The Most Jaw-Dropping New Jewellery Of 2020
Classic designs, modern combinations and lots and lots of emeralds.
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While Boucheron most aptly captured the mood of the season in its wildly imaginative high-jewellery collection that used everything from algorithms to NASA-employed materials to evoke the escapist and fleeting quality of nature, other jewellers turned out several jaw-dropping creations that would be at home in any museum-worthy collection. Emeralds largely set the tone for the year, while onyx, turquoise and pearls were favoured as accents to heavy-weight stones. Here are some of the most jaw-dropping pieces to make their way out of the world’s top jewellery ateliers in 2020.
Cartier
Cartier diamond, aquamarine, coral and onyx Panthère Tropicale Watch Courtesy of Cartier
Cartier delivered several pieces that would make anyone drop their silver spoon right onto the floor at a swank soirée. And while there may not be too many occasions at the moment to trot them out for all to see, time will, no doubt, prove them to be a worthy investment. Case in point: A mouth-watering high-jewellery timepiece in yellow gold accented with two large octagonal aquamarines totalling 12.71 carats, flanked by 20.58 carats of two octagonal blue tourmalines surrounded by ribbed coral on one side and brilliant-cut diamonds with flecks of onyx on the other. The dial of the quartz movement is also encrusted in pave diamonds with an onyx marker for 12 o’clock, but no one will be checking the hour when it finally makes its debut on a wrist.
Thanks to the unusual contrast in materials, this piece looks unlike any other high-jewellery watch on the market—and despite what looks like a watermelon motif, its design is actually rooted in Cartier themes that date back to the 1930s. These themes bore fruit during the reign of lauded creative director Jeanne Toussaint. Not only was she known for blending unusual materials and colours, but she was also known for taking Louis Cartier’s panthère theme, which debuted on a watch in 1914, and turning into a 3D brooch for the Duchess of Windsor in 1948. Interestingly, it was also during the Great Depression era when Cartier began to use semi-precious gemstones like aquamarines for the first time. They were, of course, more economical, but the fact that they were offered in a larger variety of geometric cuts also lent to the architectural look of Art Deco jewellery that was en vogue through the ’20s and ’30s. The new Panthère Tropicale is a stunning reinterpretation of the house’s greatest decades of design.
Cartier diamond, sapphire and lapis lazuli Sinopé Necklace Courtesy of Cartier
But the Maison didn’t forgo precious gems. Cartier found five rare matching sapphires totalling 39 carats to adorn its diamond Sinopé necklace, which mimics the flow of water. Peeking through on the top is a glimpse of the lapis lazuli that lines the interior. The necklace has been carefully articulated for movement on the neck so that its waves move easily along the skin. It is part of a suite that also features a matching necklace and earrings.
Cartier rubellite, turquoise and diamond Tovel necklace and earrings Maxime Govet
Exercising its knack for extraordinary gems and colour combinations, another standout was the Tovel necklace set in platinum with two pear-shaped cabochon-cut rubellites totalling 32.51 carats, one 13.37-carat oval-shaped cabochon-cut rubellite, and several smaller cabochon-cut rubellites contrasted with turquoise surrounded by pillars of diamonds. It is part of a set that includes matching earrings and in addition to its striking design thought was also put into its versatility. The large rubellite drops can be removed from both the earrings and the necklace and in the case of the latter, it can be attached to the back of the clasp to hang down the back for a full-on display of gems on both sides.
Cartier emerald, diamond and onyx Opheis necklace Courtesy of Cartier
Playing further into the appeal of Cartier’s roots in the graphics of the Art Deco period, the Opheis necklace has an interplay of geometries in its snaking collar of onyx and baguette- and brilliant-cut diamonds. Taking the French name for Orpheus, the Greek god of music famous for mastering the Lyre, the necklace coils around the neck just like the bottom of the mythological character’s instrument. Set in white gold, the centrepiece of the necklace is its rectangular-shaped Zambian emerald that tools a whopping 53.94 carats and is surrounded by diamonds totalling 5.42 carats.
Orpheus was also known for trying to lure his wife, Eurydice, back from the dead with his music, but these days a giant emerald rock from Cartier might do the trick instead.
