The supercar sculptor

Sardinian-born Flavio Manzoni spent his childhood wishing he’d designed the Sydney Opera House. Today, his creations house an even more stirring musical performance.

By Michael Stahl 31/10/2016

How is one supposed to carry the weight of one of the world’s most powerful brands, the responsibility for a technological leader and a national institution? If you’re Flavio Manzoni, senior vice-president of design at Ferrari, you carry it on slender shoulders, with graciousness and an engaging, boyish enthusiasm.

On this particular day, Manzoni’s wide-eyed wonderment had a lot to do with his being in Australia for the first time. He visited in late May as a special guest speaker for Sydney’s Vivid festival. He also presented his latest creation, the four-seat, four-wheel-drive GTC4Lusso V12, and sat down for a one-on-one interview with Robb Report Australia.

He modestly deflects credit for the Lusso’s design – and that of every current Ferrari model, including the stratospheric LaFerrari supercar – onto his 75-strong team at the Ferrari Centro Stile. And Manzoni cites that very team as his proudest creation: prior to his arrival in January 2010, Ferrari was the only major automotive brand still lacking in-house design.

Manzoni is slim, bespectacled, stylish in a slightly nerdy way. He keeps fit by cycling, is an avid and accomplished pianist and is encyclopaedic in his knowledge of classical music. With an embarrassed laugh, he refers to the 708kW, 350km/h-plus LaFerrari supercar as a “beast”; the 574kW, 340km/h F12 Tour de France as a “monster”.

Manzoni was born in 1965 in Sardinia – the island’s culture, he says, is in his soul – as the son of an architect. Cars weren’t a particular focus, but capturing thoughts and images came naturally. “When I was a child, it was normal for me to visualise an object and the morning after, sketch it, just to freeze it, materialise it,” he says.

He says he dreamed of Australia even then. More specifically, of the Sydney Opera House. “When I was a child and I was dreaming to become an architect, this was among the five best [buildings] that I really loved,” he sighs. “I was very impressed that in 1957 a very young architect, Jørn Utzon, was imagining the future like this. If you look at [the Opera House] now, you think this has been designed now, thinking towards the future. And however many years later, this is really impressive.

“It makes us think how we are forgetting this approach. It is absolutely important to think in a very audacious way, let’s say a bold way, symbolic way. There is everything on this building; it is a masterpiece of symbolism. And I noticed yesterday, visiting the building, there are four dimensions – there is time as well.”

At 18, Manzoni left Sardinia to study architecture and industrial design at the University of Florence. On graduating, he decided to pursue a career in automotive design. He joined Fiat in 1993, spending six years in the design centre with the upscale Lancia brand, half that time as senior interior designer, before detouring to the Volkswagen-owned SEAT where he again specialised in interior design. He returned to Lancia in 2001 as overall Director of Design for the ailing brand.

Moving to parent Fiat in 2004, Manzoni oversaw the design of mainstream models like the retro-themed 500. A move to Volkswagen in 2006, where he was soon heading the group’s creative design, involved him in everything from the space-maximising Up! series of concepts, to the mainstream Golf VI, to designing the identities for Bentley and Bugatti.

Then, in 2009, Maranello came a-calling. Manzoni’s appointment was confirmed in January 2010. Ferrari had never fully taken the plunge before. As Manzoni sits down with Robb Report Australia in Sydney, he explains it had been that way from the beginning, when founder Enzo Ferrari agreed (with supposed reluctance) to produce and sell gran turismo road models in order to fund his racing scuderia.

“Enzo Ferrari used outside coachbuilders,” Manzoni says. “He didn’t care about production. He had to sell the cars to sustain the racers. There was a famous encounter between him and Pininfarina, and he committed to create the GT cars.”

From 1947 to 2010, all but a handful of Ferrari’s most iconic models were clothed by the independent Turin design house of Pininfarina.
Ferrari had put a toe in the water in late 2002 when, with fellow Modenese marque Maserati then in its stable, it appointed former BMW and MINI (now McLaren) designer Frank Stephenson as Director of Concept Design and Development.

Stephenson’s role was not to actually design cars, but to assist independent designers (like Pininfarina luminary Lorenzo Ramaciotti) in maintaining each brand’s identity. He was replaced in 2005 by Donato Coco, under whose watch were developed the Ferrari F430, California and the gorgeous 458 Italia. Coco moved on to British marque Lotus, as Ferrari successfully wooed Manzoni.

