More Than 100 Rare Objects Reveal the Creative Mind Behind David Bowie’s Most Iconic Work David Bowie was never simply a musician. He was an artist in constant motion reinventing his image, sound, characters and visual language while continually looking towards what might come next. Now, for the first time on this scale outside London, audiences across the UK will be able to see that creative process up close. From November 2026, the Victoria and Albert Museum (V&A) will take more than 100 highlights from its David Bowie archive on a national tour, beginning at V&A Dundee and continuing to Blackpool, County Durham, Hull and Bristol over the following years. David Bowie: On Tour offers a rare opportunity to encounter objects from Bowie’s personal archive, many of which have never previously been displayed publicly. The tour begins at V&A Dundee from November 2026 to February 2027, followed by Showtown, Blackpool, from June to September 2027; The Bowes Museum in County Durham from October 2027 to January 2028; Ferens Art Gallery in Hull from February to May 2028; and Bristol Museum & Art Gallery from June to September 2028. Further venues are to be announced. For anyone interested in Bowie, however, the significance of this tour goes well beyond a collection of costumes and memorabilia. It offers something much more revealing: a glimpse into how David Bowie actually thought, worked, planned and created. Inside David Bowie’s Creative Process The V&A acquired the David Bowie archive in 2024, through the generosity of the David Bowie Estate, the Blavatnik Family Foundation and Warner Music Group. It contains more than 90,000 items, spanning Bowie’s extraordinary career — from costumes and musical instruments to handwritten lyrics, photography, stage designs and personal papers. The touring exhibition selects 100 highlights from this vast collection and organises them across four sections: ‘Bowie Through a Lens’, ‘All the Somebody People’, ‘Hooked to the Silver Screen’ and ‘I Can’t Give Everything Away’. Together, they reveal something that finished recordings, performances and photographs cannot: the work that happened behind them. Among the material are handwritten notes, sketches, performance instructions, Polaroids from make-up and costume fittings, unrealised projects, personal possessions and objects that document Bowie’s decisions at different stages of his career. This makes David Bowie: On Tour less a conventional retrospective than an examination of an artist’s working mind. Bowie Through a Lens: Creating an Image The exhibition opens with ‘Bowie Through a Lens’, exploring the extraordinary role photography played in constructing Bowie’s image and identity. Works by photographers including Terry O’Neill, Mick Rock, Sukita and Brian Ward demonstrate how photography became part of Bowie’s creative vocabulary. For Bowie, image was never simply documentation. It was part of the performance itself — another medium through which identity could be constructed, transformed and challenged. The archive allows visitors to look beyond the finished photographs and understand how the visual mythology surrounding Bowie developed. Ziggy Stardust: Building a Persona The second section, ‘All the Somebody People’, explores Bowie on stage and in the studio across four defining periods. The Ziggy Stardust era provides perhaps the clearest example of Bowie’s ability to construct an entire artistic world around music. Visitors will see costumes associated with Freddie Burretti and Kansai Yamamoto, alongside Bowie’s handwritten notes and cut-ups used while developing the album, sketches for the tour and a seminal acoustic guitar from the Ziggy Stardust era, being shown publicly for the first time. These objects reveal that Ziggy Stardust was not simply a character that Bowie performed. It was a carefully developed creative concept involving music, clothing, performance, graphic ideas and visual identity. Berlin: Reinventing the Sound The exhibition then moves into Bowie’s Berlin years, a period associated with some of the most experimental music of his career. His work with Tony Visconti and Brian Eno on Low (1977), “Heroes” (1977) and Lodger (1979) demonstrated Bowie’s willingness to explore unfamiliar techniques, recording methods and musical environments. The archive brings this period to life through objects including Bowie’s keyboards from his apartment at Hauptstraße 155 in Berlin, unseen sketches and concept art for the cover of Low, handwritten lyrics for Lodger’s ‘Look Back in Anger’, and the koto, the Japanese musical instrument Bowie used on ‘Moss Garden’ from “Heroes”. For visitors, these objects provide a physical connection to a period when Bowie was actively dismantling his previous musical identity and experimenting with new forms. Let’s Dance: Designing the Spectacle The ‘Let’s Dance’ section reveals another dimension of Bowie’s creativity: his approach to large-scale performance. Unseen lyrics and a set design for the Serious Moonlight tour will be displayed for the first time, alongside photographs documenting studio recording sessions and the album’s cover shoot. The material shows how Bowie was not simply producing songs and then presenting them on stage. The visual and physical experience surrounding the music was an integral part of the project. ★ (Blackstar): The Final Creative Chapter Among the most poignant material in the exhibition are objects connected to ★ (Blackstar), Bowie’s final recording. The section explores the symbolism through which Bowie revisited elements of his earlier work while creating something distinctly new. Visitors will see Bowie’s handwritten lyrics for ‘★ (Blackstar)’, a hand-painted costume from the ‘Lazarus’ music video, performance notes and props. Many of these objects have never been shown before, offering an unusually intimate perspective on the creation of his final album and the visual world surrounding it. From Music Videos to Labyrinth: Bowie on Screen The third section, ‘Hooked to the Silver Screen’, explores Bowie’s groundbreaking relationship with film and television. His approach to music videos was as inventive as his approach to music, and the archive contains material documenting that process across decades. Highlights include Bowie’s storyboard sketches and the Natasha Korniloff-designed costume for ‘Ashes to Ashes’ (1980), as well as material relating to his collaboration with Flora Sigismondi on the ‘Little Wonder’ video in 1997. The archive also contains unseen video treatments, scripts and props connected to ‘The Stars Are Out Tonight’, from the 2013 album The Next Day. Bowie’s film career is represented just as extensively. Contact sheets from his first film set, The Image (1967), sit alongside the clapperboard used for The Man Who Fell to Earth (1975), unseen preparation notes for Merry Christmas, Mr Lawrence (1983), and material from his role as Jareth in Labyrinth (1986). Particularly revealing are the script, character notes and Polaroids of costume fittings, together with additional Polaroids documenting make-up tests. The section also recalls some of Bowie’s more unexpected screen appearances, including his role as narrator in The Snowman (1982) and his appearance as Lord Royal Highness in the 2006 SpongeBob SquarePants film. Even the projects Bowie did not pursue become part of the story: the archive contains a script for an episode of The Simpsons that he politely declined. What Bowie Chose to Keep The final section, ‘I Can’t Give Everything Away’, may ultimately be the most revealing because it moves away from the public image of Bowie and towards the personal archive he chose to preserve. Among the objects are his first instrument, a Grafton Alto saxophone bought by his father in 1961, and the harmonica microphone used during his final live tour, A Reality Tour (2003–2004). There are also fan artworks, the stopwatch Bowie used while songwriting, his 1988 British passport, and his advance copy of The Velvet Underground’s 1967 recording ‘I’m Waiting for the Man’. Perhaps even more revealing are the documents that show Bowie thinking about the future. A handwritten to-do list records workshops, interviews and museum visits he had planned. Charts identify projects he hoped to achieve including projects that never materialised. Among them is a handwritten synopsis for a proposed television film, The Catastrophy Cabinet, dating from approximately 1974–1975. Other documents reveal Bowie organising his thoughts and planning ahead: his 1977 inventory of costumes, material concerning the future of the music industry, the song chart used during the Earthling tour in 1997, and Post-it-note conversations with his archive team about the objects he wanted to retain. This is where the archive becomes particularly powerful. It does not only preserve Bowie’s achievements. It preserves his intentions, possibilities and unfinished ideas. A National Tour for a National Collection The tour represents an important part of the V&A’s commitment to widening access to its collections, allowing audiences across the UK to experience objects from their national collections closer to home. It also carries particular significance at each destination. The first stop, V&A Dundee, has a direct connection with Bowie: he brought the Ziggy Stardust Tour to Dundee’s Caird Hall in 1973. In Blackpool, the exhibition arrives as the city marks the 60th anniversary of Bowie’s live performance in the resort. Hull has its own important connection through Mick Ronson and the Spiders from Mars, whose contribution to Bowie’s musical history remains