Cindy Chao
Cindy Chao Black Label Emerald Plumule Brooch and Earrings MLEVASLOT
Emeralds proved to be among the most exceptional examples in Hong Kong-based jewellery designer Cindy Chao’s collection this season, and with good reason. Chao waited a decade before settling on the perfect setting for a pair of pear-shaped Colombian emeralds, totalling 90-carats, that adorn her stunning green plumule earrings. They come topped off with two briolette-cut brown diamonds weighing 9.6-carats total. The contours are enriched with 456 tsavorites, 7 alexandrites, 547 yellow diamonds and 325 colour-changing garnets to create texture around the feather design. The gems rest on titanium which has been anodized to varying blue-grey and purple-grey tints to highlight the emeralds and add lightness for a weight of just 43 grams for the pair.
A matching brooch decked with 487 fancy-cut emeralds of 172.58 carats was also created to maximize Chao’s treasure trove of the vivid gems. Seventeen of the emeralds are Colombian; the largest, weighing in at 30.06 carats, crowns the piece. Each of the 14 veins of the feather, which are flexible to give movement to the piece, are linked together by a yellow and brown paved diamond stem and adorned along the edges with colour-changing garnets and tsavorites. Also set in titanium, the 15 cm brooch weighs less than 49 grams, which Chao says is less than the weight of two macaroons.
Each piece took around 10,000 hours of work and both are based on Chao’s yellow-diamond Phoenix feather brooch, which sold at Christie’s Magnificent Jewels auction in Hong Kong in May 2017 for HKD 8,700,000, or approximately $1.5 million according to exchange rates at the time. And this pairing far outshines its predecessor.
Bulgari
Bulgari tourmaline, turquoise, amethyst and diamond ring Courtesy of Bulgari
Green, a colour of renewal and energy, was evidently the go-to this season for the big jewellery houses. At Bulgari, a richly-hued 11.28-carat cushion tourmaline took centre stage in a pink gold ring. It topped off buff-top tourmalines (0.58 carats), turquoise (0.53 carats) and amethysts (1 carat), along with pave-set diamonds (0.58 carats). “This ring is my favourite piece from the collection,” Bulgari creative director, Lucia Silvestri, told Robb Report. “I wanted it for myself. The centre is eleven carats of green tourmaline, I love how that it’s not a green with blue, but rather a green with a hint of yellow, paired with turquoise, amethyst, and rubellite. You can see from afar that it is a Bulgari piece, very modern yet very timeless.”
Bulgari Emerald Star Necklace with Diamonds and Pearls Courtesy of Bulgari
The Italian house elevated emeralds in a necklace inspired by the Sant’Ivo all Sapienza church, one of Borromini’s baroque masterpieces. Design elements of the church’s exterior apex are reflected in the pearls and unusual sassi-cut of the emeralds. Set in white gold, the necklace has 145.75 carats of 7 tumble emeralds, along with pearls, buff-top emeralds and round brilliant-cut and pave-set diamonds. It took 900 hours for Bulgari’s workshop to adapt each element to the irregular shape of the emeralds. It is part of a suite that includes earrings and a bracelet.
“I really enjoyed creating this collection because Barocko is perfectly imperfect, beautifully vibrant in colour, with an edge of rock and roll,” says Silvestri. “The idea to do a Baroque theme came to us about two or three years ago. Baroque is in our veins. It’s in our DNA.”
Bulgari Rocking Tanzanite Necklace with diamonds and Akoya South Sea Cultured Pearls Antonio Barrella
The ornate, antique design of the Baroque era seems like a far cry from rock n’ roll, but pieces like this Rocking Tanzanite necklace demonstrates how the house was able to blend the two together for a modern take on the 17th-century style. Onyx and diamonds decorate the chain, while the Akoya South Sea cultured pearls are tipped with white gold studs. Crowning the piece is a knock-your-socks-off 48.77-carat cushion tanzanite.
Chanel
Chanel Tweed Graphique High-Jewelry Courtesy of Chanel
Chanel also incorporated onyx into its high-jewellery by weaving it in with diamonds in a nod to its perennial inspiration, tweed. The result was an eye-popping graphic collection that proved the house codes translate as seamlessly into Place Vendôme gems as they do on the runway. Each piece is set in white gold, diamonds and onyx. The largest diamond comes on the ring in 6.07 carats. The set also comes with a pair of matching earrings.
