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When Luxury Mimics the Mundane: An Investigation into Balenciaga’s £775 “Plastic Bag” Phenomenon Balenciaga’s latest offering a crinkled polyamide tote visually indistinguishable from a worn supermarket bag has ignited a wave of debate across fashion media and consumer forums. Priced at an eyebrow-raising £775 as part of the Winter 2025 collection, the piece is emblematic of a growing phenomenon in luxury fashion: the elevation of the everyday into aspirational scarcity. This article explores the underlying dynamics designer intent, consumer psychology, and the shifting boundaries of what constitutes luxury. The product and its price The Marché Packable Tote, with its creased, durable polyamide build and subtle branding, is deliberately crafted to mimic the aesthetic and tactile irregularities of a discarded bag . Unlike typical plastic, it employs materials like Dyneema a high-strength polymer living up to its premium tag. Fashio as ironic commentary or cynical branding? Fashion critics describe the move as “luxury trash bag turned aspirational” . Some see it as tongue-in-cheek critique by creative director Demna, poking fun at the absurdity of luxury branding. Others argue it’s a savvy exploitation naming the mundane as exclusive propels desirability. A historical echo In 2017, Balenciaga launched a leather or nylon tote that uncanny mirrored IKEA’s $0.99 FRAKTA bag, priced at $2,145. IKEA famously responded with humor: “deeply flattered” by the resemblance . The pattern suggests Balenciaga’s repeated strategy: leveraging cultural familiarity for shock value and brand reinforcement. 4.Consumer perception and backlash Reactions have varied. For some, it’s a pointed critique of performative consumption; for others, a total absurdity. Online discourse picks up the tone of frustration why pay hundreds or thousands for something a few cents could buy? Yet, these items often sell out, indicating a paradox: viral mockery can drive desirability. 5.The broader luxury landscape Balenciaga isn’t alone. The Row’s £670 rubber flip-flops and Prada’s £700 beach towel suggest luxury increasingly finds itself reproducing banal objects elevated only through branding, scarcity, and irony. Balenciaga’s “plastic bag” tote exemplifies the surreal extremes of luxury branding: transforming trash into treasure through social currency, scarcity, and cultural irony. It prompts a broader question: when did exclusivity become synonymous with mockery? And will consumers continue rewarding such provocations or will imitation with intention become the new real luxury? LuxuryFashion Balenciaga FashionIrony DesignerCritique MarchéTote LuxuryBranding ConsumerCulture FashionTrends HighFashionControversy BrandValue

CHEZ FRITZ - INA RINDERKNECHT Originally built in 1963, Chez Fritz has long been a cherished part of the Kilchberg shoreline. Now, it enters a new era honouring the original pavilion structure while embracing a fresh, modern character. The restaurant’s clean architectural lines and generous windows have been enhanced to blur the boundary between interior and lake. Inside, pale limestone floors evoke sun-washed Mediterranean terraces. Cold- pressed tiles crafted from recycled materials form a graphic rhythm on the terrace. Bronze accents catch the shifting daylight, while warm woods and considered textiles introduce softness and depth. Lake-Inspired Interiors Ina Rinderknecht drew her palette from the lake itself its ever- changing light, muted tones, and expansive calm. A refined spectrum of cool greens, mineral hues and soft neutrals flows through the space, connecting indoors and out. Quartzite dining tables in Emerald Jadore reflect the water’s surface. Upholstered benches in striped Dedar fabric recall mid-century beach clubs, reinterpreted with contemporary restraint. Custom pieces such as deep green Douglas fir cabinetry and handcrafted service stations framed by translucent glass bricks anchor the space. From limestone underfoot to the layered softness of curtains and cushions, each material contributes to a sense of warmth and belonging, whether under summer sun or in the quiet of colder months. Heritage Held Close Chez Fritz remains a family affair. Founded by the grandparents of co- owners Elios and Ermes Elsener, the restaurant has long been part of their lives and that deep connection resonates in the new interior. From curated lighting and custom furniture to the restoration of original structural details, every choice reflects care, continuity, and character. Quiet Design Throughout the restaurant, Ina Rinderknecht’s guiding principle is clarity over spectacle. Ceiling beams once considered visually disruptive have been subtly rebalanced through thoughtful use of colour, harmonising them with the overall design and surroundings. Spaces are zoned to let guests flow naturally uninterrupted, yet gently guided. A Table Set for the Mediterranean The space now serves as a graceful stage for the cuisine of Head Chef Igino Bruni, whose menu reflects a clean, contemporary take on Mediterranean classics infused with Swiss precision. From fritto misto to bouillabaisse to his signature iced coffee, each dish is matched by an atmosphere of relaxed refinement. Guests can enjoy the 70-seat dining room, a lakeside lounge, or the generous 120-seat terrace. Chez Fritz now welcomes diners throughout the day: lunch from 11:30am to 2:00pm, a laid-back lounge menu in the afternoon, and dinner service from 6:00pm to 10:00pm. A Revival Rooted in Feeling The redesign of Chez Fritz was shaped by a close collaboration between Ina Rinderknecht and the Elsener family, telling a story of what hospitality can be when design, history, and emotion come together. “It’s not about trends, it’s about soul. Guests may not notice every material or finish, but they’ll feel the intention behind them and the ambience they create. And that’s what sticks.” Ina Rinderknecht “Chez Fritz stands for quiet luxury good food, fine wine, and a setting that feels both refined and relaxed. Ina’s design captures that perfectly.” Elios Elsener Chez Fritz An institution for over 60 years, Chez Fritz was founded by