central to the city’s cultural identity. In Bristol, the exhibition will arrive during the summer of 2028, while the Ferens Art Gallery will host the tour as part of the programme surrounding its centenary in 2027. The Bowes Museum, meanwhile, will bring the archive to audiences in Northern England, extending access to Bowie’s creative legacy beyond the traditional cultural centres. From 90,000 Objects to 100 Stories The scale of Bowie’s archive is almost difficult to comprehend: more than 90,000 objects, representing an extraordinary record of a career defined by transformation. Yet the importance of David Bowie: On Tour lies not in quantity alone. It lies in what these objects reveal. A costume can explain a character. A handwritten lyric can reveal an idea before it became a song. A Polaroid can document a transformation before an audience ever saw it. A discarded project can show where Bowie might have gone next. Taken together, they reveal an artist who was rarely satisfied with simply repeating what had already worked. The V&A’s national tour therefore offers something particularly valuable: the opportunity to encounter Bowie not only as the finished cultural icon, but as the curious, experimental and forward-looking creator behind the icon. The David Bowie Archive: A Permanent Home in London Although David Bowie: On Tour will travel across the UK, the archive itself has a permanent home at the David Bowie Centre at V&A East Storehouse, part of East Bank in Queen Elizabeth Olympic Park. Visitors can also access individual objects from the archive through the V&A’s Order an Object and Archives Appointment services, allowing the public to engage directly with the collection. The national tour consequently becomes another chapter in the life of the archive: a collection originally preserved for future generations now travelling to communities across the country. For an artist whose career was defined by movement, reinvention and the refusal to stand still, there is something fitting about that. David Bowie: On Tour does not simply bring Bowie back to the stage. It brings the evidence of his imagination to a new generation of audiences allowing visitors to see the notes, instruments, costumes, sketches, photographs, unfinished ideas and personal objects that existed before the legend became history. David Bowie: On Tour - UK Dates V&A Dundee, Scotland: November 2026 – February 2027 Showtown, Blackpool: June – September 2027 The Bowes Museum, County Durham: October 2027 – January 2028 Ferens Art Gallery, Hull: February – May 2028 Bristol Museum & Art Gallery: June – September 2028 Further venues: To be announced About the V&A The Victoria and Albert Museum (V&A) is a family of museums dedicated to the power of creativity. Its mission is to champion design and creativity in all its forms, advance cultural knowledge and inspire makers, creators and innovators. The V&A shares a 5,000-year-old story of creativity through exhibitions, events, educational programmes, digital experiences, conservation and research, alongside a national collection of more than 2.8 million objects spanning every creative discipline. Official website: vam.ac.uk Instagram: @vamuseum Facebook: @VictoriaandalbertMuseum TikTok: @vamuseum The David Bowie archive was acquired by the V&A in 2024 through the generosity of the David Bowie Estate, the Blavatnik Family Foundation and Warner Music Group. The archive is the permanent home of an extraordinary body of material documenting Bowie’s career, while the national tour allows a selection of that collection to be experienced by audiences across the UK. Patricia Holdener Editor-In-Chief Luxe Magazine Switzerland DavidBowie DavidBowieOnTour DavidBowieArchive VandAMuseum VictoriaAndAlbertMuseum DavidBowieExhibition Bowie BritishMusic MusicHistory LuxeMagazineSwitzerland

From 20 to 23 August, the Hublot Polo Gold Cup brings international polo, equestrian excellence and the unmistakable sophistication of Gstaad to the heart of the Swiss Alps. There are few places in Switzerland where sporting tradition, international glamour and an extraordinary landscape converge quite so naturally as Gstaad. Each summer, the village welcomes an event that has become inseparable from its identity: the Hublot Polo Gold Cup Gstaad, a tournament where elite equestrian sport unfolds against one of the most spectacular backdrops in Europe. From 20 to 23 August 2026, the grass field beside Gstaad’s airport will once again become the stage for four days of high-level polo, hospitality and Alpine social life. The location alone makes the tournament exceptional. Few sporting events in the world place international polo so close to an active runway, with the mountains rising beyond the field and the village only moments away. Yet the enduring appeal of Gstaad’s polo tournament is not simply its setting. After more than two decades, it has acquired something that cannot be manufactured: a distinctive identity built on consistency, sporting credibility and an unmistakable sense of place. At a time when luxury events increasingly compete for attention through constant novelty, Gstaad takes another approach. Its strength lies in knowing precisely what it is and delivering that experience with remarkable attention to detail. That philosophy begins with the field itself. For Pierre E. Genecand, the quality of the playing surface is not a secondary consideration but the foundation of the entire tournament. In the days leading up to the competition, he personally oversees the preparation of the grass, sometimes taking to the tractor himself to ensure that the ground reaches the required standard. It is an unusually hands-on approach for an event of international stature, and one that says much about the character of the tournament. The welfare and performance of the horses depend on a surface that is safe, stable and carefully maintained. Before the elegance of the hospitality areas and the excitement of the competition comes the practical work of preparing the land. Once the field is ready, the tractor gives way to the dinner jacket. Genecand moves from organiser to host, welcoming players, partners and guests into an environment where the formal and the informal coexist with characteristic Gstaad ease. “For the twenty-first time, I am organising this tournament my way, with a loyal team and a spirit that is entirely our own,” he says. “We do not seek to reinvent our model, but to hold ourselves to a constant standard of excellence, on the field and off it.” The sporting programme remains at the centre of the occasion. Markus Gräff, Fabio and Luca Meier, Juan Pepa and Rupert Knauf are once again among the loyal team captains returning to Gstaad, each determined to assemble teams featuring some of the finest Argentine and English professionals on the international circuit. The complete player line-ups will be announced in due course, adding anticipation to a competition already recognised for its high level of play. But polo in Gstaad is never confined to four chukkas. Around the field, the tournament becomes a social rendezvous where seasoned polo aficionados stand alongside curious newcomers. The atmosphere is polished but approachable, allowing spectators to experience the sport at close quarters without the sense of exclusivity that can sometimes surround elite competition. Hospitality forms an important part of that experience. VIP lunches will be available throughout the tournament, while the Saturday evening gala dinner remains one of the defining moments of the week. The Dora Live Band will return to provide the evening’s soundtrack, continuing a tradition that has become closely associated with the tournament. The event also extends beyond the polo ground. The team parade through the streets of Gstaad brings the players and horses into the village, while the surrounding festivities turn the tournament into one of the defining social occasions of the Alpine summer. Importantly, the Hublot Polo Gold Cup remains open to everyone. Admission is free, food is available on site, including food trucks, and a dedicated children’s area ensures that the event can be enjoyed by families as well as dedicated polo followers. For those seeking a more exclusive experience, VIP hospitality and the gala dinner offer a more intimate expression of Gstaad’s celebrated art of entertaining. This balance international prestige without unnecessary distance may be the tournament’s greatest achievement. Because ultimately, the attraction is not only the horses, the players or the competition. It is the rare feeling of being somewhere where sport and lifestyle still belong together: where tradition has not become rigid, where luxury remains understated and where the mountains provide the ultimate backdrop. For one August weekend, Gstaad becomes a crossroads of international polo, Swiss hospitality and Alpine sophistication a place where sporting excellence feels entirely at home. The 2026 Hublot Polo Gold Cup Gstaad takes place from 20 to 23 August 2026. VIP reservations and gala dinner: Polo Gstaad reservations Patrica Holdener Editor In Chief Luxe Magazine Switzerland Polo HublotPoloGoldCup Gstaad SwissPolo PoloGstaad SwissAlps SwissLuxury LuxurySwitzerland EquestrianLifestyle InternationalPolo LuxuryEvents GstaadLifestyle AlpineElegance LuxuryMagazine LuxeMagazineSwitzerland

