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Studio HENK launches the Oblique Cabinet, a new modular wall cabinet
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Studio HENK launches the Oblique Cabinet, a new modular wall cabinet

Design The Dutch interior brand Studio HENK starts the new year with a fresh, new design: the Oblique Cabinet. The new wall cabinet is, like many designs by Studio HENK, minimalist in design and special at the same time because of its original details.      The Oblique Cabinet by Studio HENK is characterized by round, organic shapes that are reflected throughout the design. For example, not only the shelves of the cabinet are oval in shape, but the steel frame also has a round finish, which provides an elegant and contemporary look.      The new cabinet is very functional because it’s completely modular. Customers can compose their own wall cabinet according to their own wishes in height, color and material - the furniture is available in five different wood finishes. The Oblique Cabinet has an open system, but closed elements can also be added to the wall cabinet if desired.      A sustainable choice:     “The Oblique Cabinet is a new variant of the Modular Cabinet, but a bit friendlier and more elegant due to its organic design,” Xander Albers, Creative Director of Studio HENK explains about the new design. "But just like its predecessor, this cabinet fits into almost any interior, especially because the various options in terms of modularity are endless." Like many Studio HENK furniture, the Oblique Cabinet is made of sustainable FSC-certified wood and is produced in Europe. This makes the Oblique Cabinet, just like other Studio HENK items, a more sustainable choice.         The Oblique Cabinet is available via the webshop, in the flagship stores and more than 50 sales points of Studio HENK. The price of the Oblique Cabinet starts from € 1180,-.    The Dutch interior brand Studio HENK starts the new year with a fresh, new design: the Oblique Cabinet. The new wall cabinet is, like many designs by Studio HENK, minimalist in design and special at the same time because of its original details.      The Oblique Cabinet by Studio HENK is characterized by round, organic shapes that are reflected throughout the design. For example, not only the shelves of the cabinet are oval in shape, but the steel frame also has a round finish, which provides an elegant and contemporary look.      The new cabinet is very functional because it’s completely modular. Customers can compose their own wall cabinet according to their own wishes in height, color and material - the furniture is available in five different wood finishes. The Oblique Cabinet has an open system, but closed elements can also be added to the wall cabinet if desired.      A sustainable choice:     “The Oblique Cabinet is a new variant of the Modular Cabinet, but a bit friendlier and more elegant due to its organic design,” Xander Albers, Creative Director of Studio HENK explains about the new design. "But just like its predecessor, this cabinet fits into almost any interior, especially because the various options in terms of modularity are endless." Like many Studio HENK furniture, the Oblique Cabinet is made of sustainable FSC-certified wood and is produced in Europe. This makes the Oblique Cabinet, just like other Studio HENK items, a more sustainable choice.         The Oblique Cabinet is available via the webshop, in the flagship stores and more than 50 sales points of Studio HENK. The price of the Oblique Cabinet starts from € 1180,-.   

LOUIS VUITTON MEN’S COLLECTION BY VIRGIL ABLOH ‘LOUIS VUITTON: WALK IN THE PARK’
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LOUIS VUITTON MEN’S COLLECTION BY VIRGIL ABLOH ‘LOUIS VUITTON: WALK IN THE PARK’

Fashion Louis Vuitton announces a series of Men’s fashion events to take place in Paris through January 2021. Dubbed Louis Vuitton: Walk in the Park, the public experiences – physical and digital – expand on existing concepts and icons conceived for the House by Men’s Artistic Director Virgil Abloh. Rooted in the inclusive values at the heart of his work, the happenings are an expression of the mutual connectivity that exists between the designer and his community. A Temporary Residency on Rue du Pont Neuf invites visitors to discover the iconic sneakers and accessories covering Men’s collections from Spring-Summer 2019 to Spring-Summer 2021, coinciding with the latter’s release. The temporary residency offers a rare chance to obtain reissues and new limited-edition takes on collectable sneakers, jewellery and sunglasses. At Louis Vuitton Maison Vendôme, an augmented reality experience developed for the Louis Vuitton app allows guests to interact with Zoooom with friends, the animated mascots envisioned by Virgil Abloh for the Spring-Summer 2021 show. The Paris events conclude with the presentation of the Louis Vuitton Fall-Winter 2021 Men’s collection on which more details will follow.   From 8-31 January 2021, Louis Vuitton hosts a public temporary space erected by its headquarters on Rue du Pont Neuf. The first chapter in Louis Vuitton: Walk in the Park – a month-long series of Menswear events in Paris – the space serves as a limited-edition store dedicated to the most iconic sneakers, jewellery and sunglasses created for the House by Men’s Artistic Director Virgil Abloh. Collector’s items in their own right, the chosen designs are continuously coveted by the global community formed by the artistic director since his arrival at Louis Vuitton. Expanding on the ongoing dialogue with his audience, Virgil Abloh invites visitors to experience House icons up close and immerse themselves in their creative evolution. Throughout the store, designs are colour-coded in the nuances of the rainbow, a nod to the set of Virgil Abloh’s debut show for Louis Vuitton for SpringSummer 2019.   For the first time, clients are given the opportunity to re-discover and obtain the iconic Louis Vuitton Men’s sneakers established under the artistic direction of Virgil Abloh. The temporary residency features a ‘Hall of Fame’ devoted to the five rarest and most exclusive editions of the trademark LV Trainer first introduced for Spring-Summer 2019 as well as broader retrospective of the LV Trainer through the seasons, marking a rare opportunity for collectors. From 8-15 January, the latest LV Trainer Upcycling from the SpringSummer 2021 collection is available to purchase in five new collectible colourways, including an exclusive Paris colourway issued in a total of 95 pairs. True to the Upcycling Ideology conceived by Virgil Abloh as part of the SpringSummer 2021 collection, the new editions created for the Paris temporary residency are crafted entirely from upcycled LV Trainer material. The LV Ollie sneaker from the Spring-Summer 2021 collection will be on display in six colourways along with jewellery and sunglasses from the collection.  Louis Vuitton announces a series of Men’s fashion events to take place in Paris through January 2021. Dubbed Louis Vuitton: Walk in the Park, the public experiences – physical and digital – expand on existing concepts and icons conceived for the House by Men’s Artistic Director Virgil Abloh. Rooted in the inclusive values at the heart of his work, the happenings are an expression of the mutual connectivity that exists between the designer and his community. A Temporary Residency on Rue du Pont Neuf invites visitors to discover the iconic sneakers and accessories covering Men’s collections from Spring-Summer 2019 to Spring-Summer 2021, coinciding with the latter’s release. The temporary residency offers a rare chance to obtain reissues and new limited-edition takes on collectable sneakers, jewellery and sunglasses. At Louis Vuitton Maison Vendôme, an augmented reality experience developed for the Louis Vuitton app allows guests to interact with Zoooom with friends, the animated mascots envisioned by Virgil Abloh for the Spring-Summer 2021 show. The Paris events conclude with the presentation of the Louis Vuitton Fall-Winter 2021 Men’s collection on which more details will follow.   From 8-31 January 2021, Louis Vuitton hosts a public temporary space erected by its headquarters on Rue du Pont Neuf. The first chapter in Louis Vuitton: Walk in the Park – a month-long series of Menswear events in Paris – the space serves as a limited-edition store dedicated to the most iconic sneakers, jewellery and sunglasses created for the House by Men’s Artistic Director Virgil Abloh. Collector’s items in their own right, the chosen designs are continuously coveted by the global community formed by the artistic director since his arrival at Louis Vuitton. Expanding on the ongoing dialogue with his audience, Virgil Abloh invites visitors to experience House icons up close and immerse themselves in their creative evolution. Throughout the store, designs are colour-coded in the nuances of the rainbow, a nod to the set of Virgil Abloh’s debut show for Louis Vuitton for SpringSummer 2019.   For the first time, clients are given the opportunity to re-discover and obtain the iconic Louis Vuitton Men’s sneakers established under the artistic direction of Virgil Abloh. The temporary residency features a ‘Hall of Fame’ devoted to the five rarest and most exclusive editions of the trademark LV Trainer first introduced for Spring-Summer 2019 as well as broader retrospective of the LV Trainer through the seasons, marking a rare opportunity for collectors. From 8-15 January, the latest LV Trainer Upcycling from the SpringSummer 2021 collection is available to purchase in five new collectible colourways, including an exclusive Paris colourway issued in a total of 95 pairs. True to the Upcycling Ideology conceived by Virgil Abloh as part of the SpringSummer 2021 collection, the new editions created for the Paris temporary residency are crafted entirely from upcycled LV Trainer material. The LV Ollie sneaker from the Spring-Summer 2021 collection will be on display in six colourways along with jewellery and sunglasses from the collection. 

