Paris Haute Couture Week During Paris Haute Couture Week, Tony Ward unveiled his Fall/Winter 2026/27 Couture collection, Whispers of the Dunes, on July 6, 2026, at the historic Réfectoire des Cordeliers. The iconic venue was transformed into an immersive desert landscape, where sculptural dunes and flowing seating arrangements recreated the ever-changing contours of the sand. Models moved with graceful, unhurried precision, echoing the rhythm of the wind as it shapes the desert’s endless horizons. Designed as a dialogue between stillness and motion, Whispers of the Dunes unfolds as a poetic journey. The opening silhouettes embraced understated elegance through fluid draping, elongated proportions, and a palette of soft, sun-washed neutrals reminiscent of dawn over untouched dunes. As the collection evolved, the mood shifted towards layered, protective constructions, introducing sculptural hoods, delicate veils, wrapped silhouettes, intricate crochet techniques, and geometric details inspired by nomadic traditions. At the heart of the collection lies an exceptional celebration of craftsmanship. One of the season’s defining innovations is an exclusive hand-braiding technique developed by the Maison, where individually dyed silk strands are meticulously woven into sculptural embellishments. Combined with experimental crochet methods, these artisanal details create organic textures that flow seamlessly across each silhouette. The collection also pays tribute to Lebanon’s rich artisanal heritage through collaborations with master craftspeople whose expertise in crochet and textile manipulation has been passed down through generations. The presentation attracted an international audience of loyal clients, buyers, editors, and distinguished guests. Among those attending the show were Sheryl Lee Ralph, Davikah, Esha Gupta, Didi Stone, Keni Silva, Mohamad Hadid, Yi Meng Ling, Hoda Eletreby, Nelly Karim, Jackie Aina, and Mabel, reflecting the global appeal of Tony Ward’s couture universe. With Whispers of the Dunes, Tony Ward delivers a refined tribute to resilience, transformation, and the enduring spirit of exploration. Bathed in a warm golden light, the final silhouettes closed the presentation with a sense of serenity, leaving behind a landscape forever reshaped by movement and time. As Paris Haute Couture Week continues to celebrate the highest expressions of fashion, Whispers of the Dunes stands as a testament to couture’s constant evolution where exceptional craftsmanship, artistic vision, and timeless savoir-faire continue to define the future of luxury fashion. Patricia Holdener Editor-In-Chief Luxe Magazine Switzerland ParisHauteCoutureWeek TonyWard HauteCouture Couture LuxuryFashion FashionWeek ParisFashionWeek Craftsmanship LuxuryLifestyle LuxMagazineSwitzerland

Arles, France As part of the 57th Rencontres d’Arles, one of the world’s most prestigious photography festivals, Charlotte Gainsbourg presents 5bis, her very first photography exhibition. Supported by Saint Laurent by Anthony Vaccarello and Maja Hoffmann, and curated by Matthieu Humery, this deeply personal project offers an unprecedented artistic immersion into the iconic 1810 family home at 5 bis rue de Verneuil, Paris. On view at La Galerie du Cloître in Arles from 6 July to 6 September 2026, before travelling to the Saint Laurent Rive Droite boutique in Paris from 24 September 2026, 5bis reveals a series of previously unseen photographs captured by Charlotte Gainsbourg just before Maison Gainsbourg opened its doors to the public as a museum dedicated to her father, Serge Gainsbourg. Armed with her Hasselblad, Charlotte returned to the house where she spent part of her childhood, preserving through photography the atmosphere, objects and intimate silence of a place forever marked by memory. The result is a moving collection of more than twenty photographs that transcend documentary imagery to become a visual meditation on family, heritage and remembrance. Each image invites viewers into one of France’s most legendary private residences, once home to Serge Gainsbourg the celebrated singer-songwriter, poet, actor and cultural icon whose artistic influence continues to resonate across generations. Rather than documenting a museum, Charlotte Gainsbourg captures the final emotional echoes of a lived-in home, where every room, every object and every detail carries the weight of personal history. Accompanying the exhibition, Saint Laurent Editions publishes 5bis in several exclusive editions. Alongside a standard edition limited to 1,000 copies, collectors will discover an exceptional edition of 15 books, each accompanied by five silver gelatin prints, as well as nine artist’s editions, featuring an additional silver gelatin print and a handwritten text by Charlotte Gainsbourg herself. More than an exhibition, 5bis is a profoundly intimate artistic statement where photography becomes the language of memory. Through a refined visual narrative, Charlotte Gainsbourg transforms nostalgia into contemporary creation, offering a rare and deeply moving tribute that resonates far beyond the walls of the legendary house on rue de Verneuil. Exhibition 5bis – Charlotte Gainsbourg La Galerie du Cloître, Arles 6 July – 6 September 2026 Then in Paris Saint Laurent Rive Droite From 24 September 2026 Patricia Holdener Editor-In-Chief Luxe Magazine Switzerland CharlotteGainsbourg RencontresdArles PhotographyExhibition SaintLaurent AnthonyVaccarello SergeGainsbourg ContemporaryPhotography ArtExhibition LuxuryCulture LuxeMagazineSwitzerland

