Audemars Piguet Just Dropped a Bevy of New Watches—Including a Mini Royal Oak

From the new Royal Oak Mini to skeletonised 37 mm versions and a wild asymmetrical reissue, AP just slayed the spring watch season.

By Nick Scott, Paige Reddinger, Allen Farmelo 06/06/2024

Audemars Piguet isn’t resting on its laurels and that’s likely just how former longtime CEO, François-Henri Bennhamias, intended. The colourful head honcho left his post at the helm this past December, but he certainly left his mark by taking the brand to USD$2.7 billion in sales by 2023 before handing over the reins to newly minted CEO, Ilaria Resta, who was hired from global perfumery company, Firmenich. (Resta is the latest female addition to AP’s top brass following the appointment of Ginny Wright, who came from L’Oreal, as the CEO of North America.)

Given the lead time of R&D in watchmaking, the latest watches are certainly the mark of Bennhamias’s direction, and the watches are anything but wallflowers. You have wildly innovative new materials like a Royal Oak prototype proposed in Chroma Gold—a new technique blending white gold, rose gold, and yellow gold into a camouflage pattern—and a funky new “Crystal Sand” finish on the Royal Oak Frosted Gold Selfwinding 34 mm model. Meanwhile, Code 11.59 gets decked in an extraordinarily challenging arrangement of sapphires and diamonds, and the latest [Re]Master02 comes in a funky 1960s tv-shaped case with beveled sapphire crystal glass.

Here’s a look at how Audemars Piguet is flexing its craftsmanship muscles with these daring new timepieces.

Audemars Piguet

At 23 mm across, these are not the smallest Royal Oaks ever produced: a 20mm iteration was launched in 1997, alongside a 44mm Royal Oak Grande Complication, to celebrate the model’s 25th anniversary. They’re also not the sparkliest Royal Oaks: any number of abundantly gem-set models are all vying for that crown.

But the frosted gold trio before you are definitely amongst the most attention-grabbing Royal Oaks to date, residing as they do in the intersection of two Goldilocks zones: they’re well suited to slender-wristed wearers, but not so small that they invoke outmoded notions of femininity; and they’re mischievously sparkly, but packing only carefully measured flamboyance.

Audemars Piguet

Built from 18 carat yellow, white or pink frosted gold, the new pieces’ shimmering diamond-dust effect contrasts beautifully with the polished bevels. The case, bezel and bracelet have been created using a Florentine jewelry technique first applied to a Royal Oak in 2016, and again in 2018 with the help of Carolina Bucci. The frosting involves hand-hammering the metal using a diamond-tipped tool, and the effect is uniquely elegant and understated.

The dials—like that on Gérald Genta’s original steel game-changer—are uncluttered bar the petite tapisserie pattern. Unlike Genta’s original (a major counter-offensive salvo from the mechanical watches camp during the quartz crises) the beating heart for this trio is calibre 2730, a quartz movement with a seven-year battery life and easy-to-use deactivation mode.

Audemars Piguet

The smallest selfwinding Royal Oaks ever made remain Calibre 2062, a 29mm piece – created by former head of Audemars Piguet’s design office Jacqueline Dimier – which retained the codes of Genta’s original model created in 1976, and the gem-set derivative released shortly afterwards.

“These mini creations pay tribute not only to Audemars Piguet’s long tradition of miniature and jewellery watches, but also to the women who have left their mark on the history of the brand, including Jacqueline Dimier to whom we owe the first Royal Oak for women, and Carolina Bucci, the mastermind behind the Frosted Gold finish,” said Ilaria Resta Audemars Piguet’s Chief Executive Officer, in a statement.

Audemars Piguet

Sébastian Vivas—the maker’s Heritage and Museum Director—added that the three pieces “demonstrate the extraordinary plasticity of the Royal Oak collection, which transcends decades, gender, trends and dimensions.”

Size: 27 mm
Material: white, yellow and rose gold
Price: $51,700

Audemars Piguet

AP’s frosted gold Royal Oaks have been a hit for the brand since it debuted as a collaboration with Italian jeweler, Carolina Bucci in 2016. There have been several versions, including one with a mirrored dial, and now the nouveau classic is sporting a “Crystal Sand” finish.

Audemars Piguet

The 34 mm model’s dial offers a magnified and dramatized interpretation of the hammered case and surface of the bracelet. Made from embossed ruthenium crystal, the dial is then adorned with a stamping die via electroforming, a process that forms or grows metal parts onto a model. The color is achieved through a galvanic bath of both rhodium and gold coating to accentuate its 3D form.