When Dancing Stars Align: A Conversation Between Nick Coutsier and Christian Yav
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When Dancing Stars Align: A Conversation Between Nick Coutsier and Christian Yav

Men Nick Coutsier and Christian Yav, two rising stars in the world of contemporary dance, were destined to meet -- both Congolese, queer, Belgium-born artists nee under the sign of Leo in 1993. While astrological, geographical and artistic forces converged to bring these two together professionally, it wasn’t until recently that their paths crossed. Coutsier, who had already collaborated with Beyoncé, reached out to Yav in 2019 to join the “Black Is King” project. Although they didn’t get to work together then, they were each featured in the visual album -- Yav in “SCAR” and Coutsier in “SPIRIT”. After cementing their artistic individuality, they came together to harness the power of Ndeko -- a word that originates from Congo’s Lingala language, which means a strong bond, either blood-related or spiritual, whereby two people are bound by care and respect. We sat down with them to talk about race, identity and the power of movement.      Christian: The first time I heard of Nick was in January 2017. I remember someone telling me that there is a beautiful black dancer that has a very interesting way of moving. At that point, I hadn’t experienced having another black body in the space of contemporary dance. The moment Instagram started to broaden connection possibilities on the platform, that's when I really started to look for people like myself. I remember one day, Nick popped up as a “Suggestion For You”, and that’s really when I saw him for the first time.    Nick: My immediate reaction when I first heard about Christian wasn’t necessarily a defensive one, but more of a question about who that person is and why the comparison is being made. I also didn’t know if the constant comparison was positive or negative, or just a warning about this other guy. In this industry, it’s kind of a privileged place to be the only black guy. So is this other person going to be an ally or is he coming for my spot? All that thinking isn’t conscious hate, it’s just so instilled in how we think and how we are trained to think -- the so-called “There can only be one“ myth. When we physically met, it was kind of like a match made in heaven. For the first time ever, I was like “Okay wow, this is how it actually feels to have another black body in the space.”   Christian: What’s interesting is the way I first started hearing about Nick. I felt this energy as though these people were preparing me for this. I often had white allies, and now I had a black ally, which allowed me to broaden my network of people of colour and black dancers. It was one of the few times where I felt that there were no strings attached.    Nick: I like to be surrounded by people who have that talent and drive. And so when I heard about Christian, I thought “If he’s that good, then let me see how good I can be.” Competition is about pushing the other up -- inspiring and challenging each other to be the best version of ourselves.    Christian: There isn’t always a lot of space to move in contemporary dance when you are the only black person. There are certain opportunities that you can’t get because it’s a project that is told from a certain narrative.    Nick: Both of us being black, queer artists, we had to move through society in a certain way because of structural racism and homophobia. Being black we had to do this, being gay we had to do this, being second-generation immigrants, we had to do this. So it all made us who we are. And I think that the way I moved in society translated into the way I move as a dancer. The body being my main instrument, it does carry its own story. And I remember when I saw Christian move, I thought ”Wow, it is so specific” and it reminded me of the singularity of how I am trying to move. It does take time and maturity to embrace singularity as being an asset.   Christian: There is a logic to movement. It’s very easy for outsiders to say, “Oh yeah, I recognise this from ballet, or this from that.” But something I’ve often noticed with people of colour and black dancers is that the moment they do their own thing, there is something about their movement that doesn’t always appear to be what people normally perceive as logical in dance. But it’s so clear that you take it for what it is. I do think that having your own logic of movement is linked to having a lonely existence. When I started doing gymnastics as a kid, I was the only boy and the only black boy. You’re constantly on an island within a group. The way Nick moves, what happens here in his chest, it’s such a minor detail for others but then I’m like “Ah, I understand this movement.” It’s important to have representation and to see yourself in someone else, but feeling the movement is even more powerful.    Nick: I now kind of understand why we weren’t put together before because we are so powerful together. The colonial system of dividing power to better conquer is still present, including in the dance industry. Now we understand the power that we have together.    Christian: Our star signs are also identical. Over the years, I’ve met a lot of people who are Leo, but rarely someone who is a double Leo, like me. When people are double Leo, it’s so strong. Even if the personalities are different, there is something that is going to work because we’re powered by the same energetical forces within the universe.    Nick: It’s an unapologetic way of being. Something that has allowed us to be so sure and assertive about who we are was to not wait for that external validation.    Christian: In dance, the movements are stronger than myself so I don’t feel the need to adapt to other dance aesthetics. As a black man in society, however, that’s where I adapt my movements. For a very long time, when I would go to the hairdresser, I would speak in a very low voice, walk in a different way, and just adapt very small things. And I still do it because in order to survive, that’s where I really need to adapt my movements. In spaces where you’re underrepresented, people don’t always have the knowledge, desire or awareness of wanting it to be an inclusive place.    Nick: As a gay person, you need to adapt all the time, and so you just become really good at it. It shouldn’t be this way but it’s unfortunately still the case, as being your true, authentic self is still not accepted everywhere. Working with movement, the body and dance in that way allows me to make lemonade out of not-so-tasty lemons, so to speak. From a cathartic point of view, my adaptability in life does translate itself in my dancing, my work and my research around movement.   Christian: Walking in the streets as a queer man with your partner is a very precious part of me and not every place is a place to share that in the way that we would like to share it. Our society is not built on that, and that’s when I started realising that adapting isn’t always a bad thing.    Nick: When I started to create my own work, my artistic spontaneity would be sparked by sonorities and movements that would go back to my African roots. When I met Christian, it was really serendipitous because it was the moment I started to deconstruct a lot of things and give value to that part of myself. You live in this constant duality, which can be a power, but for the longest time it was something that I couldn’t identify with. I questioned my legitimacy as a black man, asking “Am I really the person who can talk about structural racism?” But being a second-generation immigrant is an identity in itself and so I gave power to my Congolese roots.    Christian: It is different when as a black person, you dance with another black person. When Nick and I were dancing during this shoot, it’s as if we were an extension of each other, almost like one body. There is a sense of home that I usually have to find within myself.    Nick: And as movement is such a big part of us, both in life and in dance, it was important for us to work with a photographer who could encapsulate all of that. Julien Vallon was a perfect fit, and we decided to name this photo series “Ndeko”, as it captures the way Christian and I feel about one another -- when you recognise yourself in the other. “I see you Ndeko”.      