MAZE ART GSTAAD 2026: A New Chapter of Elegance, Vision, and Global Dialogue Amid the pristine Alpine landscape, where art meets altitude and refinement meets daring, MAZE Art Gstaad returns for its third edition from February 19 to 22, 2026, under the shimmering canopy of the Festival-Zelt in the heart of Gstaad. This season, the fair expands its universe welcoming around forty leading international galleries an evolution that reflects MAZE’s growing role as one of Europe’s most curated and culturally resonant art experiences. Visitors will journey across time and medium, from modern and contemporary art to Old Masters, photography, design, sculpture, and jewelry, weaving together the threads of creativity that define today’s art world. Returning luminaries include White Cube, Perrotin, Mennour, Pace, Landau Fine Art, De Jonckheere, and Société, reaffirming their trust in MAZE’s distinctive identity. Alongside them, new voices join the constellation: Applicat-Prazan, Mendes Wood DM, Thaddaeus Ropac, Skarstedt, Jean-David Cahn, Eric Philippe, Jousse Entreprise, Mazzoleni, Nikos Koulis Jewels, Thomsen Gallery, and Waddington Custot. Together, they form a panorama of excellence a rare conversation between heritage and avant-garde. Images: MAZE Art Gstaad 2026 De Jonckheere 1) Gino Severini, “Danzatrice”, 1915 - 1916, Courtesy of Landau Fine Art 2) PIETER BRUEGHEL LE JEUNE Bruxelles 1564 Anvers 1638 La Prédication de saint Jean-Baptiste , 1620 P.BREGHEL. 1620 Numéro d’inventaire 720 ( ?) en bas à gauche Panneau 91,5 x 172 cm, courtesy of Gallery De Jonckheere 3) Loie Hollowell, Pressure in Red (2024), Pressure in Yellow (2025), Pressure in Blue (2025), © Loie Hollowell, courtesy of Pace Gallery 1) Booth of gallery Kreo, MAZE Art Gstaad 2025, photo: Baptiste Janin 2) Booth of Hélène Bailly, MAZE Art Gstaad 2025, photo: Baptiste Janin 3) Yves klein, "Sculture éponge bleu (SE 328)", circa1959 exhibited by Galerie Mitterrand, MAZE ART Gstaad 2025, photo: Baptiste Janin MAZE Art Columns: Where Words Become Art With the enduring support of F.P.Journe Haute Horology Manufacture in Geneva, MAZE continues to expand beyond the exhibition space with the MAZE Art Columns an editorial venture launched at MAZE Design Basel in June 2025. More than a publication, MAZE Art Columns is an intimate space for reflection a platform where independent voices dissect art, culture, and the architecture of ideas. The columns feature leading critics and curators such as Jörg Heiser (critic, curator, and director of the Institute for Art in Context, Berlin), FlashArt magazine, and Deyan Sudjic (curator, editor, and former director of the Design Museum, London). Published three to six times per year, MAZE Art Columns unfolds through essays, profiles, and long-form narratives culminating in a printed almanac that will gather the most compelling pieces, a specially commissioned essay, and a collectible art edition. Introducing the MAZE/Art Awards F.P.Journe: Celebrating Vision and Context Adding a new dimension to the MAZE constellation, the MAZE/Art Awards F.P.Journe emerge as a dynamic, context-driven prize honoring innovation and depth in artistic practice. Conceived as a dialogue between place and creativity, the awards will be presented at selected international art fairs distinguished by their identity and specialization whether established icons or emerging voices. Each year, the number and selection of fairs will evolve with the pulse of the global art scene. Every edition includes the acquisition of a work donated to an institutional collection linked directly to the fair’s location or theme ensuring that each award resonates deeply with its setting. The inaugural prize will be presented at MIRA Art Fair, Paris, with the awarded work entering the collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid. The jury includes Patricia Marshall (Fundación Jumex, Mexico) and Rosario Peiró (Head of Collections, Museo Reina Sofía, Madrid) voices whose discernment shapes contemporary art discourse. Each laureate will also be celebrated in depth, through a dedicated essay by an internationally recognized critic, published in the MAZE Art Columns, extending the award’s impact into the realm of critical dialogue. Developed in collaboration with F.P.Journe, the MAZE/Art Awards embody a dual mission: to celebrate innovative artistic vision and to foster conversation at the highest level of cultural engagement. 1) General view , with a painting of Walter Robinson, presented by Galerie Sébastien Betrand, MAZE Art Gstaad 2025, photo: Baptiste Janin 2) Booth of Landau Fine Art, with painting of, among others, Pab- lo Picasso, “Les Dormeurs”, 1965, MAZE Art Gstaad 2025, photo: Baptiste Janin PRACTICAL INFORMATION MAZE Art Gstaad Festival-Zelt Sportzentrumstrasse 5 3780 Gstaad 14 PROGRAM VIP Preview February 19, 2026 Public day February 20-21, 3-8 pm, and February 22, 2-6pm Admission free of charge Patricia Holdener Editor -In-Chief LUXE MAGAZINE SWITZERLAND MAZEArtGstaad ArtFair LuxuryCulture ContemporaryArt ModernArt Olasters FPJourne HauteHorology ArtAwards CulturalDialogue GenevaArt ArtCollectors DesignAndArt ArtCriticism ArtMagazine LuxuryLifestyle ArtExhibition SculptureAndDesign ArtAndInnovation VogueStyleStorytelling luxemagazineswitzerland

Auberge Safari : The Ultimate Luxury Safari Experience Redefining Tanzania Nine Extraordinary Sanctuaries. One Unforgettable Journey into Africa’s Wild Soul. Luxury travel has entered a remarkable new era. With the launch of Auberge Safari, the prestigious Auberge Collection unveils its very first African chapter, introducing an exceptional portfolio of nine luxury camps and lodges set across Tanzania’s most breathtaking wilderness. More than a new destination, Auberge Safari is an invitation to rediscover the very essence of exploration where conservation, authenticity and refined hospitality merge into one extraordinary experience. A New Definition of Luxury in the Heart of Tanzania Stretching from the legendary plains of the Serengeti to the pristine shores of Lake Manyara, Auberge Safari brings together two of East Africa’s most respected safari pioneers Legendary Expeditions and Chem Chem Safari. The result is an unparalleled collection of exclusive properties, each preserving its own identity while embracing Auberge Collection’s philosophy: luxury rooted in place, culture and meaningful human connection. Here, every journey is intentionally crafted rather than simply planned. Private guides, tailor-made itineraries, exclusive wildlife encounters and intimate cultural experiences transform each safari into a deeply personal adventure. Where the Great Migration Becomes a Front-Row Experience Guests enjoy privileged access to one of nature’s greatest spectacles the Great Migration following millions of wildebeest and zebras throughout every stage of their incredible journey. Beyond the migration, travelers encounter Tanzania’s iconic Big Tusker elephants, elusive leopards, tree-climbing lions and abundant wildlife in some of Africa’s most protected ecosystems. Whether exploring remote landscapes on foot, enjoying private game drives or sharing unforgettable moments beneath endless star-filled skies, every experience is designed around exclusivity and authenticity. Nine Extraordinary Properties Across Tanzania Each Auberge Safari destination tells its own story. Mwiba Lodge offers secluded luxury overlooking the Greater Mwiba Protected Wildlife Area, blending spectacular safari adventures with authentic encounters alongside the Hadzabe and Datoga communities. Mwiba Plains immerses guests in the ancient calving grounds of the Great Migration, where thousands of newborn wildebeest begin their first journey into the wild. In the Western Serengeti, Mila celebrates the timeless romance of classic safari life with intimate tented accommodations overlooking lion territory. Further north, Nyasi and Songa place guests at the heart of the dramatic Mara River crossings, delivering unrivalled views of one of the world’s most iconic wildlife events. Near Arusha, Legendary Lodge provides an elegant sanctuary nestled within a historic coffee estate, offering the perfect beginning or ending to an unforgettable safari. Meanwhile, the celebrated Chem Chem Collection continues to redefine luxury through its iconic Slow Safari philosophy. At Chem Chem Lodge, time slows naturally, allowing guests to reconnect with nature without urgency. Little Chem Chem captures the romance of vintage safaris, where sunrise awakens the African plains and wildlife roams freely beyond the canvas walls. Finally, Forest Chem Chem offers one of Tanzania’s most exclusive private wilderness retreats, hidden beneath ancient forests alive with extraordinary birdlife and elusive wildlife. Luxury with Purpose At the heart of Auberge Safari lies a profound commitment to conservation. Every guest stay actively contributes to protecting approximately 600,000 acres of extraordinary ecosystems through the Friedkin Conservation Fund and the Chem Chem Association. Together with local communities, these initiatives safeguard vital wildlife corridors connecting Tarangire National Park, Lake Manyara and the Greater Mwiba Protected Wildlife Area, ensuring Tanzania’s remarkable biodiversity thrives for generations to come. Luxury here is measured not by excess, but by legacy. An African Milestone for Auberge Collection The arrival of Auberge Safari represents far more than an expansion. It marks the beginning of a new chapter for one of the world’s most respected luxury hospitality brands. Guided by the belief that true luxury resides in the soul of a destination, Auberge Collection delivers an experience where elegant design, exceptional gastronomy, intuitive service and meaningful conservation coexist in perfect harmony. For discerning travelers seeking authenticity without compromise, Auberge Safari offers something increasingly rare in today’s luxury landscape: A journey that transforms not only the destination you discover but also the way you experience the world. Patricia Holdener Editor-In-Chief Luxe magazine switzerland AubergeSafari AubergeCollection LuxurySafari LuxuryTravel Tanzania Serengeti AfricanSafari TravelInStyle LuxuryLifestyle Conservation SustainableLuxury SafariExperience BucketListTravel LuxuryHotels ExclusiveTravel WildlifePhotography GreatMigration LuxuryAdventure AfricaLuxury LuxeMagazineSwitzerland

