The 7 Best Watches of the Week, From Mark Zuckerberg’s Greubel Forsey to Paetongtarn Shinawatra’s Patek Philippe

It has been a joyful week in watches with some truly fun timepieces, starting with Tom Holland and his Rolex Oyster Perpetual 41 “Celebrations.” Another playful Rolex was seen on the DJ Khaled’s wrist with the Rolex Cosmograph Daytona in yellow gold with orange sapphires. Staying with warm gold tones and gemstones, the Thai Prime Minister Paetongtarn Shinawatra was photographed wearing a rose gold Patek Philippe Nautilus adorned with spessartites. Elsewhere in celebrity land, Mark Zuckerberg was seen with yet another incredible timepiece. This week it was the Greubel Forsey Hand Made 1. Tom Pelphery was spotted at the Golden Globes wearing a TAG Heuer Monaco Chronograph while Jake Gyllenhaal was also at the ceremony wearing a Cartier Tortue. Lastly, Jason Kelce was featured in People Magazine wearing a yellow-gold Rolex Submariner. Let’s take a closer look.
Photo : Rolex/Getty
British actor Tom Holland was being interviewed this week while cuddling a whole litter of puppies. The scene was cuteness overload, especially when he turned his wrist around to reveal the Rolex Oyster Perpetual 41 “Celebrations” model with its turquoise blue dial composed of differently sized bubbles in candy pink, yellow, coral red, and green. Holland was wearing the 41 mm model, but it also comes in 36 mm and 31 mm. Priced at around $6,750, this particular model quickly became highly sought-after and prices on the secondary market are now double, if not triple the original price tag.
Photo: Getty/Greubel Forsey
Please accept our apologies for featuring Mark Zuckerberg yet again, but the 40-year-old billionaire has been flaunting some exceptional wristwear since getting the watch collecting bug. This week, he was on Instagram announcing the end of third-party fact-checkers while wearing Greubel Forsey’s Hand Made 1. This timepiece takes traditional watchmaking craftsmanship to a whole new level with 95% of the watch manufactured using only hand-operated tools, just like the watchmakers from the past would have done. The regulating organ and balance spring are entirely made by hand, as is the  hand-enameled dial, and all the finishing. Greubel Forsey only makes two or three pieces per year for the sum of around $1.5 million, making Mr. Zuckerberg a very lucky man indeed!
Photo: Rolex/Getty
The DJ and music producer DJ Khaled was spotted on Instagram this week flaunting his Rolex Cosmograph Daytona with a sunny array of 36 orange baguette-cut sapphires around the bezel. Each year, Rolex likes to release a handful of bejeweled watches for those who love their watch to stand out. This was the 2019 offering with its bright orange gemstones, mother-of-pearl dial, eight diamond indexes and yellow gold case and bracelet. Rolex is often considered a conservative brand, but when you discover pieces like this – along with Tom Holland’s Oyster Perpetual above – you realize that they also like to go a little crazy from time to time. The price tag for this timepiece is around $129,151.
Photo: Getty/TAG Heuer
Emmy award-winning actor Tom Pelphery was photographed at the Golden Globes last Sunday wearing TAG Heuer’s Monaco Chronograph with its 39mm stainless steel square case, black dial, and black alligator strap. It was the perfect timepiece to style with his black tuxedo. The model was first introduced in 1969 and gained worldwide recognition when actor Steve McQueen wore it in the 1971 Le Mans film, cementing its status as a motorsport-inspired icon. Since then, it has been an extremely popular model with Pelphery’s timepiece being one of the latest ones available for sale. The price of the TAG Heuer Monaco Chronograph is around $12,500.
Photo: Cartier/Getty
Another Golden Globes watch spot was on the wrist of actor Jake Gyllenhaal who was seen wearing a rather delightful yellow gold Cartier Tortue. The Tortue was introduced by the French Maison in 1912 and predates the famous Tank model by five years. Its distinctive barrel-shaped case was inspired by the shape of a tortoise shell. Gyllenhaal’s model comes in 18-karat yellow gold and features a white dial with Roman numerals and a blue alligator strap. This model comes with a price tag of around $46,200.
Photo: Getty/Patek Philippe
The Prime Minister of Thailand has proven she has impeccable taste when it comes to watches. She was seen attending an event wearing a Patek Phillippe Nautilus (reference 7118/1300R) set with a double color gradation of 68 baguette-cut spessartites, ranging from cognac at 12 and 6 o’clock, to champagne at 9 and 3 o’clock. The dial also has indexes made of ogive-shaped spessartite baguettes in cognac hues. All these warm gemstones are paired with a rose gold case and a matching rose-gilt striped dial . The price for this timepiece is estimated at $140,000.
Photo: Rolex/Getty
Last but not least, the former Superbowl-winning pro football player Jason Kelce was photographed in People Magazine wearing a yellow gold Rolex Submariner. This iconic luxury dive watch was first introduced in 1953 and revolutionized the watch industry by being one of the first purpose-built dive watches to be water resistant to 100 meters (Kelce’s model is water resistant to 300 meters). Initially 37 mm in diameter, the size was increased to 40 mm in 1959 and is now 41 mm. Over its 70-year history, the Submariner has evolved from a professional tool watch to a symbol of luxury and status, that’s probably why we see so many of them in this celebrity column. This watch will set you back around $73,000.

The 7 Best Watches of the Week, From Mark Zuckerberg’s Greubel Forsey to Paetongtarn Shinawatra’s Patek Philippe

It has been a joyful week in watches with some truly fun timepieces, starting with Tom Holland and his Rolex Oyster Perpetual 41 “Celebrations.” Another playful Rolex was seen on the DJ Khaled’s wrist with the Rolex Cosmograph Daytona in yellow gold with orange sapphires. Staying with warm gold tones and gemstones, the Thai Prime Minister Paetongtarn Shinawatra was photographed wearing a rose gold Patek Philippe Nautilus adorned with spessartites.

Elsewhere in celebrity land, Mark Zuckerberg was seen with yet another incredible timepiece. This week it was the Greubel Forsey Hand Made 1. Tom Pelphery was spotted at the Golden Globes wearing a TAG Heuer Monaco Chronograph while Jake Gyllenhaal was also at the ceremony wearing a Cartier Tortue. Lastly, Jason Kelce was featured in People Magazine wearing a yellow-gold Rolex Submariner.

Let’s take a closer look.

Photo : Rolex/Getty

British actor Tom Holland was being interviewed this week while cuddling a whole litter of puppies. The scene was cuteness overload, especially when he turned his wrist around to reveal the Rolex Oyster Perpetual 41 “Celebrations” model with its turquoise blue dial composed of differently sized bubbles in candy pink, yellow, coral red, and green. Holland was wearing the 41 mm model, but it also comes in 36 mm and 31 mm. Priced at around $6,750, this particular model quickly became highly sought-after and prices on the secondary market are now double, if not triple the original price tag.

Photo: Getty/Greubel Forsey

Please accept our apologies for featuring Mark Zuckerberg yet again, but the 40-year-old billionaire has been flaunting some exceptional wristwear since getting the watch collecting bug. This week, he was on Instagram announcing the end of third-party fact-checkers while wearing Greubel Forsey’s Hand Made 1. This timepiece takes traditional watchmaking craftsmanship to a whole new level with 95% of the watch manufactured using only hand-operated tools, just like the watchmakers from the past would have done. The regulating organ and balance spring are entirely made by hand, as is the  hand-enameled dial, and all the finishing. Greubel Forsey only makes two or three pieces per year for the sum of around $1.5 million, making Mr. Zuckerberg a very lucky man indeed!

Photo: Rolex/Getty

The DJ and music producer DJ Khaled was spotted on Instagram this week flaunting his Rolex Cosmograph Daytona with a sunny array of 36 orange baguette-cut sapphires around the bezel. Each year, Rolex likes to release a handful of bejeweled watches for those who love their watch to stand out. This was the 2019 offering with its bright orange gemstones, mother-of-pearl dial, eight diamond indexes and yellow gold case and bracelet. Rolex is often considered a conservative brand, but when you discover pieces like this – along with Tom Holland’s Oyster Perpetual above – you realize that they also like to go a little crazy from time to time. The price tag for this timepiece is around $129,151.