TEAM CREDITS:   Photographer Julien Vallon Fashion by Gabriella Norberg Talents Nick Coutsier & Christian Yav Words and edit by Berenice Magistretti editor: Timotej Letonja Nick Coutsier and Christian Yav, two rising stars in the world of contemporary dance, were destined to meet -- both Congolese, queer, Belgium-born artists nee under the sign of Leo in 1993. While astrological, geographical and artistic forces converged to bring these two together professionally, it wasn’t until recently that their paths crossed. Coutsier, who had already collaborated with Beyoncé, reached out to Yav in 2019 to join the “Black Is King” project. Although they didn’t get to work together then, they were each featured in the visual album -- Yav in “SCAR” and Coutsier in “SPIRIT”. After cementing their artistic individuality, they came together to harness the power of Ndeko -- a word that originates from Congo’s Lingala language, which means a strong bond, either blood-related or spiritual, whereby two people are bound by care and respect. We sat down with them to talk about race, identity and the power of movement.      Christian: The first time I heard of Nick was in January 2017. I remember someone telling me that there is a beautiful black dancer that has a very interesting way of moving. At that point, I hadn’t experienced having another black body in the space of contemporary dance. The moment Instagram started to broaden connection possibilities on the platform, that's when I really started to look for people like myself. I remember one day, Nick popped up as a “Suggestion For You”, and that’s really when I saw him for the first time.    Nick: My immediate reaction when I first heard about Christian wasn’t necessarily a defensive one, but more of a question about who that person is and why the comparison is being made. I also didn’t know if the constant comparison was positive or negative, or just a warning about this other guy. In this industry, it’s kind of a privileged place to be the only black guy. So is this other person going to be an ally or is he coming for my spot? All that thinking isn’t conscious hate, it’s just so instilled in how we think and how we are trained to think -- the so-called “There can only be one“ myth. When we physically met, it was kind of like a match made in heaven. For the first time ever, I was like “Okay wow, this is how it actually feels to have another black body in the space.”   Christian: What’s interesting is the way I first started hearing about Nick. I felt this energy as though these people were preparing me for this. I often had white allies, and now I had a black ally, which allowed me to broaden my network of people of colour and black dancers. It was one of the few times where I felt that there were no strings attached.    Nick: I like to be surrounded by people who have that talent and drive. And so when I heard about Christian, I thought “If he’s that good, then let me see how good I can be.” Competition is about pushing the other up -- inspiring and challenging each other to be the best version of ourselves.    Christian: There isn’t always a lot of space to move in contemporary dance when you are the only black person. There are certain opportunities that you can’t get because it’s a project that is told from a certain narrative.    Nick: Both of us being black, queer artists, we had to move through society in a certain way because of structural racism and homophobia. Being black we had to do this, being gay we had to do this, being second-generation immigrants, we had to do this. So it all made us who we are. And I think that the way I moved in society translated into the way I move as a dancer. The body being my main instrument, it does carry its own story. And I remember when I saw Christian move, I thought ”Wow, it is so specific” and it reminded me of the singularity of how I am trying to move. It does take time and maturity to embrace singularity as being an asset.   Christian: There is a logic to movement. It’s very easy for outsiders to say, “Oh yeah, I recognise this from ballet, or this from that.” But something I’ve often noticed with people of colour and black dancers is that the moment they do their own thing, there is something about their movement that doesn’t always appear to be what people normally perceive as logical in dance. But it’s so clear that you take it for what it is. I do think that having your own logic of movement is linked to having a lonely existence. When I started doing gymnastics as a kid, I was the only boy and the only black boy. You’re constantly on an island within a group. The way Nick moves, what happens here in his chest, it’s such a minor detail for others but then I’m like “Ah, I understand this movement.” It’s important to have representation and to see yourself in someone else, but feeling the movement is even more powerful.    Nick: I now kind of understand why we weren’t put together before because we are so powerful together. The colonial system of dividing power to better conquer is still present, including in the dance industry. Now we understand the power that we have together.    Christian: Our star signs are also identical. Over the years, I’ve met a lot of people who are Leo, but rarely someone who is a double Leo, like me. When people are double Leo, it’s so strong. Even if the personalities are different, there is something that is going to work because we’re powered by the same energetical forces within the universe.    Nick: It’s an unapologetic way of being. Something that has allowed us to be so sure and assertive about who we are was to not wait for that external validation.    Christian: In dance, the movements are stronger than myself so I don’t feel the need to adapt to other dance aesthetics. As a black man in society, however, that’s where I adapt my movements. For a very long time, when I would go to the hairdresser, I would speak in a very low voice, walk in a different way, and just adapt very small things. And I still do it because in order to survive, that’s where I really need to adapt my movements. In spaces where you’re underrepresented, people don’t always have the knowledge, desire or awareness of wanting it to be an inclusive place.    Nick: As a gay person, you need to adapt all the time, and so you just become really good at it. It shouldn’t be this way but it’s unfortunately still the case, as being your true, authentic self is still not accepted everywhere. Working with movement, the body and dance in that way allows me to make lemonade out of not-so-tasty lemons, so to speak. From a cathartic point of view, my adaptability in life does translate itself in my dancing, my work and my research around movement.   Christian: Walking in the streets as a queer man with your partner is a very precious part of me and not every place is a place to share that in the way that we would like to share it. Our society is not built on that, and that’s when I started realising that adapting isn’t always a bad thing.    Nick: When I started to create my own work, my artistic spontaneity would be sparked by sonorities and movements that would go back to my African roots. When I met Christian, it was really serendipitous because it was the moment I started to deconstruct a lot of things and give value to that part of myself. You live in this constant duality, which can be a power, but for the longest time it was something that I couldn’t identify with. I questioned my legitimacy as a black man, asking “Am I really the person who can talk about structural racism?” But being a second-generation immigrant is an identity in itself and so I gave power to my Congolese roots.    Christian: It is different when as a black person, you dance with another black person. When Nick and I were dancing during this shoot, it’s as if we were an extension of each other, almost like one body. There is a sense of home that I usually have to find within myself.    Nick: And as movement is such a big part of us, both in life and in dance, it was important for us to work with a photographer who could encapsulate all of that. Julien Vallon was a perfect fit, and we decided to name this photo series “Ndeko”, as it captures the way Christian and I feel about one another -- when you recognise yourself in the other. “I see you Ndeko”.      TEAM CREDITS:   Photographer Julien Vallon Fashion by Gabriella Norberg Talents Nick Coutsier & Christian Yav Words and edit by Berenice Magistretti editor: Timotej Letonja