Audemars Piguet

Size: 34 mm
Material: frosted gold
Price: $93,250

Audemars Piguet

Since 2010, Audemars Piguet’s Openworked Royal Oak models have been offered in sizes ranging between 39 mm (e.g., reference 15305) and 41 mm (e.g., reference 15407). Something about skeletonizing watches seems to cause many brands to reach for its larger cases: Perhaps it’s the larger dial for skeletonizing, or perhaps it’s a tendency to assume that men who like big watches will also prefer openworked dials. To be honest, I’ve long shared the latter assumption, though I’ve never had much reason to examine it before now.

Audemars Piguet often challenges our assumptions (consider the Spider Man Royal Oak, for example), and this new Openworked Double Balance Wheel Royal Oak at 37 mm in white or rose gold disregards assumptions about gender and watches while also underlining the small watch trend for men.

Audemars Piguet

Thirty-seven mm is pretty much the perfect “unisex” size. Many brands (for example, Grand Seiko, Lange, Rolex, Zentih) offer 37 mm watches that serve as a bridge between their men’s and women’s collections, and sometimes these brands will point that out. However, in its typical avant garde manner, Audemars Piguet is way ahead of this shifting norm—especially when compared to its counterparts in the Horological Holy Trinity, Patek Philippe and Vacheron Constantin, both of which offer 37 mm watches steered more obviously toward men or women with gem setting, or the lack thereof. By offering the Openworked Royal Oak at 37 mm, Audemars Piguet cleverly sidesteps that old-school his/hers conundrum.

Audemars Piguet

This watch is going to resonate with men who are continuing to lean toward smaller watches, and it’s going to resonate with women who are looking for a larger and more daring timepiece that won’t overpower (or simply overhang) their wrists. And this Royal Oak does all that gender bending by simply shrinking its skeletonized watch. In this regard alone, I think it’s a brilliant offering—and I’m not a big fan of openworked dials.

The dual balance wheel mechanism of caliber 3132 helps stabilize the balance staff in its ruby mount, which improves precision.
Audemars Piguet

With all that said, what’s really driving this watch’s avant garde nature is the movement, known as caliber 3132. The dual balance wheel is a unique approach to minimizing the tilt of the balance staff (the axil on which the balance wheel oscillates). When the balance wheel swings back and forth (like a pendulum), there is a tendency, due to inertia, for it to slightly tilt within its ruby mount. When the balance staff tilts (however slightly) gravity has its way with it, causing timing discrepancies in different positions (known as positional variance). By adding a second balance wheel (not just a second spring, as found in some movements), Audemars Piguet has added stabilizing mass to the mechanism, as well as a counter-force that further stabilizes the balance staff as it changes direction. Theoretically, this reduces tilt of the balance staff and reduces positional variance.

It also looks very cool, and you’ll get a good view from both the front and the back of this watch.

Size: 37 mm
Material: pink and white gold
Price: $147,300

Audemars Piguet

If you’d told me a few years ago that brutalism—a minimalist, institutional architecture style of the mid-20th century rendered with massive concrete slabs—was going to be a catchphrase of watch design by 2024, I’d have declared you an iconoclastic crackpot. But, you’d have been right.

Audemars Piguet has picked up on the recent nostalgia for that strangely appealing architectural style. Reaching into their catalog from the 1960s, when brutalism was peaking globally, they’ve found a very cool watch to recreate—or, as AP insists, to “[RE]Master.” Audemars Piguet has borrowed the term from the recording arts: Remastering is generally a slight modernizing of a recording for current markets, so the analogy holds here, as this watch slightly modernizes vintage model.

Audemars Piguet

Crafted from Audemars Piguet’s proprietary sand gold, the case will shift between white and pink gold hues, depending on ambient lighting. Using the trusted time-only only caliber 7129, this auto-winding mechanical movement is on display through a circular window in the caseback.

Audemars Piguet

Sébastian Vivas, AP’s Heritage and Museum Director, states that “Between 1959 and 1963, Audemars Piguet created more than 30 asymmetrical models, most of which were produced in less than 10 pieces. [RE]Master02 is a fantastic opportunity to revive this forgotten golden age.”

