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Dolce & Gabbana and the Myth of Departure Why Founders Don’t Exit, They Evolve In today’s fashion industry, departure has become a narrative in itself. Creative directors arrive, disrupt, and leave often within the span of a few seasons. The cycle is predictable, almost institutionalized. And yet, every so often, a headline emerges that appears to follow this pattern, only to reveal something entirely different beneath the surface. Dolce & Gabbana is one of those cases. Recent reports surrounding Stefano Gabbana’s decision to step down from his role as chairman have triggered familiar reactions. Speculation. Interpretation. The assumption of an impending creative shift. But this reading fundamentally misunderstands the nature of the house itself. Because Dolce & Gabbana is not structured like other luxury brands. Founded in 1985 by Domenico Dolce and Stefano Gabbana, the house is not simply led by its creators it is defined by them. Their names are not signatures attached to a brand. They are the brand. This distinction changes everything. Stepping down from a corporate position does not equate to stepping away from creative authorship. In fact, it may signal the opposite: a recalibration of control rather than a relinquishing of it. This is where the industry often misreads the moment. In most contemporary fashion houses, creative direction is a role. It can be transferred, replaced, reinvented. At Dolce & Gabbana, it is an identity. One that cannot be outsourced without fundamentally altering the essence of the brand. Domenico Dolce and Stefano Gabbana have spent nearly four decades building a visual and emotional language that is unmistakably theirs. Sicily, black lace, religious iconography, family, sensuality these are not seasonal references. They are constants. A vocabulary that evolves without ever being rewritten. This continuity is often mistaken for repetition. It is, in reality, discipline. While other brands rely on the shock of the new, Dolce & Gabbana rely on the power of recognition. Their work does not aim to surprise as much as it aims to reaffirm. And in a saturated market, where identity is increasingly diluted, this consistency becomes a form of luxury in itself. The recent governance shift should therefore be understood not as an exit, but as a repositioning. A strategic separation between corporate structure and creative authority. One that allows the founders to remain exactly where they have always been: at the center of the narrative. There is also a broader implication. As the luxury industry becomes more consolidated, more financialized, and more dependent on executive turnover, Dolce & Gabbana represent a different model one where authorship remains intact. Where the founders are not replaced by systems, but operate alongside them. This model is increasingly rare. It requires not only creative vision, but also a level of control that few designers retain. It demands a brand so clearly defined that it can withstand both market fluctuations and internal restructuring without losing coherence. Dolce & Gabbana have achieved precisely that. Even amid financial pressures and strategic recalibrations, the brand continues to project a singular identity. One that does not rely on novelty, but on depth. Not on change, but on continuity. In this sense, the real story is not about departure. It is about misunderstanding what it means to stay. Because in a world obsessed with movement, Dolce & Gabbana remind us that true power in fashion may not lie in reinvention but in permanence. DolceGabbana LuxuryStrategy FashionAnalysis CreativeDirection LuxEMagazineSwitzerlan

EMERA: Redefining Luxury Watchmaking with Visionary Craftsmanship Emera is a brand built on a daring vision: to challenge and redefine the limits of luxury watchmaking through avant-garde design and technical prowess. United by their passion and profound expertise, the founders of Emera sought to establish a brand that combines Swiss craftsmanship with bold innovation, resulting in timepieces that capture the spirit of modern horology. A philosophy of precision and innovation Emera’s ethos centers on blending artistic vision with advanced technology. By continuously monitoring the latest advancements, the brand utilizes cutting-edge materials, including carbon and Grade 5 titanium, in each of its creations. The result is a series of watches that are not only visually striking but also engineered with unparalleled precision. From ultra-thin carbon scales to anti-reflective sapphire crystals, every component of an Emera watch is meticulously crafted to showcase both durability and elegance. Masterful In-House Movements In the competitive world of haute horlogerie, few brands undertake the monumental task of designing in-house movements. Emera has set itself apart by doing just that with the MRA-01, a sophisticated 60-second flying tourbillon that exemplifies the brand’s dedication to watchmaking excellence. Composed of 177 individual parts and two specialized bearings with ceramic spheres, this in-house movement reflects the brand’s commitment to achieving flawless mechanical performance. Such technical achievements position Emera as a pioneering force, committed to pushing the boundaries of what is possible in luxury watchmaking. A Limited Collection, TimelessCraftsmanship With each collection released in ultra-limited editions, Emera embraces a philosophy that values exclusivity and artistry. Each Emera timepiece is not just a watch but a collector’s item, a true work of art that reflects the pinnacle of Swiss watchmaking. By collaborating with the finest artisans and suppliers, the brand ensures that each model is crafted to the highest standards of refinement, bringing together the finest materials and most