From Private Parties To Paperwork: Here’s How The Luxury World Really Treats Its VIPs
There are very important clients, and then there are very, very important clients. Here’s how to know where you rank in the worlds of wine, watches, cars and jewellery.
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On a warm July evening, an intimate group of elegantly attired guests roamed the gilded halls of the Palace of Versailles, sipping Champagne while being serenaded by violins. The unforgettable party included a candlelit dinner prepared by Michelin-star chef Emmanuel Renaut, a display of rare diamond jewels and a fireworks display that illuminated the sky above the palace while an orchestra played in the famed gardens below. If not for the fact that many of the guests jetted in courtesy of their host, Van Cleef & Arpels, one could be forgiven for thinking they’d time-traveled back to the 17th century, when the merchant Jean-Baptiste Tavernier presented the Sun King, Louis XIV, with jaw-dropping jewels from his trip to India in the very same rooms.
This fairy tale was a quintessentially private affair (strictly no photos) for the company’s top clients, who were invited to celebrate the unveiling of the collection, the Legend of Diamonds—and to indulge in three days of meticulously organised culinary and wine experiences. Before the first cork popped at Versailles, the guests were ferried to private tours and specially prepared menus at Château Margaux one day, followed by lunches at Château de Vaux-le-Vicomte and Champagne Perrier-Jouët.
“The story behind the collection is always at the centre of the experience,” says Nicolas Bos, Van Cleef’s president and CEO. In this case, that story revolved around the 910-carat Lesotho Legend, the fifth-largest rough diamond ever mined, which the French jeweller had turned into a glittering array of high jewellery.
For big spenders, these money-can’t-buy experiences have become the norm: This past summer, Cartier flew its premier clients to Madrid for three days of carefully planned activities, including tours of art collections, Michelin-star meals, a gala in the 18th-century Liria Palace where Rita Ora performed and, of course, a first look at its Beautés du Monde high jewellery. Louis Vuitton unveiled its 125-piece jewellery collection at an extravagant dinner at the Dar el Bacha palace in Marrakech for clients, as well as Kylie Minogue and Chloë Grace Moretz. Gucci’s higjewelleryry took pride of place at the 18th-century Villa Albani Torlonia in Rome, which contains one of the world’s premier private collections of ancient and Renaissance art. At the dinner, British singer Sam Smith wowed the small group in the garden.
There have never been more millionaires and billionaires and, consequently, the global smorgasbord of luxury products has never been more in demand. But because what defines this increasingly attractive corner of the economy is a sense of exclusivity, the makers of high-end wines, cars, watches and other collectables have had to up the ante. Just as airlines have their silver, gold and platinum status, luxury houses employ similar, if more discreet, rankings for their most dedicated customers—and the kind of attention (and scrutiny) said clients get depends almost entirely on where they are in that VIP pecking order. In one industry, that might mean strolling down the red carpet for a once-in-a-lifetime event. In another, it may translate to being allowed to apply to purchase a new product, once it has been released.
In any luxury industry, though, the payoff for securing VIP clients, who can spend millions of dollars a year with a single company, is astronomical—and some sectors invest fortunes in wining and dining their heaviest hitters. From the upper echelons of wine collecting, for instance, Cardinale, the Napa Valley winery that produces a single (and much sought-after) Cabernet Sauvignon each year, takes a networking approach to VIP relations, hosting private dinners at the homes of its best customers. These insiders are encouraged to invite friends who may be interested in acquiring rare vintages for their own cellars—a little like a high-stakes Tupperware party.
The wine world is intrinsically convivial, so much so that executives sometimes open the doors of their own homes for private events, too. Jean-Charles Boisset, proprietor of a winery that produces bottles in Napa, Sonoma and Burgundy, has been known to invite his top collectors to dine at the California hilltop manse he shares with his wife and children. The house centres on an indoor pool illuminated by Baccarat chandeliers, and synchronised swimmers, aerialists and magicians have all been brought in as entertainment. At Boisset’s 50th birthday party in 2019, Joseph Minafra, the lead for innovation and technical partnerships at NASA’s Solar System Exploration Research Virtual Institute, presented the host with a meteorite. Boisset later had chunks of the space rock affixed to bottles of a wine called the Surrealist-Meteor, produced in an edition of just 250, which he offered first to members of his JCB Collectors society, who bought all but a handful of the available bottles, which then sold out in a JCB tasting salon.