Audemars Piguet

Despite the wildly brutalist case, it may be the dial that steals the show here. Created using a dark blue PVD treatment over beautifully brushed surfaces, the 12 individually crafted dial segments cleverly help time telling without relying on applied markers. These dial segments are separated by galvanized sand gold partitions, and each segment sits on miniscule legs attached to a brass dial plate beneath. All of this geometric precision is accentuated by the beveled sapphire crystal.

Size: 41 mm
Material: sand gold
Price: $70,900(limited to 250 pieces)

Audemars Piguet

The Code 11.59 is getting all dolled up this year in a splash of gem-set models. Two 38 mm iterations come in either 18-karat pink gold or white gold set with 533 brilliant-cut diamonds and colored sapphires.

Audemars Piguet

What is notable here is the pixelated-looking setting. The pink-gold version comes with an array of navy, baby blue and yellow sapphires on the dial, while the white-gold version comes in pink and purple sapphires. Both look as though the colors were shaken in a glass and poured onto the dial so that the pattern is haphazardly arranged. It’s a fun take on a gem-set dial, one which we can’t recall seeing before and is, no doubt, extraordinarily difficult to arrange to achieve the right balance of hues. Each piece is set with the three-hand selfwinding caliber 5909.

Audemars Piguet
Audemars Piguet

One of the coolest pieces in the new lineup is just a prototype for now, but it offers a glimpse of what’s to come in the future. Chroma Gold is a patented innovation blending yellow gold, white gold, and rose gold via Spark Plasma Sintering technology. Each gold variation is melted before droplets are atomized into powders. They are then combined in their respective pattern in a circular graphite mold which is then sintered via an electrical current. It is a first for the watch industry.

Audemars Piguet

Even in jewellery it is notoriously difficult to work with multiple types of metal in one piece due to the variations in consistency and that’s without trying to blend them together. The only time we have seen the blending of two different types of gold before is in American jeweler Adam Neeley’s proprietary SpectraGold, which is currently pending a patent. AP’s Chroma Gold follows the debut of a similar method with ceramic that debuted in a prototype earlier this year allowing the company to blend various hues of the material. Camo isn’t for everyone, but the multi-hued gold version certainly makes a compelling case for the machismo pattern. On the right hands it will be irresistibly cool.

 

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Everybody Loves Naomi 

Fashion fans adore her. And so do we. Lucky, then, that a new exhibition is paying homage to four decades of snake-hipped catwalking.

By Joseph Tenni 22/06/2024

Naomi Campbell contains multitudes. Since emerging on the scene in 1986, modelling for British designer Jasper Conran, the statuesque stunner has used the runway for takeoff. She has ventured into all aspects of the culture, from Vogue to Playboy and reality TV. In the business arena, she has dabbled in publishing and the two F&Bs (fragrance and beauty, and food and beverage). Her philanthropic efforts are legion.

Naomi is better known than any of her peers and, aged 54, remains more relevant than ever. As a testament to her pervading influence, a new exhibition, Naomi: In Fashion, is opening at London’s Victoria & Albert Museum. Celebrating her 40 years in the spotlight, the show includes clothes from the model’s closet and some of the designer fashion she has helped to immortalise.

We all know her snake-hipped walk, her glowing skin, her famous paramours, and—yes—her many tantrums and tiaras. But how much do we love her exactly? Let’s count some of the ways. 

1. She Was Born to Be Famous

Many people know Naomi for her appearances in music videos for Michael Jackson’s In the Closet and George Michael’s Freedom! ’90—the latter also featuring fellow supermodels Linda, Cindy and Christy. But Naomi has been in front of the camera since she was a child, and her prolific music-video career predates her modelling. At 8, she appeared in the official video for Bob Marley’s 1978 hit Is This Love. At 13, Culture Club cast her as a tap-dancing teen in I’ll Tumble 4 Ya. It would be another two years before she was discovered by model scout Beth Boldt, while shopping in London’s Covent Garden.

Courtesy Off-White. Photo Victoria and Albert Museum, London.

2. She Hits All the Right Notes

As anyone who has ever seen Unzipped, the 1995 cult fashion documentary by Douglas Keeve, Naomi always has a song in her heart. She put her mouth where her money was in 1994 and recorded an album, Babywoman. The cover art featured Naomi, photographed by Ellen Von Unwerth, shaving her legs while sitting on the toilet. Fittingly, the album was canned—despite assistance from contributors like Donna Summer and PM Dawn. 