Luxury has always been a reflection of society’s deepest aspirations. But in 2026, the industry is facing a defining moment: the question is no longer how to attract more consumers, but how to create deeper meaning for the consumers who truly matter. Luxe Magazine Switzerland was honoured to attend the Press Conference of the 12th edition of the True-Luxury Global Consumer Insights 2026 report, jointly presented by Boston Consulting Group (BCG) and Altagamma. The study, based on the perspectives of more than 10,000 luxury consumers and enriched by Altagamma’s analysis of High-Net-Worth and Ultra-High-Net-Worth Individuals (HNWI/UHNWI), offers a profound examination of the forces reshaping the global luxury landscape. By Filippo Bianchi, Guia Ricci, Lucia Casagranda, Beatrice Lemucchi, Sebastian Boger and Stefania Lazzaroni, the report reveals a sector entering a new phase: less dependent on mass aspiration, more focused on authenticity, client relationships, craftsmanship and intelligent innovation. The message emerging from the presentation is clear: luxury is not disappearing. It is becoming more selective. Luxury Returns to Growth But On Different Foundations After a period of correction, personal luxury spending is expected to recover, signalling a return to growth. However, this recovery is not a simple continuation of the previous decade’s expansion. Industry analysts increasingly describe the current period as a transformation of the luxury model itself: brands are being challenged to rebuild desirability while consumers demand stronger justification for every purchase. The True-Luxury Global Consumer Insights 2026 report highlights an important structural shift. The proportion of aspirational consumers has declined from approximately 70% in 2016 to around 50% today. At the same time, one-time buyers have decreased from nearly 60% of the customer base to approximately 40%. This evolution represents more than a change in numbers. It reflects a fundamental transformation in consumer behaviour. Luxury is moving away from a model built on occasional desire and toward a model built on genuine appreciation, loyalty and long-term engagement. The Rise of the True Luxury Client One of the most significant trends identified by the report is the growing importance of top-tier clients. Over the past decade, the contribution of the highest-value consumers to luxury spending has increased significantly, rising from 14% of total luxury expenditure to 24%. These clients are not simply purchasing products; they are investing in heritage, creativity, craftsmanship and emotional connection. For luxury houses, this represents a strategic shift. The future will not belong solely to brands capable of reaching millions of consumers, but to those capable of creating meaningful relationships with their most committed clientele. Previous Altagamma and BCG research has similarly emphasised the growing importance of Very Important Clients, highlighting the need for luxury brands to develop deeper levels of personalisation, exceptional service and stronger communities around their products. The End of the Logo Era Perhaps one of the most revealing conclusions of the study is the changing definition of luxury itself. Today’s consumers are no longer primarily seeking recognition through visible branding. According to the report, the most important purchasing motivations are design, quality and lasting value, while logo visibility ranks as the least significant factor. This represents a profound cultural shift. Luxury is increasingly becoming quieter. It is expressed through materials, craftsmanship, innovation and the ability of an object to remain relevant over decades. The strongest brands of the future will not necessarily be those that are the most visible, but those that are the most meaningful. Creativity Has Become a Strategic Asset The report also highlights the growing influence of creative leadership. While many aspirational consumers may not follow the identity of a brand’s creative director, top-tier luxury clients are deeply aware of the artistic vision behind the houses they support. For a significant number of these clients, a change in creative direction can influence purchasing behaviour. This confirms a reality that luxury has always understood: products alone do not create desire. Vision does. A maison’s creative director is not simply designing collections; they are shaping the cultural relevance, emotional identity and future value of the brand. Artificial Intelligence: Luxury’s Next Transformation Among the most forward-looking insights presented was the growing role of artificial intelligence in the luxury journey. Consumers are increasingly using AI to research products, compare options and receive recommendations. The level of trust placed in AI is now comparable to traditional online search and approaches the confidence consumers place in personal recommendations. Meanwhile, influencer recommendations appear significantly less trusted. This creates both an opportunity and a challenge. While AI has the potential to revolutionise personalised luxury experiences, many fashion and luxury companies remain at an early stage of adoption. For luxury brands, the objective will not be to replace human expertise with technology, but to combine artificial intelligence with the emotional intelligence that has always defined exceptional service. The Boutique Remains the Heart of Luxury Despite the acceleration of digital transformation, physical retail remains essential. Approximately 70–75% of luxury purchases continue to take place in stores. This confirms something fundamental: luxury is not simply a transaction. It is an experience. The architecture of a boutique, the knowledge of a client advisor, the atmosphere of a private appointment and the emotional memory created during the interaction remain impossible to fully replicate digitally. A More Authentic Future for Luxury The findings of the True-Luxury Global Consumer Insights 2026 report suggest that the industry is entering a period of refinement rather than decline. Luxury is becoming more intelligent, more personal and more intentional. The next generation of successful maisons will not be defined only by growth figures, but by their ability to preserve rarity, create emotional value and understand a new generation of sophisticated consumers. The future of luxury will belong to those who understand a timeless principle: true exclusivity is not about being seen by everyone. It is about being valued by the right people. Editorial analysis based on insights presented during the BCG & Altagamma True-Luxury Global Consumer Insights 2026 presentation. Luxe Magazine Switzerland FULL REPORT DOWNLOAD THE REPORT Patricia Holdener Editor-In-Chief Luxe Magazine Switzerland