Thea and Fritz Elsener in 1963 and, following a thoughtful renovation in 2025, continues to delight guests in fresh splendour. Under the guidance of General Manager Lukas Schrottenbaum renowned for his warm hospitality and passion for fine dining and Head Chef Igino Bruni whose refined, market-fresh Mediterranean fish cuisine brings Sicilian flair to Zurich Chez Fritz remains a beloved destination for exquisite food and relaxed charm. Sustainability is central to the restaurant’s philosophy, with regional and seasonal produce sourced from trusted partners like Bianchi, Val Paradiso and ViCAFE. Art also plays a vital role here, with works by Thirza Schaap and Caspar Faassen adding a thoughtful dimension to the dining experience. At Chez Fritz, tradition, contemporary gastronomy and conscious enjoyment come together creating memorable moments on the shores of LakeZurich. Seestrasse 195b, 8802 Kilchberg, Switzerland www.chezfritz.ch About Ina Rinderknecht Born and raised in Seoul, South Korea, with an international upbringing across many continents, Ina Rinderknecht’s love of design began during a school exchange in Yogyakarta where she learnt traditional Indonesian arts and crafts. From there, she graduated from the Instituto Europeo di Design, and then obtained a Master’s Degree of Arts in Design from Domus Academy Milan. Ina started her professional career in Milan before moving to Hawaii to create renowned hospitality spaces with Peter Vincent and Associates.Whilst working as the lead interior designer on the Park Shore Waikiki Hotel in 2005, owned by the Blackstone Group, she was subsequently asked in 2006 to join this Private Equity firm as a design consultant for their own luxury hotel brand, LXR Luxury Resorts. In 2006, she founded Ina Rinderknecht, her design agency in San Francisco and return to her homeland, Zurich, in 2008 where she finally established the firm. www.ina-rinderknecht.ch

RH Paris, Unveiled: A Seven-Story Gallery of Design, Dining, and Drama on the Champs-Élysées The Champs-Élysées has a new stage and it isn’t a fashion house or a hotel. It’s RH Paris, The Gallery on the Champs-Élysées, a seven-level fusion of architecture, art, interiors, and hospitality that opened to the public on September 5, 2025, just as Paris Design Week began. Behind gilded gates at 23 avenue des Champs-Élysées, the American design brand presents its most ambitious European statement yet: a 3,900-square-meter universe where a design library greets you with rare tomes, lighting twinkles like jewelry, a glass elevator appears and vanishes like stagecraft, and restaurants serve Champagne and caviar beneath luminous white onyx. It is retail as cultural theater and it is unmistakably Paris. A new Paris address with history and intent The building itself dates to 1983, commissioned by aviation pioneer Marcel Dassault, and more recently known to shoppers as the former Abercrombie & Fitch flagship. RH’s arrival retains the site’s ceremonial entry: past an ornate, gold-leafed wrought-iron gate and down a 150-foot limestone, hedge-lined path to a hidden garden. The gesture is pure Paris: a private-domain reveal that delays gratification and frames the brand’s world as something you enter, not merely browse. Inside, a soaring atrium threads the seven floors with cast medallion stairs and a golden glow. Paris is not RH’s first European foray England’s Aynho Park arrived in 2023 but the Champs-Élysées location is different in temperature and tempo. It places RH in dialogue with the city’s grand boulevard, where luxury increasingly performs as experience. The timing aligns with Paris Design Week and Maison&Objet, pulling a global design audience through the doors. Architecture as choreography There is a theatrical current to the gallery’s key moves. RH worked with Foster + Partners on a series of interventions that read like choreographed reveals. The RH Interior Design Studio sits in a freestanding, glass-encased pavilion an almost civic gesture on the garden side where a bespoke installation by Alison Berger refracts light like crystalline perfume stoppers. Step into the entrance hall and you meet the Architecture & Design Bibliothèque, anchored by one of the earliest modern printings (c.1521) of Vitruvius’s De Architectura a literal citation of proportion and order. On the first level, the mood shifts to gallery: antiques and artifacts share the stage with works such as abstract nudes by German painter Thomas Junghans, establishing art as an equal partner to furniture. Even the ceilings perform: a hand-gilded field of gold leaf by Ateliers Gohard amplifies the atrium’s light. The showstopper is above. A glass-and-brass rooftop elevator conceived by Foster + Partners as a “now-you-see-it, now-you-don’t” pop-up emerges from an invisible shaft to deliver guests to a landscaped aerie with views of the Eiffel Tower, Grand Palais, and the avenue below. It feels less like a store and more like a civic belvedere, a new vantage point on the capital. Hospitality woven into the gallery RH Paris is the brand’s first European gallery with fully integrated hospitality concepts: two restaurants, a bar & lounge, and a rooftop moment that reframes the city. Le Jardin RH (second floor) occupies a soaring conservatory of curved glass and steel, with white onyx from bar to bath giving the room a sculptural clarity. The World of RH Bar & Lounge (third floor) layers merino-velvet comfort with archival drawings, photographs, and digital installations cocktail in hand folding the company’s broader narrative into the Paris experience. Le Petit RH (fourth floor) concentrates the brand’s culinary signatures into an intimate, 43-seat room of Champagne onyx and crescent banquettes, crowned by a custom Chiara chandelier of 7,200 hand-blown glass polyhedrons. Taken together, the sequence is unmistakably hospitality yet it remains tethered to design and craft. Menus, meanwhile, speak Paris fluently caviar, seafood towers, classic roasts, French wines and tilt toward the sort of celebratory dining that encourages lingering (and by extension, immersion in the gallery’s design world). The program isn’t an add-on; it’s the circulatory system that keeps