So how does one make the journey to Boisset’s hilltop—or any other wine-world apex? Start by landing a coveted spot on a winery’s allocation list. That first rung of the VIP ladder itself requires a certain display of largesse, but once you’re on, you have the distinct privilege of buying cases of wines months before other customers—and at lower prices than you’d pay via your local agent. In some instances, it also means you have access to special bottles that are never made publicly available.
But in the jewellery world, a realm in which the biggest houses produce only dozens of unique pieces annually but the pool of serious collectors is likewise more limited, keeping the VIPs happy takes on heightened importance. “A small number of customers can have a major impact on a jeweller’s business,” explains Robert Burke, a New York–based luxury consultant.
“These houses are doing everything to make their customers feel special and be excited to buy their collections.”
-Robert Burke
“We are in the business of emotion,” says Mercedes Abramo, CEO of Cartier North America. The house’s elaborate high-jewelry presentations for VIPs in glamorous destinations around the world are designed to forge a far deeper connection with clients than a mere boutique visit might achieve. When a client purchases a piece at one of these events, Abramo explains, “they will remember the moment every time they wear it.” Put another way, a bracelet may be far more meaningful when it comes with a personal story—and bragging rights that you bought it as one of a handful of elite guests at a Spanish palace or a château in the South of France.
But what if you’re just getting started on your climb up the ladder of luxury shopping? An entry-level VIP experience might be an exclusive local party. Last fall, Tiffany & Co. took over a $75 million art-filled New York townhouse to showcase its new designs, loose gemstones and the trophies it creates for the NFL, the NBA and the US Open tennis championships. Even the historic Tiffany yellow diamond was on display—and the company invited many elite customers in the Americas to take a look.
You know you’re moving up when you get face time with a chief executive. In September, Tiffany CEO Anthony Ledru hosted around 65 VIPs in São Paulo, Brazil, where guests previewed the newest high jewellery in one-on-one meetings. It was there that Tiffany sold one of its most expensive Bird on a Rock brooches to date. Typically, these pieces, which follow a 1965 design by Jean Schlumberger, are set with large citrines or aquamarine stones—and as a result are relatively expensive (this fall, 1stDibs was offering one for $140,000). But as the São Paulo example featured a fancy intense yellow diamond, its price was in the seven figures.
“I believe the future is more about intimacy, and it’s very hard when you have a very large setting,” Ledru says of the smaller events he stages higher up the VIP food chain. “We believe in small groups where you can truly interact with the clients and really spend time with them.”
Those targeted individuals are treated not only to fabulous trips but also to claims on the most rarefied pieces, which never find their way to the boutiques; they’re presented only to clients with demonstrated buying power and interest. During a Tiffany trip to this year’s Venice Film Festival, one couple made a major purchase—which may be why they were subsequently invited to a high-jewelry event in Dubai, where they happened to acquire an extremely rare red diamond. While Tiffany wouldn’t reveal its price, a similar stone sold for nearly $4.5 million at Christie’s two years ago. The couple met with Tiffany’s design team to turn the stone into a bespoke piece.
The highest echelons of VIP treatment are often marked by this level of collaboration between customers and craftsmen—because there’s nothing quite so exclusive as a one-off you helped design. In most cases, there’s an expectation of privacy around these elite transactions. The automotive world, which generates breathless speculation about who may have commissioned its unique editions, is famously tight-lipped about how it treats its best customers. Bugatti, which produces some of the most expensive cars in the world, makes paying a visit to its headquarters in Molsheim, France, an exercise akin to a papal audience. “We are not a museum and don’t offer tours,” says Cedric Davy, COO for Bugatti of the Americas. “You are only able to visit the factory if you are a customer, and we only receive one customer per day.”
Rolls-Royce isn’t quite so rigid. In the past, it has brought groups of VIPs to its factory in Goodwood, England, where in early 2022 a small gaggle of customers was invited to place orders for its forthcoming electric vehicle, the Spectre, months before the public even knew it existed.
But its top rung is reserved for the likes of car collector Michael Fux. By some accounts, the Cuban-born, New Jersey–based mattress magnate owns over 120 rare cars and has purchased 15 from Rolls-Royce. That devotion has earned him a direct line to the company’s design department and an entire palette of proprietary colours named after him, from Fuxia—his own shade of fuchsia—to Fux Jade Pearl. According to Martin Fritsches, president and CEO of Rolls-Royce Motor Cars North America, Fux and others of his ilk receiving their commissions warrants “special occasions like Monterey Car Week for public delivery.”