“I started in 2010 with the commitment of starting from scratch an entire studio,” Manzoni says. “We were four [people] at the beginning, now we are more than 75 …”

After completing revisions to the Pininfarina-penned FF – the “shooting brake” profile, re-employed in the GTC4Lusso – Manzoni and his young team had the ultimate challenge of Ferrari’s next supercar flagship, the LaFerrari. Acceptance of their efforts wasn’t a given. At the end of 2010, his small in-house team anxiously presented six full-scale clay models to Ferrari management … who gave the nod to move forward with two of them.

“It was the first big success for us – a demonstration that a talented team, working in-house, can produce a very high result,” Manzoni reflects. “The final part of the job was a very long process of optimisation. We remodelled, we redesigned every millimetre of this shape in order to reach the best compromise in terms of performance and beauty.”

Manzoni’s presentation at Vivid Sydney kept an audience of 200 enthralled in the Museum of Contemporary Art, recounting the design process of the LaFerrari. A very early step, he explained, was to take the naked carbon-fibre chassis as presented by the engineers and visualise (via 3D-modelling) the flow of air over it to create a “ghost body”.

“This car is made from carbon fibre and air,” Manzoni told the audience. “There are two forces which condition the configuration of a car like this. One is the air, and that tends to excavate the body. The other one is the amount of components that you have to put inside. Two opposite forces.”

Another force, strong in Manzoni, is authenticity. Fake grilles and wings, he says, aren’t design; merely styling. “Ferrari, we never make something only because we like it. It is not possible. There is always a rational process of selection that is based on also a rational criteria. If you have a beautiful idea but it doesn’t fit the purpose or the content of the product, it stops.”

Ferrari, though, has probably a richer seam of emotive visual cues than any other automotive brand. A tail-lamp shape, a ducktail spoiler, a pair of outlets angled just-so, that instantly denote the prancing horse. But Manzoni feels that regurgitating the past is cowardly, unless it’s done in an authentically innovative way.

“How can we combine a visionary approach with the respect for the tradition?” Manzoni rhetorically asked the Vivid audience. “There is a relationship between man and machine … It refers to symbols that have a strong impact on our imagination. The look of the object is very often provocative, there is a seductive encounter with the user, which is strongly emotional.”

At the nose of the LaFerrari, the front splitter appears to be suspended from a central, vertical element. It’s a fitting, functional solution – which happened to subtly recall the 1961 Ferrari 156 “shark-nose” Formula 1 car.

Similarly, the need to relieve pressure from the rear wheel-arches of the latest F12 Tour de France GT car found a neat solution in three, slanted air outlets. While in complete functional and aesthetic harmony with the F12’s innovative, excavated channels, they’re suggestive of the 1962 250 GTO.“It is a kind of conceptual approach that connects our products to the past, but not in a nostalgic way – in a very futuristic way,” explains Manzoni. “And if you look back, there are so many Ferraris that are so different from their predecessors. This means that the designers at the time were not so much influenced by the history. They just wanted to reinvent the future of Ferrari.”

More than he is proud of any of his designs, Manzoni says he is proud of a team that works “so fast – like in Formula 1”. The design time for a new Ferrari model, he says, is a staggering 14 months from first sketch to design freeze, after which it is handed over for the rather longer process of production engineering.

That design timeframe includes modelling in clay, which Manzoni insists is essential. “The modellers – who are real artists, sculptors – work on the right tension and the sexy effect of the surfaces that sometimes doesn’t come with virtual modelling. The human touch is very important to give a certain sensitivity, sensibility to the form.”

Fourteen months? Manzoni breaks into a smile. “LaFerrari took a longer time. But fortunately we are Italian, so we know very well the art of improvisation! We plan for 14 months, but sometimes that is not sufficient if you want to achieve the result of excellence.”

All of which largely explains the need for the Ferrari Centro Stile itself. “Nowadays the Ferraris are so complex, it’s not possible any more to find the technical configuration and then give it to somebody else to make a suit on top,” Manzoni says. “It’s an integrated design. We still cooperate with Pininfarina, especially for the one-off projects. It means they make their interpretation based on a production car. Historically, this is the tradition of a coachbuilder.”

Car designers are unfailingly among the most fascinating people one meets. Automotive design embodies almost every kind of design – architectural, furnishing, appliances, electronics – and does so within an endlessly demanding framework of vibration, heat, exposure to the environment and differing legislative requirements. Added to that is the range of cultural tastes to be satisfied by a product that will appear, at best, two years after the design has been signed off. Automotive designers never cease observing and absorbing cultures, colours, contours, textures, even sounds. Manzoni often mentions the “short-circuits” that occur between often unrelated fields like architecture, art, music – from which something new can be invented. How was Australia seeping into Manzoni’s consciousness?