3. She’s Always Ready for Her Close-Up
Hollywood’s history is full of models who went on to become successful actors. Naomi is not one of them. But not for want of trying. Her turn as a nightclub singer in Vanilla Ice’s 1991 movie Cool as Ice flies under the radar but doesn’t deserve to. Nor does her scene-stealing cameo as a French cheese shopper in The Night We Never Met, alongside Matthew Broderick and Jeanne Tripplehorn. Or her playing a sexy telephone operator in Spike Lee’s Girl 6. Who else has that kind of range? 

4. She Tells It Like It Is

We’d be remiss not to mention her 1994 novel Swan. A roman a clef about a young girl breaking into the modelling industry, flanked by her four besties who are also divas in training heels, it certainly played with genres. A murder-mystery-cum-sexy-romance-cum-vocational-advice page-turner, or something like that, this guilty pleasure was cruelly overlooked and relegated to the annals of bargain bins everywhere. 

5. She’s Got a Mind for Business

Naomi has been vocal over the years about making less money than her white peers and was not going to wait for the industry to catch up. Instead, she has ventured into businesses ranging from her former stake in the Fashion Cafe in New York to her signature fragrances, first released in 1999. What does Naomi smell like? Subtle yet complicated, consisting of top notes of peach, coconut and bergamot with a deep, woody base of cedar and sandalwood—apparently.

6. She Gives Until It Hurts

For a so-called narcissist, Naomi has often put her fame to philanthropic use. She has galvanised black models in fashion with the Black Girls Coalition and has raised money for Africa, Haiti and disaster relief worldwide, including after the Mumbai terrorist attacks. When she was dating the Russian billionaire and Aman Resorts owner Vladislav Doronin, she became committed to saving the tiger. Is there anything this overachiever can’t do?

7. She Can Make Hay From Anything

When she was sentenced to community service following allegations by a former employer that Naomi had attacked her with a mobile phone, the model emerged from her punishment dressed in couture and trailed by a photo crew who were shooting a fashion layout of her for W magazine. And when she was summoned in 2010 to appear in a war crimes trial against former Liberian president Charles Taylor—in relation to an uncut blood diamond he’d allegedly given her—our girl showed up in an Azzedine Alaïa twin-set and wearing a silver “evil eye” necklace, turning the courtroom into a photo opportunity.

8. She’ll Be on Your Side for Evermore
The fashion industry is hardly known for its loyalty or congeniality, but Naomi has maintained decades-long friendships with not only her supermodel sisters like Christy Turlington but also some of the most powerful and difficult players, including John Galliano and Marc Jacobs. That she has remained tight with so many of her friends is not lost on her adoring public. She must be a loyal person and in return, fans everywhere remain loyal to her.

Naomi: In Fashion runs from June 22, 2024, until April 16, 2025, at the Victoria & Albert Museum, London; vam.ac.uk

Courtesy Vivienne Westwood. Photo Victoria and Albert Museum, London.

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The Sapphire Dinner 2024 Raises Support for Ocean Conservation

This year’s boldfaced bash raised funds for our critically under-supported national treasures. 

By Horacio Silva 22/06/2024

The big fish of Sydney society came out Thursday night for the third annual Sapphire Dinner to raise much-needed money for ocean conservation. Held in conjunction with the Art Gallery of New South Wales, the boldfaced bash was the first sit-down dinner held at the Tank, a repurposed World War II fuel container that sits beneath the Art Gallery’s new wing. 

Set against a backdrop of immersive ocean-inspired video projections by South Korean digital creators d’strict, and with a dress code that inspired guests to recycle their most fabulous fashions, the zero-waste dinner supports The Sapphire Project’s mission to galvanise the community to take action to protect our oceans and the Great Barrier Reef.

Deep-pocketed VIPs who walked the evening’s blue carpet included  Malcolm and Lucy Turnbull, real estate maven Monika Tu, Penelope Seidler, Anna Marsden (Managing Director of Great Barrier Reef Foundation), Michael and Tina Brand, Andrew Cameron, MCA Chair Lorraine Tarabay, Myer boss Olivia Wirth, benefactors Paris Neilsen and Beau Neilson, and Paul Howes and Olivia Wirth, the power couple known as ‘Paulivia’. 

Retired swimmer Giaan Rooney MC’d the event, hosted by Sapphire Committee co-chairs Hayley Baillie and Ryan Gollan and committee members Ian Thorpe AM, Luke Hepworth, Clare Herschell, Susan Wynne, Brioney Prier, Bianca Rinehart, Doris Ma, Kate Champion, Ellie Aitken, and Chong Chua. 