Some high rollers may shy away from such overt displays but still appreciate being courted in an ultra-personalised way that taps into their passions. Boucheron, the French jewellery firm that counts the British royal family among its customers, recently hosted a client and family with an affinity for astrology for a private dinner under the stars at the Côte d’Azur Observatory in France. “To me, there is no point of living a lavish life and dying rich,” says Hélène Poulit-Duquesne, Boucheron’s CEO. “It’s only about gathering extraordinary experiences and loving memories.” Another example in the house’s bag of tricks: an overnight stay in the apartment above Boucheron’s historic Paris flagship store (from the bathtub, you get sweeping views of the Place Vendôme), a privilege bestowed by invitation only five nights a year.
Intimacy on this order grew in relevance in the wake of the Covid-19 pandemic, when most big events had to be cancelled. In response, Cartier invited select groups of VIPs to Jackson Hole, Wyo., (with the option of flying in on your own plane) for three days in October 2021 to view its Sixième Sens par Cartier high-jewelry collection staged in a modern house. Guests stayed in nearby homes and hotels and followed personalised itineraries that included fly-fishing, a fancy picnic and a horse exhibition. “It was exclusive but still down-to-earth,” explains Abramo, the North America CEO, who spent one-on-one time with each guest. “We were able to engage with clients who don’t want to go to a black-tie gala because it’s not their style.”
These types of elite events are reserved for the VIPs, the ones who spend seven figures on a single piece—and Abramo’s team makes sure the guest list is a mix of people who will be open to meeting others on a similar level. Those not keen on socialising receive a private after-hours showing at their local boutique instead, or a curated selection of jewels brought to their home or office.
Some invitations may be too good to pass up. Earlier this year, Bulgari CEO Jean-Christophe Babin threw a serious celebration at the Italian Embassy in Paris. Oscar winner Anne Hathaway and Priyanka Chopra Jonas were there, and Carla Bruni sang. Babin says such events underline the house’s connection to stars of the silver screen, including Sophia Loren and Elizabeth Taylor, who were notable Bulgari clients in their time. And having their contemporary counterparts at the dinner table with clients is akin to a live-action marketing campaign. When a celebrity “is wearing a high-jewelry necklace across from you,” Babin says, “you can identify yourself as a potential owner” of the same piece.
Jewellery houses are also adept at determining a client’s spending potential and will take pains to do what’s needed to facilitate the progression to the next level. Lucy Guo, a Miami-based start-up founder and venture capitalist, was a guest at Cartier’s jewellery exhibition at the Dallas Museum of Art in May and said the trip gave her a deeper appreciation of the brand. “Cartier really takes care of you and makes you feels special,” she says. Guo and a guest were given a driver for two days to take them to personalised activities, including the gala museum dinner. She returned home having bought a new diamond animal bracelet. Win win.
But while many luxury industries go to significant lengths to cultivate relationships with their best clients, at least one tends to take a contrasting psychological approach: Rather than offering cushy perks or throwing lavish fetes to flatter their best customers, watch companies make them jump through hoops to land the most exclusive products—and convince those clients that the process is an honour. Thanks in part to extremely limited production and an exponential increase in the horologically inclined, very few can waltz into a boutique and skip back out again with something new on their wrists.
You have to work for it: For the crème de la crème of watchmaking, a cross between a college application and an IRS 1040 may also be required.
To get hold of the latest Patek Philippe complications, clients must submit applications. Even being asked if you would like to apply is something of a feather in one’s cap: To be considered for the gatekeeping form, one must start with the brand’s entry-level Calatrava model and climb the ladder to more important pieces over the course of years to prove one’s fealty. The questions on the application can range from why you want to buy the watch to your job title (aka your means of income), and there’s even said to be a contractual promise not to resell it within a certain period.
For its most coveted releases, Panerai goes so far as to evaluate a client’s personality and fitness. To get one of the brand’s five-figure Xperience timepieces, you have to go on the affiliated high-octane adventure trip. One recent model, which included a climbing excursion with renowned mountaineer Jimmy Chin, had collectors clamoring for the chance to pay its $60,000 price tag—but North American brand president Philippe Bonay played hardball.