people moving between ideas, materials, and rooms. From retail to cultural platform Industry watchers have described RH Paris as a culmination: the company’s long evolution from a catalog brand into a placemaker a curator of interiors, landscapes, hospitality, and now urban moments. The opening was September 5, 2025 for the public, with VIP previews the day prior; media framed it as RH’s most ambitious European gallery to date and, in CEO Gary Friedman’s own phrasing, a kind of “Mona Lisa” for the brand. The statement lands because Paris measures ambition by more than square meters; it measures it by how places feel and how they hold together over time. If the brand’s earlier European iteration in England was a country-house campus, Paris is an urban salon. It compresses RH’s vocabulary antiques and contemporary craftsmanship; rare books and new lighting; dining rooms and rooftop gardens into a single vertical narrative. The strategy mirrors a broader luxury shift from transaction to experience: galleries and flagships as cultural destinations that reward curiosity, photography, and repeat visits. Why the Champs-Élysées matters The address is symbolic. The Champs-Élysées is a boulevard of myth and reinvention, where global brands routinely attempt destination-making. RH’s choice of the former Abercrombie & Fitch site is telling: the property already offered a theatrical forecourt and a separation from the street that lends itself to hospitality and display. The retrofit is notable for its restraint the building’s monumental bronze-and-brass doors, for instance, are not replaced but recontextualized, while the central stair gains a backlit, frosted-glass “float” that refreshes the promenade without erasing memory. The brand’s 3,900-square-meter footprint also gives Paris a new hybrid typology part library, part gallery, part club less a store than a cultural interior. The visitor’s path A first visit might unfold like this. You enter through the iron gate and garden perhaps a glass of Champagne collected from the wine bar within Le Jardin RH and drift beneath the gold leaf into the Bibliothèque. A figure a 19th-century bronze caryatid attributed to Louis-Félix Chabaud anchors the atrium like a guardian. You pass abstract canvases by Junghans and vignettes of RH Modern and RH Interiors. A conversation with a designer in the glass pavilion becomes an impromptu consult about a new apartment. Later, a slow ride in the glass elevator yields the city’s postcard: Eiffel Tower, Grand Palais, Notre-Dame the kind of tableau that insists your phone become a camera. Dinner is at Le Petit RH oysters, perhaps, and a citrusy cocktail before a final descent, where mirrors and bronze soffits turn the staircase into an infinite loop. It reads as a narrative arc rather than a shopping trip. The business calculus Beyond romance, the Paris gallery is an instrument. RH has reported strong early demand at new European sites and is using these landmark galleries as beachheads for membership growth, design services, and brand equity in markets where American luxury players have traditionally struggled to establish deep cultural ties. Opening during Paris Design Week and overlapping with Maison&Objet isn’t incidental it maximizes visibility among designers, buyers, and media, while seeding local curiosity. The Champs-Élysées brings tourist volume; the rooftop and restaurants bring repeat local use. If the model works, expect RH to extend the format across other European capitals; London and Milan are already signposted in coverage and company communications. What it signals for Paris Paris has seen a surge of hybrid venues that blur categories hotels as galleries, maisons as cafés, museums as concept stores. RH Paris joins that conversation with an American accent and a confident sense of spectacle. Its success will be measured not only in sales but in how it is used: as a meeting place for the design community; as a photo vantage; as a quiet library on a rainy afternoon; as a dinner spot with visiting friends. If the Champs-Élysées is a theater of global luxury, RH’s new gallery is an assured new act. Key details at a glance Opening to the public: September 5, 2025 (VIP previews September 4). Address: 23 avenue des Champs-Élysées, 75008 Paris. Scale: ~3,900 sq m across seven levels. Design partners & features: Foster + Partners interventions; glass-and-brass rooftop elevator; white-onyx-clad restaurant and bar; Alison Berger lighting; Ateliers Gohard gold-leaf ceiling. Hospitality concepts: Le Jardin RH, The World of RH Bar & Lounge, Le Petit RH, plus rooftop seating with Eiffel Tower views. ChampsElysees DesignGallery FosterAndPartners LuxuryDesign ParisDesignWeek MaisonEtObjet HospitalityDesign Architecture InteriorDesign LeJardinRH LePetitRH RooftopParis EiffelTowerViews CulturalRetail ExperientialDesign ArtAndInteriors LuxuryLifestyle BrandExperience GalleryOpening luxemagazineswitzerland

Cheetah Stories Names Mark Schwartz as Creative Director A New Chapter for Ethical Couture Minusio, Switzerland September 9, 2025 Cheetah Stories, the Swiss-born luxury footwear house redefining ethical couture, has announced the appointment of Mark Schwartz as its new Creative Director. Schwartz’s name is etched into the history of fashion. A protégé of Roger Vivier, the inventor of the stiletto, and a long-time creative collaborator of Andy Warhol, he has spent decades shaping collections for the world’s most prestigious maisons Chanel, Hermès, Gucci, Ralph Lauren, Balenciaga, and Charles Jourdan among them. His creations have illuminated the runways of Paris, Milan, and New York, and graced the feet of icons from Jackie Kennedy Onassis and Madonna to Julia Roberts, Lady Gaga, Oprah Winfrey, Jennifer Lopez, and Hillary Clinton. Now, he steps into a new era with Cheetah Stories, a brand that proves luxury and conscience can walk side by side. “I’ve designed for the best in the world,” Schwartz reflects. “But I was searching for something that would ignite my creative spark again. With Cheetah Stories, I found not just a brand, but a movement one that places artistry, individuality, and ethics at its core.” Founded in 2023 by Fiorella Erni