Van Cleef & Arpels
Van Cleef & Arpels Emerald and Diamond Necklace Bertrand Moulin
Not be outdone, Van Cleef & Arpels presented two extraordinary emerald necklaces fit for a queen. The first, the Merveille d’Emeraudes comes with five pear-shaped Colombian emeralds totalling 70.40 carats hanging from a white gold and diamond setting featuring one pear-shaped DFL type 2A diamond (5.81 carats), two pear-shaped DIF type 2A diamonds (7.18 carats) that opulently hang down the back of the neck.
Van Cleef & Arpels Diamond Earrings Bertrand Moulin
The emerald pendants detach and can be added to the earrings to replace the diamond drops in case you want the gems dripping from your ears and your neck.
Van Cleef & Arpels Emerald and Diamond Necklace Belonging to Princess Faiza of Egypt Courtesy of Van Cleef & Arpels
It takes its cues from a necklace that once belonged to Princess Faiza (pictured above). It was acquired in 1947, almost two decades after its creation in 1929, by the Egyptian court’s representative in France for the princess.
Van Cleef & Arpels Ruby and Diamond Bracelet Courtesy of Van Cleef & Arpels
Silver screen royalty inspired the new Rubis en Scène bracelet, modelled after a ruby Van Cleef & Arpels version that once belonged to Marlene Dietrich. She was regularly photographed wearing it during her lifetime and it also made an appearance on her wrist in Alfred Hitchcock’s 1950 film Stage Fright. The Jarretière cuff was the only piece of jewellery the actress didn’t sell off to pay her bills before her death in 1992. It was sold later that year at Sotheby’s for $990,000 and remains in a private collection.
But for anyone looking to get their hands on the next best thing, the new creation will be as good as it gets until the Jarretière’s owner decides to sell. It comes with 72 Burmese rubies totalling 84.74 carats and is set in white gold with round, square-shaped and baguette-cut diamonds for a 21st-century femme fatale.
Dior
Dior Diamond, Sapphire, Garnet and Cultured Pearl Ring Courtesy of Dior
In fashion, it’s pervasive to see low-brow references inspiring high-brow design at astronomical price points, but in high-jewellery, it’s as rare as the jewels themselves. This season, Victoire de Castellane took an ’80s DIY trend and elevated it to create the kind of jewellery you almost never see in the streets. Tie die was the inspiration behind the explosive twists of colour at Dior. The new spin on coloured gemstones and pearls demonstrate why Castellane has been Dior’s rock star since she took on the role as creative director of its fine jewellery division over two decades ago.
Case in point: A pair of asymmetrical yellow gold earrings piled with diamonds, blue and Paraiba-type tourmalines, tsavorite and spessartite garnets, emeralds and pink, blue and yellow sapphires come topped off with an opposing pale pink and sea-green cultured pearls with large tourmalines offering juxtaposition just beneath.
Dior Diamond, Sapphire, Garnet, Ruby and Tourmaline Earrings Courtesy of Dior
The strongest pieces played to this composition like two rings that also play off their big centrepiece stones. A sea-green pearl appears to nestle into the side of a large sapphire flanked by diamonds, sapphires, emeralds and garnets, while another ring that curves around the finger without completing the circle, is crowned with an orange pearl on the bottom left and a pink pearl on its top right.
Dior Diamond, Sapphire, Garnet, Emerald and Cultured Pearl Ring Courtesy of Dior
It might be based on arty ’80s fad that’s seeing a renaissance, but these pearls look as though they are resting in a mosaic gem-studded representation of the sea’s natural technicolour flora and fauna.
Messika
Messika Diamond Equalizer Collar Necklace Courtesy of Messika
Diamonds are a specialty of Valerie Messika’s family business and oh boy, did she deliver. This collar necklace’s centrepiece is a 17-carat pear-shaped diamond. It appears to float in between crisscrossed lines of baguette and round diamonds meant to capture the up and down musical vibrations of equalisers which oscillate on monitors in recording studios.
Messika Diamond Equaliser Earrings Courtesy of Messika
Keeping tempo with the necklace, a set of earrings in mismatched sizing feature a zigzag of diamonds, which also take their cues from music, in the pattern of a swinging metronome. A pair diamond of 4 carats quivers at the tip of the XL earring, while a 1.50 carat dangles from the shorter version. Literally, music to the ears.