V&A Celebrates 170 Years of Burberry with The Burberry Trench: Crafting an Icon There are fashion pieces that belong to a particular season, and there are others that gradually become part of cultural history. The Burberry trench belongs firmly to the second category. On 21 September 2026, the Victoria and Albert Museum (V&A) in London will open The Burberry Trench: Crafting an Icon, a free display celebrating one of the most enduring garments in British fashion and marking Burberry’s 170th anniversary. Running until 3 January 2027, the exhibition brings together rare material from the Burberry Archive and the V&A collection, tracing the trench coat’s remarkable evolution from practical outerwear and military attire to a globally recognised fashion icon. Presented in the museum’s rarely seen Prince Consort Gallery, the display offers something more revealing than a celebration of a famous garment. It examines how innovation, craftsmanship and creativity can transform a functional object into a piece of cultural heritage. From Protection to Icon: The Invention of the Burberry Trench The story begins with Thomas Burberry’s invention of cotton gabardine in 1879. The fabric’s protective qualities helped establish the Burberry trench as sought-after outerwear, bringing together functionality and style. This practical origin is essential to understanding the garment’s longevity. The trench was not created as a fashion statement in the contemporary sense. Its purpose was protection. Yet its construction, materials and distinctive design elements gradually gave it a visual identity capable of surviving changing fashions and generations. More than a century later, that combination of utility and design remains central to the Burberry trench. Its history demonstrates that an object does not necessarily become iconic because it was designed to be iconic. Sometimes, cultural significance develops through repeated use, recognition and reinvention. The V&A display follows that evolution, showing how the trench became a design classic while remaining rooted in its original principles of protection, craftsmanship and innovation. The Craft Behind the Icon One of the most revealing aspects of The Burberry Trench: Crafting an Icon is its focus on the details that can easily disappear beneath the familiarity of the finished garment. Under the theme of “Craft”, the exhibition examines elements including the hand-finished collar, distinctive House Check lining, storm flap and detachable throat latch. Each detail has a practical purpose, particularly in protecting the wearer when the weather turns, while simultaneously contributing to the visual language that makes the Burberry trench immediately recognisable. This is where the exhibition moves beyond the idea of the trench as simply a famous fashion item. It allows visitors to understand how craftsmanship and function are embedded within the design itself. The coat’s identity is therefore not dependent on a logo alone. It is contained in its construction, proportions, materials and accumulated details precisely the elements that allow a garment to remain recognisable across decades. From Archive to Museum: When Fashion Becomes Heritage For a luxury house, an archive preserves the physical evidence of its history. A museum adds another dimension: interpretation. Once a fashion object is placed within a museum, it can be considered not only as a commercial product but as an artefact of design, craftsmanship and cultural history. This distinction is increasingly important as fashion houses look beyond the seasonal cycle and seek to understand, preserve and communicate the codes that have shaped their identities. The V&A provides a particularly appropriate context. Its fashion collection is designated as the UK’s National Collection and is one of the largest and most comprehensive collections of dress in the world. Its holdings range from rare 17th-century menswear and 18th-century mantua dresses to contemporary couture and exceptional accessories. The collection has also inspired generations of designers, including Vivienne Westwood, Alexander McQueen and Molly Goddard. Against this background, the Burberry trench becomes part of a much larger story: the preservation of fashion as a creative discipline and as a record of changing society, technology and design. Rare Burberry Archive Material Goes on Public Display The exhibition also offers visitors an opportunity to encounter material that would normally remain within the world of the fashion house’s archive. According to Burberry, a myriad of objects from the brand’s Archive will be publicly exhibited for the first time, including early 20th-century catalogues and a Burberry trench coat worn by British fashion designer Hardy Amies. These archival objects provide a different perspective on the history of the trench. They show that fashion heritage is not built only from finished garments or famous runway moments. Catalogues, historical references and individual pieces also form part of the evidence through which a fashion house’s identity can be understood. For visitors, this creates an opportunity to see not simply the finished icon, but some of the material history surrounding it. Creativity: How an Icon Continues to Evolve The final section of the display, “Creativity”, brings the story into contemporary fashion. The V&A will present 19 standout runway looks from the past two and a half decades, including designs by former Chief Creative Officer Christopher Bailey and Chief Creative Officer Daniel Lee. Their inclusion underlines one of the central characteristics of the Burberry trench: its ability to be reinvented without losing its identity. A design classic cannot survive simply by remaining unchanged. It must retain enough of its original character to remain recognisable while allowing successive generations of designers to reinterpret it. That balance between continuity and creativity is one of the reasons the trench remains relevant more than a century after its origins. Why the V&A and Burberry Partnership Matters The relationship between Burberry and the V&A extends beyond this exhibition. The two institutions have a longstanding relationship and share a commitment to ensuring that their heritage and collections continue to inspire the next generation of creatives. The Burberry Trench: Crafting an Icon also opens ahead of The Burberry Gallery, scheduled to launch in autumn 2028 as part of a major transformation of the V&A’s fashion galleries at South Kensington. Supported by Burberry through a multi-year partnership with the museum, the redesigned gallery will offer visitors new ways to experience fashion. The forthcoming gallery gives the current trench display an additional significance. It is not an isolated celebration, but part of a longer cultural relationship between one of Britain’s most established luxury houses and one of the country’s leading museums of art, design and fashion. What the Burberry Trench Teaches Us About Luxury Heritage The Burberry trench is an especially compelling example of how luxury heritage is created. Its history begins with a practical innovation: cotton gabardine. It develops through craftsmanship and functional design. It acquires recognition through repeated use. It is reinterpreted by successive generations of creative directors. And ultimately, it enters the museum. That journey reflects a broader shift in the way fashion is understood. Luxury is no longer defined only by what is new. Increasingly, value also comes from knowing what has endured and understanding why. Archives, historical garments and museum exhibitions allow audiences to see the layers behind a contemporary fashion house: the materials, techniques, design codes and creative decisions that have accumulated over time. The Burberry trench therefore represents more than a successful product. It represents continuity. The Future of Fashion Is Also About What We Choose to Remember Fashion is often associated with constant change: new collections, new designers, new silhouettes and new seasons. But the most enduring luxury objects operate differently. They accumulate meaning. The Burberry trench has evolved from practical outerwear and military attire into a globally recognised symbol of British craftsmanship, innovation and creativity. Its continued relevance lies precisely in its ability to adapt while retaining the design language that made it distinctive. At the V&A, that journey is given a new context. The customer becomes a visitor; the garment becomes an object of study; the archive becomes part of a cultural narrative. And perhaps that is the most significant lesson of The Burberry Trench: Crafting an Icon: the future of fashion is not only about what comes next. It is also about determining which designs, techniques and creative ideas deserve to be preserved, studied and passed on. The trench coat began as an answer to the elements. More than a century later, it has become an answer to another question: what makes a fashion object endure? About the V&A The Victoria and Albert Museum (V&A) South Kensington) is one of London’s most important cultural institutions, dedicated to the power of creativity across art, design, fashion, photography, furniture, theatre, performance, architecture and ceramics. Its collections and programmes span 5,000 years of creativity, and the museum is also home to the UK’s National Art Library and world-leading research and conservation programmes. The V&A’s fashion collection is designated as the UK’s National Collection and is one of the largest and most comprehensive collections of dress in the world. It encompasses rare historical garments, including 17th-century menswear and 18th-century mantua dresses, alongside contemporary couture and exceptional accessories. The collection has inspired generations of designers, including Vivienne Westwood, Alexander McQueen and Molly Goddard, as well as students and researchers worldwide. For further information about the museum and its programmes, visit vam.ac.uk. The V&A can also be followed on Instagram at @vamuseum and on Facebook at Victoria and Albert Museum. The exhibition is presented as part of the continuing relationship between the V&A and Burberry, ahead of the opening of The Burberry Gallery in autumn 2028, a major transformation of the museum’s fashion galleries at V&A South Kensington, supported by Burberry through a multi-year partnership. The Burberry Trench: Crafting an Icon Essential Information Location: Prince Consort Gallery, V&A South Kensington, London Dates: 21 September 2026 3 January 2027 Admission: Free Occasion: Burberry’s 170th anniversary Featured material: Burberry Archive and V&A collection Key themes: Invention, Craft and Creativity Contemporary highlights: 19 standout runway looks from the past two and a half decades Next chapter: The Burberry Gallery, opening in autumn 2028 Patricia Holdener Editor-In-Chief Luxe Magazine Switzerland Burberry BurberryTrench Burberry170 VandAMuseum VictoriaAndAlbertMuseum BritishFashion FashionHeritage LuxuryFashion FashionExhibition LuxeMagazineSwitzerland

A landmark Argentine collection is heading to Sotheby’s, in what could become one of the most consequential consignments of the 2026–27 auction season. Sotheby’s has reportedly secured a major tranche of the Blaquier family’s celebrated Impressionist and Post-Impressionist collection, valued at approximately $450 million, according to people familiar with the transaction. The group includes important works by Vincent van Gogh, Paul Cézanne, Edgar Degas, Pierre-Auguste Renoir and Camille Pissarro, positioning the consignment among the most significant collections to reach the international market in years. The reported deal marks a major victory for Sotheby’s in its increasingly competitive battle with Christie’s for the world’s most valuable private collections. According to Artnet News, Sotheby’s offered a substantial guarantee to secure the Blaquier works, although the auction house itself declined to comment on the arrangement. A Collection Shaped by Argentine Cultural History The collection was assembled by Nelly Arrieta de Blaquier and Carlos Pedro Blaquier, whose holdings became synonymous with the highest level of private collecting in Argentina. In 1995, The New York Times described Nelly Arrieta de Blaquier as the owner of what was then considered Argentina’s largest private art collection. Her importance extended well beyond collecting. Arrieta de Blaquier served as president of the Asociación de Amigos del Museo Nacional de Bellas Artes in Buenos Aires from 1977 to 2011 and was subsequently named honorary president. Her death in 2020 marked the end of an important chapter in Argentina’s cultural and philanthropic history. The collection reflects the couple’s sophisticated taste for European modern art, with works by some of the defining figures of Impressionism and Post-Impressionism. Following the deaths of both Nelly Arrieta de Blaquier and Carlos Pedro Blaquier, their children are now overseeing the dispersal of a portion of this extraordinary legacy. Van Gogh Could Lead the Sale Among the most important works reportedly destined for Sotheby’s is Vincent van Gogh’s Châtaignier en fleurs roses et blanches (Chestnut Tree in Pink and White Blossom), painted in 1890. The work could emerge as one of the defining lots of the season. An art adviser quoted by Artnet News suggested that, in favorable market conditions, the painting could achieve between $150 million and $200 million. Its potential arrival at auction is particularly significant given Van Gogh’s extraordinary performance at the top end of the market. The Blaquier collection previously owned another celebrated Van Gogh, Zouave (1888), which was reportedly sold privately for approximately $190 million. Christie’s handled that transaction. The contrast is notable: a collection historically associated with Christie’s is now reportedly moving a substantial portion of its remaining masterpieces to Sotheby’s. Cézanne, Degas, Renoir and Pissarro Complete a Blue-Chip Lineup The reported Sotheby’s consignment extends well beyond Van Gogh. A major Paul Cézanne harlequin is expected to be among the highlights. Cézanne produced his celebrated Harlequin series around 1888–1890, and comparable works are held in major museum collections, including the National Gallery of Art in Washington, D.C. According to market sources cited by Artnet News, the Blaquier Cézanne could command more than $120 million. The collection is also expected to feature Edgar Degas’s Avant la Course (1893), a Parisian street scene by Camille Pissarro, and Pierre-Auguste Renoir’s En canot (ou Jeune fille à la barque) (1877). Each of these works could reportedly exceed $25 million at auction, underscoring the extraordinary concentration of high-value Impressionist material within the collection. This combination gives Sotheby’s something particularly powerful: not simply a collection of expensive paintings, but a coherent group spanning the transition from Impressionism to Post-Impressionism and illustrating the evolution of European painting in the late 19th century. A Collection Already at the Center of an International Story The Blaquier holdings have attracted attention beyond the auction market. Several works from the collection were previously exported from Argentina to Luxembourg under temporary authorization. Argentine Customs later imposed a substantial administrative penalty over the matter. Contemporary reporting valued the group of exported works at more than $350 million and identified paintings by Van Gogh, Degas, Renoir, Monet, Gauguin and Cézanne among them. According to Artnet News, the authorities ultimately waived the proposed penalty in July 2026. Some of the works involved are now expected to form part of the Sotheby’s consignment, although the precise composition of the sale has not yet been publicly confirmed. That uncertainty is particularly intriguing in the case of Claude Monet. Earlier reports identified two Nymphéas paintings among the works exported, one dated 1904 and another from 1908, with reported values of approximately $50 million and $42 million respectively. Sotheby’s has not confirmed whether either Monet will ultimately appear at auction. Sotheby’s Makes a Strategic Move The significance of the Blaquier consignment extends beyond the individual masterpieces. For Sotheby’s, securing a collection reportedly worth $450 million represents a strategic coup at a moment when auction houses are competing aggressively for scarce, museum-quality works. The market for top-tier Impressionist and Post-Impressionist art is increasingly driven by a limited number of paintings capable of attracting ultra-high-net-worth collectors from around the world. Sotheby’s decision to reportedly offer a significant guarantee demonstrates how valuable such consignments have become. The auction house is competing not only for individual masterpieces but for the opportunity to control the narrative around entire collections. The timing could also prove advantageous. Sotheby’s continues to promote its strength in Impressionist and Modern art, a category in which the house has a long-established history. Its catalogues regularly feature major works by Renoir, Cézanne, Pissarro, Degas and Van Gogh, illustrating the depth of its expertise in the period. What the Blaquier Sale Could Mean for the Art Market If the reported valuations materialize, the Blaquier collection could become one of the defining events of the upcoming auction cycle. The most important question will be whether the market can absorb several exceptionally expensive Impressionist and Post-Impressionist works at once. A Van Gogh potentially valued at $150–200 million and a Cézanne potentially worth more than $120 million would already represent an extraordinary concentration of value. Add Degas, Renoir and Pissarro, and the collection has the potential to reshape the season’s hierarchy of trophy lots. Yet the importance of the Blaquier collection cannot be measured solely in dollars. Its story connects Argentine cultural philanthropy, European modernism, private collecting and the increasingly global art market. The dispersal of the collection will therefore represent not simply another auction, but the next chapter in the history of one of Latin America’s most important private art holdings. For Sotheby’s, it is a major acquisition of market share and prestige. For collectors, it may represent a once-in-a-generation opportunity to acquire works that have spent decades within a single distinguished collection. And for the international art market, the message is unmistakable: the next great auction battle may already have begun. Patricia Holdener Editor-In-Chief Luxe Mgazine Switzerland Sotheby’s, Blaquier Collection, Argentine Art Collection, Vincent van Gogh, Le Zouave, Paul Cézanne, Edgar Degas, Pierre-Auguste Renoir, Camille Pissarro, Claude Monet, Paul Gauguin, Alfred Sisley, André Derain, Maurice de Vlaminck, Impressionism, Post-Impressionism, Modern Art, Art Market, Art Auctions, Fine Art, Auction Season 2026, Sotheby’s Auction, Art Collecting, Private Collections, Latin American Art, Argentine Art, European Masterpieces, Art History, Provenance, Museum-Quality Art, Blue-Chip Art, Art Investment, Major Art Collection, Auction House, International Art Market, Buenos Aires, Paris, New York, London

