archive. She bought it at Saint Ouen, a flea market
what I’m obsessed with right now,” she says. This November, she frequents in Paris. “A few years ago, I was buying beautiful
Calderone will travel to Italy to celebrate two milestones: her vases and vessels that almost looked like they were trapped at
50th birthday and her 25th wedding anniversary. the bottom of the sea and had lichen attached to them, that had
this raw and rustic patina to them,” Calderone says. The vase
Every time Calderone travels, she takes something home she recently acquired, by contrast, is a blend of a gunmetal and
with her. “Travel has been such an important player in my a classic pewter with geometric patterns. “[It] speaks to this new
evolution as a designer,” Calderone says. She likes to pick direction in mixing materiality and using materials that have
up something vintage while on the road, whether it’s a vase, a bit more of a sheen and a refined elegance,” she says. In essence,
a vessel, or a catch-all, or “just something that ends up being the vase represents where Calderone has been, where she is now,
very much imbued with the energy of that time and place in and where she’s going, professionally and personally.
124
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