Photo: Getty/TAG Heuer

Emmy award-winning actor Tom Pelphery was photographed at the Golden Globes last Sunday wearing TAG Heuer’s Monaco Chronograph with its 39mm stainless steel square case, black dial, and black alligator strap. It was the perfect timepiece to style with his black tuxedo. The model was first introduced in 1969 and gained worldwide recognition when actor Steve McQueen wore it in the 1971 Le Mans film, cementing its status as a motorsport-inspired icon. Since then, it has been an extremely popular model with Pelphery’s timepiece being one of the latest ones available for sale. The price of the TAG Heuer Monaco Chronograph is around $12,500.

Photo: Cartier/Getty

Another Golden Globes watch spot was on the wrist of actor Jake Gyllenhaal who was seen wearing a rather delightful yellow gold Cartier Tortue. The Tortue was introduced by the French Maison in 1912 and predates the famous Tank model by five years. Its distinctive barrel-shaped case was inspired by the shape of a tortoise shell. Gyllenhaal’s model comes in 18-karat yellow gold and features a white dial with Roman numerals and a blue alligator strap. This model comes with a price tag of around $46,200.

Photo: Getty/Patek Philippe

The Prime Minister of Thailand has proven she has impeccable taste when it comes to watches. She was seen attending an event wearing a Patek Phillippe Nautilus (reference 7118/1300R) set with a double color gradation of 68 baguette-cut spessartites, ranging from cognac at 12 and 6 o’clock, to champagne at 9 and 3 o’clock. The dial also has indexes made of ogive-shaped spessartite baguettes in cognac hues. All these warm gemstones are paired with a rose gold case and a matching rose-gilt striped dial . The price for this timepiece is estimated at $140,000.

Photo: Rolex/Getty

Last but not least, the former Superbowl-winning pro football player Jason Kelce was photographed in People Magazine wearing a yellow gold Rolex Submariner. This iconic luxury dive watch was first introduced in 1953 and revolutionized the watch industry by being one of the first purpose-built dive watches to be water resistant to 100 meters (Kelce’s model is water resistant to 300 meters). Initially 37 mm in diameter, the size was increased to 40 mm in 1959 and is now 41 mm. Over its 70-year history, the Submariner has evolved from a professional tool watch to a symbol of luxury and status, that’s probably why we see so many of them in this celebrity column. This watch will set you back around $73,000.

Bringing Sexy Back

It’s hard to say the word “vibe” five times in an hour without sounding partly comatose, yet somehow coveted new designer Giampiero Tagiaferri manages it. Behind his beaded necklaces and shiny black curls, he is a riddle of high sophistication and hometown modesty.

Tagliaferri, 41, is attached to some of the hottest projects in the world right now and he’s a man with plenty to “vibe” about. It’s thanks to artists like him that Italy has remained for centuries at the pinnacle of interior design and architecture. 

Deftly mixing modern interiors with historic design, his ventures are unexpected and emotionally complex. A riotous clash of colours and textures, his layered aesthetic mashes up eras and materials like he is designing the set of a film directed by Luca Guadagnino. But beyond his Prince Charming demeanour, Tagliaferri is bringing a sexiness back to architecture and design. 

“I love the ’70s aesthetic because it’s very sensual,” says Tagliaferri. “Back then, design was very experimental and there was a certain freedom or a feeling of being liberated.”

His knack of walking a tightrope between opulence and restraint has won him an illustrious fan base consisting of well-heeled Americans and Europeans who divide their time between the world’s most lavish playgrounds. “My work always tends to embody a tension between the two aspects of a quite formal aesthetic and a much more affordable or approachable set of materials or objects.” 

Photo of Giampiero Tagliafieri’s Los Angeles studio Photo: Billal Taright

Humbly avoiding direct praise, Tagliaferri credits Milan for his stratospheric success, a city he says is embedded in his “DNA”. “Milan was bombed and so after the war it was completely rebuilt and I think that the modernism in Milan is what makes it so relevant today.” 

But Milan isn’t the only mood he’s playing with. Tagliaferri, who was born in Bergamo just north of Italy’s design capital, admits he has been seduced by the sense of space and sun in his adopted home of California, where he has lived for the past nine years. Each month he travels to Milan to oversee his European endeavours but chooses to live in Silver Lake, a spot where he can walk between his home and his studio.

The former creative director for Oliver Peoples—who took the brand’s global footprint from eight to 41 stores in six years—is now involved in some eye-watering projects, from palazzos in Venice to the new build of pop stars’ home in the Nevada desert. 

When we meet in on a sunny Venice day, he’s fresh from a site visit to oversee the re-fit of a 16th-century palazzo on the Grand Canal. He jumps off a wooden water taxi and lands on the side of the waterway dressed in a pale-blue linen suit. He shakes his black curls from his face like a breathtaking Medusa and gives a beaming white smile. “Allora.” 

Giampiero Tagliafierri Photo courtesy of: Studio Giampiero Tagliafierri

The Venice building is just one in a clutch of exclusive projects that have been keeping Tagliaferri busy since he started his practice in 2022. Thanks to the Belgian serial entrepreneur Adrien Dewulf, who now serves as a partner in the business, he has studios in Los Angeles and Milan. He can barely keep up with demand.

The opening of the Oliver Peoples Milan flagship was a high point. The interior pays homage to the residential high style of Milanese apartments in the 1950s. Elegant wooden joinery, marble floors, grey stone and pale-blue walls are carefully offset by art and objects that build a visual narrative that’s nostalgic yet familiar. It was here that the owners of Minotti first saw Tagliaferri’s work and recruited him to design his first collection—an interesting choice for a serious manufacturer long led by the rationalist Italian architect Rodolfo Dordoni.

Inspired by the 1970s, Supermoon Armchair designed by Giampiero Tagliaferri features a lacquered base in three colours, that accommodates the back and seat cushions. Fabric or leather upholstery options include the bold and contemporary cowhide. Photo: Courtesy of Minotti

Less than 12 months after the first meeting, Tagliaferri unveiled his debut collection, Supermoon, at Milan Design Week, where people from all over the world stood in lines to see the series, which includes a seating system, outdoor setting, bed, desk, coffee and side tables. 

“With Minotti I wanted to design something that I felt was missing from their collection. Their collection is great, but it tends to be very serious. I wanted to create something that I could use in my own projects, something a little more playful, more rounded and more sensual.”

Oliver People’s Milan flagship Photo: Oliver Peoples

Minotti isn’t the only big Italian brand taking notice. His major new client Carolina Cucinelli—daughter of fashion designer Bruno Cucinelli—has also been drawn to his astute sensibility. She became friends with Tagliaferri after collaborating on an eyewear collection at Oliver Peoples. Now she’s tapped him to design the Los Angeles home she shares with her husband Alessio Piastrelli in Hollywood Hills as well as the Brunello Cucinelli offices and PR showroom in West Hollywood.

Extending his work for the Milanese restaurant group Sant Ambroeus, Tagliaferri’s use of fabric can be seen at their mountain cafe in Aspen. In a nod to mid-century Italian design, silk velvet upholstered Le Bambole chairs cosy up to two top tables while the floor is decked out with crazy pavers; the lustrous coffee bar plays with green marble and faux fur.

Images courtesy of Giampiero Tagliaferri. Photography by Billal Taright.

“I love the mix of vintage with modern,” says Tagliaferri. “I am not really into monochrome, and I am not a huge fan of patterns or prints, but I love fabric in general. I love the material aspect and how it can present a mix between the smooth and the rough. It can be plait-y, or fluffy, or have a low sheen. It brings in something that is a little bit magic.”

Detail shot of Giampiero Tagliafieri’s Los Angeles studio Photo: Billal Taright

Perhaps it is this magic that has earned Tagliaferri so many fans after just two years in business. “Giampiero is a rock star,” says Tim Engelen, general manager of Australian interior design emporium dedece. “He’s a pirate. I was never a lover of fashion when it comes to furniture, but his collection is something new. It’s sexy and Minotti is brave.”

The new Prince Charming of design may be off to a fairytale start, but this magician is in firm command of the spells he is casting. 