“We knew that one element [for a successful trip] was a certain level of fitness,” he says. Hear that? It’s the sound of more doors shutting.
On the flipside, in a bid to lure in fresh clientele, Audemars Piguet in 2022 started promising a reserve of Royal Oaks, its best-known and most-coveted model, to newcomers only. But with demand ultra-high, who gets on the first-timer list? “The right way to do it is actually very simple: create and develop a relationship with us,” says outgoing CEO François-Henry Bennahmias, making the catch-22 sound laughably straightforward. “When you don’t know anyone, you have to get known by our people, and eventually things happen.”
So the answer to becoming a VIP seems to be… time. Well, time and connections and taste and money and…
Additional reporting by Mike DeSimone, Jeff Jenssen, Viju Mathew and Paige Reddinger
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The World’s 7 Most Expensive Private Helicopters
The list includes a presidential helicopter, a special-edition ACH130 co-designed by Aston Martin, and the sleek Bell 525, appropriately named “Relentless.”
Time is money, and it’s especially true in navigating the world’s most populated metropolitan centres—from Los Angeles to Hong Kong. Since setting the first recorded distance record of 1,181 feet in 1924, the helicopter has proven its value in aviation for its durability and versatile roles. In business aviation, the helicopter is taking on even greater importance to quickly and efficiently transport busy executives within high-density city centers or to destinations under 800 kilometres.
Today’s rotorcraft are also increasingly sophisticated, with faster speeds and greater range. But even more noteworthy are the luxe interiors that have appeared in the last few years. Airbus Corporate Helicopters has partnered with Aston Martin to give its ACH130 a signature interior resembling a stylish, leather-clad supercar, while fractional provider Flexjet gives tribute to the Bentley Mullinar in its new special edition Sikorsky S-76. The latest Marine One, used to transport the U.S. president and other high-level U.S. officials, is a customized Sikorsky VH-92-A with special security features but also a lavish interior.
This list features seven of the most expensive helicopters in the world, with an overview of their designs, technological advantages, and passenger amenities rivaling many smaller business jets.
ACH160 Exclusive
Photo : Airbus Corporate Helicopters
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Leonardo AW609
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Sikorsky S-92 Executive
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Bell 525 Relentless
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One of Hollywood’s Favorite Bespoke Tailors Is Making His First Ready-to-Wear Line
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Published on January 18, 2025
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In 1971, after graduating from what is now the London College of Fashion, he became the youngest person to open his own store on Savile Row. He set up shop in Manhattan 20 years later and has since dressed everyone from Al Pacino to Hugh Jackman. A lengthy list of devoted clients suggests the long lead time for one of his $15,000 rigs is worth it.
If you like his strong-shouldered look but want to skip making the dozens of decisions bespoke commissions require, you’re in luck. This year, Logsdail will begin offering a line of ready-to-wear jackets, available for purchase directly via his website.
“It’s an idea that’s been percolating for years,” Logsdail tells Robb Report. The result of his ruminations is timeless and essential: a two-button jacket with a double vent, using the same pattern he has employed countless times to give actors such as Denzel Washington (American Gangster) and Michael Douglas (Wall Street: Money Never Sleeps) a commanding on-screen presence. It’s all about the shape, he says of the jacket’s leading-man look. There will be “a little bit of waisting,” so it flatters guys of all sizes.
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Form and Function
I got excited seeing Lemaire’s slim metallic modernised bolo ties in the house’s fall 2024 show. A favourite of men as varied as Johnny Cash, Bruce Springsteen, and Snoop Dogg, the bolo is perhaps best remembered as the chosen neckwear of John Travolta’s surly hit man, Vincent, in Pulp Fiction. Originally, Native American tribes including the Zuni, Hopi, and Navajo used these accessories used to fasten bandannas with plaited-leather cords. High-end versions double as a bit of jewellery, with silver slides set with turquoise and often engraved with animal motifs, including buffalo skulls and eagles. Contemporary takes abound, but vintage sleuthing can turn up some particularly beguiling options.
Gambling Man
Varying in size, flounce, and attitude, ribbon ties—also called gambler or Kentucky neckties—have long been a legitimate black-tie alternative. Actor Cillian Murphy has worn Saint Laurent’s take to various award shows, looking stand-alone chic and authentically cool. They have a distinct Western energy—Kirk Douglas donned one as Doc Holliday in Gunfight at the O.K. Corral, as did Robert Vaughan in The Magnificent Seven. But they’re as much rock star as they are gunslinger: The late Johnny Thunders of the New York Dolls and Bauhaus front man Peter Murphy (style role models of mine) also wore them with panache. Take a note from the runway and wear them with a pair of boots—cowboy, Chelsea, or with a Cuban heel—to really step away from the standard.