Vogue’s decision to bring its global fashion and culture spectacle to San Francisco in 2027 signals something larger than a change of scenery: the fashion map itself is evolving. There are few decisions in fashion that can be read simply as logistical. The choice of a city, particularly for an event as visible as Vogue World, inevitably carries a message. In 2027, that message will come from San Francisco. The city will host the next American edition of Vogue’s travelling celebration of fashion, culture and performance in early autumn, following New York, London, Paris and Los Angeles, and ahead of the September 2026 edition in Milan. At first glance, the choice may seem unconventional. San Francisco does not occupy the traditional fashion hierarchy alongside Paris, Milan, London or New York. But that is precisely what makes it interesting. Vogue World was created in New York in 2022 as something deliberately broader than a conventional runway show: a public spectacle designed to bring fashion into direct conversation with a city and its wider cultural life. London followed in 2023, with the historic Theatre Royal Drury Lane providing a theatrical setting. In Paris in 2024, Place Vendôme became the stage for a celebration linking a century of French fashion with sport. Los Angeles then brought fashion into Hollywood in 2025, exploring the enduring relationship between clothing and cinema. Milan will continue that geographical dialogue in September 2026. Vogue has positioned the Italian edition around craftsmanship, creativity and the human touch at a moment when technology and artificial intelligence are reshaping the creative industries. San Francisco therefore does not appear as an accidental detour. It is the next statement in a sequence. A different kind of fashion capital San Francisco has never needed couture salons to establish its cultural importance. Its influence has historically come from elsewhere: technology, design, entrepreneurship, scientific research, venture capital and the companies that have transformed the way the world communicates, works and consumes information. That distinction is important. Paris represents an extraordinary concentration of fashion heritage and luxury craftsmanship. Milan combines design, manufacturing and commercial sophistication. London has long cultivated experimentation and cultural irreverence. New York remains one of the industry’s great centres of commerce, media and creative energy. San Francisco belongs to another category. It is a city associated with ideas before institutions, with disruption before tradition. Its cultural identity has been shaped by successive generations willing to challenge established structures a quality that Anna Wintour herself highlighted when announcing the 2027 destination, describing San Francisco as a city of diverse communities, artistic energy, innovation and a longstanding willingness to embrace change. That makes the decision more revealing than the question of whether San Francisco is becoming a new “fashion capital”. It is not necessary for it to become one. The more interesting possibility is that fashion no longer needs every important conversation to happen inside a traditional fashion capital. Where fashion meets technology The relationship between fashion and technology has been developing for years, but its significance is accelerating. Artificial intelligence is beginning to influence creative processes. Digital platforms have transformed how audiences discover designers and brands. Luxury houses are exploring new approaches to personalisation, digital experiences and retail. Technology has also created enormous concentrations of wealth and a new generation of entrepreneurs, collectors, philanthropists and cultural patrons. San Francisco sits at the heart of that ecosystem. Vogue World 2027 will therefore arrive at a moment when the boundaries between fashion, technology, entertainment, design and investment are becoming increasingly fluid. The event’s detailed programme and participating talents have not yet been announced, but Juan Costa Paz, creative director of the 2025 Hollywood production, is set to return for both Milan and San Francisco. The significance lies less in predicting what will appear on the eventual runway than in understanding the audience and cultural environment around it. For decades, fashion operated within a relatively defined network of editors, buyers, designers, celebrities and luxury clients. That ecosystem still exists. But its surrounding culture has expanded dramatically. The people shaping the future of fashion may increasingly come from adjacent worlds. A city with something to prove There is also a distinctly local reason for the partnership. San Francisco has been seeking to reinforce its economic and cultural vitality following years of disruption, particularly in the aftermath of the pandemic. Mayor Daniel Lurie has presented Vogue World as part of a broader effort to support the city’s creative economy and highlight its designers, musicians, artists, workers and small businesses. For San Francisco, the event offers international visibility at a moment when the city is keen to project its creative identity beyond its technology reputation. For Vogue, the equation is equally compelling. The magazine gains a setting that is culturally recognisable yet not overexposed within the traditional fashion calendar. It offers a city with its own mythology, its own creative history and a powerful association with innovation. And for fashion, there is something increasingly valuable in choosing a place that does not feel inevitable. The changing geography of influence The traditional capitals are not disappearing. Paris will remain central to luxury and couture. Milan will continue to represent one of the world’s most sophisticated relationships between design, craftsmanship and industry. London and New York will retain their enormous cultural and commercial influence. But the map around them is becoming larger. Vogue World’s evolution makes that visible. Each destination has supplied a different cultural language: New York’s urban energy, London’s theatre, Paris’s fashion heritage, Los Angeles’s relationship with cinema, Milan’s craftsmanship and, now, San Francisco’s culture of innovation. That progression is more revealing than any individual collection that may eventually be shown. The real story is not that San Francisco is replacing Paris or Milan. It is that fashion’s definition of influence is becoming more expansive. In choosing San Francisco, Vogue is placing its spectacle in a city where technology, capital, creativity and cultural experimentation have converged for decades. Whether the event ultimately fulfils the expectations surrounding it remains to be seen. But the choice itself is already significant. The future of fashion will still be made in ateliers, studios and design houses. It will still depend on craftsmanship, imagination and the accumulated knowledge of generations. Increasingly, however, it will also be shaped in places where fashion intersects with other forms of power. San Francisco may be one of those places. And that is why, in 2027, the most interesting part of Vogue World’s next chapter may not be what walks down the runway. It may be where the runway is built. Patricia Holdener Editor-In-Chief Luxe Magazine Switzerland VogueWorld SanFrancisco FashionIndustry FashionFuture LuxuryFashion FashionCulture FashionInnovation SanFranciscoCulture LuxuryMedia LuxeMagazineSwitzerland