and Martin Markovic, later joined by Valeria Blandina and Calvin Kroehne, Cheetah Stories has built its reputation on vegan high heels crafted in Italy, merging meticulous craftsmanship with sustainable innovation. Every element from leather alternatives to packaging is cruelty-free, ethically sourced, and uncompromising in luxury. For Erni, this appointment is nothing short of transformative: “Welcoming Mark Schwartz is a milestone,” says the CEO and founder. “He embodies the vision we stand for: that high heels can be powerful, refined, unapologetically bold and 100% ethical.” Schwartz’s debut collection for the house is already underway. With more than 120 original sketches created in just a few months, the upcoming line promises to redefine luxury footwear: sensual yet sustainable, timeless yet radical. But beyond fashion, it signals a cultural shift. “This isn’t just about shoes,” Schwartz insists. “It’s about making a statement. About standing tall in your truth. About showing that the future of couture is ethical, sustainable, and fiercely individual.” About Mark Schwartz For more than 30 years, Mark Schwartz has been among the most influential figures in footwear design. Mentored by Roger Vivier and inspired by Andy Warhol, he has shaped collections for the likes of Chanel, Hermès, Ralph Lauren, Gucci, Balenciaga, and Charles Jourdan. His celebrity clientele spans Jackie Kennedy Onassis, Madonna, Julia Roberts, Lady Gaga, Katy Perry, Oprah Winfrey, and Jennifer Lopez. Renowned not only for his footwear but also his artwork, Schwartz continues to bridge couture and fine art with a distinctive creative vision. About Cheetah Stories Founded in Switzerland in 2023 by Fiorella Erni and Martin Markovic, later joined by Valeria Blandina and Calvin Kroehne, Cheetah Stories is redefining luxury footwear through an ethical, vegan, and unapologetically bold approach. Each design, crafted in Italy, unites artisanal savoir-faire with innovation, proving that cruelty-free couture can rival the world’s most prestigious houses. The brand’s mission: to create high heels that embody individuality, elegance, and strength without compromise. Press Contact Calvin Kroehne Cheetah Stories SA calvin@cheetah-stories.com | +41 79 959 83 11 cheetah-stories.com qLuxuryFootwear EthicalCouture SustainableLuxury MarkSchwartz CheetahStories LuxuryInnovation VeganLuxury FutureOfFashion luxemagazineswitzerland

Couture Fashion Night 3.0: The Swiss Take on Global Glamour Zurich, Switzerland On November 1, Zurich once again became the epicenter of European elegance as Couture Fashion Night 3.0 lit up the award-winning The Circle Convention Center at Zurich Airport marking the first-ever fashion show to grace this architectural landmark. More than 500 impeccably dressed guests gathered to celebrate haute couture, craftsmanship, and slow luxury, witnessing the rare symbiosis of Swiss precision and international glamour. A Vision for Slow Luxury in Switzerland Founded by Prat & Olga, creators of Zurich’s luxury lifestyle community Zürich.Influencers, together with haute couture designer Ketty Nunez, Couture Fashion Night was born from a shared dream: to establish a platform for slow fashion in Switzerland one that celebrates craftsmanship, sustainability, and artistic excellence in a world increasingly defined by speed. Launched in 2024 with just five designers, the concept swiftly captured the attention of fashion lovers, industry leaders, and international media. “Our goal is to celebrate timeless elegance and creative individuality,” said co-founder Ketty Nunez. “Every designer we invite represents quality over quantity fashion that lasts, both in style and in meaning.” Nine Designers, One Unforgettable Night This year’s edition united nine extraordinary designers an inspiring blend of renowned couturiers and rising talents. Four of them, along with many guests, traveled from abroad a clear testament to the event’s growing international influence. “Zurich is becoming an unexpected new hotspot for luxury fashion,” said co-founder Prat. “Our event proves that couture has a home here one that’s inclusive, sustainable, and inspiring.” The evening was elevated by a live performance from Voice of Germany star Bernarda Brunovic, whose soulful voice set an unforgettable tone for the runway. Designer Highlights Jean Luc Amsler AMSLER embodies power, individuality, and the essence of bold femininity. His CFN3.0 collection paid tribute to the Amsler woman intoxicating, elusive, magnetic. “I don’t design clothes I create statements,” said Jean Luc Amsler. The show radiated daring glamour and pure Swiss sophistication. Photographer: Dmitrii Einhorn Carlo Pignatelli The legendary Italian maison delivered a masterclass in craftsmanship and timeless elegance. “Artisanal expertise defines our identity,” shared Carlo Pignatelli. His silhouettes seamlessly bridged everyday refinement with formal mastery the soul of Made in Italy couture. Photographer: Dmitrii Einhorn Ketty Nunez In her collection “Je t’aime,” Ketty Nunez celebrated love as the ultimate creative force. Luxurious fabrics in beige, gold, fuchsia, and black reflected love’s emotional spectrum. “Love is not only a feeling it is beauty, power, and creation,” she said, reminding guests that true elegance begins within. Photographer: Dmitrii Einhorn Kathia Dobo Dobo’s gowns awakened the inner goddess. Inspired by emotion and experience, each creation radiated femininity and strength. “My dresses are meant to be felt, not just worn,” she explained her show a poetic ode to grace and self-expression. Photographer: Dmitrii Einhorn Sierra Zürich With its All Day Long concept, Sierra Zürich redefined modern versatility for women who live many lives in a single day blending sophistication with effortless ease. Photographer: Dmitrii Einhorn Pardessus19 Designer Céline Surdez unveiled luxurious leather overcoats that balanced Swiss craftsmanship with a modern edge. “Luxury is about time and the art of making something meaningful,” she noted. Pardessus19 stood out for its authenticity and precision. Photographer: Dmitrii Einhorn Vivemora Created by women, for women, Vivemora radiated empowerment and