“I can speak only about what I’ve seen so far,” he smiles. “Sometimes I have the feeling of an American city, because of the very modern buildings. But there is a very special, local and authentic character of the environment. I love this combination of natural beauty of the land.”

He had toured Sydney’s eastern suburbs, loading his iPhone – a cracked and weather-beaten example – with images of clifftop houses and curious, wind and water-hewn sandstone formations.

“It’s unbelievable, the cliffs are fantastic, and the integration between architecture and nature. There is a kind of connection there. I saw many beautiful villas on the cliffs … This landscape looks like an oil painting. And this villa, designed with a circular front and windows looking north-east and south-east. I think they can see the curvature of the earth from this.”

He shows us a series of photographs of rocks in Sydney’s Parsley Bay. Sandstone, layered and sculpted by the wind, pockmarked with bubbles like an Aero chocolate. “This reminds me of Antelope Canyon in Utah, a canyon created by the wind. It is beautiful, incredible what nature can do. And here – a tree that was born in the stone …”

The sandstone formations might as easily have reminded him of Katsushika Hokusai’s famous woodblock The Great Wave off Kanagawa, a print of which is prominent in the Ferrari Centro Stile in Maranello.

How do these lumps of rock help inspire the design of some of the world’s most advanced supercars? “I don’t know,” Manzoni shrugs. “I think I’m a very curious person, so I think it’s very important to nourish your creativity, your soul with different experiences. I’m sure they will naturally work in the background, influencing your choices, your ideas, your vision. This is a creation of nature, but it is like a sculpture.”

Creation, as he explains, doesn’t always happen when one is creating. “Normally, when I have to solve a problem, we sit in front of the model or we sit around the table, we make brainstormings with the team. But so many times, it happens in the moment where you have a pause. Spontaneously there is a kind of illumination – some intuition, some idea that comes naturally.”

He agrees that this intuition comes more naturally to Italians. “Italian design is better!” he laughs. “I think there is a higher emotional value that comes from the passion and enthusiasm that we have. I think we are naturally inclined to put a certain artistic quality on our best products. But not everything, uh? I have to be honest!”


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First Drive: The Porsche 911 S/T Is a Feral Beast That Handles the Road Like an Olympic Bobsledder

The commemorative model borrows underpinnings from the GT3 RS and includes a 518 hp engine.

By Basem Wasef 23/10/2023

The soul of any sports car comes down to the alchemy of its tuning—how the engine, suspension, and chassis blend into a chorus of sensations. The secret sauce of the new Porsche 911 S/T, developed as a tribute to the 60th anniversary of the brand’s flagship model, is more potent than most; in fact, it makes a serious case for being the most driver-focused 911 of all time.

Sharing the S/T designation with the homologation special from the 1960s, the (mostly) innocuously styled commemorative model borrows underpinnings from the more visually extroverted GT3 RS. Yet what the S/T, starting at $290,000, lacks in fender cutouts and massive spoilers it makes up for in directness: a flat-six power plant that revs to 9,000 rpm, a motorsport-derived double-wishbone suspension, and a manual gearbox. It’s a delightfully feral combination.

Rossen Gargolov

Whereas the automatic-transmission GT3 RS is ruthlessly configured for maximum downforce and minimum lap times, the S/T is dialed in for the road—particularly the Southern Italian ones on which we’re testing the car, which happen to be the very same used by product manager Uwe Braun, Andreas Preuninger, head of Porsche’s GT line, and racing legend Walter Röhrl to finalize its calibration. The car reacts to throttle pressure with eerie deftness, spinning its 518 hp engine with thrilling immediacy, thanks to shorter gear ratios.

The steering response is similarly transparent, as direct as an unfiltered Marlboro, and the body follows with the agility of an Olympic bobsledder. Some of that purity of feeling is the result of addition through subtraction: Power-sapping elements including a hydraulic clutch and rear-axle steering were ditched, which also enabled the battery to be downsized for even more weight savings. The final result, with its carbon-fiber body panels, thinner glass, magnesium wheels, and reduced sound deadening, is the lightest 992-series variant on record, with roughly the same mass as the esteemed 911 R from 2016.