demanding techniques in the industry. The Founders Behind the Brand The story of Emera began with Patrick Freiburghaus, a designer with 24 years of expertise who envisioned a unique path for his creative ideas to fully flourish. His partnership with Cyrano Devanthey, an accomplished watchmaker with extensive experience leading innovative projects at prestigious maisons like Omega-where he was responsible for the Tourbillon department-revealed a perfect alignment of vision and skill. Together, they founded Emera, a brand deeply rooted in precision, creativity, and a profound respect for the art of watchmaking. Pioneering the Future of Haute Horlogerie Emera’s commitment to innovation is reflected not only in its current models but also in its ambitions for the future. With a new model and an entirely new caliber already in development, Emera shows no signs of slowing down. Every Emera creation captures the essence of the future, combining cutting-edge engineering with a dedication to aesthetic refinement that resonates with collectors and connoisseurs alike. Inspired by elements as diverse as robots, supercars, and the beauty of nature, Emera’s designs look beyond the present to offer a glimpse into the possibilities of tomorrow’s luxury. Crafted Exclusively in Switzerland Proudly 100% Swiss-made, Emera’s creations are a testament to the brand’s dedication to its origins. Working closely with Swiss industry leaders, Emera ensures that every timepiece embodies the best of Swiss watchmaking traditions, merging innovation and heritage into each detail. In Emera’s watches, the world of haute horlogerie meets a new era of design, pushing technical and artistic boundaries while preserving the precision and timeless allure that define Swiss luxury. As Emera’s story unfolds, the brand continues to set new standards in craftsmanship and innovation, marking its place in the annals of fine watchmaking. For more information: info@emerawatches.com www.emerawatches.com EMERA | Redefining Luxury | Watchmaking Excellence | Visionary Craftsmanship | Swiss Watchmaking | Avant-Garde Design | Luxury Timepieces | Innovative Horology | Modern Luxury Watches | Precision Craftsmanship | Timeless Innovation | Fine Watchmaking | High-End Watches | Luxury Watch Revolution | Mastering Time

DC12 MaveriK Freedom, Engineered Some projects lie dormant. They settle, evolve, gain depth like a great vintage refined by time. At David Candaux, nothing ever gathers dust. Ideas mature until one morning, the spark returns. Precise. Uncompromising. From that tension comes a watch that doesn’t follow time. It sets its own tempo. The DC12 MaveriK. Where Vision Takes Root The story begins in the Vallée de Joux, the historic cradle of Swiss high watchmaking. A vertical landscape shaped by demanding terrain and disciplined craft. This is where David Candaux forged his eye guided equally by raw nature and the legacy of master watchmakers. Every decision he makes bridges heritage and the energy of the twenty-first century. His pursuit of precision is not theoretical; it is born from movement, instinct, and lived experience — a constant dialogue between gravity and intuition. In 2025, a new chapter unfolds. After seventeen years of reflection, a radical idea takes form: freeing the double balance from traditional architecture. Mechanics in Suspension At the heart of the piece beats an unprecedented caliber, conceived and manufactured in his atelier in Le Solliat. The C30 reveals a seven-level architecture, sculpting depth to follow the distinctive case profile. Every component serves a single purpose: delivering real-world precision on the wrist. Three patents define this achievement. The first reimagines the double regulator architecture. Two independent balances interact freely through a flying satellite planetary mounted on a hairspring shock absorber, positioned at the very center of the seconds’ train. The mechanical differential continuously calculates the average of their isochronism deviations, ensuring exceptional regularity. Here, mechanics do not constrain they absorb, adapt, and balance. The second patent secures the winding system. Click and spring regulate energy flow in the correct direction, preventing unwanted backflow. The third combines winding and time-setting through a compact, coaxial inclined control mechanism, ensuring fluid and robust operation. The movement comprises 258 components. Movement, crown, and case total 335 components for an overall weight of just 47.8 grams. Two fast-rotating coaxial barrels mounted in series deliver a 58-hour chronometric power reserve. A double in-house variable-inertia balance with gold mean-time screws, Phillips terminal curve hairspring, and 45 jewels set in solid gold chatons regulate the cadence at 21,600 vibrations per hour. Titanium bridges and mainplate, 36 mirror-polished inward angles, straight graining, perlage, snow-grained finishing, and cascading bridges compose an architecture shaped by light. At 12 o’clock, the flying satellite planetary completes a 60-second revolution, driving the small seconds a visible mechanical breath. Design as Language The titanium case asserts a sculptural presence. Asymmetric from 6 to 12 o’clock, symmetric from 3 to 9, its fully curved profile runs in parallel across top and bottom surfaces. The top-loading construction highlights technical complexity, while curved lugs extend the dynamic flow. A 39.5 mm diameter and a restrained 11.7 mm height ensure balanced presence. Water-resistant to 50 meters, the watch blends refinement with everyday resilience. Integrated into the case, the “Magic Crown” features three positions neutral, time setting, winding and a discreet pressure-release mechanism. It bears the embossed Bear Head logo. The dial, crafted in nickel silver, adopts an organic “chips” silhouette. Its curved round opening follows the case geometry. A multi-level construction reveals a central white opal hour disc framed by diamond-polished rings. Black Arabic numerals, a peripheral minute track, and three-dimensional angled grey-gold indexes hand-polished for precision transform legibility into architecture. Flame-blued steel hands capture light with intent. At six o’clock, an inscription expresses the maison’s philosophy: “Le Cœur et l’Esprit” The Heart and Mind. Through the sapphire caseback, the movement unfolds. Grade 5 titanium, elongated straight-grained bridges inspired by historical models, a hand-finished central snow-grained bridge, black-polished screws, and hand-executed bevels express uncompromising craftsmanship. MaveriK: Independence, Defined The name draws inspiration from Samuel A. Maverick, the Texan rancher who refused to brand his cattle a symbol of independence and freedom of action. The final “K” underscores the watch’s kinetic energy and sharp aesthetic. The DC12 designation extends the brand’s creative lineage, structuring a universe where scientific rigor meets instinctive creation. In David Candaux’s Tempo Trained in the great watchmaking institutions of the Vallée de Joux and shaped within prestigious manufactures, David Candaux designs every component, every finish, every movement. In 2017, he founded his namesake brand and chose total independence. Today, 39 patents bear his name. The DC12 MaveriK stands as its emblem a timepiece for those who move at their own pace, where the creator’s freedom becomes the movement’s own. TECHNICAL DETAILS DC12 MaveriK In titanium Hand-wound movement with 3 patents Double regulator mounted on the seconds’ train • hours and minutes • small second integrated to the flying satellite planetary MOVEMENT Movement dimensions • Overall diameter: 29.50 mm (13’’’) • Thickness: 6.90 mm Number of components • Movement: 258 components • Flying satellite planetary: 25 components • Weight of the planetary: 0.15 g • Weight of the timepiece: 47.8 g • “Magic crown”: 31 components • Movement, crown, case: 258 + 31 + 46 = 335 components Number of jewels • 45 • Semi-gloss ruby jewel set in solid molded gold chatons Chronometric power reserve• 58 hours Barrels • Two coaxial series-coupled fast-rotating barrels with a fixed-flange spring Balance wheels • Double balance with dual in-house variable-inertia, with gold mean-time screws (diameter 10mm) Frequency • 21’600 vibrations/ hour (3Hz) Balance spring • Phillips terminal curve • Titanium stud and stud holder Bridges and main plate • In titanium • Hand-polished beveled angles and polished chamfers, 36 inward beveled angles, mirror-polished, straight- grained, pearling under the bridges • Special snow-grained finishing • Cascade bridges Movement side • Stainless steel screws and pins, black-polished • Planetary bridge in grained titanium, with hand- polished bevels and angles • Gold plate with engraved and grained number, polished bevels and moldings, brushed flanks Double regulator • Flying satellite planetary at 12 o’clock • Jewel bearing • 60-second revolution • Flying satellite cage in titanium Gearing • Wheel plate in CuBe • Sharp inward angles, beveled, diamond-milled on two sides • Stainless steel pinion with polished teeth Displays • Central hours and minutes • Small second at 12 o’clock EXTERIOR Case • Asymmetric 6 o'clock to 12 o'clock and symmetric 3 o'clock to 9 o'clock Fully curved shape, top and bottom running in parallel • In satin-brushed and hand-polished titanium • Top-loading case • Curved titanium side lugs Case dimensions • Caseband diameter: 39,5 mm • Case height: 11,7 mm • Height on synthetic sapphire crystals: 11,9 mm Water resistance of the case • Water-resistant 5 atm - 50 m - 164 ft Crown • “Magic”, Pressure release mechanism • 3 positions : neutral, time setting, winding • Embossed engraving of “Bear Head” logo Dial side • “Chips”-shaped dial in nickel silverCurved round opening integrated into the case shape • Multi-level construction with central hour discin white opal, circled by diamond-polished rings • Black pad-printed Arabic numerals • Three-dimensional, angled, hand-polished indexesin grey gold • Sapphire seconds subdial • Black graduated rim for minutes and secondes • Tampographed inscription “Le Coeur et l’Esprit” Hands • Flame-blued stainless steel hour and minute hands, beveled and hand-polished • Small seconds in flame-blued stainless steel, beveled and hand-polished, integrated into the planetary differential with flying satelllite at 12 o’clock Strap and buckle • In handmade rubber, with a velcro clasp engraved with the David Candaux logo Contact INFORMATION Rue du Village, 1347 Le Solliat - Switzerland Tel. (+41) 79 610 17 40Email: hello@davidcandaux.com www.davidcandaux.com Media Relations: Caroline Pita cp@davidcandaux.com HauteHorlogerie IndependentWatchmaking SwissMade LuxuryEngineering LuxeMagazineSwitzerland

Sisters Janssen Suite 40 - 50 MÈTRES CARRÉS Sensuous and energetic, the Sisters Janssen suite pays homage to the divine feminine. Its purple-clad entrance debouches into a space bathed in warm, rosy tints and electric Cultural Hospitality: The Museum-Hotel Renaissance That Is Rewriting Luxury Travel Luxury hospitality is undergoing a quiet revolution. In a world where experiences increasingly rival possession, hotels are evolving from places of mere comfort to living cultural institutions. In 2026, a new class of luxury hotels is redefining what it means to travel not as a consumer, but as a participant in curated cultural dialogue. This is not about art in lobbies or decorative sculpture on marble floors. Today’s cultural hotels are authored experiences, immersive narratives, and intentional encounters with art, history, and heritage. They stand at the crossroads of