After receiving nearly 2,000 entries from 91 countries, the international competition has recognized the projects by both designers as the most outstanding entries in a record-breaking edition that once again puts Bilbao on the global map of emerging fashion talent. Bilbao, June 26, 2026 BIAAF Bilbao International Art & Fashion has announced the winners of its tenth edition during the grand finale held this Thursday at the Museum of Sacred Art in Bilbao. Lan Krebs, in the Fashion Design category, and Sara Genin, in the Accessory Design category, were recognized by the international jury as the creators of the most outstanding entries. The 2026 edition saw the highest number of participants in the competition’s history, with nearly 2,000 entries from 91 countries. This record-breaking volume required the jury to conduct a rigorous selection process to narrow the field down to a final group of 30 designers from some of the world’s leading educational institutions and creative hubs. Two proposals that represent the future of fashion In the Fashion Design category, the jury awarded first prize to Lan Krebs for Jersey Diversity. Inspired by regeneration, the project reinterprets the role of jersey in contemporary fashion and rethinks innovation through the care, repair, and revitalization of existing textile technologies. It explores how undervalued industrial materials and standardized fabrics can be transformed through subtle interventions, mimicking the complexity of nature. Using machine-knitted tubular fabrics, the project investigates how layering, wrapping, and the sculptural quality of the fabric create shapes on the body without resorting to conventional garment structures. Meanwhile, the Accessory Design Award went to Sara Genin for her collection Syrphidae. Her design is inspired by the mimicry of syrphid flies a form of mimicry that serves as a metaphor for the female body’s and nature’s ability to transform, reinvent themselves, and resist. The collection seeks to tell a different story about the female body: how certain parts are silenced or marked by difficult emotions and memories that jewelry can reawaken and heal. It also celebrates resilience, portraying a fierce and metamorphic female body. With nature as the starting point for the creative process, natural elements are collected, molded, and incorporated through a sculptural process using the lost-wax technique. The winners in the Fashion Design and Accessory Design categories will each receive a prize of 10,000 euros, in addition to joining the international talent network promoted by BIAAF, a platform that connects emerging designers with schools, companies, institutions, and leading professionals from around the world, fostering new opportunities for training, collaboration, and professional development. Awards and Recognitions The jury also awarded several special prizes that reinforce the competition’s commitment to innovation, training, and excellence in craftsmanship. Kexuan Liu and William Palmer were honored with the CLO 3D Awards, which include annual licenses for the leading digital fashion design software and, for the first-place winner, access to specialized training and personalized mentoring. Milagros Pereda, for her part, received the PYRATEX Award, worth 1,500 euros in innovative and sustainable fabrics for the development of future creative projects. In addition, Amaury Darras has been recognized with the Craft The Leather Award, an international initiative launched by the Consorzio Vera Pelle Italiana Conciata al Vegetale that promotes excellence in leather craftsmanship and fosters the development of new generations of designers specializing in this material. This edition also honored Usune Bravo with the KM0 Honorary Award for her career as a Basque designer. “Usune represents one of the success stories that best reflect BIAAF’s mission to identify, train, and promote new design talent internationally. She was part of the first cohorts of prominent designers from Bizkaia associated with BIAAF and was a recipient of the scholarship program at Central Saint Martins, jointly sponsored by BIAAF and BBK,” says Mercedes de Miguel. This milestone also recognizes the value of a shared commitment to creativity, innovation, and talent. This commitment has helped establish Bilbao and Bizkaia as a leading hub for the creative industries, demonstrating that investing in new generations of designers is investing in the future of society and the economy. A Final Marked by Creative Excellence The 10th edition of the BIAAF international competition has once again stood out for the high caliber of the finalist entries. The projects submitted have addressed issues such as sustainability, materials research, cultural identity, technological innovation, and new ways of understanding the relationship between fashion, art, and society. “We’ve also seen an evolution within the jury. Therefore, I believe that the conceptual aspect has carried significant weight. We’re in a phase that, from my point of view, needs to transition to a more stable one. For Bilbao, what is happening here is extremely important. This interplay of ideas, this clash of concepts, this amalgamation of materials, these vibrant colors that are emerging and which have also brought us through a more subdued phase, with much greater representation of darkness and such diverse forms I believe is a cry of optimism,” says María Victoria Cañas, president of Bilbao International Art & Fashion. More than two decades fostering new generations of designers Since its inception, BIAAF has held 10 editions and spent more than 20 years working to connect creativity, education, and the industry, helping emerging designers gain access to professional opportunities, international networks, and platforms for visibility. Throughout its many editions, the competition has contributed to the professional development of numerous creators who are now part of the international fashion industry, establishing itself as a leading platform for identifying the voices that will shape the sector’s future. “The competition has grown in scope, but the most important aspect—the trust that designers and schools place in us—has also grown. That means we now have a much broader scope and a better competition,” adds María Victoria Cañas. With the celebration of this tenth edition, Bilbao once again places itself at the center of the international conversation on creativity, innovation, and emerging fashion, reaffirming the institution’s role as one of the world’s leading observatories of emerging talent. About BIAAF BIAAF (Bilbao International Art & Fashion), together with its incubator BIAAF Lab, is an international platform dedicated to discovering, promoting, and supporting emerging talent in fashion design, fostering innovation, sustainability, and dialogue between fashion and art. Based in Bilbao, BIAAF supports emerging fashion designers with the goal of launching their careers in the industry. It also aims to demonstrate that fashion can be art, culture, and development, and that young talent is the driving force behind creative change in the 21st century. Patricia Holdener Editor-In-Chief Luxe Magazine Switzerland