Harry Winston
Harry Winston Wreath Necklace and ring in Amethyst, Sapphires, Peridot, Rubellite, Aquamarine, Tsavorite and Diamonds Courtesy of Harry Winston
Harry Winston kept its designs classic but offered a burst of colour in a necklace outfitted with a bouquet of amethysts, sapphires, peridots, rubellite, aquamarines, tsavorites and diamonds, weighing in for a total of 152.40 carats. The wreath of gems also comes with matching earrings in the same configuration of gems, excluding tsavorites, at 7.31 carats. Both pieces are set in 18-carat yellow gold and platinum.
Harry Winston Cluster Wreath Diamond Necklace Courtesy of Harry Winston
But staying true to its history of creating major diamond showstoppers, a platinum necklace set with 260 diamonds at 92.41 carats took the cake as the premiere heirloom piece.
Harry Winston Cluster Emerald Earrings and Rings Courtesy of Harry Winston
For those that can’t get enough of the emeralds in this year’s high-jewellery spread, the house offered a few richly hued Cluster creations. The ring, which will likely be the most coveted of the three, is a 4.63-carat solitaire set in yellow gold and platinum and surrounded by 10 diamonds weighing 2.80 carats. But why just have one when you can have a set? A pair of triangular earrings with two emeralds at 2.55 carats will appeal to those looking for just a touch more flair in design, but for those set on weight, the 5.01 carats on a pair of studs with wings of pear-shaped diamonds for a crown are a must.
Chopard
Chopard Ginkgo earrings in emerald, sapphire and tsavorite Courtesy of Chopard
Chopard Pansy earrings in sapphires, garnets, yellow-brown diamonds, amethysts and tsavorites Courtesy of Chopard
And for those that prefer old Hollywood style, these diamond earrings that hold a 10.03-carat rose-cut pear-shaped diamond and an 8.02-carat rose-cut pear-shaped diamond at their centre should capture the spotlight. Each giant pear-shaped rock is surrounded in 5 carats of smaller pear-shaped diamonds and .78 carats on minute round diamonds and set in 18-carat white Fairmined certified ethical gold.
Chopard 10.03-carat pear-shaped diamond earrings
Pomellato
Pomellato Gourmette Assoluta Rose Gold and Brown Diamond Necklace Courtesy of Pomellato
While it might seem unusual for Pomellato to come out with its first high-jewelry collection in the midst of a global pandemic, it delivered pieces that felt the most relatable in today’s current environment. Nearly every piece would look as good with a white button-down and jeans as it would with an evening gown, should we ever see the gala circuit remerge one day. One of the most versatile highlights included a pavé-diamond version of its classic chain necklace decked with 3,000 cognac-coloured gems set in pink gold.
Pomellato Iconica Choker in Rose Gold and Diamonds Courtesy of Pomellato
Another was a thin pavé-diamond choker necklace backed by rose gold that is only visible on the interior that took 226 hours to create. While there is certainly nothing simple about a neck full of 1,706 diamonds, Pomellato’s design felt both modern and tastefully subdued. “La Gioia di Pomellato truly expresses who we are—our deepest identity—and Pomellato is not an elitist jeweller,” said Sabina Belli, Pomellato CEO, in a press statement. For high-jewellery clients looking for something on the more subtle side, the Italian house has certainly filled a new niche in the market.
Pomellato Nudo Necklace in Topaz, Peridot, Rhodolite, Amethyst, Garnet and Diamond Courtesy of Pomellato
But the Milanese Maison didn’t forgo its signature use of semi-precious coloured stones. This Nudo necklace combines nearly the entire rainbow with a myriad of blue topaz, sea green peridot, raspberry tourmaline, lemon quartz, orange garnet, purple amethyst and pink rhodolite. Each strand of stones hangs from gold chains suspended from diamond-encrusted circles. Even in an explosion of hues, Pomellato managed to create high-jewellery that felt thoroughly primed for 2020.
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Watch of the Week: TAG Heuer Formula 1 | Kith
The legendary sports watch returns, but with an unexpected twist.