Driver engagement is further bolstered by the astounding crispness of the short-throw gearbox. The S/T fits hand in glove with narrow twisties and epic sweepers, or really any stretch that rewards mechanical grip and the ability to juke through hairpin corners. The cabin experience is slightly less raucous than the 911 R, but more raw than the wingless 911 GT3 Touring, with an intrusive clatter at idle due to the single-mass flywheel and featherlight clutch. Porsche cognoscenti will no doubt view the disturbance in the same way that hardcore Ducatisti revere the tambourine-like rattle of a traditional dry clutch: as an analog badge of honor.

The main bragging right, though, may just be owning one. In a nod to the year the 911 debuted, only 1,963 examples of the S/T will be built. Considering the seven-year-old 911 R started life at$295,000 and has since fetched upwards of $790,000, this new lightweight could bring proportionately heavy returns—if you can be pried from behind the wheel long enough to sell it, that is.

Images by Rossen Gargolov

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Gentlemanly Restraint 

Art and science collide in the the newly released BR03A watch collection by Bell & Ross.

By Belinda Aucott 02/11/2023

In keeping with the brand’s design salute to aviation and military equipment, the pared-back face of the Bell & Ross BR03 Automatic takes its cue from the instrumentation in cockpits. It’s unabashedly minimal and confidently masculine style is set to make it a future classic.

Faithful to the codes that underpin the brand’s identity, the new utilitarian offerings sit within a smaller 41-mm case (a slight departure from the original at 42 mm Diver, Chrono or GMT.) and has a reduced lug width and slimmer hands. The changes extend to the watch movement, which has been updated with a BR-CAL.302 calibre. The watch is waterproof to 300 metres and offers a power reserve of 54 hours.

While the new collection offers an elegant sufficiency of colourways, from a stealthy black to more decorative bronze face with a tan strap, each is a faithful rendition of the stylish “rounded square, four-screw” motif that is Bell & Ross’s calling card.



For extra slickness, the all-black Phantom and Nightlum models have a stealthy, secret-agent appeal, offering up a new take on masculine restraint.

Yet even the more decorative styles, like the black face with contrasting army-green band, feel eminently versatile and easy to wear. The 60’s simplicity and legibility of the face is what makes it so distinctive and functional.

For example, the BR 03-92 Nightlum, with its black matte case and dial, and bright green indices and hands, offers a great contrast during the day and emits useful luminosity at night.

A watch that begs to be read, the the BR03-A stands up to scrutiny, and looks just as good next to a crisp, white cuff as it does at the end of a matte, black wetsuit.

That’s a claim not many watch collections can make. 

Explore the collection.

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Timeless Glamour & Music Aboard The Venice Simplon-Orient Express

Lose yourself in a luxury journey, aboard an Art Deco train from Paris

By Belinda Aucott 03/11/2023

Watching the unseen corners of Europe unfold gently outside your train, window can be thirsty work, right? That’s why Belmond Hotels is once again staging a culinary train journey from Paris to Venice, aboard the glittering Art Deco carriages of the Venice Simplon-Orient Express.

To celebrate diversity and inclusion in the LBTQ+ community, another unforgettable train ride is slated for 2 November.

On the journey, ample servings of decadent cuisine will be served and live entertainment will play looooong into the night. Trans-DJ Honey Dijon and Dresden’s Purple Disco Machine are both part of the disco-house line-up.

Passengers are encouraged to dress in black-tie or cocktail attire, before they head to the bar and dining carriages to enjoy their night, where they are promised ‘unapologetic extravagance’,.

Negronis, martinis, spritzes and sours will all be on offer as the sunlight fades.

So-hot-right-now French chef Jean Imbert is also in the kitchen rattling the pans for guests.

Imber puts a garden-green-goodness twist on Gallic traditions. He regularly cooks for the who’s-who. Imbert recently co-created a food concept for Dior in Paris, worked with Pharrell Williams to present a dinner in Miami, and he’s even been invited to Cheval Blanc St-Barth to cater luxe LVMH-owned property.

The young chef is vowing to create no less than ‘culinary perfection’ in motion with his own passion for fresh seasonal produce. There’ll be plenty of Beluga caviar, seared scallops, and lobster vol-au-vents.

“I want to create beautiful moments which complement the train, which is the true star,” says Imbert of his hands-on approach to delectable pastries and twists on elegant Euro classics.

“Its unique legacy is something we take pride in respecting, while evolving a new sense of style and purpose that will captivate a new generation.”

Check the timetable for the itinerary of lush inclusions here.