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SAINT LAURENT: THE CLASSIC TRENCH COAT BY ANTHONY VACCARELLO
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SAINT LAURENT: THE CLASSIC TRENCH COAT BY ANTHONY VACCARELLO

Fashion     Art Direction : Anthony Vaccarello Director : David Sims Talent : Catherine Deneuve   #YSL #SaintLaurent #YvesSaintLaurent @anthonyvaccarello @davidsimsofficial     Art Direction : Anthony Vaccarello Director : David Sims Talent : Catherine Deneuve   #YSL #SaintLaurent #YvesSaintLaurent @anthonyvaccarello @davidsimsofficial

Introducing Pascale Monvoisin
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Introducing Pascale Monvoisin

Jewelry Pascale Monvoisin’s headquarters are in an old- style Parisian building. A distressed white dresser, antique powder cases, bouquets of dried owers; Pascale Monvoisin’s o ce echoes the jewellery she creates, it is imbued with a history that is enriched season after season.     Nothing, however, could have foretold this story of creativity. In another life, she travelled the world on long-haul ights. Planet Earth as a vista; not a bad view for someone who, having lived amongst the clouds, now works the treasures found in the ground: rutile quartz, rock crystal, labrodite...     India was where it all began. The pink and magni- cent city of Jaipur provided the catalyst for her new existence. During a trip there, she by chance happened to buy a batch of turquoises. She asked a local jeweller to mount one onto a ring; this would become her rst piece of jewellery. Also the rst of a long series, which was driven by a powerful will.     A year-long sabbatical allowed the self-taught jeweller to throw herself fully into her new career. She felt her way, made discoveries, created designs. Created, picked apart, recreated, all on a shoestring budget. Is 18 carat gold too expensive? She chose a 9 carat metal, as certain American jewellery designers do because of its price, but most of all because of its pale, beautiful radiance. Agnès B. is appreciative; Pascale will soon begin a collabora- tion with the creative/art-collector.     Her points of references include jewellery designed by American photographer Robert Mappelthorpe, known predominantly for his supremely erotic black and white shots. From this icon of 1970s New York, she borrows sensations of simplicity, of additions, of a talismanic spirit pulsing closely against the skin. Pascale Monvoisin doesn’t believe in lithotherapy, yet she always carries a small crystal with her, no matter where she goes. Here, there, everywhere, she buys, collects, and sketches her inspirations in little notebooks which never leave her side.     Microscopic pearls, faceted turquoise, moonstone, aqua-marine, bakelite... These are the letters of her creative alphabet. Her words, those of a singular and unique poetry true to her. “I don’t like the sta- tutory, the ceremonial, classic jewellery”, explains Pascal. With her “thingamajigs and gadgets”, she tinkers until she finds the perfect balance; this means that appealing irregular charm, that small detail which chimes in perfect tune with the piece and completes the look. This is what makes each ring, each necklace, each earring, totally unique. Each one with its own soul and personality. Ins- pired from near and far: they are named Bowie, Gabin Arles and Taylor, Simone and Idaho...     Her sense of Paris stretches further a eld. It is in Jai- pur, where she remains loyal to her Indian jeweller for manufacture. It is in Normandy, where she took up painting and observes the passage of the sea- sons. It is in old Paris, to the beat of Lou Reed and the Velvet Underground, the hidden courtyards and irregular paving stones where, among her furniture and objects unearthed in ea-markets, Pascale Monvoisin never stops creating. Pascale Monvoisin’s headquarters are in an old- style Parisian building. A distressed white dresser, antique powder cases, bouquets of dried owers; Pascale Monvoisin’s o ce echoes the jewellery she creates, it is imbued with a history that is enriched season after season.     Nothing, however, could have foretold this story of creativity. In another life, she travelled the world on long-haul ights. Planet Earth as a vista; not a bad view for someone who, having lived amongst the clouds, now works the treasures found in the ground: rutile quartz, rock crystal, labrodite...     India was where it all began. The pink and magni- cent city of Jaipur provided the catalyst for her new existence. During a trip there, she by chance happened to buy a batch of turquoises. She asked a local jeweller to mount one onto a ring; this would become her rst piece of jewellery. Also the rst of a long series, which was driven by a powerful will.     A year-long sabbatical allowed the self-taught jeweller to throw herself fully into her new career. She felt her way, made discoveries, created designs. Created, picked apart, recreated, all on a shoestring budget. Is 18 carat gold too expensive? She chose a 9 carat metal, as certain American jewellery designers do because of its price, but most of all because of its pale, beautiful radiance. Agnès B. is appreciative; Pascale will soon begin a collabora- tion with the creative/art-collector.     Her points of references include jewellery designed by American photographer Robert Mappelthorpe, known predominantly for his supremely erotic black and white shots. From this icon of 1970s New York, she borrows sensations of simplicity, of additions, of a talismanic spirit pulsing closely against the skin. Pascale Monvoisin doesn’t believe in lithotherapy, yet she always carries a small crystal with her, no matter where she goes. Here, there, everywhere, she buys, collects, and sketches her inspirations in little notebooks which never leave her side.     Microscopic pearls, faceted turquoise, moonstone, aqua-marine, bakelite... These are the letters of her creative alphabet. Her words, those of a singular and unique poetry true to her. “I don’t like the sta- tutory, the ceremonial, classic jewellery”, explains Pascal. With her “thingamajigs and gadgets”, she tinkers until she finds the perfect balance; this means that appealing irregular charm, that small detail which chimes in perfect tune with the piece and completes the look. This is what makes each ring, each necklace, each earring, totally unique. Each one with its own soul and personality. Ins- pired from near and far: they are named Bowie, Gabin Arles and Taylor, Simone and Idaho...     Her sense of Paris stretches further a eld. It is in Jai- pur, where she remains loyal to her Indian jeweller for manufacture. It is in Normandy, where she took up painting and observes the passage of the sea- sons. It is in old Paris, to the beat of Lou Reed and the Velvet Underground, the hidden courtyards and irregular paving stones where, among her furniture and objects unearthed in ea-markets, Pascale Monvoisin never stops creating.