In contemporary haute horlogerie, technical innovation is often measured by the number of complications a watch can accommodate. More functions, more displays and increasingly sophisticated mechanics have become the industry’s traditional language of progress. H. Moser & Cie., however, continues to challenge that narrative. With the introduction of the Endeavour Flyback Chronograph Dual Time Date, the independent Swiss Manufacture once again demonstrates that genuine innovation is not necessarily about adding complexity it is about mastering it to the point where it almost disappears. Presented in Neuhausen am Rheinfall, this latest creation embodies one of H. Moser & Cie.’s defining principles: combining advanced mechanical engineering with exceptional visual restraint. Bringing together a flyback chronograph, a dual-time indication and a date display, the watch delivers three major complications through an interface of remarkable clarity. Rather than relying on multiple subdials traditionally associated with chronographs, every essential indication has been intelligently centralised, resulting in a display that feels immediate, intuitive and exceptionally balanced. This pursuit of simplicity has become a hallmark of the Manufacture. At H. Moser & Cie., mechanics are never designed to overwhelm the wearer. Instead, engineering remains discreet, allowing proportion, legibility and refined aesthetics to define the overall experience. It is an approach that places functional intelligence above visual demonstration a philosophy increasingly valued by today’s collectors. Powering the Endeavour Flyback Chronograph Dual Time Date is the newly developed HMC 730 hand-wound manufacture calibre. Created in collaboration with the renowned movement specialist AGENHOR, the movement reinterprets the architecture of the HMC 902 by removing the automatic winding system and oscillating weight. This architectural evolution creates the mechanical space required to integrate the dual-time indication and date display while preserving the chronograph’s highly sophisticated construction. The calibre retains several defining technical features, including its column-wheel chronograph architecture and AGENHOR’s proprietary micro-tooth system, engineered to ensure exceptionally smooth chronograph engagement. Twin barrels provide an impressive 72-hour power reserve, while the power reserve indicator has been discreetly relocated to the movement side, preserving the remarkable purity of the dial. Even the date mechanism reflects the Manufacture’s emphasis on practicality, allowing forward and backward adjustment without compromising the integrity of the movement. Designed with contemporary mobility in mind, the watch integrates its second time zone through a subtle white arrow positioned within a central fumé disc, allowing travellers to read two time zones effortlessly without disrupting the dial’s minimalist composition. Complementing this architecture are a discreet tachymeter scale, elegantly proportioned leaf-shaped hands and the signature fumé dial, all of which reinforce the instrument-inspired identity of the piece while remaining unmistakably Moser. The 42 mm stainless-steel case is paired with a grey nubuck-finished alligator leather strap, underscoring the Manufacture’s preference for understated luxury over ostentation. Every element of the Endeavour Flyback Chronograph Dual Time Date reflects careful consideration—not only in terms of aesthetics, but also in ergonomics, legibility and mechanical coherence. In many respects, this latest introduction illustrates why H. Moser & Cie. continues to occupy a singular position within independent Swiss watchmaking. Rather than pursuing complexity as an end in itself, the Manufacture refines it, conceals it and ultimately transforms it into an experience that feels both natural and effortless. The Endeavour Flyback Chronograph Dual Time Date is therefore more than a new reference within the collection. It is a compelling demonstration that the future of haute horlogerie may well belong not to those who display complexity most visibly, but to those capable of making extraordinary mechanical ingenuity appear beautifully simple. In an industry where attention is often drawn to ever greater complexity, the Endeavour Flyback Chronograph Dual Time Date reminds us that the ultimate luxury may simply be making the extraordinary appear effortless. Nicholas Hofmann International Sales Director and Member of the Managing Board at H. Moser & Cie. Nicholas Hofmann has played a key role in the Manufacture’s international development for more than a decade. Having joined the company in 2010, he has helped strengthen the brand’s presence across global markets while championing its independent spirit and distinctive vision of Swiss Haute Horlogerie. Recognised for his deep industry expertise and international perspective, Hofmann has become one of the leading voices representing H. Moser & Cie., sharing the Manufacture’s commitment to innovation, craftsmanship and uncompromising authenticity with collectors and partners around the world. You can pre-order here for July 15. Patricia Holdener Editor-In-Chief Luxe Magazine Switzerland LuxeMagazineSwitzerland Luxury LuxuryIndustry HauteHorlogerie SwissWatchmaking SwissMade ndependentWatchmaking LuxuryBusiness Leadership Innovation Craftsmanship LuxuryLifestyle Art Fashion WatchCollectors

For decades, the luxury industry competed for the world’s most desirable brands. Today, a different race is unfolding one that is far less visible but arguably far more strategic. With the acquisition of Charvet, the historic Parisian shirtmaker founded in 1838, Chanel is sending a powerful message to the market: in modern luxury, the rarest asset is no longer a logo or a flagship store, but the human expertise capable of creating exceptional products. At first glance, the acquisition may appear modest compared with the billion-euro deals that have shaped the luxury industry over the past two decades. Charvet operates a single boutique on Place Vendôme, produces in limited quantities and has never pursued aggressive international expansion. Yet that is precisely what makes this move significant. Chanel is not buying scale. It is investing in scarcity, heritage and one of France’s most respected artisanal institutions. The New Battle for Luxury Is Being Fought Behind the Scenes Luxury groups