Roger Dubuis Returns to Its Geneva Roots with a New Conceptual Lounge In the heart of Geneva, where Swiss watchmaking has been shaped by centuries of craftsmanship, Roger Dubuis is opening a new chapter. On the iconic Place du Molard, in the city where the Maison has called home for three decades, the new Roger Dubuis Lounge invites visitors into a world where haute horlogerie, design and hospitality meet. The opening is particularly symbolic as Roger Dubuis celebrates its 30th anniversary. More than a new retail destination, the Lounge has been conceived as an intimate meeting place a setting designed to spark conversations, discoveries and a deeper connection with the Maison’s distinctive watchmaking universe. “Opening the Lounge in the year of our 30th anniversary is particularly symbolic,” says David Chaumet, CEO of Roger Dubuis. “Geneva has been our home for three decades, and it is a European city that embodies the tradition, prestige and history of Swiss watchmaking.” A Geneva-Inspired Luxury Interior with Roger Dubuis DNA From the moment guests enter, the Lounge reveals a carefully orchestrated blend of natural materials, Roger Dubuis’ emblematic touches of red and discreet references to the Maison’s founders. The different salons are connected through a harmonious architectural flow, creating an atmosphere that feels both contemporary and intimate. Every element has been considered with the same precision that defines fine watchmaking. One of the most striking details is the Lounge’s wooden feature wall, punctuated by luminous squares inspired by the distinctive paving stones of Place du Molard. Outside, transparent stones embedded in the square illuminate at night, carrying warm messages. Inside the Lounge, words drawn from the identity of Roger Dubuis echo this visual signature, transforming a familiar Geneva landmark into part of the Maison’s interior narrative. Discover Haute Horlogerie Through a More Personal Experience At the entrance, a timepiece appears to float in mid-air behind a display window an immediate expression of Roger Dubuis’ philosophy of technical innovation and expressive design. Further inside, a dedicated presentation area offers guests the opportunity to explore the Maison’s collections in greater depth. Among the latest creations on display are the Excalibur Bi-Retrograde Calendar and the Knights of the Round Table Merlin The Enchanter, alongside historic timepieces that once belonged to Monsieur Roger Dubuis himself. These rare pieces will be exhibited for a limited period, adding an especially personal dimension to the experience. Yet the Lounge is not conceived solely around watches. It is also about conversation, culture and the art of living. Swiss Wine, Watchmaking and the Art of Hospitality The Lounge creates an inviting environment where the Maison’s team can share its expertise, stories and anecdotes with guests from around the world. Conversations can unfold in several languages, including English, French, Arabic and Chinese, reflecting Roger Dubuis’ international community. A bar and carefully selected wine cellar extend the experience beyond haute horlogerie, with a focus on exceptional Swiss wines including some of the favourites of the Maison’s founders. Throughout the year, the Lounge will evolve through exclusive services, access to limited editions and a changing programme of collaborations and launches. Its universe will move beyond traditional watchmaking, embracing worlds ranging from motorsport to contemporary art while continuing to express the uncompromising spirit of Roger Dubuis. A New Destination for Swiss Luxury Watchmaking in Geneva In this new Geneva setting, Roger Dubuis brings together its heritage, avant-garde spirit and passion for exceptional watchmaking. The Lounge is ultimately a place designed not simply to display timepieces, but to experience the Maison through its stories, its people and its unmistakable creative energy. The Roger Dubuis Lounge is open Monday to Friday from 10:00 am to 6:30 pm and Saturday from 10:00 am to 5:00 pm. Appointments can be arranged through the Maison’s official Geneva boutique page or by telephone at +41 (0)22 321 28 28. Patricia Holdener Editor-In-Chief Luxe Magazine Switzerland RogerDubuis RogerDubuisLounge Geneva GenevaWatchmaking SwissWatchmaking LuxuryWatches HauteHorlogerie SwissLuxury LuxuryLifestyle Excalibur KnightsOfTheRoundTable FineWatchmaking GenevaLuxury LuxuryWatchmaking LuxeMagazineSwitzerland

Every July, the EFG Swiss Open Gstaad transforms one of Switzerland’s most exclusive alpine destinations into the beating heart of international tennis. Here, the sport extends beyond the court, becoming part of the village’s lifestyle, where world-class competition unfolds against a backdrop of charming chalets and breathtaking mountain scenery. Tennis is a sport of strength and precision, of endurance and mental resilience, it tends to be best appreciated by those in the know. It has its recurring weekend of fame in Wimbledon, then gets handed back to well-informed aficionados. What we witnessed in Gstaad this July, however, was something rather different. Far from being a sport for the initiated, tennis had turned into a lifestyle, seamlessly integrated into the daily routine of this rather swanky mountain village. The stadium was so snugly nestled between the chalets that line the high street, it looked as if it had been dropped there from above on a parachute, having gently glided down until it found its perfect resting place. It was hard to say who had the honour of being associated with whom: whether Gstaad was lucky to have the tournament in its midst, or whether the tournament should have been grateful to Gstaad for being held there. All we know is that together, they packed a punch. Passion vs. precision on the tennis court The morning of the semifinals particularly caught our attention at Luxe Magazine. The first set saw two opponents of nearly identical age and ATP ranking face each other, the Belgian Raphael Collignon and the Argentinian Juan Manuel Cerundolo. As if to highlight their similar rankings, except for the first set they were constantly neck-to-neck. Cerundolo managed to be slightly in the lead most of the time, but Collignon made it a habit to fight back just at the right moment, eventually going on to win 1-6, 7-6, 7-5. Having spent nearly the whole match a few points away from defeat, in the crucial instants he unleashed a force that was something to reckon with, holding the stadium in awe at the sheer strength and passion on display. The whole confrontation really was decided by a few key points. Cerundolo had control, technique and consistency on his side, while Collignon was entirely powered by resilience and staggering might. Precision vs. passion, that’s what it was. Thanks to his mental and physical strength, Collignon managed to pull momentum to his side when it most mattered, and in the end unleashed a series of killer serves that left everybody astounded. As time passed, he became stronger, not weaker, as if he were sucking in energy from the pastures surrounding him. It was such a joy to watch, a true game of superlatives. The sheer number of crucial points decided on a cliffhanger gave it suspense by the bucketload. Thus, on the morning of Saturday the 18 th of July, these two players, who aren’t even the world’s most prominent, delivered one of the most riveting tennis spectacles in recent memory. The crowd, for its part, did not trail behind. It was enthusiastic, endearing even, cheering the players on while enjoying every bit of the show in front of them. A show it was indeed, and a pleasure to be there, even someone who had never heard about tennis would have enjoyed it. And that, we believe, is the biggest compliment one can make to a sports match. As we left the stadium, we found ourselves smack in the centre of the village again, flanked by chalets with a formidable number of flower-studded balconies and windowsills. As high as emotions were running inside the stadium just a few minutes before, out on the high street the ambience was relaxed, pleasant and unhurried. The essence of the Swiss summer, we are tempted to say. Enrico Börger Patricia Holdener Editor-In-Chief Luxe Magazine Switzerland EFG Swiss Open Gstaad Gstaad ATP 250 Swiss Alps Tennis Switzerland Luxury travel Switzerland Gstaad lifestyle Tennis tournament Switzerland Alpine luxury Raphael Collignon Juan Manuel Luxe Magazine Switzerland

Why Abu Dhabi Is Becoming the New Global Capital of Art, Culture and Luxury Beyond spectacular architecture and blockbuster exhibitions, Abu Dhabi is executing one of the world’s most ambitious cultural strategies. Here’s why the emirate is redefining the future of luxury through museums, art and soft power. Abu Dhabi, Saadiyat Cultural District, luxury, museums, Louvre Abu Dhabi, Guggenheim Abu Dhabi, teamLab Phenomena, cultural tourism, luxury travel, Middle East art. The World’s Most Expensive Cultural Bet Isn’t Being Made in Paris, London or New York. It’s Being Made in Abu Dhabi. Luxury has always been associated with geography. For more than a century, Paris dictated elegance. Milan shaped craftsmanship. London cultivated creative rebellion, while New York transformed fashion into a global business. Together, these cities formed an almost unquestioned map of cultural influence a map so deeply rooted that few imagined it could ever be redrawn.Yet maps change. Not overnight, and rarely with dramatic announcements, but through a succession of deliberate decisions that, viewed individually, seem unrelated. A museum opens. A renowned architect is commissioned. An international institution signs a partnership. An art fair grows in stature. A cultural district slowly takes shape. Only years later does the broader picture emerge. That is precisely what is happening in Abu Dhabi. While much of the world has focused on its spectacular skylines or its growing luxury hospitality sector, the emirate has quietly pursued a far more ambitious objective: to become one of the world’s leading cultural capitals. This ambition is not measured by the height of its buildings or the number of luxury hotels lining its coastline, but by its ability to attract ideas, preserve heritage and shape global conversations around art, design and creativity. The opening of teamLab Phenomena Abu Dhabi in 2025 did not mark the birth of this vision. It merely revealed a strategy that has been unfolding for nearly two decades. The real story is not about a new museum. It is about the emergence of a new cultural geography. Saadiyat Island Was Never Designed to Be a Tourist Attraction Most destinations build museums to attract visitors. Abu Dhabi has taken the opposite approach. It is building an ecosystem where museums, architecture, education, public art and cultural