TIFFANY ACQUIRES EXCEPTIONAL 80-CARAT DIAMOND TO REIMAGINE ITS HISTORIC 1939 WORLD’S FAIR NECKLACE
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TIFFANY ACQUIRES EXCEPTIONAL 80-CARAT DIAMOND TO REIMAGINE ITS HISTORIC 1939 WORLD’S FAIR NECKLACE

Jewelry Tiffany & Co. announced today that it will reimagine an archival Tiffany high jewelry necklace from 1939. The original aquamarine design has been modernized with an extraordinary oval diamond of over 80 carats, the largest diamond ever offered by Tiffany and eclipsed only by the Tiffany Diamond, which famously is not for sale.     Expected to be its most expensive piece ever, Tiffany will unveil the diamond necklace in 2022 when the doors of its transformed Fifth Avenue flagship store reopen.   The diamond necklace will be unveiled in celebration of the momentous 2022 reopening of the transformed Tiffany Fifth Avenue flagship store, making history once again, just as the original necklace did nearly a century ago when it debuted at the World’s Fair in Queens, New York.      “What better way to mark the opening of our transformed Tiffany flagship store in 2022 than to reimagine this incredible necklace from the 1939 World’s Fair, one of our most celebrated pieces when we opened our doors on 57th Street and Fifth Avenue for the first time,” said Victoria Reynolds, Tiffany & Co. Chief Gemologist.“The new necklace perfectly reflects our brand heritage as a New York luxury jeweler, whose founder was known as the ‘King of Diamonds.’”      The breathtaking center stone—an over-80-carat, D color, internally flawless oval diamond—is not only very rare, it is a symbol of Tiffany’s industry-first approach to diamond traceability. Responsibly sourced in Botswana, Africa, the diamond will be set by Tiffany artisans in New York City.      The original necklace’s sizable aquamarine and exceptional diamond forms entranced the millions who came to admire the international spectacle. With its forward-looking theme, “Dawn of a New Day,” the 1939 World’s Fair promised a glimpse into “the World of Tomorrow.” The fair’s intention was to inspire, in its over 44 million visitors, the dream of a better and more effervescent tomorrow. Tiffany’s masterpiece did just that—setting the stage for the opening of its iconic flagship store on 57th Street and Fifth Avenue the following year, in 1940—foreshadowing what will be a similarly historic moment for the brand in 2022.       Tiffany has acquired many rare and remarkable gemstones for its jewelry designs in its 183-year history, including the legendary Tiffany Diamond, one of the world’s largest and finest fancy yellow diamonds, as well as the Hooker Emerald, now exhibited at the Smithsonian and the Mazarin Diamonds, purchased by Tiffany at the auction of the French Crown Jewels.   Tiffany & Co. announced today that it will reimagine an archival Tiffany high jewelry necklace from 1939. The original aquamarine design has been modernized with an extraordinary oval diamond of over 80 carats, the largest diamond ever offered by Tiffany and eclipsed only by the Tiffany Diamond, which famously is not for sale.     Expected to be its most expensive piece ever, Tiffany will unveil the diamond necklace in 2022 when the doors of its transformed Fifth Avenue flagship store reopen.   The diamond necklace will be unveiled in celebration of the momentous 2022 reopening of the transformed Tiffany Fifth Avenue flagship store, making history once again, just as the original necklace did nearly a century ago when it debuted at the World’s Fair in Queens, New York.      “What better way to mark the opening of our transformed Tiffany flagship store in 2022 than to reimagine this incredible necklace from the 1939 World’s Fair, one of our most celebrated pieces when we opened our doors on 57th Street and Fifth Avenue for the first time,” said Victoria Reynolds, Tiffany & Co. Chief Gemologist.“The new necklace perfectly reflects our brand heritage as a New York luxury jeweler, whose founder was known as the ‘King of Diamonds.’”      The breathtaking center stone—an over-80-carat, D color, internally flawless oval diamond—is not only very rare, it is a symbol of Tiffany’s industry-first approach to diamond traceability. Responsibly sourced in Botswana, Africa, the diamond will be set by Tiffany artisans in New York City.      The original necklace’s sizable aquamarine and exceptional diamond forms entranced the millions who came to admire the international spectacle. With its forward-looking theme, “Dawn of a New Day,” the 1939 World’s Fair promised a glimpse into “the World of Tomorrow.” The fair’s intention was to inspire, in its over 44 million visitors, the dream of a better and more effervescent tomorrow. Tiffany’s masterpiece did just that—setting the stage for the opening of its iconic flagship store on 57th Street and Fifth Avenue the following year, in 1940—foreshadowing what will be a similarly historic moment for the brand in 2022.       Tiffany has acquired many rare and remarkable gemstones for its jewelry designs in its 183-year history, including the legendary Tiffany Diamond, one of the world’s largest and finest fancy yellow diamonds, as well as the Hooker Emerald, now exhibited at the Smithsonian and the Mazarin Diamonds, purchased by Tiffany at the auction of the French Crown Jewels.  