hospitality, museology, and design reinventing what it means to belong in a space. The Confluence of Hospitality and Cultural Curation At the heart of this movement are properties that have turned their walls into cultural canvases. They embed art collections, collaborations with artists, and museum-grade exhibitions into the very fabric of hospitality. Such places do more than display art they make it part of the human experience. Consider De L’Europe Amsterdam’s ‘t Huys’ a curated creative wing where each suite is designed in partnership with Dutch and international artists and institutions. Guests don’t just sleep in luxury; they enter artistic narratives shaped by collaborators like the Van Gogh Museum, Wolfi Pictures, and Ronald van der Kemp. Van Gogh Museum Suite 65 - 85 SQUARE METERS Considered one of the greatest painters in European art history, Van Gogh's works breathe colour, introspection, and story. Submerge yourself in Vincent's art Wolfi Pictures Suite 65 - 85 SQUARE METERS Step into a suite that's worthy of a standing ovation. Escape reality in a space that effortlessly shapeshifts from writers' room to private cinema. Similarly, properties featured on global lists of cultured stays from contemporary art showcases in Miami to historic collections in European hotels illustrate how spaces can stimulate cultural dialogue through curated experiences that rival museum visits. What Makes a Museum Hotel? Unlike traditional luxury hotels that rely on design aesthetics and service alone, cultural hospitality intertwines curation, context, and narrative. These are spaces where: Art collections are accessible, not just ornamental Cultural programming is integral, not auxiliary Guest journeys are story-driven, not transactional The guiding principle here is experience with meaning. Instead of rare wines or private beaches, these hotels offer intellectual discovery, aesthetic immersion, and cultural resonance. Case Studies in Intentional Design Across continents, cultural hotel concepts are being reimagined. In Paris a city synonymous with art and history luxury properties are leveraging their proximity to institutions while rethinking hotel spaces as micro-museums. Some curate in-house galleries or invite artists to create site-specific installations, creating a constant dialogue between the guest and culture. In Miami and Houston, hotels blur boundaries between hospitality and museum partnerships, offering access to art exhibitions and cultural districts as part of the stay experience. And in cities such as Sydney and Cape Town, properties like Capella Sydney and Ellerman House have amassed art collections so significant they rival local museums, fostering a regional artistic narrative inside luxury walls. Capella Sydney Ellerman House The Guest as Cultural Participant The defining shift in cultural hospitality is the role of the guest. They are no longer mere spectators; they are participants in an artistic journey. They walk through curated spaces, engage with contextual narratives, and encounter living stories rather than static ornamentation. This transformation has profound implications for the luxury traveler. It signals a shift away from consumption toward cultural participation, where the value of a stay is measured by its intellectual and emotional returns. Why This Matters Now In an era where luxury is increasingly defined by experience over ownership, cultural hotels answer a deep human craving for meaning. They reflect a broader trend in luxury one that prioritizes identity, legacy, storytelling, and experiential richness. For travelers who seek more than comfort and prestige, these spaces offer memorable interiority and deep cultural resonance. They function as private salons of ideas and aesthetics places where an afternoon in a suite can feel like an afternoon in a private gallery or atelier. Cultural Hospitality as Luxury’s Future More than a trend, cultural hospitality is becoming a paradigm shift. It redefines the purpose of luxury travel to encompass education, emotion, and cultural investment. In a world awash with experiences, the true luxury now is space that expands the mind, not just soothes the senses. And cultural hotels from Amsterdam to Australia, Paris to Miami are at the forefront of this movement. They remind us that the most indelible journeys are those that leave us richer in perspective, not just in memories. CulturalHospitality LuxuryTravel2026 MuseumHotelRevolution ArtfulExperiences CuratedJourneys Luxe Magazine Switzerland

Met Gala 2026: The Year Fashion Officially Claimed Its Place in the Art World In an era when the boundaries between disciplines continue to dissolve, the 2026 edition of the Met Gala  arrives with unusual intellectual ambition. Scheduled for May 4, the world’s most scrutinized red carpet will orbit a theme that is deceptively simple yet culturally charged: “Costume Art,” accompanied by the dress code “Fashion is Art.” Behind the spectacle lies a serious curatorial proposition from the Metropolitan Museum of Art  a nd its influential Costume Institute : to reframe clothing not merely as adornment or luxury commodity, but as a fully legitimate artistic medium. This year’s gala is poised to be more than a parade of viral gowns. It is shaping up to be a referendum on fashion’s cultural status and the guest list signals just how multidimensional that conversation has become. A Theme with Intellectual Teeth At first glance, “Fashion is Art” may sound like familiar Met Gala rhetoric. Yet the 2026 framing goes further than previous years by explicitly positioning garments within the canon of fine art. Historically, fashion has occupied an ambiguous cultural space celebrated commercially but often sidelined in academic art discourse. The exhibition accompanying the gala seeks to interrogate