Studio Giampiero Tagliaferri

 

How Maine Firefighters Sparked the Beginnings of an Italian Heritage Brand

In the early 1980s Diego and his brother Andrea Della Valle were living in New York when they took a fated trip to Maine. There, they saw the work jackets worn by the local fire department and it ignited a spark, pun intended.

The distinctive industrial metal fastenings caught the eye of the owners of Italy’s Tod’s Group. Enlisting their quintessentially Italian ingenuity, the fashion magnates took over the Fay brand which was, at the time, a producer of technical garments for fishermen and firefighters, and set their sights on adapting the firmly utilitarian design for a luxury clientele.

Over three decades later, that instinct has paid off in spades, says Michele Lupi, who joins me via Zoom to talk about the brand’s history, their recent archival projects, and the longstanding tradition of adapting the clothing of the everyman for the (high-end) masses.

Today, the Fay brand includes full men’s and women’s ready-to-wear lines complete with everything from refined basics like shirting and knits to full suits—and of course, a stellar collection of outerwear for all seasons. And while you can now get everything from a classic car or trench coat to bomber jackets from Fay, those signature metal closures aka “ganci” still adorn a very special selection of their garments, some of which were recently highlighted in The Fay Archive.

A Fay Archive jacket featuring the signature 4 “ganci.”
Fay Archive

The Archive is the brainchild of Lupi and Diego della Valle. Michele, whose background is in the magazine world with publications like GQ Italia, was handpicked by della Valle, who recognized Lupi’s astute understanding of both consumer needs and the artistry that high fashion necessitates as an asset to the brand. “I immediately started looking at the history of the brands,” Michele tells me, shortly after della Valle recruited him in 2018. Immediately taken by the rich legacy, and the storybook-like origins of finding inspiration in a rural coastal haven of Maine. “We decided together to do a small project called the Fay Archive to underline the original DNA of the brand,” he says.

It’s a project about authenticity, he says – a word at the heart of the Fay brand, and a practice that started when the brand ordered its first run of the jackets direct from the same New England manufacturer who was making them for the Maine firefighters.

Browse the archive and you’ll find beautiful photos and stories about the kind of salt-of-the-earth workers who inspired the original jackets: fishermen in Japan, sherpas in Nepal, blacksmiths in Chile. The premise is simple, effective, and true to Fay’s roots: the iconic jackets were sent out to the very sorts of people who wore the jackets that inspired them, to field test and to prove that the brand retained not only the iconic aesthetic of its roots, but the durability and functionality that marks true luxury.

Details of a Fay Archive jacket.
Fay Archive

It’s a juxtaposition that is well represented in the retail space; to call it high-low would be reductive. It’s more dual purpose—pieces, or brands more specifically that signal both utility and status; functionality and adherence to trend. Consider the Barbour jacket, worn by farmers and the royal family alike, or a more contemporary example: the Carhartt jacket, once relegated strictly to a blue collar aesthetic is now sought after in second hand stores with trendy young men coveting well worn jackets that have already achieved that broken-in status.

What sets Fay apart, too, is the harmonious amalgamation of characteristically Italian design with the sensibility of New England—and its earnest commitment not to appropriating or copying a certain aesthetic, but to embracing it authentically and blending it perfectly with Fay’s own design values. And for what it’s worth, that’s an assessment I’m uniquely qualified to make – I’m a born and bred New Englander but my mother’s family is Italian.

The New England aesthetic is an oft imitated one, reproduced to varying degrees of success for everything from ready to wear to streetwear. Having grown up here though, these trends are a way of life that, much like the Fay Archive, don’t belong to any one group. At my high school, my desk-mate was just as likely to be a fisherman’s daughter as an Attenborough—and chances are they were both wearing the same all-weather boots. Similarly, my Italian upbringing has informed a shopping ethos that’s driven by quality and pride in investing whenever possible, not to signal status but to ensure the longevity of a good. Italy is known for its fashion, its slack suits that move like liquid on the body and its pristine leather goods and loafers so soft they feel like slippers. Combine that with the hearty, no-nonsense approach that colors most of the Northeast, and you have a jacket that will never go out of style, and never wear out its welcome—no matter the climate or trials you put it through.

And while the price tag on a Fay jacket is squarely aimed at a luxury consumer, that same ethos—the through-line between the Maine firefighter and the Italian gent—is clear: buy once, wear well. Critically considered, it’s a marker of class (not wealth) in and of itself. The Fay jacket, like its other high-end workwear counterparts operates not on the premise that true luxury is defined by trend or how rapidly you can consume, but by the purpose your garments serve.

Fay

‘A Floating Piece of History’: How the Gucci Family Restored This 214-Foot Sailing Yacht

Allegra Gucci’s first palpable memory was aboard her family’s sailboat, the 214-foot Creole. As she recalls growing up, the world’s largest wooden sailing yacht formed a playful cocoon for water fights, running along hundreds of feet of teak decks, swallow dives into the ocean, and, at peak performance, adrenaline rushes as the boat thundered at full sail in the Mediterranean.

Fun and games belie this superyacht’s stature. Creole is a head-turning behemoth with a crown of sails and an ink-black hull. Born in 1927, the boat is a work of genius from Charles E. Nicholson, the era’s greatest naval architect. “Creole is Nicholson’s masterpiece,” Gucci tells Robb Report in a rare interview, noting the boat has been in her family since her father purchased the then-dilapidated three-masted schooner in 1983, two years after she was born.

Photo: Carlo Borlenghi

Having grown up cruising and racing Creole, Gucci remains both nostalgic and practical about the classic vessel. She views the majestic, nearly century-old schooner as a responsibility—her responsibility—to present to the world as its finest self. “She is iconic—you have to keep her like this,” says Gucci, noting the details that define Creole but also require an uncanny amount of maintenance. “The varnish, the brass, the lights, and the soul of the sailing yacht represent the history of naval architecture.”

Creole also represents a rare combination of meticulously preserved maritime history and European glamour. Ranked among the most photographed yachts of all time, luminaries from Sophia Loren to Spanish King Juan Carlos have been snapped alongside her.

In her younger years, Gucci viewed Creole as simply her family vessel that defined the yachting season, with weeks typically spent aboard with parents, sister and crew in the Western Mediterranean. “One summer, we said ‘we’ll just follow the wind,’” she says. “We went to the Balearic Islands just enjoying the sailing, the wind and the sea. We could be free from everything, sailing day and night.”

Creole was indeed designed to cruise the worldfast. It’s capable of reaching 17 knots which, when pushed to its limits, seems more like a living, heaving beast than a boat. “With a full set of sails and perfect conditions,” Gucci says, recalling idyllic days of full-adrenaline sailing, “the energy the boat has is incredible.”

Now a veteran sailor, Gucci learned to race when she was 14 at the Monaco Yacht Club, often sharing racing dinghies with her older sister, Alessandra. The sisters routinely skippered Avel, a 60-foot Nicholson design also rescued by her father Maurizio, with a full crew, often racing against HSH Prince Albert’s flagship Tuiga. These magnificent sailing vessels are part of a very special class of restored vintage yachts that show up to race each other at Cowes Race Week or Monaco Yacht Week. “We always support the [Monaco] yacht club as you can really breathe in the passion of sailing there,” she says.

Fashion titan Maurizio Gucci found Creole in shambles and spent millions restoring it to former glory.
Carlo Borlenghi

Creole’s history involved an interesting set of twists and turns, starting with its launch in the roaring twenties. Manhattan playboy Alexander Smith Cochran, “the richest bachelor in New York” and avid sailor, according to contemporary news accounts, commissioned the vessel to cruise the world. What the papers didn’t say was that Cochran was in poor health with tuberculosis.

When Cochran first saw his new vessel, which he named Vira, he took fright and ordered 10 feet lopped off the masts. Then another 10 feet. Cochran “begged me to agree to cut a third 10 feet,” said the naval architect Nicholson. “I had to conclude that his ill-health had lowered his nerve.” In the end, Vira bore no resemblance to the magnificent schooner Nicholson had created, but looked more like a low-masted motorsailer.