LE LION DE CHANEL
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LE LION DE CHANEL

Beauty LIFE UNDER THE SIGN OF THE LION     Certain coincidences have the power to forge destinies. For Gabrielle Chanel, the lion was one of them. The fifth sign of the Zodiac, the lion watched over her from the day she was born on August 19, 1883. Superstitious and fascinated by the stars, Gabrielle quickly considered the animal associated with her birth date as a source of luck. In 1920, devastated by the sudden death of the love of her life, Boy Capel, she let her friends José-Maria Sert and his wife Misia convince her to join them on their trip to Venice. Gabrielle fell madly in love with the city and experienced it like a rebirth. She drew strength from the bustling energy and the artistic and fashionable atmosphere of the city, like her, under the sign of the Lion. Guardian figure of the city that captivated and inspired her, the feline symbol of bravery and renewal was everywhere. Sovereign. Towering over St Mark’s square, decorating pediments and palace doors, gracing mosaics and stone statues, her revered animal filled her with the strength to carry on. Venice marked the beginning of a new life. The treasures of Byzantine art she discovered in this city of contrasts that marks the boundary between East and West became a lasting source of inspiration for her style, in which the lion quite naturally found its rightful place. Because it seemed to have been there with her from the start, Gabrielle, an enlightened lover of fortuitous coincidences, saw the lion as much more than an emblem: it was her talisman. Bold, instinctive, solar, she cultivated the strong and independent character that likened her to the lion and surrounded herself with its benevolent presence. The lion became the guardian of her apartment at 31 Rue Cambon. Sculpted in marble, bronze or wood, set on a table or a mantle, watching over her cigarettes and scissors, the king of the animal kingdom protected the intimate space of Gabrielle Chanel. To keep it by her side, she also added it to her creations. Engraved on tweed suit buttons or the clasps of her bags, the lion would become a favorite subject and icon of CHANEL High Jewelry. Today, it is making a majestic foray into the world of CHANEL fragrances as the latest addition to the LES EXCLUSIFS DE CHANEL collection.       #LesExclusifsDeCHANEL     #CHANELFragrance LIFE UNDER THE SIGN OF THE LION     Certain coincidences have the power to forge destinies. For Gabrielle Chanel, the lion was one of them. The fifth sign of the Zodiac, the lion watched over her from the day she was born on August 19, 1883. Superstitious and fascinated by the stars, Gabrielle quickly considered the animal associated with her birth date as a source of luck. In 1920, devastated by the sudden death of the love of her life, Boy Capel, she let her friends José-Maria Sert and his wife Misia convince her to join them on their trip to Venice. Gabrielle fell madly in love with the city and experienced it like a rebirth. She drew strength from the bustling energy and the artistic and fashionable atmosphere of the city, like her, under the sign of the Lion. Guardian figure of the city that captivated and inspired her, the feline symbol of bravery and renewal was everywhere. Sovereign. Towering over St Mark’s square, decorating pediments and palace doors, gracing mosaics and stone statues, her revered animal filled her with the strength to carry on. Venice marked the beginning of a new life. The treasures of Byzantine art she discovered in this city of contrasts that marks the boundary between East and West became a lasting source of inspiration for her style, in which the lion quite naturally found its rightful place. Because it seemed to have been there with her from the start, Gabrielle, an enlightened lover of fortuitous coincidences, saw the lion as much more than an emblem: it was her talisman. Bold, instinctive, solar, she cultivated the strong and independent character that likened her to the lion and surrounded herself with its benevolent presence. The lion became the guardian of her apartment at 31 Rue Cambon. Sculpted in marble, bronze or wood, set on a table or a mantle, watching over her cigarettes and scissors, the king of the animal kingdom protected the intimate space of Gabrielle Chanel. To keep it by her side, she also added it to her creations. Engraved on tweed suit buttons or the clasps of her bags, the lion would become a favorite subject and icon of CHANEL High Jewelry. Today, it is making a majestic foray into the world of CHANEL fragrances as the latest addition to the LES EXCLUSIFS DE CHANEL collection.       #LesExclusifsDeCHANEL     #CHANELFragrance