that hierarchy by exploring how clothing functions as: sculptural object performative medium cultural archive and political statement Curators are reportedly drawing connections between couture techniques and traditional art forms such as painting, sculpture, and installation. The implication is clear: the red carpet is not just a runway it is a moving gallery. For attendees, this raises the creative stakes considerably. Literal beauty will not suffice; interpretation, concept, and narrative will matter more than ever. The Women Steering the Night The 2026 co-chair lineup is one of the most strategically curated in recent memory, bringing together figures whose influence spans music, cinema, sport, and publishing. Leading the charge is global music powerhouse Beyoncé , whose return to the Met Gala after a decade-long absence has already electrified fashion watchers. Few artists understand visual storytelling through costume as deeply as she does. From stage to screen, her wardrobe choices routinely function as cultural commentary precisely the intellectual alignment this year’s theme demands. Joining her is Academy Award winning actress Nicole Kidman , long regarded as a muse to high fashion houses. Kidman’s Met appearances have historically balanced theatricality with museum-level elegance, making her a natural bridge between Hollywood glamour and curatorial seriousness. The inclusion of tennis legend Venus Williams  adds a compelling dimension. Williams has spent years quietly building credibility in the fashion world through design work and entrepreneurial ventures. Her presence signals the gala’s continued expansion beyond traditional fashion and entertainment circles into the broader cultural ecosystem. Overseeing it all, as she has for decades, is Anna Wintour . If the Met Gala is fashion’s Super Bowl, Wintour remains its master strategist. Her continued stewardship ensures the evening balances spectacle with institutional gravitas. Power Philanthropy in the Spotlight In a move reflecting the growing intersection between fashion, technology wealth, and philanthropy, the honorary chairs for 2026 are Amazon founder Jeff Bezos  and media personality Lauren Sánchez Bezos . Their appointment underscores an evolving reality: the Met Gala is not only a cultural event but also one of the most significant fundraising engines in the art world. The involvement of ultra-high-net-worth patrons signals the museum’s continued reliance on private capital to sustain ambitious exhibitions. It also reflects fashion’s deepening entanglement with the tech economy a relationship likely to shape the aesthetics and guest composition of the gala for years to come. The Creative Brain Trust Beyond the headline chairs, the Host Committee offers further clues about the night’s direction. The committee is notably chaired by Saint Laurent creative director Anthony Vaccarello , whose minimalist yet architectural sensibility aligns perfectly with the “fashion-as-object” thesis. Among the high-profile committee members is actress and style bellwether Zoë Kravitz , whose fashion choices often lean toward conceptual minimalism rather than maximalist spectacle. Her presence suggests the red carpet may tilt toward intellectually driven looks rather than purely ornamental ones. The broader committee reportedly spans musicians, models, choreographers, and visual artists a multidisciplinary mix that mirrors the exhibition’s thesis. What “Fashion Is Art” Really Demands For seasoned Met observers, the most fascinating question is how celebrities will interpret the brief. Historically, the most successful Met Gala looks share three qualities: Conceptual clarity Technical excellence Cultural resonance This year’s theme raises the bar on all three. Expect to see: silhouettes referencing historical sculpture garments functioning as wearable installations archival revivals reframed as contemporary art and possibly a surge in collaborations between fashion houses and fine artists What may decline, however, is purely decorative glamour. The intellectual framing of the exhibition subtly penalizes looks that lack narrative depth. In short: pretty will not be enough. Meaning will matter. A Turning Point for Fashion’s Cultural Status The deeper significance of the 2026 Met Gala lies in timing. Over the past decade, fashion has steadily moved closer to the center of cultural scholarship. Major museums have expanded fashion programming, while younger audiences increasingly consume runway imagery with the same analytical lens once reserved for contemporary art. This year’s exhibition formalizes that shift. By explicitly arguing for fashion’s place within the art historical canon, the Costume Institute is engaging in a long-running institutional debate. Critics have historically questioned whether fashion tied as it is to commerce and seasonality can truly be considered fine art. The 2026 gala is, in many ways, a public-facing answer to that skepticism. The Red Carpet as Cultural Theater If the thesis holds, the Met steps of 2026 may resemble less a celebrity photo call and more a form of live performance art. The presence of figures like Beyoncé whose visual albums have blurred lines between music video, cinema, and fashion installation suggests the evening could produce some of the most conceptually ambitious looks in recent memory. Industry insiders are already predicting: increased archival references museum-level craftsmanship and a shift toward narrative dressing over shock value Should that prediction prove accurate, the 2026 gala could mark a subtle but meaningful evolution in red carpet culture. Why This Year Matters More Than Most Every Met Gala claims cultural importance. Few genuinely shift the conversation. The 2026 edition has the ingredients to do so for three reasons: First, the