slow luxury. “Elegance is not just a look it’s a legacy,” reflected the brand, whose pieces embodied conscious design and enduring beauty. Photographer: Dmitrii Einhorn Perrandor Merging minimalism and mindfulness, Perrandor presented sleek, sports-inspired designs in ivory, baby blue, emerald, and black each bearing the symbolic “1%” emblem. “True elegance begins in awareness,” said co-founder Dorentina, highlighting a refined dialogue between fashion and consciousness. Photographer: Dmitrii Einhorn Mobic Founder Mobic, the Hannover-based rapper, fused music and fashion in his futuristic collection “Look of the Future.” Performing live on stage, he delivered a kinetic performance that captured the pulse of next-generation creativity. Photographer: Dmitrii Einhorn A Platform for Creative Excellence Beyond the runway, a daytime exhibition invited guests to experience Swiss-made luxury up close, featuring exclusive designer collections, limited-edition accessories, and lifestyle brands. Exhibitors included Swiss Outfit, Ludea Jewelry, Studio Goccia, Maison Nazanin, Monie & Marie Bags, Clinic Au Lac, Beauty Chic, Candle Energy, Klaudia Sonas Art, Art to Wear, Billy & Bugga Artsy Chocolates, and Proscura Caviar a holistic celebration of fashion, beauty, and artisanal living. The event also became a networking hub for designers, media, influencers, and tastemakers united by a shared commitment to ethical fashion and artistic excellence. Looking Ahead Now in its third edition, Couture Fashion Night has firmly positioned itself as Switzerland’s premier platform for luxury slow fashion. From its intimate beginnings to its international reach, the event continues to grow while staying true to its authentic spirit and focus on artistry. The journey continues Couture Fashion Night 4.0 will return on November 7, 2026, once again uniting global designers and the Swiss luxury community for another extraordinary celebration of slow fashion and creative excellence. PHOTOS - GALLERY Photographer: Dmitrii Einhorn CoutureFashionNight SwissLuxuryFashion ZurichFashion SlowFashionMovement HauteCouture LuxuryEventsSwitzerland ZurichAirportEvents FashionStorytelling SwissElegance LuxuryLifestyle SustainableLuxury CoutureDesigners SwissCraftsmanship MadeInSwitzerland LuxuryCommunity FashionExcellence GlobalDesigners ArtistryInFashion ConsciousLuxury ZurichStyle luxemagazineswitzerland

TUDOR Black Bay 54 “Lagoon Blue”: Where Time Meets Eternity There are watches that tell time. And then there are those rare creations that seem to make it disappear. The TUDOR Black Bay 54 “Lagoon Blue” belongs firmly to the latter category: a timepiece that feels less like an instrument of precision and more like a passport to a state of mind. Slip it on your wrist, and suddenly the day slows down. You are transported somewhere sunlit and serene: an unspoiled shore where turquoise waters kiss soft white sands, and the horizon stretches endlessly under a canopy of cloudless skies. This is the effect of the Lagoon Blue dial, a shade so tranquil it seems borrowed from nature itself a perfect homage to fleeting summer afternoons that linger in memory long after the season fades. But this is no mere flight of fancy. This is TUDOR at its most evocative: blending design codes rooted in the brand’s diving heritage with modern watchmaking prowess. The result is a watch that is equal parts nostalgia and innovation a neo-vintage icon that redefines what it means to wear history on your wrist. An Homage to the Origins: Diving into 1954 The Black Bay 54 is more than just another chapter in TUDOR’s celebrated Black Bay collection it is its most authentic expression yet. Its blueprint? The legendary Oyster Prince Submariner reference 7922, first released in 1954 and swiftly adopted by elite divers, including the French and US Navies. Like its predecessor, the Black Bay 54 embraces minimalism in its purest form. Gone are superfluous elements; in their place is a dedication to proportion and purpose. The 37mm stainless steel case polished and satin-brushed recalls the compact dimensions of mid-century tool watches, while the “small crown” silhouette nods directly to its historical ancestor. Even the absence of the later “red triangle” at 12 o’clock pays tribute to the unadorned clarity of early dive watches, designed to perform in the most challenging conditions. TUDOR has painstakingly reinterpreted these archival cues while refining them for the modern wrist. The hands, for instance, have been subtly “pinched” at the base, mirroring the original proportions of the 1954 model. The bezel edge has been reshaped with a more ergonomic grip, echoing the tactile patterns of early divers, yet re-engineered with contemporary precision. A Dial Inspired by Sunlight and Sea Spray At the heart of this reinterpretation is the mesmerizing “Lagoon Blue” dial a sand-textured surface that plays with light in the most poetic way. It is not flat but subtly domed, like the curvature of a horizon glimpsed from a sunlit beach. Under shifting angles, it shimmers from deep aqua to pale azure, mirroring the ever-changing palette of tropical waters. Paired with the mirror-polished bezel, it captures the essence of summer’s quiet luxury: the way sunlight glances off calm seas, or how waves glimmer in the late afternoon light. It is these visual cues that make the Black Bay 54 as evocative as it is elegant a watch that doesn’t simply adorn the wrist but immerses you in an experience. Crafted for Comfort: The 5-Link Bracelet Beyond its aesthetics, this model offers tactile indulgence in the form of its five-link steel bracelet. Entirely satin-brushed with polished centre links, it feels like silk against the skin, draping with an ease that evokes the relaxed luxury of a hammock strung between palm trees. Equipped with TUDOR’s innovative “T-fit” clasp, the bracelet allows for rapid micro-adjustments no tools required. With five positions and an 8mm adjustment window, it offers a perfect fit, whether worn loosely for leisurely weekends or snugly beneath a tailored cuff. Subtle ceramic ball bearings in the clasp ensure both a secure closure and a delightfully smooth tactile click details that