institutions reinforce one another, creating an environment in which culture itself becomes the destination. At the centre of this vision lies Saadiyat Cultural District, one of the most ambitious cultural developments undertaken anywhere in the world. Rather than concentrating on a single flagship institution, the district brings together internationally recognised museums and homegrown initiatives within a carefully curated landscape dedicated to artistic exchange. The Louvre Abu Dhabi, designed by Pritzker Prize-winning architect Jean Nouvel, was the first major milestone. Its iconic floating dome quickly became one of the most recognisable pieces of contemporary architecture, but the building’s significance extends beyond its visual identity. Unlike traditional national museums, the Louvre Abu Dhabi presents human civilisation through shared narratives, deliberately placing works from different cultures and eras in dialogue. It proposes that artistic achievement is a collective story rather than a succession of isolated histories. The arrival of teamLab Phenomena Abu Dhabi introduced another dimension altogether. Known for immersive digital environments that dissolve the boundaries between art, science and technology, the Japanese collective created a space where artworks continuously evolve in response to visitors and natural phenomena. The experience is less about observing objects than participating in an ever-changing environment, reflecting a broader shift in how contemporary audiences engage with culture. Future additions, including the Guggenheim Abu Dhabi and the Zayed National Museum, reinforce the same vision. Each institution has a distinct mission, yet together they form a cultural ecosystem rather than a collection of standalone attractions. This is a crucial distinction. Abu Dhabi is not assembling famous museum brands as trophies. It is constructing an intellectual infrastructure designed to endure for generations. Culture Has Become the New Currency of Global Influence For decades, nations projected influence through economic power, military strength or industrial innovation. Today, another form of influence has become equally significant: culture. Museums, biennales, architecture, cinema and design increasingly function as instruments of what political scientists describe as soft power the ability to shape perceptions through attraction rather than coercion. Paris has long understood this. So have London and New York. Abu Dhabi has recognised that cultural leadership is no longer inherited. It can be built through sustained investment, strategic partnerships and institutional credibility. The emirate’s cultural policy reflects this understanding. Rather than attempting to imitate established capitals, it is positioning itself as a crossroads where Eastern and Western artistic traditions meet, where historical heritage coexists with technological experimentation and where contemporary architecture becomes part of the cultural narrative itself. In doing so, Abu Dhabi is challenging a long-held assumption: that cultural authority must emerge organically over centuries. Instead, it suggests that, with vision and commitment, it can be cultivated deliberately. Luxury Is No Longer Defined by Possession. It Is Defined by Access to Culture. One of the most significant transformations in the luxury industry over the past decade has received surprisingly little attention. Luxury is no longer measured solely by what people own. Increasingly, it is measured by what they can experience. Collectors no longer travel simply to purchase jewellery on Place Vendôme or handbags on Via Montenapoleone. They travel to attend biennales, discover exhibitions before they become global conversations, dine inside museums, meet artists, and experience destinations where architecture, gastronomy, fashion and culture exist within the same ecosystem. This evolution has fundamentally altered the economics of luxury tourism. A destination capable of offering exceptional cultural experiences no longer competes only with other cities. It competes with the world’s most exclusive lifestyle brands Abu Dhabi appears to have understood this shift earlier than many expected. The emirate is not investing in museums because museums attract tourists. It is investing in museums because culture attracts influence, talent, international partnerships and, ultimately, long-term economic resilience. The distinction is subtle, yet fundamental. Tourism generates visitors. Culture generates reputation. Architecture as a Cultural Statement Throughout history, architecture has served as the visual language of political ambition. The pyramids of Egypt, the cathedrals of Europe and the great museums of the nineteenth century all communicated more than technical achievement. They expressed confidence, permanence and identity. Abu Dhabi’s contemporary architecture follows the same tradition. Jean Nouvel’s dome at the Louvre Abu Dhabi has become more than an architectural landmark. Inspired by traditional Arabic geometry, its intricate structure filters sunlight into what the architect famously described as a “rain of light”, creating an atmosphere that feels simultaneously rooted in regional heritage and unmistakably contemporary. Nearby, the future Guggenheim Abu Dhabi, designed by Frank Gehry, will introduce another architectural language altogether, one characterised by bold sculptural forms that have become synonymous with some of the world’s most influential cultural institutions. These buildings are not merely containers for art. They are cultural objects in their own right. Visitors increasingly travel to experience the architecture before stepping inside the galleries, a phenomenon that has transformed museums into destinations where design and exhibition become inseparable. A Different Vision from Dubai Abu Dhabi is frequently compared with Dubai. The comparison is understandable, yet increasingly misleading. While Dubai has built an international reputation around commerce, innovation, hospitality and spectacle, Abu Dhabi has adopted a quieter, more institutional strategy. Its ambition is not to become the most visited destination in the Middle East. It is to become one of its most respected. This distinction explains why the emirate has invested heavily in museums, conservation, archaeology, education and long-term cultural partnerships rather than relying solely on entertainment or record-breaking attractions. Rather than competing for headlines, Abu Dhabi is competing for credibility. That approach requires patience. Unlike luxury retail or hospitality, cultural influence cannot be purchased overnight. It must be earned over decades through consistency, scholarship and public trust. The New Geography of Luxury Is Being Redrawn For generations, discussions about luxury inevitably centred on Europe. Paris represented couture. Milan embodied craftsmanship. London championed creativity. These cities remain essential to the industry’s identity. Yet luxury itself has become increasingly global. Its clients, collectors and investors now come from every continent. Its cultural conversations are no longer confined to Western capitals. In this context, Abu Dhabi represents something larger than a regional success story. It reflects a broader redistribution of cultural gravity. The world’s most influential museums, architects and artists are no longer looking exclusively towards Europe or North America. They are participating in a new network of cultural exchange in which the Gulf has become an increasingly important actor. This transformation does not diminish the historical significance of Paris or London. It expands the map. The Museum Is Not the Destination. The Strategy Is. Reducing Abu Dhabi’s cultural transformation to the opening of another museum misses the point entirely. The museum is only the visible outcome of a much larger vision. The true achievement lies in creating an environment where art, architecture, education, heritage, tourism and innovation reinforce one another. Few cities have attempted such an integrated approach. Even fewer have pursued it with the same long-term consistency. Whether this strategy ultimately establishes Abu Dhabi as one of the world’s defining cultural capitals will be judged over the coming decades. But one conclusion is already difficult to ignore. The emirate is no longer asking to be included in the global cultural conversation. It is helping shape it. Conclusion: Why the Luxury Industry Should Pay Close Attention Luxury has always anticipated change before the rest of the world recognised it. Today’s most successful luxury destinations are no longer defined only by iconic hotels, flagship boutiques or exceptional dining. They are defined by the quality of their cultural ecosystems. That is precisely why Abu Dhabi deserves attention. Not because it has opened another museum. Not because it has commissioned another celebrated architect. But because it has recognised that, in the twenty-first century, culture is no longer an accessory to economic development. It is one of its most powerful foundations. For decades, the world’s cultural capitals inherited their influence from history. Abu Dhabi is attempting something far more ambitious. It is building one deliberately. Patricia Holdener Editor-In-Chief Luxe Magazine Switzerland AbuDhabi SaadiyatCulturalDistrict LouvreAbuDhabi GuggenheimAbuDhabi teamLabPhenomena LuxuryTravel ArtCollectors MuseumCulture FutureOfLuxury GlobalCulture Architecture LuxuryLifestyle CulturalTourism MiddleEast LuxeMagazineSwitzerland