On Cochran’s inaugural voyage in Europe, the short-masted boat, which now had tons of extra ballast, rolled uncontrollably. The owner also couldn’t walk from the stern to bow without having a coughing fit. On what was supposed to be a dream cruise, Vira barrelled through France’s Bay of Biscay, “most uncomfortable, pitching about,” as the owner wrote in his logbook. His final ship’s entry from Monte Carlo in February 1927 was faintly scribbled, “as if the writer’s pen were running out of ink,” wrote Yachting World. After the trip, the ailing Cochran placed Vira, before it could demonstrate its sailing prowess, on the brokerage market.

It would be more than half a century until the schooner realised its full potential, thanks to Gucci’s father, Maurizio, fashion mogul and the last family head of the house of Gucci. Between Cochran and Maurizio came a succession of eclectic owners: First, British major Maurice Pope, who also avoided sailing, using the engines almost exclusively to cruise. He renamed the boat Creole after a dessert his chef had created.

A skilled sailor, Allegra Gucci (inset) was often at the tiller of the family boat Avel during summer races.
Carlo Borlenghi; Inset: Getty Images

Fortunately for Pope and his guests, the schooner’s construction was ahead of its time. “Amidships, the engine room and fuel tanks were in a steel-plated, oil-tight compartment to avoid any oil smell creeping through to the accommodations,” wrote Nicholson. The original layout also featured unusual niceties like a “Ladies Stateroom,” a pantry, and even an officer’s mess.

Third owner Sir Connop Guthrie restored the boat more closely to Nicholson’s original design and fulfilled Cochran’s uncompleted dream of cruising the Mediterranean from Capri to Corsica. The boat also won a number of regattas in the British Isles in the late 1930s, but war was looming across Europe.

During World War II, the British Admiralty requisitioned thousands of yachts. These included now-vintage sailing superyachts Marala and Malahne (still available for charter) as well as the largest boats built by the famed shipyard Camper & Nicholsons. Renamed Magic Circle, Guthrie’s schooner became a lowly minesweeper along the Scottish coast.

The era of post-war elegance belonged to Greek shipowners who scooped up surplus wartime cargo fleet for a song. Shipping oligarch Aristotle Onassis purchased a Canadian minesweeper for $USD30,000 and transformed it into Christina O, the world’s greatest classic motor yacht. In turn, his rival Stavros Niarchos bought Creole and put hundreds of thousands into restoring it. As proof of its rebirth, the vessel and new owner made the August 1959 cover of Sports Illustrated.

But Creole did not enjoy a long and happy life under the Greek owner. Nicholson’s son John said Niarchos “ruined her” by running the schooner too hard and fast as it were a motor yacht. There were other more serious considerations. After Niarchos’s first wife died aboard from an overdose of barbiturates, he never sailed the boat again. When his second wife also died of an overdose, Niarchos decided to part with the vessel for good.

The details aboard the yacht are in keeping with a Gucci sense of fashion. Carlo Borlenghi

In 1977, the Danish Navy purchased Creole to use as a training vessel. Part of its role was to rehabilitate drug addicts using a naval regimen—a noble yet undignified service for a generation-defining yacht. “When my father found Creole she was destroyed,” recalls Gucci. “He just fell in love and wanted to give her a second life.”

For the first time, the vessel that Nicholson had envisioned came slowly back to life, through an extensive six-year refit at multiple yards, Beconcini in Italy, Lurssen in Germany, and Astilleros de Mallorca. Designer Toto Russo created an interior (which had been gutted) that reflected the roaring twenties, installing period artwork through its six guest staterooms.

Gucci’s “first flash of memories, when I was really, really small,” were on board Creole. “Sailing in the 1990s, we had less yachts and more freedom to go wherever you like.” She isn’t a big fan of the new breed of flashy gigayachts. “The sea is very busy with superyachts of 100 meters-plus [328 feet],” she notes. “But they are more like floating buildings. You may have a wonderful experience, but you could be anywhere.”

Allegra Gucci on the bowsprit of Creole.
Carlo Borlenghi

By contrast, classic wooden yachts like Creole really “speak” to sailors, says Gucci, especially when cruising at speed, cloth sails straining with wind, the boat heeling, crew working winches and lines, and in the distance, the Mediterranean coast. “You live the real yachting life then,” she says.

Gucci doesn’t view herself as the yacht’s owner. “I’m merely a custodian because Creole is the one that survived so many difficulties,” she says. Transient owners, global war, and years of neglect could’ve been the end of a long, unfulfilled sailing career.

Then came the yacht’s renaissance by her father, who saw beauty and sailing prowess inside a rotting hull. For the next four decades, relished and replenished by the Gucci family, Creole has lived its best life. “She is a floating piece of history,” says Gucci. “What’s even better, she still has many miles to sail.”

Seeking an Edge

For all its natural splendour and sweeping mountain vistas, Verbier has never really been a place one goes in search of solitude. It is to mountain exploration what the Côte d’Azur is to actual sailing—a place to get in touch with the outdoors and the off-piste, but with its selection of high-end eateries and luxe lodges, also one where you can keep the natural extremes of the Swiss Alps safely at arm’s length.

Come December, however, one pioneering chalet is set to provide a new outlet for the discerning and intrepid when it opens 3,000 m above the iconic resort village. Named Cabane Tortin after the glacier it overlooks, the chalet offers an experience that’s becoming increasingly rare in this part of the world: one of comfort through seclusion—with no luxury spared, of course.

“The altitude is unique by itself, but this was also the most inhospitable scenery I had ever visited,” says Snorre Stinessen, the architect tasked with bringing Cabane Tortin back to life. The site itself—a rocky, secluded outcrop perched dramatically just below the summit of Mont Fort—has been occupied since 1981, when members of a local ski club built a small lodge to provide basic shelter for climbers and skiers seeking the area’s off-piste delights. Snorre says it’s still the only part of the mountainside both protected and forgiving enough to inhabit year-round.

Building any structure, let alone a luxury eco-lodge, in such a setting required near-heroic feats of engineering and execution. The building, made entirely of locally sourced stone and timber, used the foundations of the former hut for convenience and sustainability. Power comes via in-built solar and a sustainable pellet burner, while water flows directly into the property from a nearby mountain spring.

Albrecht Voss

Naturally, its dramatic locale already draws comparisons to a Bond villain’s lair, but the fireplaces and lashings of warm wood inside quickly betray a space designed to be far cosier.

Even for Stinessen, having honed his craft building in the frozen extremes of his native Norway, Cabane Tortin presented more than its fair share of challenges. Once completed, the chalet would have to withstand regular gales equivalent to a Category 3 hurricane and more than a ton of snow load per square metre of space it occupied. “It’s hard to put into words how it came to life, other than from trying to find my own approach through a combination of patience, instinct and respect,” he says.

The final result appears to hover on the very precipice of the valley below—a huge cantilever facade providing the focal point both inside and out as its vista sweeps over the Tortin Glacier. A bench runs the length of the window in the main living area, sitting on which makes one feel as if they’re defying gravity as the terrain drops away underneath them. “Sit and look out; it feels as if the landscape is all yours,” says Stinessen.

The rear windows of the building, purposely slanted upwards rather than out, guide the view of those inside up the jagged outcrops of Mont Fort’s mountainside. “The idea was to invite the skies above in, to emphasise the feeling of floating between earth and sky,” adds Stinessen,

The chalet’s visual impact is matched only by the level of hospitality to be found inside. Manager Matthew Burnford and his team have curated an experience combining the personalised service of a five-star retreat with a sense of elevated hygge befitting the chalet’s Scandi design language and frozen outlook. The main guest area of the chalet, taking up the entirety of its two levels, comfortably sleeps eight.

Albrecht Voss

Another eight can be accommodated downstairs in the adjoining Bivouac des Gentianes—a boujee ski lodge that, due to local laws, has to be made publicly available when the main property isn’t occupied. Also designed by Storre and offered with the option of a chef, there are far worse places to wait out a storm.

Visitors, naturally, are encouraged to explore the surrounds, with ski-in, ski-out access to the glacier’s ungroomed trails and powder fields during the winter, and a healthy bevy of equipment available at one’s leisure. Cable cars provide access to and from the neighbouring villages of Verbier and Nendaz, while a private chef and two live-in staff ensure that ski expeditions, lazy days indoors and all adventures in between are appropriately catered for. The cabin’s ease-of access also means that in-chalet spa treatments can be booked as requested.