MONTBLANC M_GRAM 4810 COLLECTION
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MONTBLANC M_GRAM 4810 COLLECTION

Watches “While Montblanc is an iconic brand that carries so much meaning to so many people, we felt it was time to introduce a new signature logo pattern to give a new generation of Montblanc customers an exciting identity to rally around. Our M_Gram 4810 collection has a distinctive identity that is unmistakably Montblanc, owning all the qualities of an icon in-the-making,” says Nicolas Baretzki, Montblanc CEO.     The two-colour tone M pattern is inspired by the geometry and lettering of graphics from the Montblanc archives, underscoring the richness of the Maison’s heritage. It is derived from the Montblanc wordmark developed in the 1920s and used – only slightly altered - in the Maison’s communications alongside the iconic Montblanc logo until this day. The bold and pointed shape of the letter with its geometric look captures the Art Deco style of the 1920s, one of the most important periods for the brand. In addition to the development of a very distinctive look, it was during that decade that Montblanc launched into new categories, including its foray into leather goods from 1926 onwards.     “What differentiates our graphic typography from other logo-driven monograms is the idea of not constructing something entirely new but rather converting existing typography through inspiration,’ explains Zaim Kamal, Montblanc Creative Director. “With a heritage that spans nearly 115 years, there was so much to draw from to create a new pattern that is certainly inspired by history but that looks to the future of the Maison. The new design is a connection point to the Montblanc community, a badge of belonging that each owner can interpret anyway he or she likes.”     The PVC coated-canvas resistant to scratchesandeverydaywearispairedwithblack leather trimming details to enhance the craftsmanship of the Montblanc M_Gram 4810 collection, while giving it a sophisticated design twist. The Montblanc logo script in white on the front of each piece stands out against the elegant black and blue combination to emphasize the Maison’s brand identity.     Pieces from the new collection take center stage in What Moves You, Makes You, Montblanc’s new global brand campaign that spotlights the exceptional individuals who are rede ning what success means today, driven by a higher purpose and a love of what they do. Actor Taron Egerton is featured with his Montblanc M_Gram 4810 Backpack, while singer, actor and writer Chen Kun sports his Montblanc M_Gram 4810 Beltbag. Whether a Backpack with a ap, a Document Case, a Tote, a Belt Bag, a Medium Pouch, a Duf e Bag, an Envelope or a Sling Backpack - the relaxed elegance of Montblanc M_Gram 4810 collection makes each piece a perfect companion for seamlessly moving through the day and into the evening, from business meetings to leisure pursuits. Montblanc’s latest technology innovations pieces have also received the Montblanc M_Gram 4810 treatment, with the pattern embossed on the new Montblanc MB 01 Headphones as well as being featured on the dial and PVC canvas watchstrap of the Montblanc’s Summit 2 smartwatch. “While Montblanc is an iconic brand that carries so much meaning to so many people, we felt it was time to introduce a new signature logo pattern to give a new generation of Montblanc customers an exciting identity to rally around. Our M_Gram 4810 collection has a distinctive identity that is unmistakably Montblanc, owning all the qualities of an icon in-the-making,” says Nicolas Baretzki, Montblanc CEO.     The two-colour tone M pattern is inspired by the geometry and lettering of graphics from the Montblanc archives, underscoring the richness of the Maison’s heritage. It is derived from the Montblanc wordmark developed in the 1920s and used – only slightly altered - in the Maison’s communications alongside the iconic Montblanc logo until this day. The bold and pointed shape of the letter with its geometric look captures the Art Deco style of the 1920s, one of the most important periods for the brand. In addition to the development of a very distinctive look, it was during that decade that Montblanc launched into new categories, including its foray into leather goods from 1926 onwards.     “What differentiates our graphic typography from other logo-driven monograms is the idea of not constructing something entirely new but rather converting existing typography through inspiration,’ explains Zaim Kamal, Montblanc Creative Director. “With a heritage that spans nearly 115 years, there was so much to draw from to create a new pattern that is certainly inspired by history but that looks to the future of the Maison. The new design is a connection point to the Montblanc community, a badge of belonging that each owner can interpret anyway he or she likes.”     The PVC coated-canvas resistant to scratchesandeverydaywearispairedwithblack leather trimming details to enhance the craftsmanship of the Montblanc M_Gram 4810 collection, while giving it a sophisticated design twist. The Montblanc logo script in white on the front of each piece stands out against the elegant black and blue combination to emphasize the Maison’s brand identity.     Pieces from the new collection take center stage in What Moves You, Makes You, Montblanc’s new global brand campaign that spotlights the exceptional individuals who are rede ning what success means today, driven by a higher purpose and a love of what they do. Actor Taron Egerton is featured with his Montblanc M_Gram 4810 Backpack, while singer, actor and writer Chen Kun sports his Montblanc M_Gram 4810 Beltbag. Whether a Backpack with a ap, a Document Case, a Tote, a Belt Bag, a Medium Pouch, a Duf e Bag, an Envelope or a Sling Backpack - the relaxed elegance of Montblanc M_Gram 4810 collection makes each piece a perfect companion for seamlessly moving through the day and into the evening, from business meetings to leisure pursuits. Montblanc’s latest technology innovations pieces have also received the Montblanc M_Gram 4810 treatment, with the pattern embossed on the new Montblanc MB 01 Headphones as well as being featured on the dial and PVC canvas watchstrap of the Montblanc’s Summit 2 smartwatch.

DIOR PRESENTS THE LAUNCH OF THE DIOR CARO BAG
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DIOR PRESENTS THE LAUNCH OF THE DIOR CARO BAG

Accessories An original expression of Dior codes, the Dior Caro bag is made in the House’s ateliers in Italy, with virtuoso craftsmanship that combines the beauty of the gesture with exceptional materials. After its pieces are meticulously cut from calf leather, the essential quilting stage alone requires 18,000 stitches to reproduce the subtle geometric weave of cannage. A delicate “Christian Dior” gold seal is affixed before the bag, which is mounted inside-out, is at last turned right-side out. Next, metal accessories adorned with the precious “CD” signature are affixed, from the chain links to the clasp.     Available in two sizes, in timeless shades such as black, gray, beige and ivory, this essential bag also comes in enchanting hues, borrowing intensity from red and softness from sky blue, mint green and compass rose. The small version is also available in three exclusive variations enhanced with shearling and raw denim, or punctuated with the hypnotic Tie & Dior as seen in the 2021 cruise show. These objects of desire lend themselves to a game of mix-and-match thanks to interchangeable shoulder straps for a daring look. A new emblem of Dior style. An original expression of Dior codes, the Dior Caro bag is made in the House’s ateliers in Italy, with virtuoso craftsmanship that combines the beauty of the gesture with exceptional materials. After its pieces are meticulously cut from calf leather, the essential quilting stage alone requires 18,000 stitches to reproduce the subtle geometric weave of cannage. A delicate “Christian Dior” gold seal is affixed before the bag, which is mounted inside-out, is at last turned right-side out. Next, metal accessories adorned with the precious “CD” signature are affixed, from the chain links to the clasp.     Available in two sizes, in timeless shades such as black, gray, beige and ivory, this essential bag also comes in enchanting hues, borrowing intensity from red and softness from sky blue, mint green and compass rose. The small version is also available in three exclusive variations enhanced with shearling and raw denim, or punctuated with the hypnotic Tie & Dior as seen in the 2021 cruise show. These objects of desire lend themselves to a game of mix-and-match thanks to interchangeable shoulder straps for a daring look. A new emblem of Dior style.

Louis Vuitton to launch an all-encompassing, collaborative collection with celebrated contemporary artist Urs Fischer
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Louis Vuitton to launch an all-encompassing, collaborative collection with celebrated contemporary artist Urs Fischer