once focused on expanding their portfolios through high-profile acquisitions. Today, the strategic priority has shifted. The competition increasingly revolves around securing exceptional workshops, specialist manufacturers and centuries-old savoir-faire before they disappear or become inaccessible. This evolution reflects a profound transformation in the industry. While capital can finance new boutiques, marketing campaigns or digital innovation, it cannot instantly recreate generations of accumulated craftsmanship. The skills required to produce an exceptional bespoke shirt, weave rare fabrics or master hand-finishing techniques are built over decades and transmitted through people, not machines. In this context, Chanel’s acquisition of Charvet is less about adding another prestigious name to its ecosystem than about safeguarding a living heritage that has become strategically invaluable. A Broader Transformation Across the Luxury Industry This transaction also illustrates a broader trend reshaping the global luxury landscape. Increasingly, leading maisons are investing upstream, strengthening control over the production chain while protecting the artisans who define product excellence. Vertical integration is no longer simply an operational strategy; it has become a cultural and competitive imperative. Consumers are also evolving. Beyond prestige, they seek authenticity, provenance and craftsmanship. They want to understand where products are made, who created them and what traditions they embody. As expectations rise, owning and preserving exceptional savoir-faire becomes a long-term competitive advantage rather than a marketing narrative. Seen through this lens, the acquisition of Charvet is not an isolated event but another chapter in luxury’s gradual transition from acquiring brands to protecting capabilities. The Matthieu Blazy Effect The timing of the acquisition is equally noteworthy. It follows the arrival of Matthieu Blazy, whose creative philosophy has consistently celebrated impeccable tailoring, construction and material excellence. His collaboration with Charvet for his first Chanel collection demonstrated a clear appreciation for the maison’s extraordinary expertise in shirtmaking. Rather than representing a simple corporate transaction, the acquisition appears aligned with a broader creative vision in which craftsmanship is not merely preserved but placed at the centre of design itself. It suggests that Chanel’s future will continue to invest as much in the quality of execution as in artistic direction. Why Charvet Matters Beyond Menswear Founded in 1838, Charvet occupies a unique position in French luxury. Often recognised as the world’s oldest luxury shirtmaker, the maison has dressed royalty, political leaders, artists and discerning clients for generations. Its reputation has never relied on mass visibility or aggressive branding, but on uncompromising quality, discretion and consistency. This makes the acquisition particularly symbolic. Chanel is not acquiring a fast-growing commercial business. It is ensuring that one of France’s most distinguished artisanal maisons remains protected at a time when traditional craftsmanship faces increasing challenges, from succession issues to talent shortages. Ultimately, this transaction tells a much larger story than the future of one historic house. It reflects an industry redefining what value truly means. Tomorrow’s luxury leaders will not be distinguished solely by marketing power or global retail networks, but by their ability to preserve the knowledge, techniques and human expertise that no algorithm, automated factory or financial investment can replicate overnight. Through Charvet, Chanel has acquired far more than a heritage brand—it has invested in time, rarity and the enduring value of craftsmanship itself. Patricia Holdener Editor- In-Chief Luxe Magazine Switzerland Luxury Chanel Charvet LuxuryIndustry SavoirFaire Craftsmanship FrenchLuxury Heritage Luxur yBusiness LuxuryStrategy

Jack Armstrong: The Last Wizard of Art A Life Among Legends Jack Armstrong arrived in New York City in 1979 and quickly found himself surrounded by some of the most influential figures in art, fashion, and music. His first encounter with Andy Warhol took place at an event where Warhol was speaking with Ralph Lauren, Estée Lauder, and Oscar de la Renta. That same evening, Warhol invited Armstrong to Studio 54, where he introduced him to icons such as Jackie Onassis, Michael Jackson, and Liza Minnelli. At the time, Armstrong was selling his artwork directly from the back of his car to the celebrities he met. His artistic influence extended beyond sales he taught both Michael Jackson and Freddie Mercury how to paint abstract works, and each purchased pieces from him. In 1980, Armstrong developed a close friendship with Jean-Michel Basquiat, who had been sleeping on his couch for weeks. Wanting to help Basquiat gain recognition and financial stability, Armstrong introduced him to Warhol at the Odeon Restaurant. This pivotal meeting helped launch Basquiat into the mainstream art world, leading to his rapid rise before his tragic passing at the age of 27. Defying the Traditional Art Market In 1982, art dealer Bruno Bischofberger formally introduced Basquiat and Warhol as part of his representation of both artists in Europe. Later, Warhol introduced Armstrong to Leo Castelli, one of the most influential art dealers in New York. In 1984, Armstrong was offered a solo exhibition at Castelli Gallery an opportunity no artist had ever turned down. However, Armstrong made the unprecedented decision to reject it, stating: “I have a different plan than to just create art for someone else’s profit. I want to freely imagine and create what has never been done before, without the influence of dealers and auction houses.” Years later, his decision was validated. Armstrong’s unique artistic movement, Cosmic Extensionalism or Cosmic ‘X’ gained recognition among ultra-high-net-worth collectors, including Jacob Rothschild, Alice Walton, Jack Ma, and Narendra Patel. His influence extended beyond traditional canvases, leading him to create some of the world’s most valuable luxury items, including boots, a handbag, a bicycle, and a motorcycle. The Legacy of Cosmic ‘X’ In 2018, Armstrong’s work was displayed in a two-year digital art retrospective on a massive Times Square screen, viewed by millions. He recalled Basquiat’s words: “Jack, someday we will be up there with our work.” That prophecy