Clearly, then, Cabane Tortin is designed, more than any of other Verbier’s luxury lodges, to feel like a true home away from home. All the mod cons, however, melt away when you stand at the edge of its sweeping facade and experience the chalet’s crown jewel: a view that feels, if only for a fleeting moment, as if this small corner of the mountains entirely belongs to you.

Stays from around $105,000 for three nights, full board; cabanetortin.com

How the ‘Studio 54 of Paris’ Gave Birth to One of the World’s Coolest Cologne Brands

If you were to rank all of the fragrance collections in the world, it would be hard not to put Les Bains Guerbois in the top five. With its no-miss lineup of 13 exquisite scents, it has quickly captivated perfume cognoscenti from Paris, where it’s based, to tastemaking locales across the world. And part of its charm and success is that each scent is an ode to its namesake building, a bathhouse turned nightclub turned hotel that has been earning a unique lore since it opened in 1885.

The property got its start as a thermal bath, Les Bains Douches, founded in the late 19th century by August Guerbois. From the beginning, it attracted a clientele with boldfaced names: Frequent guests included Marcel Proust, Claude Monet, and Émile Zola. Its original configuration boasted a pool and various saunas and steam rooms.

Azzedine Alaia, Hubert Boukobza, and Naomi Campbell at a party at Les Bains in the 1990s. Foc Kan/WireImage

Though it managed to stay standing through two World Wars, its owner Maurice Marois transferred the lease a few times in the 1960s and ’70s. In 1978, its new tenants turned it into a nightclub, complete with renovations by a young Philippe Starck. Its opening party attracted revellers in the thousands, lured by its new concert hall, restaurant, and a robust lineup of musicians and performers. It quickly became a Parisian answer to Studio 54, and welcomed the likes of Bowie, Iman, Basquiat, Warhol, Gaultier, Jagger, and De Niro.

Les Bains evolved from discotheque to a New Wave stalwart in the ’80s, hosting banner acts like Joy Division and Depeche Mode, and onward to funk—a 1992 taping of Prince encapsulates that era, and on any given night you could spot a who’s who that included Linda Evangelista, Naomi Campbell, Madonna, Johnny Depp, and more. During this period, David Guetta served as LBD’s resident DJ.

Thierry Mugler, Carla Brun,i and Chris Martin at Les Bains. Foc Kan

The club shuttered in 2010, sat idle for five years, until Jean-Pierre Marois, the original owner’s son, opened the 39-key hotel that stands today, Le Bains Paris. There’s still a small club downstairs—and the original pool, though no longer functional, is still there—which still hosts stars such as Dua Lipa.

A room inside Les Bains Paris, the 39-room hotel. A room inside Les Bains Paris, the 39-room hotel. Les Bains Paris

Every detail of the hotel itself is a nod to Les Bains’ history, from the checkered lobby floor worthy of a dance hall, to the in-suite hammams in many of the rooms. In spring 2024, Marois also opened a second post for the hotel: Les Bains Gardians, in the Camargue region, which took the brand’s unique aesthetic to the South of France.

Les Bains Guerbois, the fragrance collection, came to life in 2018. The name harkens back to the building’s first chapter and its founder, and its emblem Bacchus, the Roman god of wine and fertility. His bearded likeness was carved above the spa entrance in the 1800s, and greets hotel guests today.

Les Bains got its first scent in the form of a custom candle, called Atmosphere, which Marois commissioned master perfumer Dorothée Piot to concoct. It has a nuanced blend of spices, florals, woods and leather. The candle was so popular that three years later, in 2021, Marois launched the official fragrance line, Les Bains Guerbois, while committing to work exclusively with French noses, including Dominique Ropion, Bertrand Duchaufour, and Michel Almairic. Those four created all but two of LBG’s Historic Collection, called Une Date, Une Histoire” is the collection name. Each scent encapsulates a time and moment from the building’s past, such as its opening in 1885, or when Joy Division performed in 1979.

More recent scents, from the Those three noses have each crafted one scent from LBG’s growing “Formes & Matières” (Shapes & Materials) collection, are more tactile in nature, and reference specific locations in the property. Take 2023’s Raku, named after the hotel’s glazed ceramic bar and the Japanese lacquer technique that makes it shine. The best of this lineup, Damier, is an ode to the checkered floor that evolves from entrance to restaurant.

If you can’t physically go to Les Bains Guerbois, you should try one of its fragrances, which you can buy globally via Luckyscent.

Below, five of our favorites from this storied lineup.

Perfumer: Dominique Ropion
Notes: Spearmint, peppermint, aldehydes, orris, woods, musk
The story: December 18, 1979. Joy Division takes the stage at Les Bains Douches. You can hear the whole set here.
My take: There’s a reason we don’t see many mint-tinged scents out there, but when they’re good, they’re great. The aldehydic essence brings a cool, metallic intrigue. This one is special, and peerless in its field. You could wear it any day, night, or season. It’s the first one I had to own from the bunch. In a word, wow.

Perfumer: Bertrand Duchaufour
Notes: Yuzu, whiskey, clary sage, heliotrope, myrrh, tobacco, cedar, patchouli
The story: The doors of the nightclub are open—but only those who can make it past storied bouncer Marie-Line will rub elbows with Jagger, Basquiat, and Iman.
My take: This feels like the most familiar scent—in a warming sense. It’s a year-round scent for the guy who’s here to have a good time, but it’ll work specially well at cocktail parties in the cooler months.

Perfumer: Fanny Bal
Notes: Black pepper, aldehydes, milky accord, sandalwood, patchouli, white musk
The story: The black-and-white checkerboard floor of Les Bains Paris swims to life as it evolves from entrance to restaurant to bar, a nod to three key eras of the property (spa, club, hotel).
My take: Possibly the most perfect pepper expression I’ve encountered. I can’t stop talking about it. (“How good was that peppery one, Damier?”) But it isn’t just the pepper that punctuates; the milky accord and the white musk deliver smoothness and soundness. Like the floors that inspired it, Damier is a terrific balance of contrasts.

Perfumer: Dorothée Piot
Notes: Mandarin, rosemary, blackcurrant, balsam, benzoin, incense, tonka, and vanilla
The story: A legacy is born with the Turkish and Roman baths inside Les Bains Guerbois.
My take: This rousing and heady scent is ideal for colder seasons and cosy evenings. When I first encountered the brand in its 2018 infancy, it was my favourite of the launch trio. Now, I find its strength a bit polarising for most everyday social situations. But when you really want to stir up a conversation, bathe yourself (lightly) in this broody masterpiece.

Perfumer: Jérome Epinette
Notes: Grapefruit, bergamot, blueberry, black tea, amber, praline, maté, vanilla
The story: Tea time with Proust and pals after a steam bath. Oh, to be a fly on the wall.
My take: While touring the hotel, I gathered that this one was among the maison’s favourites. And rightfully so: It is the perfect first impression, and ties into the tea room just off the hotel’s entrance. L’Heure De Proust is agreeable, conversational, and sophisticated, all in one.

Les Bains Guerbois

TAG Heuer Has Replaced Rolex as Formula 1’s Official Timekeeper

The 2025 Formula 1 season hasn’t even started, and TAG Heuer has already been crowned a winner.

Over the summer, it was reported that the Swiss watchmaker was gunning to become the motor-racing competition’s official timekeeper, a title previously held by its competitor Rolex. Now, the brand’s parent company, LVMH, has successfully completed the sponsorship transfer with a 10-year contract after more than two decades.

“I am delighted to welcome TAG Heuer as the Official Timekeeper of Formula 1 as they start the next stage of their long history in our sport,” said Stefano Domenicali, president and CEO of Formula 1, in a press statement. “With their focus on innovation, accuracy and excellence, they are a natural partner, and I am excited to see how our intertwining heritage can tell new stories for the future as we celebrate our 75th year.”

In July, the watch company was in talks to reclaim its timekeeping duties—a role it previously held from 1992 to 2003 before Rolex took over in 2013. As Domenicali mentioned, TAG Heuer has a storied past with the auto racing sport ever since its logo appeared on the back of an F1 car in 1969 and became the first luxury brand to sponsor a team in 1971—which just so happened to Enzo Ferrari’s team. After its timekeeping title was handed over, TAG Heuer still remained as a major sponsor for McLaren until 2015 and in 2016, became the official timekeeper and partner of the Oracle Red Bull Racing team.