Design Louis Vuitton has teamed up with acclaimed Swiss contemporary artist Urs Fischer on a multifaceted collaboration that highlights his playfully audacious creative vision across a wide range of leather goods, ready-to-wear, shoes and accessories.     Entitled “Louis Vuitton x Urs Fischer”, Urs Fischer’s exuberant and textured reworking of Louis Vuitton’s signature Monogram is the starting point of this collection which features the Monogram’s owers and LV initials in new hand-drawn versions that he calls “memory sketches”. The resulting dream-like motifs have been meticulously adapted to suit each speci c product across this comprehensive collection, changing in size, perspective, colour and application technique.     Available in two colourways, black and red and black and white, this new Monogram is the collaboration’s key decorative motif, and features throughout the collection’s designs. In addition to ready-to-wear, accessories and shoes, seven special-edition bags – a Keepall, Cabas, Onthego, two Neverfulls, Speedys, Pochettes Accessoires, and a charming, hard-sided beauty case – use the Urs Fischer Monogram to particularly impressive e ect thanks to an exquisite tu etage treatment that uses velvet-like material to create extra texture and tactile relief.     The collaboration also features a series of whimsical characters created by Urs Fischer. The enchanting animals and objects are united in a playful print that lls a colourful silk square.     “Louis Vuitton x Urs Fischer” is both a perfect, large-scale showcase for Urs Fischer’s creative world and the latest exciting chapter in Louis Vuitton’s longstanding commitment to the arts. The collection will launch in Louis Vuitton stores worldwide in January 2021. Louis Vuitton has teamed up with acclaimed Swiss contemporary artist Urs Fischer on a multifaceted collaboration that highlights his playfully audacious creative vision across a wide range of leather goods, ready-to-wear, shoes and accessories.     Entitled “Louis Vuitton x Urs Fischer”, Urs Fischer’s exuberant and textured reworking of Louis Vuitton’s signature Monogram is the starting point of this collection which features the Monogram’s owers and LV initials in new hand-drawn versions that he calls “memory sketches”. The resulting dream-like motifs have been meticulously adapted to suit each speci c product across this comprehensive collection, changing in size, perspective, colour and application technique.     Available in two colourways, black and red and black and white, this new Monogram is the collaboration’s key decorative motif, and features throughout the collection’s designs. In addition to ready-to-wear, accessories and shoes, seven special-edition bags – a Keepall, Cabas, Onthego, two Neverfulls, Speedys, Pochettes Accessoires, and a charming, hard-sided beauty case – use the Urs Fischer Monogram to particularly impressive e ect thanks to an exquisite tu etage treatment that uses velvet-like material to create extra texture and tactile relief.     The collaboration also features a series of whimsical characters created by Urs Fischer. The enchanting animals and objects are united in a playful print that lls a colourful silk square.     “Louis Vuitton x Urs Fischer” is both a perfect, large-scale showcase for Urs Fischer’s creative world and the latest exciting chapter in Louis Vuitton’s longstanding commitment to the arts. The collection will launch in Louis Vuitton stores worldwide in January 2021.

Vault by Vans Presents Latest Old Skool VLT LX in Pop Monochrome Colors
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Vault by Vans Presents Latest Old Skool VLT LX in Pop Monochrome Colors

Accessories Vault by Vans presents its latest Old Skool VLT LX premium pack in three pop monochrome colorways.     The Vault Old Skool collection is anchored by a bold flame colorway destined to become a statement piece and is supported by two additional offerings in deep blue and lemon chrome. Faux croc-skin uppers deliver visual texture and depth to this Classic Old Skool silhouette.     Built with molded drop-in sockliners for long-lasting comfort and superior fit, the Old Skool VLT LX  also features original details like the iconic Sidestripe and heel tab, side walls hand-wrapped high and tight, and the legendary waffle outsole harking back to the heritage of this timeless original.      The Old Skool VLT LX is available now at select Vault by Vans retailers. For more information, visit Vans.eu/vault. Vault by Vans presents its latest Old Skool VLT LX premium pack in three pop monochrome colorways.     The Vault Old Skool collection is anchored by a bold flame colorway destined to become a statement piece and is supported by two additional offerings in deep blue and lemon chrome. Faux croc-skin uppers deliver visual texture and depth to this Classic Old Skool silhouette.     Built with molded drop-in sockliners for long-lasting comfort and superior fit, the Old Skool VLT LX  also features original details like the iconic Sidestripe and heel tab, side walls hand-wrapped high and tight, and the legendary waffle outsole harking back to the heritage of this timeless original.      The Old Skool VLT LX is available now at select Vault by Vans retailers. For more information, visit Vans.eu/vault.

SAINT LAURENT RIVE DROITE FOR THE HOLIDAYS
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SAINT LAURENT RIVE DROITE FOR THE HOLIDAYS

Accessories For New Year’s celebrations Anthony Vaccarello creates new sophisticated home & high-tech products and exclusive collaborations with established brands such as Fatboy, Bang & Olufsen and Neo Legend, together with a special selection of items dedicated to pet lovers.     The new Saint Laurent Rive Droite Editions book dedicated to photographer Gray Sorrenti and curated by Anthony Vaccarello will be part of the wide list of rare books and vinyles available in December.     Exclusively available at Saint Laurent Rive Droite stores.     SAINT LAURENT RIVE DROITE is a creative and cultural destination curated by Anthony Vaccarello, located at 213, rue saint Honoré 75001 Paris, and extended at 469 Rodeo Drive, Los Angeles. Named ‘RIVE DROITE’ as a nod to SAINT LAURENT rive gauche line, that helped to democratize fashion and luxury in the sixties. SAINT LAURENT RIVE DROITE introduces a brand new retail destination for expression, exchange, and lifestyle, showcasing a wide range of products including exclusive pieces, limited editions, library, vintage, music, photography combined with art, performances, exhibitions, events, and cultural exchanges. Conceptualized by Creative Director Anthony Vaccarello, the extensive and diversi ed offer from different creative and design elds, are imagined and embraced in new ways to enlarge the universe and the DNA of Saint Laurent.     SAINT LAURENT RIVE DROITE represents an amusing and chic version of today’s Saint Laurent universe. For New Year’s celebrations Anthony Vaccarello creates new sophisticated home & high-tech products and exclusive collaborations with established brands such as Fatboy, Bang & Olufsen and Neo Legend, together with a special selection of items dedicated to pet lovers.     The new Saint Laurent Rive Droite Editions book dedicated to photographer Gray Sorrenti and curated by Anthony Vaccarello will be part of the wide list of rare books and vinyles available in December.     Exclusively available at Saint Laurent Rive Droite stores.     SAINT LAURENT RIVE DROITE is a creative and cultural destination curated by Anthony Vaccarello, located at 213, rue saint Honoré 75001 Paris, and extended at 469 Rodeo Drive, Los Angeles. Named ‘RIVE DROITE’ as a nod to SAINT LAURENT rive gauche line, that helped to democratize fashion and luxury in the sixties. SAINT LAURENT RIVE DROITE introduces a brand new retail destination for expression, exchange, and lifestyle, showcasing a wide range of products including exclusive pieces, limited editions, library, vintage, music, photography combined with art, performances, exhibitions, events, and cultural exchanges. Conceptualized by Creative Director Anthony Vaccarello, the extensive and diversi ed offer from different creative and design elds, are imagined and embraced in new ways to enlarge the universe and the DNA of Saint Laurent.     SAINT LAURENT RIVE DROITE represents an amusing and chic version of today’s Saint Laurent universe.

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