had come true. One of Armstrong’s most radical artistic statements was his decision to retrieve all his previously sold paintings, destroy them in a bonfire, and create an entirely new form of universal cosmic art filled with energy and meaning. This act, inspired by a conversation with Warhol in the early 1980s, reflected his ambition to redefine contemporary art much like Picasso did with Cubism and Warhol with Pop Art. In 1999, after moving to Los Angeles, Armstrong created his first Cosmic ‘X’ painting and officially named his style Cosmic Extensionalism. His philosophy asserts that the artist must become one with the art, eliminating any sense of separation. He believes that the true creator is universal energy itself, and that art is a manifestation of this energy rather than simply the work of an individual. Each of his paintings contains his hair, fingerprints, and DNA making them a literal extension of himself. In 2026, Armstrong’s Cosmic ‘X’ Bugatti will debut in Saudi Arabia as a $200 million art car, further pushing the boundaries of what art can be. As he explains: “In Cosmic ‘X’, there are no limitations to what can be created or imagined. I create with universal energy that transcends art and becomes a form of its own universal magic. This is the only reason I exist.” A Vision That Transcends Art Jack Armstrong’s career has been defined by his refusal to conform to traditional artistic and commercial expectations. His dedication to artistic freedom, his revolutionary approach to art, and his ability to bridge luxury and creativity have cemented his status as a visionary. Warhol once called him “the last wizard of art,” a title that continues to resonate as Armstrong challenges the boundaries of contemporary art, transforming it into something limitless, cosmic, and timeless. JACK ARMSTRONG PORTFOLIO Warhol Naked (24"W X 36"H) Style: Abstract Expressionism Media: acrylic, canvas 2000: Los Angeles. California, United States $310M Cosmic Firebird 48 X 48 (inches) Acrylic on Canvas: 2006 L.A. Jack Armstrong A seminal painting of Cosmic X Art. $200M Golden Cosmic Dream (24 W X 48 H) Style: Abstract Expressionism Media: acrylic, canvas 2002: Los Angeles. California. United States $50M Golden Dream #2 (24 W X 48 H) Style: Abstract Expressionism Media: acrylic, canvas 2002: Los Angeles. California. United States $50M Cosmic X #1 (24" W X 36H) Style: Abstract Expressionism Media: acrylic, canvas 1999: Los Angeles, California, United States $113M Cosmic Dream Star (24" W X 36"H) Style: Abstract Expressionism Media: acrylic, canvas 2006; Los Angeles, California, United States $110M For any enquiry about the artworks, please contact us : info@luxemagazineswitzerland.co Holdener Patricia Editor-In-Chief Luxe Magazine Switzerland JackArmstrong CosmicX AbstractArt ContemporaryArt JeanMichelBasquiat AndyWarhol ArtHistory LuxuryArt ArtInnovation TimesSquareArt ModernArt ArtCollector VisionaryArtist WarholLegacy ArtWithoutLimits

Jack Armstrong’s “Warhol Naked” Set to Break Records with $300 Million Sale In a landmark event for the art world, American artist Jack Armstrong’s painting Warhol Naked is poised to sell for an unprecedented $300 million in July 2025. This sale is anticipated to set a new record for the most expensive American artwork ever sold, surpassing Andy Warhol’s Shot Sage Blue Marilyn, which fetched $195 million in 2022. A Tribute to a Mentor Warhol Naked, created in 2000, is one of the 100 unique pieces Armstrong produced in his self-developed style, Cosmic Extensionalism, or “Cosmic X.” This style emphasizes a deep metaphysical connection between the artist and the artwork, with Armstrong incorporating his own DNA hair and fingerprints into each piece to ensure authenticity. The painting is a heartfelt homage to Armstrong’s close friend and mentor, Andy Warhol. Armstrong describes the work as capturing the “true spirit of Andy,” featuring deep red hues and a bold white signature. He elaborates, “The graffiti-like colors around the edges and bubbling ripples of paint throughout the painting show the incredible energy just under the surface that Andy only revealed to his inner circle of friends.” Market Impact and Future Projections The sale is being privately managed by Gary Klopfenstein, CEO and Chairman of GK Investment Management and former CEO of Barenberg, one of Europe’s oldest and largest private banks. Klopfenstein is not only the artist’s personal financial advisor but also a collector of Armstrong’s Cosmic X works. Chairman Klopfenstein believes that Warhol Naked could be the first painting to reach a billion-dollar valuation, citing its rarity, unique style, and unquestionable provenance as key factors. Armstrong has previously declined a $200 million offer for the painting, asserting that its true value should be at least $300 million. Only 27 remain for sale, adding a powerful sense of urgency and exclusivity to the transaction. Conclusion The impending sale of Warhol Naked not only underscores Jack Armstrong’s significant contributions to contemporary art, but also reflects the evolving dynamics of art as a high-value investment asset. As the art market continues to intersect with wealth management strategies, this sale could mark a pivotal moment in the valuation and appreciation of contemporary art. Holdener Patricia Editor In Chief Luxe Magazine Switzerland info@LuxeMagazineSwitzerland.com #WarholNaked #JackArmstrong #CosmicX #ArtInvestment #RecordBreakingSale #ContemporaryArt #UltraLuxuryArt #ForSuperRich #ArtMarket2025 #AndyWarholTribute #luxemagazineswitzerland

