The history of Via Monte Napoleone is first and foremost that of Italy itself. Following the path of ancient Roman walls along the bed of the river Seveso, Via Monte Napoleone is one of the primary thoroughfares of Italian fashion. Its name is owed first to Monte Camerale di Santa Teresa, abbreviated to Monte, a bank closed in 1786. At the dawning of the bourgeois revolution, the Milanese aristocrats, despite only accounting for 9% of the population, decided that Milan needed more space. Previously occupying two-thirds of the city, a number of convents and cloisters were thus transformed into boutiques in the 19th century. The great names in jewelry began to flourish on Via Monte Napoleone, notably Buscellati.
The Quadrilatero della Moda would take on the international renown it enjoys today when the Monte bank reopened in 1804 under the name Monte Napoleone, giving the street its current name. Almost all of the buildings on this street were reconstructed in a neoclassical style during the Napoleonic Wars throughout the first half of the 19th century. Via Monte Napoleone would then become the street for antique shops, tailors, and suppliers to royal courts before opening definitively up to fashion and international business in the 50s. The couturier Biki would dress Maria Callas, the Opera Diva, here while Bettina Rossi Arts Rosa would spread lace – celebrities and the media would all rush to new goings on at Monte Napoleone.
Today, all the big names in fashion are present and accounted for. Bulgari, Burberry, Cartier, Celine, Pucci… This street is synonymous with wealth, good taste, and elegance. The primary entry for great stylists into the fashion world, the windows of Via Monte Napoleone are the reflection of the exquisite taste and ancestral craftsmanship that have given Milan its talent and reputation. An emblem of style and beauty, Bottega Veneta, Louis Vuitton, Prada, and Dior all welcome clients from around the world who want to admire and acquire a piece of Italian refinement for themselves here.
Last week during Men’s Fashion Week Spring/Summer 2018, Tod’s presented a collection largely inspired by surfing in the Villa Necchi Campiglio in Milan. Driven by artistic director Andrea Incontri, the collection deftly combines inspirations from the California surf scene and the quintessential elegance of Italian style. What attracted Incontri is the idea of a spontaneous man, a refined man evolving in the natural landscapes of the West coast. Luxury becomes more intense here as the fabrics get lighter and the pieces become indispensable utilities for travel.
The Tod’s Spring/Summer 2018 collection is the wardrobe for a man ready to travel the world at his own speed, with his own style, without renouncing the elegance that his position affords him. With pieces that are lighter in a brand new way, leather, the manufacturer’s signature, becomes almost a new fabric of its own. This fabric is incarnated in hides that seem aged by the blazing sun of California. The result is imagined in deep colors, a mixture of vibrant shades that embellish the iconic pieces in the Tod’s wardrobe. These new textures and finishings can be found on the legendary 133-rubber pebble Gommino as well.
For Spring/Summer 2018, the shoe is taking on bright colors and a new, more graphic logo. The winds of the beach blow over the Gomminos and move Tod’s initials onto light and monochrome colors that look like color blocking. The Gommino features the famous double T on a number of fabrics; the perfect travel companion for the modern man is this time being released in a tender green, orange, or a blue as electrifying as the skies of California.
Dolce & Gabbana’s fashion resonates in the creative sphere because it doesn’t settle for pragmatic – their pieces are grandiose, sublime, full of heritage, inspired, and sometimes difficult to transpose into daily life. No matter, since Dolce & Gabbana style isn’t made to mingle with the masses. There’s one accessory that often appears on their runways and can also be found on the heads of a number of elegant women: crowns, adorned with flowers, lace, jewelry, crystals, or gold.
For each collection, Dolce & Gabbana takes on a specific theme inspired by their Italian heritage. Feminine, pretty, sweet, and dazzling, the D&G woman is a fantastic and phantasmic source of inspiration – she often fuses the artistic inspirations of an Italian princess with the ultra-femininity of a Disney one. Their crowns enthrone them with undeniable style. These crowns take gold, gems, and an almost baroque composition from the Renaissance. Exquisite and imperial, they are magnificent but too often absent from fashion.
This accessory is nothing short of hypnotizing. For several seasons, Dolce & Gabbana have been giving a more royal, aristocratic, and luxurious dimension to their fashion. This craftsmanship surges forth from the past so as not to be lost in the present; the two partners refer to it as a celebration of femininity. An accessory that was once essential is now coming back today front-and-center through a commitment to stupefyingly masterful creativity.
The Speedmaster is turning 60 – six decades of evolution for this style with the same aesthetics and history. It was at the dawning of man’s conquest of space that the first Speedmaster took off into the galaxy in 1959, on the wrist of Walter Schirra. The second version of the Speedmaster would take off on October 3, 1962, when it was chosen by the astronaut for the Mercury program’s Sigma 7 mission. Starting from then, Omega has made space its territory of exploration. Three years later, in 1965, the Speedmaster definitively became the watch that infallibly allowed for Apollo 11’s return to earth – on the wrists of Neil Armstrong and Buzz Aldrin, it became the first watch to walk on the moon.
By celebrating the last six decades of the Speedmaster, Omega is presenting a vivid homage to the life of the chronograph, from 1957 to 2017, in London. With 60 memorable styles on display for a special soirée on April 26 at the Tate Modern in London, the brand told a unique story of rare editions or homages to technology, design, and the Speedmaster spirit. Hosted by Professor Brian Cox, the Speedmaster’s 60th anniversary soirée was orchestrated with a sensorial experience – inside the museum, an elegant and futuristic decoration plunged invitees into a universe of sound and light. The most impressive however was without a doubt the arrival of Buzz Aldrin in a space suit, 48 years after his stellar exploit.