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From Electric Surfboards to Biodegradable Golf Balls: 8 Eco-Conscious Yacht Toys for Green and Clean Fun

Just add water and forget the eco-guilt.

By Gemma Harris 18/10/2023

Without toys, yachts would be kind of sedentary. There’s nothing wrong with an alfresco meal, sunsets on the flybridge and daily massages. But toys add zest to life on board, while creating a deeper connection with the water. These days, there are a growing number of options for eco-friendly gadgets and equipment that deliver a greener way to play. These eight toys range from do-it-yourself-propulsion (waterborne fitness bikes) to electric foiling boards, from kayaks made of 100 percent recycled plastics to non-toxic, biodegradable golf balls with fish food inside. Your on-water adrenaline rushes don’t always have to be about noise and gas fumes. They can be fun, silent, and eco-conscious.

A game of golf isn’t just for land. Guests can play their best handicap from the deck with Albus Golf’s eco-friendly golf balls. The ecological and biodegradable golf balls are 100 percent safe for marine flora and fauna, and manufactured with non-contaminating materials. The balls will biodegrade within 48 hours after hitting the ocean and release the fish food contained in their core. For a complete golfing experience, add a floating FunAir green. From $3100 (FunAir Yacht Golf) and $315 a box (golf balls).

Fliteboard Series 2.0

The future of surf is electric, and Fliteboard offers an emissions-free and environmentally friendly electric hydrofoil. Flying over the water has never been as efficient and low impact, using new technologies with less than 750 watts of electric power. This second series boasts various performance factors for all riding styles. It also features an increased trigger range from 20 to 40 degrees for more precision and control. Fliteboard designed this series for every possible foiling ability, from newbies to wave-carvers. From $22,000.

Manta 5 Hydrofoiler XE-1

Hailing from New Zealand and using America’s Cup technology, Manta 5 offers the first hydrofoil bike. The Hydrofoiler XE-1 replicates the cycling experience on the water. Powered by fitness-level pedaling and assisted by the onboard battery, top speeds can reach up to 19 km per hour. The two hydrofoils are carbon fibre, and the frame is aircraft-grade aluminium. The onboard Garmin computer will relay all the stats. The effortless gliding sensation will accompany you through a workout, exploration or just circling the boat. From $950.

Mo-Jet’s Jet Board

Imagine five toys in one: The Mo Jet delivers just that. From jet surfing, bodyboarding, and e-foiling to scooter diving. This versatile, German-built toy is perfect for those who cannot decide. The Mo-jet uses a cool modular system allowing you to switch between activities. Whether you want to stand, be dragged around or dive, you can have it all. It even has a life-saving module and a 2.8m rescue electric surfboard. Made from environmentally friendly and recyclable polyethene, it also ticks the eco-conscious boxes. Complete with an 11kW electric water jet, it charges in 75 mins, offering up to 30 mins of fun. Adrenaline junkies will also not be disappointed, since speed surges from 0 to 27 knots in 3 seconds. From $18,000.

Silent Yachts Tender ST400

Driven by innovation and solar energy, Silent Yachts recently launched its first electric tender, the ST400. The 13-footer has clean-cut lines and is built with either an electric jet drive or a conventional electric outboard engine. The ST400 reaches speeds above 20 knots. From $110,000.

Osiris Outdoor ‘Reprisal’ Kayak

Kayaks are ideal for preserving and protecting nature, but they’re usually manufactured with materials that will last decades longer than we will and therefore not too eco-friendly. Founded by US outdoor enthusiasts, Osiris Outdoor has created a new type of personal boat. “The Reprisal” kayak is manufactured in the US entirely from recycled plastics (around 27 kgs) that are purchased from recycling facilities. The sustainable manufacturing process isn’t its only selling point; the lightweight Reprisals have spacious storage compartments, rod holders and a watertight hatch for gadgets. Complete with a matte-black finish for a stylish look. From $1100.

The Fanatic Ray Eco SUP Paddleboard

Declared as the most sustainable SUP, the Ray Eco is the brainchild of the Zero Emissions Project and BoardLab, supported by Fanatic. Glass and carbon fibre have been replaced with sustainable Kiri tree wood. And you can forget toxic varnishes and resins; organic linseed oil has been used to seal the board and maintain its durability. This fast, light, and stable board is truly one of a kind, not available off the rack. This craftsman’s love for detail and preservation is another first-class quality of the board. From $10,000

Northern Light Composite X Clean Sailors EcoOptimist

One of the most popular, single-handed dinghies in sailing’s history, the tiny Optimist has undergone a sustainable revival. Northern Light Composites and not-for-profit Clean Sailors have teamed up to launch the first sustainable and recyclable Optimist. Using natural fibres and eco-sustainable resins, The EcoOptimist supports a new circular economy in yachting. OneSail also produces the sail with a low-carbon-footprint manufacturing process. From $6000.