Fit to Be Tied
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If you want to give yourself some breathing room, consider scarves and neckerchiefs. This fall, Tom Ford proposed a louche take on evening style, using black, slim-plaited, or delicately sequined scarves whose long tassels provocatively dangle at the hips. For maximum effect, the brand styled them with open satin shirts, recalling rockers Mick Jagger and Rod Stewart. London’s La Bowtique also does beautiful outsize bows. On a smaller scale, the Twilly—a short silk scarf pioneered by Hermès—works in much the same manner. The French maison makes gorgeous options with angled ends for extra verve, whether hanging loose or more discreetly knotted.
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The Sydney Harbour Concours d’Elegance—a beauty pageant for priceless classic cars—returns for another instalment at the city’s most intriguing, and unlikeliest, venue.
The logic behind staging a prestige automobile show on an island may, at face value, seem warped—history tells us that cars and water do not play nicely. The rationale twists further when said piece of land is a former shipyard that is, aesthetically, more workhorse ute than classic Ferrari.
Scratch beneath the surface, however, and the decision to plant the Sydney Harbour Concours d’Elegance on Cockatoo Island for the second year running begins to make locational sense: the steel arch of the emblematic bridge acting as photogenic backcloth; the UNESCO World Heritage site’s previous guises as 19th-century penal colony and eminent boat-building facility fleshing the show’s historical bones; the theatre of watching collectors delicately coaxing their four-wheeled artworks off a rusty roll-on/roll-off barge in the islet’s wharf before showtime. (After all, if owning a car in this stratosphere isn’t about projecting drama, then what’s the point?)
Throw in an endless endowment of free Champagne for guests and VIP transport from the mainland via superyacht, and it barely matters that the three-day jamboree is, in the words of founder and curator James Nicholls, “a logistical nightmare”.
“People love the energy, the adventure” says the Anglo-Italian, a broadcaster, writer and photographer whose extensive resume includes various stints as a concours judge across the world. “There’s a great contrast between the luxurious motor cars and the industrial environment. The Turbine Shop [a timeworn, hanger-like space used to display the vehicles] is where ocean-going liners and propellers were built. People interested in cars are also interested in that kind of thing but it’s just a backdrop. Cars are the main focal point.”
The concours d’elegance concept (“concours” means “competition” in French) can be traced back to 17th-century Paris, when aristocrats would flaunt horse-drawn carriages in local parks during summer months. Animals eventually gave way to automobiles, and the gatherings mutated into more organised contests in which these new-fangled contraptions were, in somewhat prescient fashion, judged solely on the appearance. The trend spread throughout European high society, before reaching America in 1950 with an inaugural pageant at Pebble Beach, California—a concours which has since evolved into a behemoth of the species, now billing itself as “the world’s most prestigious car show” and drawing 214 vehicles and spectators in the low five figures at the last annual meeting. Other concours are thriving globally, from spectacles in Lake Como in Italy (the longest running event, launched in 1929) to Udaipur in India. Vanity, it seems, remains in vogue.
Among this storied company, Sydney’s interpretation is playing catch-up. But Nicholls insists the local variant—launched in 2019, having occupied three other citywide locations—has no intention of locking horns with competitors. Not numerically, at least.
“In 2024, we had 500 people over the three days; this year we’ll aim for 750. But we’re never going to become a 20,000-people show,” he says. “We want it to be bespoke and beautiful, so people don’t have to queue for a glass of Champagne. You can talk to the car owners, and everyone feels like a VIP.” The overarching aim is to become a “destination event” on the socialite calendar, on par with the Melbourne Cup or the Australian Grand Prix.
While keen to keep paying visitors guessing, Nicholls offers Robb Report a sneak peek into some of the 44 objets booked to occupy the coarse, exposed-brick viewing hall, ranging from turn-of-the-century rarities to modern-day exotics: a 1905 Eugène Brillié 20/24 HP Coupé Chauffeur, believed to be the only one of its ilk left; a 1955 Porsche Speedster 356 “Pre A”, examples of which are valued in excess of $750,000; a Lamborghini Miura 3400, a model famed for its starring role in the opening sequence to 1969’s The Italian Job movie; a 2021 Audi R8 Spyder, an iteration that is no longer being produced and thus quietly accruing kudos.