“In a sport defined by mental resilience, physical strength, strategy, innovation, and performance it is only natural for TAG Heuer to be at the very heart of Formula 1 as Official Timekeeper,” added Antoine Pin, the watchmaker’s CEO.

LVMH, which is owned by French billionaire Bernard Arnault, has been making a push into sports ever since it sponsored the 2024 Paris Olympics. The conglomerate made sure its stamp was all over the event with Chaumet designing the medals, Louis Vuitton handling the torch trunks, and Berluti creating the athlete’s uniforms. With this new agreement, expect to see more LVMH maisons trackside including Moët & Chandon, who was named the official Champagne supplier for the 2025 season.

TAG Heuer

Rolex’s Gold Watches Just Got More Expensive

Rolex is rolling into 2025 hot with a price hike on its gold models. For those who bought new models at retail last year, that’s good news, but for those still on the Crown’s seemingly eternal waitlists, that could mean paying more when the time comes to collect on your long-awaited timekeeper.

Hard-to-get and expensive references are becoming even more out of reach. Last year’s gold releases saw price increases of around 9 to 11 percent. The Rolex Deepsea—the company’s shockingly heavy dive watch with an equally hefty price to match—went up from $83,997 in 2024 to $93,505 today for an 11.33% climb. Meanwhile, Everose models, such as the Rolex Day-Date 40 Ref. 228235 and the Sky-Dweller Ref. 336935, rose 11.57% and 9.26%, respectively, for new price tags of $74,635 for the Day-Date and $93,170 for the Sky-Dweller. That’s almost $8,059 more for each and that doesn’t factor in taxes.

It’s not a price hike just because they’re Rolex, and they can…although they could certainly get away with it. This is due to the continuing rise of the precious metal industry globally. In 2024, gold prices rose by nearly 40% with both consumers and countries betting on the investment due to varying factors from worldwide instability. At the beginning of last year, gold was roughly $3,223 per ounce and was up to $4,513 by the end of the year. According to some jewellers we’ve spoken with, they expect the price of gold to continue to rise and, given Rolex is, on its own, a pretty steady value riser, getting in on its gold models, even at higher prices than last year, is probably a pretty good idea. That is if you can get your hands on them. Pre-owned Rolex expert Paul Altieri of Bob’s Watches sees it for what is typically the driving factor in the watch world: rarity.

“The Rolex price increases aren’t just an economic reaction,” he tells Robb Report. “It’s a recalibration of value in a world where craftsmanship and scarcity remain timeless currencies.” As suspected, he adds that a price increase at Rolex nearly always equates to an increase in demand.

In other words, it may be high time to follow up with your Rollie AD…again.

Car of the Week: This Shelby Cobra Is One of the Winningest Cars Ever. Now It’s Heading to Auction.

Whether called the “Essex Wire Cobra” or “Ollie the Dragon,” the car being referred to is revered as the winningest Shelby Cobra of all time. This legendary racer tore up America’s racetracks for over four decades, taking three major championships and a multitude of first-place finishes. As for its latter nickname, that was reportedly coined by one of the car’s most successful drivers, Dr. Dick Thompson. He’s quoted as saying: “We called the car Ollie the Dragon because every time you let off on the throttle, a belch of fire about three feet long would shoot out the hood scoop.”

This  month, Ollie, the fire-breathing 1965 Shelby 427 Competition Cobra Roadster, better known in the racing world as the Essex Wire Cobra, will cross the auction block at Mecum’s 4,500-car Kissimmee 2025 sale in Florida on January 18.

“Over the years, we’ve auctioned some of the very best and most valuable Cobras,” says John Kraman, longtime Mecum TV commentator and analyst, “but this car raises the bar. It really is the pinnacle.”

Ed Lowther driving chassis No. CSX3009 in the 1966 Governor’s Cup Nationals.

How much will this storied race car fetch? Kraman isn’t making any predictions, but the vehicle is being talked about in the same breath as the 1962 Shelby Cobra bearing chassis No. CSX2000—the first Cobra that Carroll Shelby built. That example sold through RM Sotheby’s in 2016 for $20.9 million.

What adds to the Essex Wire Cobra’s already considerable appeal is that after its remarkable motorsport career, it was subjected to an exhaustive, five-year, no-expense-spared restoration by top Cobra specialist Mike McCluskey, who returned the car to its original Essex Wire racing spec. The end result was recognised with a Gold award at the 2013 Shelby American Auto Club SAAC-38 event, in Fontana, Calif., where it scored an unprecedented 493 points out of 500—the highest ever for a Competition Cobra restoration.

“One interesting fact; during the restoration, Carroll Shelby himself visited McCluskey’s shop in Torrance, Calif., at least three times, to advise on the restoration and ensure its authenticity,” says Kraman.

Under the hood is Ford’s thundering 427-cubic-inch big-block, side-oiler V-8.

As for the car’s racing history, it dates back to 1965. That’s when Essex Wire, one of the world’s biggest industrial wiring conglomerates, was looking to raise its profile in advance of it going public on the New York Stock Exchange. Essex Wire’s president, Walter Probst, approached its biggest client, Ford Motor Company, with a plan to promote the two brands by going sports-car racing using one of Carroll Shelby’s new Cobras. Ford agreed, and a brand-new 1965 Shelby 427 Competition Cobra Roadster, chassis No. CSX3009, was supplied by Shelby American in Wimbledon White. It came with Ford’s thundering 427-cubic-inch big-block, side-oiler V-8. The power plant has exotic magnesium intake manifolds and aluminum competition cylinder heads. Max output was originally more than 500 hp, and the engine is paired with a four-speed manual transmission.

The simple, no-frills racing livery was limited to just a single Raven Black stripe with orange borders and “Essex Wire” in black letters on each side. Courtesy of Mecum Auctions

This Cobra also features a Salisbury limited-slip differential, Halibrand racing wheels with knock-off spinners, and unmuffled, steel-tube side-exit exhausts. The simple, no-frills racing livery was limited to just a single Raven Black stripe with orange borders and “Essex Wire” in black letters on each side.

After being put through its paces at California’s Riverside track by the great Shelby test driver Ken Miles, now a household name after the blockbuster film Ford Vs Ferrari, the car first raced in April of 1965 in the USRRC 200 in Pensacola, Fla. It had 24-year-old Robert “Skip” Scott and Dick Thompson, a multiple SCCA champion, sharing the driving. They finished fourth. The car was raced non-stop between 1965 and 1982, winning two SCCA National Championships and an SCCA Production Championship, along with numerous individual race victories. From 1973 on, its 427 V-8 was producing 670 hp.

Describing the way the Cobra drove, Dick Thompson is on record as saying: “It was a real bear of a car, but it would go like hell. It was beautiful in the straightaway, but because it didn’t have much in the way of brakes, it was always hairy in the turns.”

Racing’s famed Essex Wire Cobra, a 1965 Shelby 427 Competition Cobra Roadster. Courtesy of Mecum Auctions

Fast forward to the late 1990s when André Ahrlé, a well-known collector who had previously competed at Le Mans, acquired the partly disassembled car and commissioned Mike McCluskey to work his magic. “The restoration took more than five years, was very difficult, and very expensive,” Ahrlé states. “Part of the problem was that a restoration had previously been started and most of the parts were scattered all over the country.

According to Ahrlé, the car retains much of its originality, including such irreplaceable items as the rare magnesium intake manifold and aluminum competition cylinder heads, the original four-speed manual gearbox, and original 1965 Halibrand magnesium wheels. The new owner will also get a treasure trove of items with the car, including the original 427 V-8 that powered it during its racing heyday. Now completely rebuilt and race-ready, the engine sits mounted on a display stand.

After its remarkable motorsport career, chassis No. CSX3009 was given an exhaustive, five-year, no-expense-spared restoration and returned to its original Essex Wire racing spec. Courtesy of Mecum Auctions

“The beauty of the car is that it’s so famous that everything is known about it since day one,” says Ahrlé. “We have a collection of literally hundreds of period photos and documents, along with comprehensive details of the restoration.”