theme is academically grounded rather than purely aesthetic. Second, the co-chair lineup spans multiple cultural power centers. Third, the growing presence of tech wealth signals a new patronage era for fashion institutions. Taken together, these elements position the event at the intersection of art history, celebrity culture, and global capital a uniquely 21st-century convergence. The Verdict: Spectacle Meets Scholarship Whether the night ultimately delivers intellectual depth or simply another wave of viral moments remains to be seen. The Met Gala has always walked a tightrope between scholarship and spectacle. But one thing is certain: by declaring “Fashion is Art” so explicitly, the Costume Institute has raised expectations not just for attendees, but for the industry itself. On May 4, the world will be watching not only what celebrities wear but what their clothes are trying to say. MetGala2026 FashionIsArt CulturalCapital LuxuryStrategy FashionIntelligence luxemagazineswitzerland

The $1.5M Message Behind Roger Federer’s Sapphire Daytona When Roger Federer appeared at the Laver Cup gala in San Francisco, the tuxedo was expected. The composure was familiar. But the watch quietly peeking from his cuff told a far more strategic story. On his wrist: an ultra-rare Rolex Cosmograph Daytona nicknamed the “Blue Sapphire,” an off-catalogue piece estimated around $1.5 million on the secondary market. What most headlines framed as another celebrity flex is, in reality, a revealing case study in how modern luxury operates at the highest level. Because this watch is doing three things at once: reinforcing Rolex’s invisible marketing strategy, signaling Federer’s post-career evolution, and illustrating the growing financialization of elite timepieces. Rolex’s Most Powerful Move: Visibility Without Availability The Blue Sapphire Daytona (ref. 126599TSA) was not loudly launched. It was quietly shown behind closed doors during Watches and Wonders and never appeared on Rolex’s public website. That places it in the brand’s shadow category: off-catalogue models watches reserved for top-tier clients and ambassadors. According to GQ, these pieces are typically offered only to Rolex’s most important customers, reinforcing their role as insider status symbols. This is deliberate scarcity. By putting the watch on Federer a Rolex ambassador since 2006 the brand achieves maximum organic visibility while maintaining near-total inaccessibility. The strategy is elegant: create desire limit supply avoid mass exposure let the right wrist do the talking In the era of overexposure, Rolex continues to master controlled mystique. The Federer Paradox: High Jewelry, Quiet Delivery Technically, the Blue Sapphire Daytona is anything but subtle. The white-gold case is set with 36 baguette-cut blue sapphires and 54 diamonds, paired with a rare silver obsidian dial. By objective standards, this is high-jewelry territory. And yet, on Federer, it reads differently. His Laver Cup styling black tuxedo, crisp white shirt, classic bow tie neutralized the potential flash. The watch revealed itself only when the light caught it. This is the Federer paradox: the object is extravagant the presentation is controlled the overall impression remains refined There is also a broader narrative shift at play. During his playing career, Federer often wore sportier Daytonas and classic references. In retirement, his public image has evolved toward that of a global luxury statesman. The Blue Sapphire Daytona may be less a stylistic departure than a carefully calibrated step upward. When a Watch Becomes an Asset Perhaps the most under-discussed dimension of this sighting is financial. While Rolex does not publish pricing for off-catalogue pieces, the model is widely estimated around $1.5 million on the secondary market. At that level, the watch operates less like an accessory and more like an alternative asset. Several forces support this positioning: Controlled production Off-catalogue Daytonas are produced in extremely limited quantities and allocated directly by the brand. Brand liquidity Rolex remains the most dominant and liquid name in the secondary watch market. Celebrity association Pieces worn publicly by figures like Federer gain additional collector attention. Social amplification Moments like the Laver Cup sighting spread instantly across global watch communities. The result: certain ultra-rare Rolex models increasingly behave like portable stores of value. Among serious collectors, the question is no longer only “Is it beautiful?” but also “Is it scarce enough to hold value?” Why the Laver Cup Moment Was Not Random Luxury timing is rarely accidental. Federer unveiled the watch during the Laver Cup the tournament he co-founded and one deeply tied to his legacy. The moment gained further traction when he was seen showing the piece to fellow Rolex ambassador Carlos Alcaraz, creating a subtle generational bridge. From a brand storytelling perspective, the setting was ideal: high credibility tennis environment global but curated visibility strong emotional link to Federer organic media pickup In other words, the perfect stage for a watch that officially “doesn’t exist.” The Takeaway What appeared to be a simple wrist check was, in fact, a masterclass in modern luxury strategy. The Blue Sapphire Daytona illustrates where the very top of the market is heading: quieter launches tighter allocations stronger ambassador signaling and increasing convergence between luxury objects and financial assets Rolex understands something many brands still underestimate: True exclusivity today is not about being seen everywhere. It is about being seen by the right few. And on Federer’s wrist in San Francisco, that philosophy was ticking perfectly. Rolex RogerFederer LuxuryStrategy WatchCollecting HauteHorlogerie LuxeMagazineSwitzerland