Up to seven “classes” will be open, including categories solely for Porsche Speedsters and pre-war Australian coachbuilt cars. Two 1930s Bugattis are slated for appearance, one of which is, as this article is being written, on a boat somewhere, on its way to Australia. A panel of seven judges, led by the first ever female concours head assessor, who also adjudicated in 2024, will select the overall “Best in Show” winner—scored last time out by a 1964 Ferrari 250 LM, a model line with a $24 million price tag attached. And in a progressive play designed to lure the oil-shunning generation, an “electric elegance” section will debut. Nicholls estimates the combined value of all this precious metal at around $80 million.
While it would provoke an illicit thrill to discover that frenzied super-collectors were slyly puncturing rivals’ tyres or keying priceless bodywork—skulduggery has plagued other pageants, from dog show Crufts (canine poisoning) to Miss World (rigging allegations)—the entrants are, in keeping with the show’s refined, English-garden-party profile—a gentlemanly bunch. To a point. “They like meeting up, the community that’s here, but they do get competitive,” says Mark Ussher, the Sydney Harbour Concours d’Elegance managing director, and on-the-ground organiser. “They care about their cars but they’re investors as well as collectors. If they win a concours anywhere around the world it adds value to the car.”
Which makes it doubly important that, surrounded by all that deep Harbour water, everyone remembers to put their handbrake on.
The Sydney Harbour Concours D’Elegance runs from February 28th-March 2nd 2025; sydneyharbourconcours.com.au
Book tickets now and take benefit from the RR 15% discount code: ROBB15
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Jannik Sinner Is the First Tennis Player to Take a Luxury Bag Onto Wimbledon’s Centre Court
The 23-year-old Italian flaunted a custom Gucci duffle bag on center court.
Jannik Sinner aced the style game at last year’s Wimbledon Championships.
The Italian tennis star turned up to his match against Juan Manuel Cerundolo with a custom Gucci duffel bag on his shoulder. It marks the first time a designer bag has been carried onto centre court in the history of the prestigious, centuries-old tennis tournament, as reported by Women’s Wear Daily.
The duffel, which Sinner describes as a “timeless classic,” showcases the house’s signature beige and ebony colorway, the iconic GG monogram, and a contrasting green and red web stripe. It also features the athlete’s initials near the straps. Ironically, the rather traditional design has called into question a 150-year tradition.
“For sure this will create a conversation,” Sinner told WWD before defeating Cerundolo in straight sets. “Bringing sport and luxury fashion together in this way is something that’s never been done before and I feel extremely proud to be a part of it. I hope people will love it as much as I do.”
Wimbledon’s dress code is extremely strict: Players have been required to wear white at the event since 1877, with not even off-white or cream permitted on the court. Tennis whites were originally instated as it was believed the ensemble showed less sweat, as reported by Time. The tradition has continued out of respect for the sport’s history and a desire to maintain formality.
The rules are enforced, too: Our own player Nick Kyrgios was allegedly fined $25,000 for rocking red Air Jordan trainers at 2023’s tournament. Interestingly, the decidedly non-white Gucci accessory was reportedly given the all-clear by the powers that be. A spokesperson for Gucci told WWD the house worked with Sinner’s team “for the approvals from the ITF (International Tennis Federation), ATP (Association of Tennis Professionals), and Grand Slams, including Wimbledon, to ensure the bag met the necessary requirements.”
The 23-year-old, who turned pro at age 18, became a Gucci ambassador in 2023 in his first luxury fashion endorsement. “Gucci for me represents Italian excellence around the world, excellence which is rooted in tradition as much as in innovation,” Sinner said. “This is the kind of message I am proud to convey when I represent my country wherever I am in the world.”
The Italian player was capture in action last week during his 1st round men’s singles match against Nicolas Jarry (from Chile) on day two of the Australian Open at Melbourne Park with more Gucci gear. Sinner carried a custom duffle bag crafted by HEAD and designed by Gucci to the men’s singles match on day two of the Australian Open tennis tournament in Melbourne.
Sinner will play Australian Alex de Minaur tomorrow 22 January at the Australian Open.