Raynald Aeschlimann, President of Omega, explained during the event: “The Speedmaster is one of the most, if not the most iconic watches in the world. Not just for Omega, but also for the numerous men and women who’ve worn it and who’ve trusted it. Even after 60 years, its power and charisma are none the lesser. We’re so proud to have an event at this level and to share it with the biggest fans of Speedmaster.” Among the timepiece’s fans that night were Clemence Poesy, Pixie Lott, Arizona Muse, Erin O’Connor, and George Clooney, bringing the Omega galaxy even further up into the stars.
Arthur Capel was nicknamed Boy by Coco Chanel – three letters were all it took to seal an entire destiny. The love of Gabrielle’s life, the first to believe in the Mademoiselle’s talent, he would give her the means to reach her ends… She loved to borrow his custom tweed jackets. “Since you’re so attached, Capel told me, I’ll have you made an ‘elegant’ version of what you wear everyday, at an English tailor.” Coco once told. Thanks to the funds he invested in the opening of her very first boutique – which she would reimburse in its entirety out of her initial profits, a sign of her unfailing independence – Chanel would never cease to open up and to revolutionize the silhouette of women of her day. In the arms of the man she loved was born all the fundamental rules of the house on rue Cambon.
Boy was an intellectual of calibre, interested as much in politics as he was in frivolity – he was the one who initiated Coco into the occult, symbology, and Asian cultures. The rest is history. But what is lesser known is the power, the euphoria of their love that is today captured in the architectural flask of the label’s new fragrance, simply called Boy Chanel.
An olfactory homage to an eloquent passion and a perpetual game of masculine and feminine, this fragrance is today being added to the ranks of Chanel’s ‘Les Exclusifs’. For it’s this fleeting passion, this enchanted moment in time, that inspired the brand’s perfumer Olivier Polge – with the help of historical portraits, this nose took interest in Boy’s influence on Gabrielle. Inspired by the virile strength of man, in awe of Coco’s frail silhouette, Olivier Polge forges a masculine mythology here that pushed him towards ferns. Then, just like Gabrielle Chanel, who appropriated the male wardrobe without ever renouncing her femininity, the perfumer plays with a mixing of genders by imagining the lingering traces of a man on a woman’s skin. A sleek and aromatic burst announces the heart note of rose geranium – all sealed in a monolithic and purified glass structure with a double-C monogrammed stopper. This soft yet powerful fragrance is available now.
The Mandarin Oriental Geneva’s Café Calla is getting a makeover and enchanting lovers of Provence by transforming itself into a new pop-up restaurant dubbed “La Riviera by Mandarin Oriental”. Seafood and sun-soaked vegetables peppered with spices from Provence and a touch of modernity is on the menu here. The dishes, revisited with gusto by chefs Nasser Jeffane and Yoann Le Bihan, include pissaladière, stuffed vegetables, bouillabaisse, flambéd king prawns in Pastis, and an excellent selection of wines carefully selected from Provence.
This pop-up location offers products that combine tradition and modernity that will no doubt be familiar to consumers seeking authenticity. With its decorative olive trees and open-air terrace, the restaurant is open every day from 12:00 p.m. to 2:30 p.m. for lunch and from 7:00 p.m. to 10:30 p.m. for dinner.
“La Riviera by Mandarin Oriental” is a marvelous combination of tradition and refinement that brings a modern twist to the culinary specialties of Provence. The restaurant’s French Riviera ambiance is convivial, seasonal, and traditional all at once. Get a taste of summer in Provence at the Mandarin Oriental Geneva.
“The Harcourt model, whether it be the glass, the vase, the pitcher, the wall lamp… is a cult classic.” – Philippe Starck
The famed reception of the Arabian Nights was held on June 14th, 1911, in the Paris residence of Paul Poiret on the rue d’Antin. Raoul Dufy was responsible for the invitation, where he inscribed: “On that night, there will be no clouds in the sky and nothing that exists will exist.” It was true. Beneath a royal blue canopy inscribed with his initials, dressed as a Persian prince, carrying a whip in his hand like a malicious wraith, Poiret welcomed his guests: around 300 people, most of them artists. After consuming exotic dishes and beverages contained in precious pitchers, these one-night Persians were convoked to a session of fireworks that almost ended in a house fire. 200 bottles of champagne were consumed.
The Near East excited Paul Poiret’s imagination, this land of the Arabian Nights in all its dazzling colors. This dreamy land of harems where courtesans wore pants. And then there was the turban, sometimes adorned with an aigrette, Poiret’s signature. All these elements can be found in the outfit that Denise Poiret donned for the Arabian Nights. She wore a tunic closed at the breasts by a large draped belt, a sand-colored silk muslin corsage, a gold skirt, fringed and tapered by a hoop, as well as a culotte called “harem pants”. A turban topped by an aigrette completed the look. InDressing the era, Poiret gleefully recounts that he found the inspiration during a visit to the Victoria & Albert Museum, by coming nose-to-nose with the turbans of Indian rajahs. Denise Poiret on the other hand maintains that this is but a legend. According to her, the idea came about during their move to the sumptuous private residence on Avenue d’Antin, when every woman of the house, assailed by an onslaught, tied a simple triangle of fabric on their heads who’s three corners were held on the back of the neck in a bun. Whatever the case, Poiret contributed to the reintroduction of the turban to the tops of women’s heads.