A Life of Style and Giving: The Estate of Joanna Carson at John Moran Auctioneers 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

Refined Duality: Genesis Unveils the GV60 Magma in Zurich Zurich, Switzerland January 16, 2026. Within a scenography where automotive innovation meets contemporary architecture, Genesis marked the Swiss debut of the GV60 Magma, introducing the brand’s first high-performance model ahead of its European launch later this year. The GV60 Magma embodies Genesis’ interpretation of the evolving luxury performance movement, rooted in the brand’s distinctive design philosophy of Athletic Elegance a language that fuses performance-driven character with refined, sculptural design. Presented in Switzerland alongside its iconic sibling, the GV60, the new model was revealed through a dedicated art installation by Korean architect Eul Ho Suh of Suh Architects, titled “Genesis GV60 & GV60 Magma: Refined Duality.” The installation unfolds as an immersive architectural composition formed by more than 1,500 reflective silver spheres, incorporating the newly updated GV60 within its spatial narrative. Through this contemporary expression, Genesis explores the duality at the core of its design language a dialogue between elegance and dynamism, precision and emotion brought to life through a shimmering interplay of light, surface, and movement. The installation reflects the defining characteristics of both models: design excellence, performance, technological innovation, and a forward-looking vision of mobility. Peter Kronschnabl, Managing Director of Genesis Motor Europe, emphasized the broader cultural dimension of the initiative: “This art installation reinforces our commitment to artistic and creative initiatives through which Genesis builds connections between art, design, and innovation values that are also clearly reflected in our presence in the Swiss market. Together with the Swiss debut of the GV60 Magma, this activation lays the foundation for an exciting year ahead in Europe as we prepare to enter the markets in Italy, Spain, France, and the Netherlands.” At the opening of the installation, architect Eul Ho Suh described the project as a bridge between reality and imagination: “We bridge the gap between reality and imagination. An automobile does not only take us physically from one place to another, but also inspires us to explore the unknown. Conceived as a ‘thought bubble’ for Genesis, this installation brings the vehicle closer to the boundless creativity that inspires it. Through the arrangement of silver spheres, we reflect current reality only to transform it into an entirely new vision through a shimmering interplay.” Based in Seoul, Eul Ho Suh is internationally recognized for works that merge Korean aesthetics with modern spatial design and innovative materials. His continued involvement in Genesis projects worldwide highlights the brand’s sustained commitment to luxury, creativity, and customer-centric experiences. Art and design remain central pillars of the Genesis DNA, reflecting a long-term dedication to craftsmanship, cultural relevance, and progressive design thinking. Globally, Genesis supports a wide range of artistic initiatives that create meaningful connections between contemporary art and advanced design, including the Genesis Facade Commissions at The Met in New York, as well as partnerships with leading institutions such as Tate Modern in London and Frieze Seoul. The exhibition “Refined Duality” is open to the public from January 16 to March 7. As part of the event, visitors can also discover the Electrified GV70 and Electrified G80 on display at Genesis Studio Zurich, located at Bahnhofstrasse 62. Genesis Media Center: www.genesisnewseurope.com About Genesis The luxurious character of its premium automobiles, combined with an exceptional customer experience, forms the foundation of the South Korean brand Genesis. Operating from its European headquarters in Frankfurt, Genesis Motor Europe is active in Germany, Switzerland, and the United Kingdom. Since entering the European market in 2021, the brand has received multiple awards across all three markets for both the company and its products. The current product portfolio includes three fully electric models, each expressing the brand’s distinctive Athletic Elegance design language. Looking ahead, Genesis remains committed to a sustainable future and aims to achieve carbon neutrality by 2035. For more information about Genesis and its premium philosophy, visit www.genesis.com/ch . For the latest global news, visit genesisnewseurope.com and follow @genesis_eu_pr on Twitter. Genesis GV60Magma LuxuryPerformance AthleticElegance AutomotiveDesign ContemporaryArt Zurich ElectricMobility PremiumBrand LuxeMagazineSwitzerland

My Crack House is Better than Yours Finn Massie Solo show 24.01.-30.04.2025 Finn Massie’s new paintings are oversaturated with signs and figures. On one canvas, a maels- trom of topsy-turvy wild horses, smiling cartoony dog faces, checkered patterns, chains, cathe- dral windows, painterly abstract marks, and anthropomorphized animals dressed in medieval garb, all scream for our attention. Foreground and background are indistinguishable, as if each of his motif was shoving the others to get up front. It’s impossible to tell whether the work has been painted in the same orientation in which it hangs, and one assumes it might have been up- turned many times during its making. With some parts drawn, briskly outlined, and other painted, saturated with DayGlo and watery pastel hues, it seems like the only thing holding all those disparate elements together is their kinetic energy and speed of execution. . These paintings dissolve the enmity between two traditionally opposed regimens of modern art making: the improvised and the predetermined. The precursor of this reconciliation might have been Sigmar Polke, who in the 1960s incorporated ready-made images culled from vernacular culture into a highly personal and expressive alchemical process. In the 1980s, artists such as Mike Kelley or Martin Kippenberger, sharpened this integration into an anti-authoritarian pos- ture: culture traverses us, shapes our mind’s eye; working through its detritus by way of impulses will unearth and disrupt the shortcomings and perversions of our moral judgments. Four decades later, as these ideologically motivated aesthetic strategies naturally academized themselves and, more importantly, as any shared cultural agora has splintered into fiefdoms strewn across the media field, what remains is a treasure trove of formal processes that continue to be mined to great effect by successive generations of artists. Whether they originate from the “high” spheres of art history or the “low” ones of the entertain- ment industry (here Franz Marc’s horseys, there your phone’s emoji), all of Finn Massie’s source materials are reduced to adolescent doodles. Their formal treatment makes them indistingui- shable from the signs and figures the artist designs himself, although “design” might be too deliberate of an action to describe the casualness of their execution. Resolutely resistant to any narrative reading, these works are clearly paintings-as-paintings, and invites us to look at them at as two-dimensional funfair rides. Yet, it would be a mistake to infer that all these motifs are merely the building blocks of essentially formalist compositions. The anthropomorphized ani- mal faces that populate each and every one of these works are not simply jubilantly grinning to themselves and each other on the picture plane. They are also aggressively grinning at you. Working large, Finn Massie’s paintings blur our typologies of gesture and format: what looks like a phone doodle becomes a monument which, conversely, is reduced to a graffiti. The visual maelstrom at play is first and foremost a cerebral point of view. Hung very close to each other and covering all windows, the paintings’ installation becomes an immersive experience only if one agrees to partake in it. Like accepting to chew on multiple Warheads, these extreme sour candies kids dare each other to eat on the playground. KISSED THEN BURNED anne@kissedthenburned.com www.kissedthenburnned.com 📍 KISSED THEN BURNED, Geneva 🗓 24.01 – 30.04.2025 Fabrice Stroun FinnMassie KissedThenBurned ContemporaryArt ArtExhibition GenevaArt Painting VisualCulture SoloShow ArtGallery ModernArt

Time in the Spotlight: OMEGA’s Winter Olympic House Where Luxury Meets Legacy In the gilded heart of Milan’s Galleria Vittorio Emanuele II, against the intricate latticework of historic iron and glass, an unprecedented chapter in luxury hospitality has quietly begun. For the first time in the 94-year legacy of the Olympic Winter Games, the Swiss watchmaker OMEGA has opened a bespoke “House” a refined haven of elegance and warmth that stands as both a celebration of its historic role as the Official Timekeeper and a fresh interpretation of what luxury brand experience can be in 2026. Although the Winter Games in Milan and Cortina have exposed contrasting local sentiments with Cortina exuding alpine charm and Milan more reserved the arrival of OMEGA House has injected an unmistakable aura of refinement into the city’s Olympic moment. More than a temporary pop-up, OMEGA House Milano open from February 8 to 21 is an immersive environment where timekeeping mastery, refined gastronomy, and cultural continuity converge. Anchored in the legendary Ristorante Cracco itself an emblem of Italian culinary artistry the venue evolves throughout the day: a relaxed café by day, a refined salon by afternoon, and an intimate stage for curated soirées and guest encounters once night falls. At the opening gala, the Maison unveiled this vision with star-studded elegance. OMEGA ambassadors George Clooney and Park Bo-gum led a constellation of guests including Olympic legend Allyson Felix and Academy Award-winning actress Marisa Tomei, weaving an international tapestry of sport, cinema and style right at the intersection of history and modernity. Clooney, whose ambassadorship stretches back nearly two decades, spoke warmly of the experience remarking on both the beauty of the host region and OMEGA’s enduring relationship with precision and craft. This milestone is more than ceremonial. As OMEGA commemorates nearly a century of Olympic timekeeping a lineage that began in 1932 the brand has also released special edition watches that embody both the spirit of sport and the aesthetics of winter. From the sculpted Speedmaster Milano Cortina 2026 chronograph, celebrating the Games’ wintry imagination, to the striking Seamaster Diver 300M Milano Cortina edition crafted in frosted white ceramic and titanium each timepiece becomes a wearable articulation of the Olympic narrative. For OMEGA, the House is not a mere marketing pavilion. It is an assertion of heritage in motion: a space where precision the fundamental currency of both luxury watchmaking and elite sport becomes tangible. Daylight filtering through the Galleria’s vaulted glass becomes an echo of crystalline ice and snow; conversation, clinking glassware, and the hum of global conversation become the pulse of a brand that has measured the world’s defining moments. In a world where luxury must continually reinvent itself, OMEGA’s Winter Olympic House stands as a quiet yet compelling testament: that legacy, like time itself, gains meaning only through experience. OMEGAHouse MilanoCortina2026 OlympicLuxury SwissWatchmaking BrandExperience HighWatchmaking LuxuryHospitality TimelessStyle WatchCollector LuxeMagazineswitzerland