Over the last few years, watch pundits have predicted the return of the eccentric TAG Heuer Formula 1, in some shape or form. It was all but confirmed when TAG Heuer’s heritage director, Nicholas Biebuyck, teased a slew of vintage models on his Instagram account in the aftermath of last year’s Watches & Wonders 2023 in Geneva. And when speaking with Frédéric Arnault at last year’s trade fair, the former CEO asked me directly if the brand were to relaunch its legacy Formula 1 collection, loved by collectors globally, how should they go about it?
My answer to the baited entreaty definitely didn’t mention a collaboration with Ronnie Fieg of Kith, one of the world’s biggest streetwear fashion labels. Still, here we are: the TAG Heuer Formula 1 is officially back and as colourful as ever.
As the watch industry enters its hype era—in recent years, we’ve seen MoonSwatches, Scuba Fifty Fathoms, and John Mayer G-Shocks—the new Formula 1 x Kith collaboration might be the coolest yet.
Here’s the lowdown: overnight, TAG Heuer, together with Kith, took to socials to unveil a special, limited-edition collection of Formula 1 timepieces, inspired by the original collection from the 1980s. There are 10 new watches, all limited, with some designed on a stainless steel bracelet and some on an upgraded rubber strap; both options nod to the originals.
Seven are exclusive to Kith and its global stores (New York, Los Angeles, Miami, Hawaii, Tokyo, Toronto, and Paris, to be specific), and are made in an abundance of colours. Two are exclusive to TAG Heuer; and one is “shared” between TAG Heuer and Kith—this is a highlight of the collection, in our opinion. A faithful play on the original composite quartz watch from 1986, this model, limited to just 1,350 pieces globally, features the classic black bezel with red accents, a stainless steel bracelet, and that creamy eggshell dial, in all of its vintage-inspired glory. There’s no doubt that this particular model will present as pure nostalgia for those old enough to remember when the original TAG Heuer Formula 1 made its debut.
Of course, throughout the collection, Fieg’s design cues are punctuated: the “TAG” is replaced with “Kith,” forming a contentious new brand name for this specific release, as well as Kith’s slogan, “Just Us.”
Collectors and purists alike will appreciate the dedication to the original Formula 1 collection: features like the 35mm Arnite cases—sourced from the original 80s-era supplier—the form hour hand, a triangle with a dot inside at 12 o’clock, indices that alternate every quarter between shields and dots, and a contrasting minuterie, are all welcomed design specs that make this collaboration so great.
Every TAG Heuer Formula 1 | Kith timepiece will be presented in an eye-catching box that complements the fun and colour theme of Formula 1 but drives home the premium status of this collaboration. On that note, at $2,200 a piece, this isn’t exactly an approachable quartz watch but reflects the exclusive nature of Fieg’s Kith brand and the pieces he designs (largely limited-edition).
So, what do we think? It’s important not to understate the significance of the arrival of the TAG Heuer Formula 1 in 1986, in what would prove integral in setting up the brand for success throughout the 90’s—it was the very first watch collection to have “TAG Heuer” branding, after all—but also in helping to establish a new generation of watch consumer. Like Fieg, many millennial enthusiasts will recall their sentimental ties with the Formula 1, often their first timepiece in their horological journey.
This is as faithful of a reissue as we’ll get from TAG Heuer right now, and budding watch fans should be pleased with the result. To TAG Heuer’s credit, a great deal of research has gone into perfecting and replicating this iconic collection’s proportions, materials, and aesthetic for the modern-day consumer. Sure, it would have been nice to see a full lume dial, a distinguishing feature on some of the original pieces—why this wasn’t done is lost on me—and perhaps a more approachable price point, but there’s no doubt these will become an instant hit in the days to come.
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The TAG Heuer Formula 1 | Kith collection will be available on Friday, May 3rd, exclusively in-store at select TAG Heuer and Kith locations in Miami, and available starting Monday, May 6th, at select TAG Heuer boutiques, all Kith shops, and online at Kith.com. To see the full collection, visit tagheuer.com
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8 Fascinating Facts You Didn’t Know About Aston Martin
The British sports car company is most famous as the vehicle of choice for James Bond, but Aston Martin has an interesting history beyond 007.
Aston Martin will forever be associated with James Bond, ever since everyone’s favourite spy took delivery of his signature silver DB5 in the 1964 film Goldfinger. But there’s a lot more to the history of this famed British sports car brand beyond its association with the fictional British Secret Service agent.