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The 50 Best Cocktail Bars in the World, According to a New Ranking

The World’s 50 Best organisation gave the Spanish bar Sips top honours during an awards ceremony in Singapore.

By Tori Latham 18/10/2023

If you’re looking for the best bar in the world, you better head to Barcelona.
Sips, from the industry luminaries Simone Caporale and Marc Álvarez, was named the No. 1 bar on the planet in the latest World’s 50 Best Bars ranking. The organisation held its annual awards ceremony on Tuesday in Singapore, the first time it hosted the gathering in Asia. Sips, which only opened two years ago, moved up to the top spot from No. 3 last year.
“Sips was destined for greatness even before it rocketed into the list at No. 37 just a few short months after opening in 2021,” William Drew, the director of content for 50 Best, said in a statement.
“The bar seamlessly translates contemporary innovation and technical precision into a playful cocktail programme, accompanied by the warmest hospitality, making it a worthy winner of The World’s Best Bar 2023 title.”
Coming in second was North America’s best bar: New York City’s Double Chicken Please. The top five was rounded out by Mexico City’s Handshake Speakeasy, Barcelona’s Paradiso (last year’s No. 1), and London’s Connaught Bar. The highest new entry was Seoul’s Zest at No. 18, while the highest climber was Oslo’s Himkok, which moved up to No. 10 from No. 43 last year.
Barcelona may be home to two of the top five bars, but London has cemented its status as the cocktail capital of the world: The English city had five bars make the list, more than any other town represented. Along with Connaught Bar in the top five, Tayēr + Elementary came in at No. 8, and Satan’s Whiskers (No. 28), A Bar With Shapes for a Name (No. 35), and Scarfes Bar (No. 41) all made the grade too.
The United States similarly had a good showing this year. New York City, in particular, is home to a number of the best bars: Overstory (No. 17) and Katana Kitten (No. 27) joined Double Chicken Please on the list.
Elsewhere, Miami’s Café La Trova hit No. 24 and New Orleans’s Jewel of the South snuck in at No. 49, bringing the Big Easy back to the ranking for the first time since 2014.
To celebrate their accomplishments, all of this year’s winners deserve a drink—made by somebody else at least just this once.
Check out the full list of the 50 best bars in the world below.
1. Sips, Barcelona
2. Double Chicken Please, New York
3. Handshake Speakeasy, Mexico City
4. Paradiso, Barcelona
5. Connaught Bar, London
6. Little Red Door, Paris
7. Licorería Limantour, Mexico City
8. Tayēr + Elementary, London
9. Alquímico, Cartagena
10. Himkok, Oslo
11. Tres Monos, Buenos Aires
12. Line, Athens
13. BKK Social Club, Bangkok
14. Jigger & Pony, Singapore
15. Maybe Sammy, Sydney
16. Salmon Guru, Madrid
17. Overstory, New York
18. Zest, Seoul
19. Mahaniyom Cocktail Bar, Bangkok
20. Coa, Hong Kong
21. Drink Kong, Rome
22. Hanky Panky, Mexico City
23. Caretaker’s Cottage, Melbourne
24. Café La Trova, Miami
25. Baba au Rum, Athens
26. CoChinChina, Buenos Aires
27. Katana Kitten, New York
28. Satan’s Whiskers, London
29. Wax On, Berlin
30. Florería Atlántico, Buenos Aires
31. Röda Huset, Stockholm
32. Sago House, Singapore
33. Freni e Frizioni, Rome
34. Argo, Hong Kong
35. A Bar With Shapes for a Name, London
36. The SG Club, Tokyo
37. Bar Benfiddich, Tokyo
38. The Cambridge Public House, Paris
39. Panda & Sons, Edinburgh
40. Mimi Kakushi, Dubai
41. Scarfes Bar, London
42. 1930, Milan
43. Carnaval, Lima
44. L’Antiquario, Naples
45. Baltra Bar, Mexico City
46. Locale Firenze, Florence
47. The Clumsies, Athens
48. Atlas, Singapore
49. Jewel of the South, New Orleans
50. Galaxy Bar, Dubai

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