In addition, there’s an exquisite, highly detailed 1:5 scale model of the car, created by master-modeler Jorge Sordelli, plus the original helmet, race suit, and gloves worn by driver Ed Lowther when he won the car’s first championship in 1966.

Click here for more photos of the 1965 Essex Wire Cobra.

How a Grandmother’s Fascinating Life Story Inspired a Luxe New Resort in Morocco

In the early 20th century, a poor, beautiful brother and sister hatched a plan to escape the confines of their hometown Bari, the capital of Italy’s Puglia region. The brother had an athletic streak, and his headstrong, creative sister knew she was destined for more than a life as just another mamma in a run-down shack. The brother, Enzo Fiermonte, became a champion boxer. When he moved to America, he adopted the occasional sobriquet William Bird—the better to sidestep the prejudice against his Italian origins. This led him to Hollywood, where he starred in countless movies and married one of the richest women of the day—the Titanic widow and survivor Madeleine Astor—making him even more famous. The sister, Antonia, ended up in Paris, where she bewitched the surrealist-dominated cultural scene. Though a talented painter herself, she became better known as a model and muse, especially for two best friends, artists René Letourneur and Jacques Zwobada.

Antonia Fiermonte holding the Filalis’ mother, Anne.

Both men fell in love with her; she married each of them in turn, and they lived in a ménage à trois in adjoining homes just south of Paris. But Antonia died young, at 42, too early to have left the impression she yearned to make.

Nearly a century later, another pair of siblings—Antonia’s wealthy and well-connected grandchildren—are working tirelessly to give her that lasting legacy. The brother, Fouad Filali, is the former CEO of Morocco’s largest conglomerate, ONA, which he ran for 13 years until 1999. King Mohammed VI is his former brother-in-law. (Fouad was married to the monarch’s older sister, Princess Lalla Meryem, for 15 years.) Fouad’s sister—Yasmina Antonia Filali, who’s named for their grandmother—is a passionate philanthropist who has spent most of her adult life running her own nonprofit, the Fondation Orient-Occident, which assists low-income women and refugees on both sides of the Mediterranean. They idolise their grandmother, and even though she died before they were born, they believe she deserves to be celebrated. “Everybody looked at me when I was young, and said, ‘You look like her, and you have the same character,’ Yasmina says. “I feel totally connected to her.”

The siblings now in their 60s treat the hotel as a community development project.

The link is so strong that the pair started a hotel collection, named La Fiermontina in their grandmother’s honour, as a living tribute to her. They granted Robb Report exclusive access to the newest location in their portfolio, in Larache, Morocco. The hotel, La Fiermontina Ocean, joined outposts in Paris and Lecce, Italy—a chic apartment available to rent on the Place Vendôme and three separate properties not far from the Adriatic Sea, respectively—when it opened in 2023. The idea behind the grouping: “Let’s recreate her story with a little collection of hotels, following her journey around the world,” says Yasmina.

But they want the company to act as more than just an expensive memorial. The siblings aim to help poor women—women like their grandmother—to improve their lives. “We think about hospitality and philanthropy together,” Yasmina continues. “It’s how we breathe.”

The unspoilt landscape of Larache, Morocco convinced Yasmina and Fouad Filali to start vacationing here 30 years ago.

La Fiermontina Ocean is the most extensive expression of that objective. It includes a complex of 14 luxury villas on Morocco’s wild Atlantic coast, 11 of which have ocean views and private pools. All of them are cannily angled to minimise the overlook from the other lodgings and are filled with minimalist, midcentury-inspired furniture. Some of the embroidered linens on the beds and in the bathrooms were produced by a nonprofit cooperative that’s part of Yasmina’s foundation. The landscape is punctuated by acres of mature olive groves—mostly trees brought in from Marrakech. There’s even a stand-alone beach club tucked under the dunes and accessible by a thrilling, hold-the-handrails journey down from the hotel.

But this isn’t some bubble of luxury, detached from its surroundings. The rest of the resort is located in the village of Dchier, next door to those villas; the siblings built the resort’s treatment rooms and hammam here intentionally, to encourage their predominantly foreign guests to engage with local people.

The breakfast-at-home program offers a genuine taste of the local culture.

“I want to revive life here,” Fouad says from the driver’s seat of his Jeep, looking around at the town’s dusty road. It’s one of Morocco’s poorest areas. The previous king, Hassan II, focused attention (and investment) farther south, allowing both the commercial hub of Casablanca and the tourist magnet of Marrakech to boom. In contrast, when Fouad started buying land here 21 years ago, several villages in the area lacked plumbing. “How could I have a house here with a swimming pool when they don’t have running water?” he recalls thinking as he watched women carrying pails into their homes.

Fouad has erected other structures in Dchier and elsewhere nearby, doubling the number of classrooms here and in the three surrounding villages. For the hotel, there are simple rental cottages, aimed at a more mass-market clientele than the oceanfront villas, and a café. Rows of herbs in stepped gardens—used for tea service at the hammam, among other things—are tended by a team of workers. He has just reconstructed a small building in the centre of town and will lease it to a local to run a bodega-like épicerie soon, an alternative to the long walks to the market most have to make now.

A modernist villa called Airy is decorated with local craftworks.

The pair spent two years training residents to work at the hotel, to ensure that they benefitted directly from increasing tourism. That’s also the idea behind the breakfast-at-home program, which costs 450 dirham (around $70) per person: all of the money goes straight to the neighbourhood woman who invites you into her house for your first meal of the day, with a member of hotel staff joining as a translator—the better to prompt conversation.

The squat breakfast table of my host, Rahma, is piled high with food: crumbly, homemade pastries dusted with sugar; a fragrant dish of locally grown olives; slabs of swirled chocolate cake; and platters of various flatbreads, all still warm from the oven. There’s a bowl of amlou, made from almonds and argan oil, runny and not dissimilar to peanut butter and especially delicious slathered over the bread.

The centrepiece is a tureen of the thick bean soup bissara, a regional breakfast staple that’s drizzled with local olive oil. The entire meal is served in Rahma’s courtyard as chickens peck nearby and a few cats sidle past, casually eyeing the spread. A quartet of children sit to one side, giggling and glancing furtively at the food while their mother continues to cook, bobbing over to the table to pour more thimbles of mint tea. “When they open their house as your hostess, it gives them dignity, it makes people more equal,” Yasmina says.

The hotels menu mines the siblings’ heritage for inspiration as with this traditional Italian dish of seared prawns

Like their grandmother, the village girl from Italy’s dirt-poor south who morphed into a sophisticated Parisian muse, the siblings’ identities are hard to pin down. Their mother, Anne, now in her 90s and living in Paris, is their grandmother’s only surviving child. Anne married Abdellatif Filali, a Moroccan student who went to France to escape the unrest in his home country in the early 1950s. At first, they didn’t even speak the same language, “but they understood each other without talking to each other”, Fouad says with a shy smile. Filali eventually became a diplomat and, in 1994, he was appointed prime minister of an independent Morocco.

As a result of their Italian-French-Moroccan heritage, Fouad and his sister slip between cultures, sliding among names and languages. Yasmina toggles between her first and middle names depending on where she is in the world. Fouad is officially Fouad-Giacomo Filali, or Jacques in France—he has even been referred to in the press (incorrectly) as Giacomo Fiermonte. It’s telling how much he stresses that he prefers to be known as Fouad, a traditional Middle Eastern name, while in Morocco. Wherever they are, they want to belong.

It makes sense, then, that Fouad will slip into Arabic to talk with the hotel’s staff, or speak Italian to the jolly, bearded twentysomething chef, Antonio Gianfreda, who has just arrived from Italy. In fact, the menu at La Fiermontina Ocean nods to that cultural commingling: for one meal, a fish tagine spiked with fat, locally grown green olives; for another, a crispy pizza fresh from a wood-fired oven, covered in melting anchovies.