Los Angeles, CA February 11, 2026 John Moran Auctioneers announces with distinction the upcoming sale of The Estate of Joanna Carson, a landmark auction presenting more than 400 exceptional lots from the collection of the noted arts patron and philanthropic leader. The sale will take place on Tuesday, March 3rd, 2026, at 10:00 AM PDT, offering collectors a refined selection of fine art, important jewelry, decorative objects, silver, porcelain, couture fashion, and luxury handbags. Press Information John Moran Auctioneers Jennifer Kurtz, Head of Sale 📧 j.kurtz@johnmoran.com 📞 626.628.9341 For questions and comments: Brenda Smith brenda@johnmoran.com Nathan Martinez nathan@johnmoran.com The Collection This highly anticipated auction brings together works by major artists including Claude Lalanne, Reg Butler, Max Ernst, Rufino Tamayo, and Jean Cocteau. Decorative arts highlights include: A Puiforcat “Royal” flatware service Sedlacek Co. sterling silver plates An extensive Royal Copenhagen Flora Danica porcelain collection The sale further features important jewelry by Oscar Heyman & Brothers for Cartier, Van Cleef & Arpels, and David Webb, alongside an elegant selection of couture clothing and handbags from houses including: Chanel, Gianni Versace, Gucci, Bottega Veneta, Oscar de la Renta, Fendi, Chloé, Louis Vuitton, and more. Joanna Carson: A Life Beyond Celebrity Joanna Carson born Johanna Ulrich and raised in New York lived a life defined far more by generosity than by public recognition. In 1960, she married professional backgammon player Tim Holland, and the couple welcomed a son, Joe, during their six-year marriage. Following their divorce, Joanna supported herself as a prominent fashion model, rising to become one of New York’s leading figures in the industry. In 1971, she met Johnny Carson, host of The Tonight Show, at the famed 21 Club. The couple married the following year. Yet beyond her public image, Joanna devoted more than fifty years to philanthropic work. She helped establish the Women’s Rape Treatment Center, supported organizations serving children with disabilities through her longtime involvement with SHARE (Share Happily and Reap Endlessly), and worked closely with the Elizabeth Taylor AIDS Foundation. Her efforts reportedly helped direct nearly $200 million to programs and organizations she cared deeply about. While many remember Joanna for her high-profile marriage and divorce, those who knew her best recall a gracious and kind woman who used that chapter of her life to fuel a lifetime of giving. Proceeds from The Estate of Joanna Carson will benefit: Cedars-Sinai Medical Center The David Geffen Foundation The Cher Foundation Ensuring that her legacy of generosity continues for generations to come. Fine Art Highlights Among the leading works is Lot 225, Claude Lalanne’s Pomme Bouche (1980), a gilt bronze sculpture estimated at $30,000–50,000, exemplifying the playful elegance that made Lalanne a beloved figure in postwar French art and design. Working alongside her husband François-Xavier Lalanne as part of Les Lalanne, she became known for blending sculpture, furniture, and jewelry into expressive, nature-inspired forms. Another standout is Lot 298, Reg Butler’s Musée Imaginaire, valued at $30,000–50,000. This rare Edition 1 of 9 comprises 39 patinated bronze figures housed in a custom wood and mirror-backed display case. The work reflects Butler’s early-1960s shift toward more intimate, contemplative sculpture inspired by André Malraux’s concept of the “imaginary museum.” Surrealist sculpture is represented by Lot 291, Max Ernst’s Janus, a verdigris-patinated bronze estimated at $30,000–50,000. Produced in an edition of 20 with multiple patina variations, the work captures Ernst’s fascination with duality and transformation, extending the visual language of his paintings into three dimensions. Rounding out the section is Lot 254, Rufino Tamayo’s Galaxia (1977), estimated at $10,000–15,000. Created using the innovative mixografía technique Tamayo developed in the 1970s, the work reflects his signature fusion of modernist form and indigenous Mexican influence. Silver, Porcelain, and Decorative Arts The sale offers an impressive range of tableware from full porcelain dinner services and sterling flatware to glass goblets and candlesticks by makers including Puiforcat, Royal Copenhagen, Baccarat, Tiffany & Co., Lalique, Richard Ginori, and more. A key highlight is Lot 199, a late 20th-century Puiforcat sterling silver “Royal” flatware service comprising 151 pieces, estimated at $20,000–30,000. Also featured is an extensive Royal Copenhagen porcelain collection in the “Flora Danica” pattern spanning Lots 402–420, each piece painted with a botanical specimen and carrying estimates ranging from $400 to $7,000. Decorative highlights include: Lot 220 Pair of Zig-Zag–style gilt bronze andirons after Alberto Giacometti, circa 1978 (est. $7,000–9,000) Lot 221 Pair of wrought-iron figural andirons by Samuel Marx, circa 1940 (est. $4,000–6,000) Lot 243 Pair of Grand Tour–style patinated bronze Pompeian deer (est. $2,000–4,000) Lot 245 Louis XV–style bureau plat with gilt-bronze mounts and gilt-stamped white leather top (est. $1,200–1,800) Jewelry Highlights Collectors will also take note of the exceptional jewelry selection. Leading the category is Lot 79, an elegant 1977 Oscar Heyman & Brothers for Cartier necklace crafted in 18K gold and platinum and set with sixty-nine graduated pear-shaped diamonds totaling approximately 24.15 carats, estimated at $20,000–30,000. Also featured: Lot 78 Van Cleef & Arpels 18K gold ring with oval turquoise cabochons in a floral motif accented by twenty-four round diamonds totaling approximately 3.60 carats (est. $7,000–10,000) Lot 29 David Webb butterfly brooch in 18K gold and platinum with textured wings set with round, baguette, and shield-shaped diamonds totaling approximately 7.25 carats (est. $7,000–9,000) How to Register and Bid To learn more and register to bid, visit: 🌐 www.johnmoran.com Bidding is available online via Moran’s new mobile app Moran Mobile (iOS and Android), as well as by phone or absentee bid. Upcoming Auctions John Moran Auctioneers continues its 2026 lineup with: Native American Art + Design Online: Tuesday, February 24th, 2026 | 12:00 pm PT The Estate of Joanna Carson: Tuesday, March 3rd, 2026 | 10:00 am PT Studio Decorative Art Online: Tuesday, March 10th, 2026 | 10:00 am PT Art + Design: Tuesday, March 24th, 2026 | 10:00 am PT Art of the American West: Tuesday, April 7th, 2026 | 12:00 pm PT Jewelry & Watches: Tuesday, April 21st, 2026 | 10:00 am PT For highlights, online catalogues, and additional information, visit www.johnmoran.com and follow @johnmoran_auctioneers on social media. Consignments are always welcome: info@johnmoran.com JohnMoranAuctioneers JoannaCarson LuxuryAuction FineArtMarket JewelryCollectors EstateAuction ArtCollectors AuctionNews PhilanthropyLegacy LuxuryCollectibles LuxeMagazineSwitzerland