transform function into pleasure. Precision Within: The Manufacture Calibre MT5400 Beneath its poetic exterior lies a movement of formidable capability: the Manufacture Calibre MT5400. COSC-certified for chronometer-grade accuracy, it features a non-magnetic silicon balance spring, a variable inertia balance wheel anchored by a robust bridge, and an impressive 70-hour power reserve enough to set it aside on Friday evening and return to it Monday morning, perfectly on time. Its architecture reflects both beauty and endurance. The tungsten monobloc rotor is skeletonized and satin-brushed, while the bridges and mainplate alternate between sand-blasted and polished finishes, punctuated by laser-etched details. This is technical artistry at its finest a movement engineered not just to perform, but to endure the passage of decades, much like the icons that inspired it. A Modern Diver with Vintage Soul Water-resistant to 200 meters (660 feet), the Black Bay 54 is as much a tool watch as it is an objet d’art. Its unprotected screw-down crown, engraved with the TUDOR rose, nods to vintage design codes, while its “Snowflake” hands introduced in 1969 and beloved by collectors are filled with Grade A Swiss Super-LumiNova®, glowing vividly in the dark like moonlight on waves. It is this duality robust performance married to aesthetic restraint that makes the Black Bay 54 so compelling. It is neo-vintage done right: not a slavish reissue of a historic model, but a careful distillation of TUDOR’s 70 years of diving expertise, expressed in a timepiece perfectly attuned to modern life. The Manufacture Behind the Magic Every Black Bay 54 is assembled at TUDOR’s state-of-the-art Manufacture in Le Locle, Switzerland a 5,500-square-meter facility inaugurated in 2021 that embodies the brand’s vision for integrated watchmaking. Adjacent to Kenissi Manufacture, TUDOR’s movement production arm, this vertical integration ensures complete mastery of every strategic component, from calibre development to rigorous testing. It is here that heritage meets innovation: skilled watchmakers merge centuries-old savoir-faire with cutting-edge automation, resulting in a level of consistency and quality befitting Hans Wilsdorf’s founding vision of “the ideal watch.” Born to Dare: A Spirit Encapsulated Launched in 2017, TUDOR’s “Born To Dare” philosophy is more than a slogan it is a mission statement. It celebrates adventurers who have pushed boundaries both on land and beneath the sea, wearing TUDOR watches as trusted companions. It embodies a commitment to robust, reliable horology designed not for display cases but for real life the daring, the unexpected, the extraordinary. With the Black Bay 54 “Lagoon Blue,” that spirit finds its purest form. This is a watch rooted in history, honed by innovation, and styled for those who see luxury not as ostentation, but as refinement woven into everyday ritual. Key Specifications Case: 37mm stainless steel, polished and satin finish Bezel: 60-minute unidirectional, mirror-polished steel insert Dial: Domed, sand-textured “Lagoon Blue” Hands: Snowflake with Swiss Super-LumiNova® Movement: Manufacture Calibre MT5400, COSC-certified Power Reserve: 70 hours (weekend-proof) Bracelet: Five-link steel bracelet with “T-fit” clasp Water Resistance: 200m (660 ft) With its seamless fusion of heritage, craftsmanship, and quiet elegance, the TUDOR Black Bay 54 “Lagoon Blue” is more than a watch. It is a reminder that true luxury doesn’t shout it whispers. And in that whisper, time itself seems to stand still. #LuxeMagazine #TUDOR #BlackBay54 #Watchmaking #Horology #SwissMade #LagoonBlue #LuxuryTimepiece #NeoVintage #BornToDare

The Departure in Context After a tenure marked by bold vision and cultural resonance, Olivier Rousteing announced his departure from Balmain on 5 November 2025. The house confirmed that Rousteing will relinquish his post as Creative Director, a role he assumed in 2011 at age 25. While some reports reference a 14-year term in that role, others frame his full association with the house as spanning 16 years. The press release acknowledges: “Throughout his remarkable 14-year tenure, Olivier’s visionary approach and creative brilliance propelled Balmain to unprecedented heights.” This moment is more than the end of one creative leader’s era it reflects broader dynamics in luxury fashion: how houses are adapting (or struggling) under pressures of global expansion, cultural relevance, digital acceleration and internal legacy. What Rousteing Brought to Balmain Revitalisation of a heritage house When he took over, Balmain was a Parisian brand with historic roots but comparatively limited global pop-culture footprint. Under Rousteing, it embraced what might be called “luxury in the age of spectacle.” He turned show-time into event-time: sequins, power shoulders, celebrity front rows, after-parties, social-media momentum. Championing diversity and community Rousteing became one of the first Black designers to lead a major Paris heritage house making his representation itself part of the story. He frequently spoke of identity, adoption, his East African heritage, and the importance of inclusive casting and global voices. The “Balmain Army” was not simply a marketing label but a cultural symbol: stars, influencers, global youth aligning around his vision. Digital-era luxury At a time when luxury houses were still figuring out how to operate in the age of Instagram, TikTok and global celebrity, Rousteing pushed Balmain into those domains. Runway shows become multimedia content; collaborations and capsules extended the brand; social engagement became central. Craft and shift While the early years were about bold maximalism, glamour and visibility, later seasons under Rousteing showed signs of introspection: themes of healing (after his 2020 burn accident), renewal, heritage re-reading. Why This Departure Matters Internal momentum and external pressures Luxury fashion is undergoing transformation: customers demand authenticity, transparency, ethics; digital disruption demands constant novelty; global competition forces consolidation. For a house like Balmain (owned by Qatari fund Mayhoola) the expectation