Let’s dive into the long and colourful history of Aston Martin.
The origin of the Aston Martin name
The company that would become Aston Martin started out as a car dealership. In 1912, Englishmen Robert Bamford and Lionel Martin partnered to sell cars, but soon after they decided to build their own models. Their first prototype debuted in 1915, named in honour of Martin, a racing driver, and his favourite racing venue, Aston Hills. Thus, the name Aston Martin was born.
A speed-demon co-founder banned from driving
Aston Martin co-founder Lionel Martin wasn’t just a keen racing driver—he was an all-out speed demon. As a student, Martin won numerous gruelling bicycle racing records, including riding nearly the full width of England in one 22-hour stretch. He competed in motorcycle and sidecar races and automotive hillclimb competitions. It seems he also brought that need for speed to the public roadways: In 1909, having neglected to pay a previous speeding fine, Martin was caught driving 41.5 km/ph in London and was banned from driving for two years—during which he set yet another cross-country bicycle record.
A tractor company takes over
The years after World War I were tumultuous for Aston Martin, with financial difficulties and numerous takeovers. In 1947, Aston Martin went up for sale and was purchased by David Brown Limited, a company that specialised in farm tractors and industrial gears. Sir David Brown, grandson of the company’s founder, was a lifelong car enthusiast and racer, having built his own competition cars while working as an engineer at the family company. The first car built by Aston Martin after this takeover was called the DB1, named after the tractor company (and the man) that had saved the carmaker.
An indirect connection to Bentley
Around the same time that Sir David Brown took over Aston Martin, he purchased another struggling British carmaker, Lagonda. The company was developing a revolutionary twin-cam six-cylinder engine called the LB6, and Sir David wanted the engine for his new line of Aston Martin sports cars. The Lagonda engine had been designed by none other than W.O. Bentley—the man who co-founded Bentley Motors, who had long since been pushed out of the company bearing his name.
The history of the DB Series
Aston Martin built seven vehicles named in honour of owner Sir David Brown: The DB1, DB2, DB3, DB4, DB5, DB6, and the combo-breaker DBS all bore Sir David’s initials. In 1972, Sir David sold the car company, and the new owners ended the DB series of vehicles, but the name was revived in 1993 with the DB7 in honour of Sir David—who himself was given an honorary position at the company that same year.
Bond, James Bond
Of course, the most famous Aston Martin of them all is the DB5. Just over 1,000 examples were built between 1963 and 1965, but millions worldwide know this as the James Bond car. In the books, author Ian Fleming had specified an earlier Aston Martin DB Mark III as Bond’s car. Still, the DB5 was introduced in the 1964 Bond film Goldfinger, equipped with gadgets including machine guns, smoke screens, oil slicks, an ejector seat, and rotating license plates. Bond has driven several Aston Martin models over the years, including a V8 Vantage, a V12 Vanquish, and two DBS models, but the original DB5 will always be considered the quintessential Bond car.
The angular years
Today, the Aston Martin badge is most closely associated with swooping, evocatively curvy car designs, but in the 1970s the company was obsessed with angular, wedge-shaped designs. The trend began in 1976 with the Aston Martin Lagonda, a shockingly unconventional four-door luxury sedan with “folded-paper” body styling and the world’s first all-digital instrument panel. The Lagonda’s styling was further evolved in 1979 with the Bulldog, a radical concept car with gullwing doors and a sharply pointed nose. The Bulldog was meant to become the fastest road car on earth, but the project was abandoned before production could begin.
For Bond’s eyes only
While most of James Bond’s Aston Martins have been commercially available to anyone who could afford one, the DB10 seen in the 2015 film Spectre was exclusive to 007. As Aston Martin executive Marek Reichman explained to Variety, director Sam Mendes, producer Barbara Broccoli, and Bond star Daniel Craig were touring Aston Martin’s design studios when they saw a concept sketch on the wall. The Bond team insisted that this should be 007’s next car, and Aston Martin spent the next six months furiously working to turn the drawing into a real-world car. The DB10 was unveiled during the launch of the film Spectre, and eight of the 10 examples built were featured in the movie, with the remaining two used for promotional appearances.
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What Venice’s New Tourist Tax Means for Your Next Trip
The Italian city will now charge visitors an entry fee during peak season.