●A project where performance, innovation and design converge ● Giallo Fly color and inspirations from Hypercar and iconic models ● An exhibition at the Ferrari Flagship Store and the lighthouse-installation on the HIGHLINE Milano terrace in front of Piazza del Duomo Maranello, 21 April, 2026 - On the occasion of Milan Design Week, Ferrari Hypersail reveals the livery of its 100-foot flying ocean monohull: innovation, aerodynamics and design research define a new frontier in ocean sailing. Born from a creative process in which the aesthetic language of the Maranello- based company meets the most advanced offshore sailing technology, the project highlights the increasingly deep connection between design, innovation and performance. Ferrari Hypersail was conceived as an open innovation platform, where diverse expertise merges into a collective process to redefine the boundaries of what is possible and achieve a synthesis of engineering and style: that of the Ferrari Tech Team, guided by Matteo Lanzavecchia and Marco Guglielmo Ribigini, the Ferrari Design Studio led by Flavio Manzoni, and naval architect Guillaume Verdier. The goal is to transfer into the nautical world the same design and aesthetic spirit that makes Ferrari cars unique: a constant drive toward innovation without ever losing the essence of form. Performance-driven design In Hypersail, design is never merely aesthetic, but a direct consequence of function: every volume originates from the interaction between wind, water and speed. As an offshore ocean vessel, aesthetic choices have, from the very beginning, developed within strict boundaries defined by precise aerodynamic and engineering constraints. Performance sets the rules, design transforms them into beauty. The Ferrari Design Studio, led by Flavio Manzoni, worked in close synergy with Ferrari’s engineering team and naval architect Verdier to translate aerodynamic, hydrodynamic and structural constraints into aesthetic opportunities. The streamlined silhouette evokes the purity of proportions of the Ferrari Monza SP1/SP2, while the exterior of the coachroof on deck recalls the graphics architecture of the Le Mans-winning Hypercar 499P. The surfaces of the deck and the coachroof itself, developed directly by the Ferrari Design Studio, were designed to ensure maximum technical efficiency, as in the development of every car designed by the Prancing Horse. Flavio Manzoni, Ferrari Chief Design Officer, commented: “Hypersail represented an unexpected opportunity for the Ferrari Design Studio; a challenging objective due to its complexity, which allowed ot new to this kind of endeavour. In the past, the experience gained in racing car projects, one of the most technologically advanced sectors, has encouraged exploration into more complex fields, allowing us to test ourselves and expand our expertise.” A significant example is the solar panels, integrated the deck and hull sides. Their positioning was determined through an advanced study of the solar exposure Hypersail will experience during navigation. The panels are walkable and feature a specific grip; they have been integrated with technical fastening systems, clips and dedicated treatments, ensuring maximum freedom of movement for the crew. “Hypersail is a vessel unique in scale and technology, engineered to deliver peak performance within an environment as singular and unpredictable as the ocean. This is achieved through its core concept: foiling, made possible by a sophisticated control system, leveraging the expertise gained from our automotive developments, and powered by energy recovered from renewable sources such as wind, solar, and motion,” explains Matteo Lanzavecchia, Head of Vehicle Engineering at Ferrari and Chief Technology Officer of Hypersail. “The strategic choice of a monohull arises from the synergy between maximum hydrodynamic and aerodynamic efficiency. Throughout every design phase, the collaboration with the Design Studio allowed us to accentuate and refine Hypersail’s forms and features, establishing it as a definitive benchmark of design and innovation.” The livery: Giallo, Ferrari’s second soul In developing the vessel’s livery, the Ferrari Design Studio sought to bridge Hypersail’s vanguard design with the brand’s aesthetic heritage. The chosen chromatic response is the Giallo Fly, a shade of yellow steeped in narrative legacy. Giallo has historically represented Ferrari’s “second soul.” Originally inspired by an intuition from Fiamma Breschi, friend of Enzo Ferrari and widow of driver Luigi Musso, famous for his yellow helmet, Giallo Fly first appeared on the 275 GTB. In the context of Hypersail, the Giallo Fly with the name "Fly" creates a seamless linguistic link with the vessel’s foiling nature. The primary material of the hull is carbon fiber: its grey tone, in a new variant named Grigio Hypersail, defines the livery, serving not only as an aesthetic choice but also as tangible expression of the material’s inherent lightness and performance. In this innovative project, the interplay between Grigio Hypersail and the iconic Giallo Fly creates an aesthetic that is both cohesive and functional. Applied to the cabin, foils and hull lines, the yellow evokes the stylistic codes of the most celebrated Ferrari cars, strongly expressing the brand’s DNA and echoing the distinct color separation of the 512 BB, the first “integrated” livery. From the hull to the Ferrari logo on the sail, introduced to ensure continuity with a distinctive visual presence of the elongated “F” seen in recent years (the wing of the 2023/2024 F1 car, Lifestyle, the Daytona SP3 donated for the charity auction in Pebble Beach), to details inspired by LaFerrari and the lines of the F80, Hypersail defines a new paradigm between design and function in offshore sailing. The exhibition at the Ferrari Flagship Store and the lighthouse-installation During Design Week, from April 22 to 26, the Hypersail project will be showcased through a dedicated exhibition path within the Ferrari Flagship Store in Milan. Embodying the pillars of design, innovation, and performance, the project also features the Hypersail lighthouse-installation, an exclusive sculpture by the Ferrari Design Studio on the HIGHLINE Milano main terrace overlooking Piazza del Duomo. This iconic symbol positions Hypersail as a new symbol of inspiration for the future of technology and performance in offshore sailing. For further information: Ferrari Hypersail Press Office hypersail.press@ferrari.com Ferrari S.p.A. Direzione e stabilimento: Via Abetone Inf. n. 4 41053 Maranello (MO), Italia Tel. +39 0536 949 111 Sede legale: Via Emilia Est n. 1163 P.O. Box n. 589 41122 Modena, Italia Capitale sociale € 20.260.000 i.v. Reg. Imprese di Modena, P. IVA e Codice Fiscale n. 00159560366 R.E.A. di Modena n. 88683 Società a socio unico Direzione e coordinamento: Ferrari N.V. PATRICIA HOLDENER EDITOR - IN - CHIEF LUXE MAGAZINE SWITZERLAND