The property was originally intended as a private escape. The siblings fell in love with the area after staying with a friend, Patrick Guerrand-Hermès, the polo-playing scion of the French luxury maison, who has an estate just up the coast. They were so taken that they began buying land nearby. At first they would come, perhaps for a day, to sit and picnic in the dunes with friends. “It was our refuge—we were hiding from everyone,” says Yasmina. It’s easy to do here. Even on a warm spring day the beaches are empty: In some spots, the only evidence of human life is the occasional dilapidated shack along the water. (“Those are for smugglers,” one local says, only half-joking.)

Visit the beach and you ay be the only one there other than your horse.

As with the apartment in Paris and the resort in Larache, the siblings’ Italian hotel also began life as a personal project. They were smitten with Lecce, where the Hermès family also keeps a villa, which is about two hours south of their grandmother’s hometown of Bari. Inspired, the Filalis began snapping up property. Fouad recalls securing a swathe of farmland near Lecce first. “I bought it because of the olive trees, but I never built a house there,” he says. “I just had a small chair I’d leave there, and once in a while I’d go down and sit and look at the olive trees.” He ended up buying a building near the city walls next. “In the beginning it was for my house. But life, you know, happens,” he says with a shrug.

After working on the property for two years, Fouad’s contractors discovered subterranean rooms that, in his view, made it too large to be a private home. So he and Yasmina asked their friend Thierry Teyssier, the actor-turned-hotelier best known for founding the regenerative-hospitality company 700,000 Heures, for advice. Yasmina could see the potential in using tourism to help bring investment to the region, which has grown since their grandmother’s childhood yet still remains a poorer corner of the Italian peninsula.

As she would later do in Morocco, Yasmina launched a program offering work to women and refugees in need while training locals in the art of high-touch service. The family now operates La Fiermontina Palazzo Bozzi Corso, an old Baroque mansion with a rooftop pool and 10 suites, plus the 19-bedroom La Fiermontina Luxury Home.

A villa perched high on a hill enjoys panoramic views.

They also recently reopened the Fiermonte Museum, whose exhibitions focus on their grandmother and her two artistic husbands, Letourneur and Zwobada. You can stay here, too. The renovation added four rooms to the property, with a lantern in each. (Guests are encouraged to explore the galleries, alone, at night.) Yasmina and Fouad’s mother, Anne, travelled to Puglia especially for the opening. “She was quite silent and surprised, in a way, that two children, at our age, dedicated our lives to our grandmother,” Yasmina recalls.

She plans to stay in Italy for a while, to stabilise the new museum while Fouad focuses on their Morocco project. But they’re not finished. The missing piece is a tribute to their grandmother’s globe-trotting brother, Enzo, who stayed in America after his divorce from Madeleine Astor and starred in films from the late 1930s through the ’70s. “Maybe we can make a project in New York and Los Angeles,” Yasmina says. “And that will be all for my great-uncle.”

 

Designer Ralph Lauren Claims The Presidential Medal of Freedom

Ralph Lauren has lived a life of firsts. Since the founding of his eponymous label 58 years ago, the Bronx native has been recognized as the first designer to be given an in-store boutique by a department store, the first designer to open a freestanding store of their own, and the first designer to clinch Coty awards in both the men’s and women’s categories in the same year.

Now Lauren, who turned 85 this past year, has notched another. At a ceremony held today in Washington D.C., President Biden will award Lauren the Presidential Medal of Freedom, making him the first fashion designer to receive the nation’s highest civilian honor.

The honorific, which was established by John F. Kennedy in 1963 and has since decorated such figures as Martin Luther King Jr., Walt Disney, and Mother Teresa, is in recognition not only of the designer’s remarkable business acumen—which has spawned over 500 stores worldwide, as well as numerous restaurants—but his philanthropy and unmatched status as an exporter (and embodiment of) the American dream.

Lauren, who donated funds for the Smithsonian’s Star-Spangled Banner restoration project in 1998, with then President and Mrs. Clinton.
Washington Post/Getty Images

“I have always been inspired by the dream of America—families in the country, weathered trucks and farmhouses; sailing off the coast of Maine; following dirt roads in an old wood-paneled station wagon; a convertible filled with young college kids sporting crew cuts and sweatshirts and frayed blue sneakers,” the designer wrote in his self-titled book, which was published by Rizzoli in 2011.

While this may be Lauren’s highest award to date, it’s by no means his first. The founder has previously been decorated with the James Smithson Bicentennial Medal in recognition of his preservation of the original Star-Spangled Banner (which was itself turned into an iconic Ralph design), France’s Chevalier de la Légion d’Honneur, and was even made an Honorary Knight Commander of the Most Excellent Order of the British Empire by then-Prince Charles in 2019.

However, it seems safe to guess that Lauren—who in addition to championing the all-American aesthetic, has also dressed Team USA in every Olympic Game since 2008—may rank his home country’s medal the highest.

How to Make a Gin-Gin Mule, the Ginger-Lime Cocktail That Helped People Fall in Love With Gin Again

The Gin-Gin Mule was created as the solution to a problem.

Here was the problem: As difficult as it may be for us wisened veterans of the cocktail zeitgeist to understand, the issue, in the year 2000, was gin. Specifically, that no one drank it, and no one wanted to.

The turn of the millennium is when vodka was at the apex of its cultural power. Vodka had overtaken gin in popularity by 1967, but by 2000 had fully usurped it, like Claudius to King Hamlet—occupied its position, married its wife, and taken control of its lands. Cocktails like the Gimlet that had long been understood as gin stalwarts were treated as vodka drinks by default. This happened over and over: Vodka French 75s. Vodka tonics. Vodka Collins’. Even the mighty Martini, gin’s seemingly impenetrable fortress, was so conquered by vodka that it was then (and still for many is today) a surprising piece of trivia that the Martini was exclusively a gin drink for the first 50 years of its life.

Twenty years on, and the Gin-Gin Mule is just as good now as it was then. We have of course overcome our collective gin-phobia, the aforementioned “problem” now a distant memory, but when the solution is as toe-curlingly delicious as the Gin-Gin Mule, it really couldn’t matter less. The war is over, but the treasures remain.

Gin-Gin Mule

  • 60 ml. gin
  • 20 ml.  lime juice
  • 20 ml. ginger syrup
  • 60-90 ml. soda
  • 6-8 leaves fresh mint

Add mint, gin, lime, and ginger syrup to a cocktail shaker with ice, and shake good and hard for six to eight seconds. Strain into a tall glass over fresh ice, top with soda, and garnish with a mint sprig.

NOTES ON INGREDIENTS

Gin: Saunders uses Tanqueray, which is perfectly nice. Plainly, there is no gin that won’t work here. Ginger, mint, and lime are universal donors to gin. Use whatever is most easily at hand.

Ginger / Build: How to get ginger into this cocktail is the big question, and there are three different answers. The above is the spiciest and punchiest, and the one I most prefer. It’s also the most work—making ginger syrup is a bit of a pain in the ass no matter how you do it—but if you’re a big fan of the freshness and spice, there’s no substitute. See our discussion at the bottom of the Kentucky Buck article if you want to know how.

The other way is to use ginger beer as a sole sweetener, as you would with a Moscow Mule. For this, you’d do 2 oz. gin, only 0.5 oz. lime juice, and mint, shake those, then strain and top with what should end up being 4 to 5 oz. ginger beer. This is easiest. The downside is that it won’t be as cold (you don’t shake ginger beer because it’s carbonated) and that ginger beers vary in sweetness levels, so unless you’re very familiar with your ingredients, it’ll have to be a bit of trial and error.

The third way is how Saunders initially made the drink, a hybrid model. She did the following:

  • 30 ml. gin
  • 25 ml. simple syrup
  • 20 ml. lime juice
  • 6-8 mint leaves
  • 30 ml. ginger beer

And she shook the whole thing together, carbonation be damned. This is OK, though the quantity of sweetness feels a bit dated. This is the recipe you’ll find on the internet, and I don’t all the way advise it, if for no other reason than for this to taste like ginger at all, you’ll have to do what she did and make your own ginger beer out of fresh ginger root. At 1 oz, the bottled stuff won’t do. And if you’re making your own ginger beer, why not just go all the way and make a syrup?

That’s my rationale, anyway. Make it however you like. The Gin-Gin Mule is a sweet/sour balanced collection of the flavors of gin, ginger, lime, mint, and effervesce, get there however makes most sense to you.