Visiting the Floating City just got a bit more expensive.
Venice is officially the first metropolis in the world to start implementing a day-trip fee in an effort to help the Italian hot spot combat overtourism during peak season, The Associated Press reported. The new program, which went into effect, requires travellers to cough up roughly €5 (about $AUD8.50) per person before they can explore the city’s canals and historic sites. Back in January, Venice also announced that starting in June, it would cap the size of tourist groups to 25 people and prohibit loudspeakers in the city centre and the islands of Murano, Burano, and Torcello.
“We need to find a new balance between the tourists and residents,’ Simone Venturini, the city’s top tourism official, told AP News. “We need to safeguard the spaces of the residents, of course, and we need to discourage the arrival of day-trippers on some particular days.”
During this trial phase, the fee only applies to the 29 days deemed the busiest—between April 25 and July 14—and tickets will remain valid from 8:30 am to 4 pm. Visitors under 14 years of age will be allowed in free of charge in addition to guests with hotel reservations. However, the latter must apply online beforehand to request an exemption. Day-trippers can also pre-pay for tickets online via the city’s official tourism site or snap them up in person at the Santa Lucia train station.
“With courage and great humility, we are introducing this system because we want to give a future to Venice and leave this heritage of humanity to future generations,” Venice Mayor Luigi Brugnaro said in a statement on X (formerly known as Twitter) regarding the city’s much-talked-about entry fee.
Despite the mayor’s backing, it’s apparent that residents weren’t totally pleased with the program. The regulation led to protests and riots outside of the train station, The Independent reported. “We are against this measure because it will do nothing to stop overtourism,” resident Cristina Romieri told the outlet. “Moreover, it is such a complex regulation with so many exceptions that it will also be difficult to enforce it.”
While Venice is the first city to carry out the new day-tripper fee, several other European locales have introduced or raised tourist taxes to fend off large crowds and boost the local economy. Most recently, Barcelona increased its city-wide tourist tax. Similarly, you’ll have to pay an extra “climate crisis resilience” tax if you plan on visiting Greece that will fund the country’s disaster recovery projects.
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Omega Reveals a New Speedmaster Ahead of the Paris 2024 Olympics
Your first look at the new Speedmaster Chronoscope, designed in the colour theme of the Paris Olympics.
The starters are on the blocks, and with less than 100 days to go until the Paris 2024 Olympics, luxury Swiss watchmaker Omega was bound to release something spectacular to mark its bragging rights as the official timekeeper for the Summer Games. Enter the new 43mm Speedmaster Chronoscope, available in new colourways—gold, black, and white—in line with the colour theme of the Olympic Games in Paris this July.
So, what do we get in this nicely-wrapped, Olympics-inspired package? Technically, there are four new podium-worthy iterations of the iconic Speedmaster.
The new versions present handsomely in stainless steel or 18K Moonshine Gold—the brand’s proprietary yellow gold known for its enduring shine. The steel version has an anodised aluminium bezel and a stainless steel bracelet or vintage-inspired perforated leather strap. The Moonshine Gold iteration boasts a ceramic bezel; it will most likely appease Speedy collectors, particularly those with an affinity for Omega’s long-standing role as stewards of the Olympic Games.
Notably, each watch bears an attractive white opaline dial; the background to three dark grey timing scales in a 1940s “snail” design. Of course, this Speedmaster Chronoscope is special in its own right. For the most part, the overall look of the Speedmaster has remained true to its 1957 origins. This Speedmaster, however, adopts Omega’s Chronoscope design from 2021, including the storied tachymeter scale, along with a telemeter, and pulsometer scale—essentially, three different measurements on the wrist.
While the technical nature of this timepiece won’t interest some, others will revel in its theatrics. Turn over each timepiece, and instead of a transparent crystal caseback, there is a stamped medallion featuring a mirror-polished Paris 2024 logo, along with “Paris 2024” and the Olympic Rings—a subtle nod to this year’s games.
Powering this Olympiad offering—and ensuring the greatest level of accuracy—is the Co-Axial Master Chronometer Calibre 9908 and 9909, certified by METAS.
A Speedmaster to commemorate the Olympic Games was as sure a bet as Mondo Deplantis winning gold in the men’s pole vault—especially after Omega revealed its Olympic-edition Seamaster Diver 300m “Paris 2024” last year—but they delivered a great addition to the legacy collection, without gimmickry.