to deliver growth while maintaining brand integrity is intense. Rousteing’s departure may signal that the house senses it has reached the peak of one cycle and needs a fresh creative voice to initiate the next. As one analysis puts it: “his creations had begun to feel repetitive” and the slowdown in luxury spending adds urgency to change. Trend of creative refresh Rousteing is not alone: many heritage houses are refreshing leadership in the 2020s. This suggests a broader pattern: the lifecycle of creative directorships is compressing; the requirement for novelty, global relevance and digital fluency is higher. His exit is thus both individual and emblematic. What Will Be Missed and What’s Ahead What will be missed The kind of bold statement collections that dominated red carpets and social feeds (the celebrity-dressed moments are numerous). The relatability of a Creative Director whose personal story resonated (from adoption to identity, trauma to triumph). The marriage of “heritage couture” with “digital spectacle” in one brand voice. What lies ahead For Balmain: a transitional phase. The brand will need to define a new creative voice that honours its past but addresses the new imperatives sustainability, inclusivity, slower fashion dynamics, global culture beyond the “celebrity look”. For Rousteing: freedom. At 40 years of age, he leaves a long tenure behind and has the opportunity to start anew perhaps with a house that values his global sensibility or to launch something his own. For fashion as an ecosystem: this moment reminds us that creative leadership remains crucial but is no longer enough in isolation. Brands must align purpose, process, planet and people. Final Thoughts Olivier Rousteing’s departure from Balmain is not merely the end of a personal chapter it is a marker of how luxury fashion is evolving. His years at Balmain show what one creative mind can achieve when given runway, platforms and global visibility. But they also show how even that success generates the need for renewal. In an era where “fast cycles” are criticised, where authenticity matters and where heritage brands must speak to new generations, his exit is both a celebration of what was and an invitation to what must come next. Indeed: “Like every story, this one also has an ending,” Rousteing wrote on Instagram. And now the question becomes: how do brands write the next volume and how does the designer craft his sequel? Holdener Patricia Editor In Chef Luxe Magazine Switzerland OlivierRousteing Balmain LuxuryFashion CreativeDirection FashionLeadership ParisFashion Couture Inclusivity RepresentationMatters ModernLuxury DesignLegacy FashionIndustry CulturalChange Sustainability DigitalFashion CreativeCycle FashionEvolution LuxuryLeadership NextChapter VisionaryDesign luxemagazineswitzerland

By Patricia Holdener Why Hermès Handbags Still Outperform Many Luxury Investments From the record-setting €8.6 million Birkin to average annual apparel value gains, this article explores why Hermès handbags are considered investment assets, how value evolves, and what buyers should be aware of. Hermès Birkin investment, Hermès handbag resale value, luxury bag investment guide, Birkin ROI, Kelly bag investment, luxury resale market PHOTO: @Kylie Jenner When a Handbag Becomes More Than an Accessory Imagine carrying a handbag that not only complements your outfit but also appreciates in value. This is the phenomenon surrounding the Hermès Birkin and Kelly bags. In July 2025, the original prototype of the Birkin, made for Jane Birkin in 1984, sold at auction in Paris for €8.6 million (≈ $10.04 million). This extraordinary result crystallized a narrative: luxury handbags, specifically those by Hermès, are not just status symbols; they may also be investment vehicles. In this piece, we examine how and why Hermès bags hold such potential, what factors drive their value, and what a smart buyer or investor needs to know. The Market Mechanics: Supply, Demand, and Performance Controlled Scarcity & Brand Strategy Hermès has long relied on a dual model of impeccable craftsmanship and controlled supply. As PurseBlog observes, a key factor in Hermès’ resale phenomenon is that “the jump in price for secondary-market sales simply [occurs] due to the difficulty in obtaining a bag from the primary market.” Hermès also reported that its leather goods and saddlery segment grew 18% in 2024, signaling thriving demand. Retail Price Increases The base (retail) price of Hermès bags has steadily increased over the years. For example, the Birkin 30 in Togo leather rose from around US $7,700 in 2008 to around US $11,600 by 2024. A report from Sotheby’s suggests annual increases of 4-6% are typical, with some years moving higher. Resale Premiums & Performance On the secondary market, Hermès frequently performs better than many other collectible assets. For example, PurseBlog reports that “the jump… can vary anywhere from 25% to over 500% of the original retail price” depending on model and condition. More specifically, a study cited on Wikipedia showed that between 1980 and 2015, Birkin bags had an average annual increase of 14.2%. How Much Can Value Really Rise? Auction Records & Extreme Cases The July 2025 sale of Jane Birkin’s original bag is the standout: €8.6 million. This sale doesn’t, of course, reflect the everyday resale figure for a standard Birkin, but it shapes the upper bound of the investment case. General Returns & Expectations According to a 2025 Fortune article, the long-term compound annual growth rate (CAGR) for a Birkin bag was estimated at around 5% over 40 years, acknowledging that the market is complex. Yet older data (1980-2015) suggested ~14%. Another source notes that certain Birkins “can double in value in 5 years.” Hence, a realistic investor might expect modest annual growth (5-10%), while high-rarity pieces may yield much higher returns. Resale Value Snapshot A 2024-2025 review by Vogue reports that Hermès bags achieve resale values of up to 250% of their original retail price in some cases. Another data-driven blog shows which models hold value best: exotic skins, limited editions, and classic sizes lead the pack. What Makes a “Good” Investment Hermès Bag? PHOTO: @mon_vintage Model, Size, Material Model: Within Hermès, the Birkin and Kelly lines carry the strongest investment potential. Size & Leather: Smaller-sized bags (e.g., Birkin 25) often have stronger resale demand. One report states the Birkin 25 in 2023 was selling for over twice MSRP on average. Exotics (crocodile, ostrich) significantly amplify value. Colour & Hardware: Classic neutrals (Noir, Etoupe) are safer. Rare colours or unusual hardware (diamond, palladium) raise upside but also risk. Condition & Provenance: Near-mint condition, full set (box, dust bag, receipt), and strong provenance all enhance resale value. PHOTO: @Leonie Hanne Timing & Market Awareness Because the retail price itself rises, buying sooner may lock in a lower basis. However, resale markets require patience and knowledge of trends. Trend-driven materials or styles may fade. A blog warns that depreciation can occur, and that not all Hermès bags hold equal value. Liquidity & Risk While demand is strong, legibility matters: attention to authenticity, fees, resale channel, and taxes. As TheFashionLaw observes, Hermès itself is concerned about how the resale “bubble” might affect its brand. Pros & Cons: Balanced View Advantages Tangible asset with intrinsic craftsmanship. Demand-driven brand with supply constraints. Secondary market data increasingly robust (resale platforms, auction houses). Potential for meaningful returns, especially for rare pieces. Disadvantages High initial cost, plus cost of entry (retail waiting lists, client history). Condition & provenance risk: misuse or mis-documentation reduces value. Trend risk: even strong brands can have weak performing models. Transaction costs: auction fees, resale platform commissions, shipping/insurance. Illiquidity: unlike stocks, resale might take time and price is not guaranteed. Buyer’s Checklist: How to Approach the Purchase Define Objective: Are you buying for use, collection, or investment? Select Model & Size: Prioritize models with strong resale history (e.g., Birkin 25, 30; Kelly 28) and classic colour/leather. Verify Authenticity: Full set (box, dust bag, receipt), trusted dealer or auction house. Evaluate Condition: “Excellent” grade bags command higher resale. Resale value drops for worn or modified items. Understand Cost Basis: Include purchase price + fees, store tax, insurance, maintenance. Plan Exit Strategy: Know your resale channel (auction house, peer-to-peer, resale platform), fee structure, and tax implications. Store Wisely: Maintain in optimum condition—climate, padding, leather protection. Stay Informed: Monitor price trends, especially retail increases (e.g., Hermès May 2025 US price uptick of 4.4-5.9%). The Bag as Asset For those willing to approach it thoughtfully, a Hermès handbag is more than a fashion purchase; it can function like an alternative asset class. While it may not match the liquidity of stocks or bonds, the combination of strong brand, craft scarcity, and global second-hand demand means that many pieces preserve and often increase in value. The record-setting €8.6 million sale of the original Birkin is a dramatic headline, but the real story lies in the incremental value preservation and growth of select models over the years. For the discerning buyer or investor, the key is selection, condition, timing, and patience. In a world of intangible digital assets, there is something compelling about a physical object—beautifully made, historically significant, and possibly appreciating—that you can hold in your hand.

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 MAZEArtGstaad ArtFair LuxuryCulture ContemporaryArt ModernArt Olasters FPJourne HauteHorology ArtAwards CulturalDialogue GenevaArt ArtCollectors DesignAndArt ArtCriticism ArtMagazine LuxuryLifestyle ArtExhibition SculptureAndDesign ArtAndInnovation VogueStyleStorytelling luxemagazineswitzerland

At just twenty-one, (21) Karolina Budka stands as a striking combination of beauty, intellect, and purpose a young woman whose path reflects far more than the glamour often associated with the modeling world. As an international model and pageant titleholder, she has already appeared on some of the most renowned stages, including Milan and Paris Fashion Week, as well as highly celebrated cultural gatherings like the Cannes and Venice Film Festivals. These accomplishments showcase her rising presence, yet they also highlight a deeper truth: Karolina’s strength and ambition extend well beyond the runways and red carpets. In this exclusive interview, she speaks not only about her achievements but about the values that shape her daily journey. “I want my work to inspire,” she says, a simple yet powerful statement that reflects her commitment to using her platform meaningfully. This dedication is evident in her role as an Ambassador for Women for Women Global, a nonprofit organization focused on improving women’s safety around the world. For Karolina, visibility comes with responsibility. “If I have a platform, I want it to matter,” she adds, emphasizing her belief that true influence begins with intention. Balancing this mission with her academic life, Karolina studies at the University of New York in Prague, approaching her education with the same discipline she brings to her international career. Fluent in five languages, she also remains actively engaged in social projects and charitable work. She describes education, travel, and continuous self-development as essential pillars of her growth. Her connection to the arts singing, dancing, and playing the piano provides both creative expression and a grounding force amid her fast-paced schedule. Through her elegance, discipline, and genuine heart, Karolina Budka represents a new generation of global voices: young women who view beauty not as an end, but as a tool for purpose-driven impact. KarolinaBudka InternationalModel BeautyWithPurpose WomenForWomenGlobal EmpoweredWomen YoungLeader GlobalInfluence EducationMatters AcademicAmbition PageantTitleholder FashionWeekLife CannesToVenice CreativeJourney ArtisticSoul MultilingualLife SocialImpact InspiringVoices PurposeDriven ElegantStrength NextGenerationLeaders