However, the all-gold Speedmaster is 85K at the top end of the scale, which is a lot of money for a watch of this stature. By comparison, the immaculate Speedmaster Moonshine gold with a sun-brushed green PVD “step” dial is 15K cheaper, albeit without the Chronoscope complications.
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The Omega Speedmaster Chronoscope in stainless steel with a leather strap is priced at $15,725; stainless steel with steel bracelet at $16,275; 18k Moonshine Gold on leather strap $54,325; and 18k Moonshine Gold with matching gold bracelet $85,350, available at Omega boutiques now.
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Here’s What Goes Into Making Jay-Z’s $1,800 Champagne
We put Armand de Brignac Blanc de Noirs Assemblage No. 4 under the microsope.
In our quest to locate the most exclusive and exciting wines for our readers, we usually ask the question, “How many bottles of this were made?” Often, we get a general response based on an annual average, although many Champagne houses simply respond, “We do not wish to communicate our quantities.” As far as we’re concerned, that’s pretty much like pleading the Fifth on the witness stand; yes, you’re not incriminating yourself, but anyone paying attention knows you’re probably guilty of something. In the case of some Champagne houses, that something is making a whole lot of bottles—millions of them—while creating an illusion of rarity.
We received the exact opposite reply regarding Armand de Brignac Blanc de Noirs Assemblage No. 4. Yasmin Allen, the company’s president and CEO, told us only 7,328 bottles would be released of this Pinot Noir offering. It’s good to know that with a sticker price of around $1,800, it’s highly limited, but it still makes one wonder what’s so exceptional about it.
Known by its nickname, Ace of Spades, for its distinctive and decorative metallic packaging, Armand de Brignac is owned by Louis Vuitton Moët Hennessy and Jay-Z and is produced by Champagne Cattier. Each bottle of Assemblage No. 4 is numbered; a small plate on the back reads “Assemblage Four, [X,XXX]/7,328, Disgorged: 20 April, 2023.” Prior to disgorgement, it spent seven years in the bottle on lees after primary fermentation mostly in stainless steel with a small amount in concrete. That’s the longest of the house’s Champagnes spent on the lees, but Allen says the winemaking team tasted along the way and would have disgorged earlier than planned if they’d felt the time was right.
Chef de cave, Alexandre Cattier, says the wine is sourced from some of the best Premier and Grand Cru Pinot Noir–producing villages in the Champagne region, including Chigny-les-Roses, Verzenay, Rilly-la-Montagne, Verzy, Ludes, Mailly-Champagne, and Ville-sur-Arce in the Aube département. This is considered a multi-vintage expression, using wine from a consecutive trio of vintages—2013, 2014, and 2015—to create an “intense and rich” blend. Seventy percent of the offering is from 2015 (hailed as one of the finest vintages in recent memory), with 15 percent each from the other two years.
This precisely crafted Champagne uses only the tête de cuvée juice, a highly selective extraction process. As Allen points out, “the winemakers solely take the first and freshest portion of the gentle cuvée grape press,” which assures that the finished wine will be the highest quality. Armand de Brignac used grapes from various sites and three different vintages so the final product would reflect the house signature style. This is the fourth release in a series that began with Assemblage No. 1. “Testing different levels of intensity of aromas with the balance of red and dark fruits has been a guiding principle between the Blanc de Noirs that followed,” Allen explains.
The CEO recommends allowing the Assemblage No. 4 to linger in your glass for a while, telling us, “Your palette will go on a journey, evolving from one incredible aroma to the next as the wine warms in your glass where it will open up to an extraordinary length.” We found it to have a gorgeous bouquet of raspberry and Mission fig with hints of river rock; as it opened, notes of toasted almond and just-baked brioche became noticeable. With striking acidity and a vein of minerality, it has luscious nectarine, passion fruit, candied orange peel, and red plum flavors with touches of beeswax and a whiff of baking spices on the enduring finish. We enjoyed our bottle with a roast chicken rubbed with butter and herbes de Provence and savored the final, extremely rare sip with a bit of Stilton. Unfortunately, the pairing possibilities are not infinite with this release; there are only 7,327 more ways to enjoy yours.