A troupe of former Australian Ballet dancers and a musical performance by the Fijian-Australian singer and actress Paulini entertained the revellers.   

Among the auctioned items was an original work by Del Kathryn Barton, which raised more than $200,000 in a high-spirited bidding war led by Four Pillars Gin founder Stu Gregor, whose expletive-laden entreaties were suitably salty. 

Nobody minded, given that more than a million dollars were raised to support the criminally underfunded ocean conservation (it’s estimated that only about 2 percent of philanthropy in Australia goes towards the preservation of our precious national treasures), with funds going to support important initiatives such as The Great Barrier Reef Foundation, the University of Sydney’s One Tree Island Research Station, the Australian Museum’s Lizard Island Research Station, the Australian Sea Lion Recovery Foundation and Biopixel Oceans Foundation’s Project Hammerhead

The Sapphire Project Dinner 2024
Clare Herschell, Kate Champion, Bianca Rinehart & Hayley Baillie
The tablescapes at the Sapphire Project Dinner
Ian Thorpe
Adrian and Beck Buchan
Monika Tu
The Sapphire Project Dinnner 2024
Lucy & Malcolm Turnbull
Sapphire Committee co-chairs Hayley Baillie & Ryan Gollan

For further information, visit SapphireProject.com.au

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The 10 Best Omakase in Sydney

Sydney’s best Japanese chef’s-table dining experiences.

By Belinda Aucott-christie 06/06/2024

In Japan, where food is a cultural art form, omakase stands for traditional Japanese foods made with seasonal ingredients. A good omakase meal, prepared with purity and mindfulness, can make an unforgettable imprint on the culinary memory. Yet in a land defined by seasonal traditions, omakase is a relatively new concept.

Omakase originated in Japan in the 1970s as affluent Japanese began to dine more regularly at first-rate sushi counters. Bowing to the expertise of the sushi master, omakase loosely translates to “I’ll leave it to you.” In a setting where money is no object, letting the chef decide was designed as a chic way to take the awkwardness out of ordering.

In Australia where there’s an abundance of fresh seafood, omakase menus have experienced a recent rise in popularity. Today omakase is any series of small dishes served directly by the chef to the diner. Each part of the meal is presented on beautiful ceramics and lacquer wear, with a great —and somewhat— intimidating reverence for elegant details. It’s a chance to see a chef’s knife skills up close and get a feel for their cooking style.

Omakase menus are based on whatever is freshest at the market and can be influenced by the chef’s mood, expertise, and response to the guest. They can be slowly paced like a ceremony—hushed and reverential—but they can also be rowdy, humorous, and personal.
Here we give you 10 of the best to try in Sydney.

Yoshi’s Omakase at Nobu Crown Sydney

Crown Sydney, Level 2/1 Barangaroo Ave, Barangaroo. Open: 12–3 pm, 5:30–9:30 pm Phone: 02 8871 7188 Reservations: F&B-SYD-Nobu@crownresorts.com.au; $380 per head (including matched wine and sake). Crownsydney.com.au

Sushi Oe

16/450 Miller St, Cammeray; Tue – Sat. SMS only 0451 9709 84 E: jizakana16@gmail.com Phone: 0426 233 984 $230 per head. jizakana.com.au

Kisuke with Yusuke Morita

50 Llankelly Place, Potts Point; Tuesday – Saturday: 17:30 – 10.45 (closed Sunday/ Monday) $185-200 per head Kisukepottspoint.com

Haco 

102/21 Alberta St, Sydney. Lunch, Friday to Saturday 12 -2:00 pm Dinner, Tuesday to Saturday 5:45 pm – 8:1 5pm (closed Sunday & Mondays) P: 0408 866 285                                     E: haco@hacosydney.com.au; $150 – $210 Hacosydney.com.au

Kuon

Shop 04 2/58 Little Hay St, Sydney, Lunch: Fri-Sun 12:30 pm. Dinner  Tue-Sun 5:15 pm or 7:45 pm sittings.  Reservation via SMS at 0488 688 252; $220 per head @kuon.omakase

Sokyo 

The Darling, Level G, 80 Pyrmont St, Pyrmont. Open dinner Monday to Thursday from 5:45 pm P: 1800 700 700 $300 per head Sokyo.com.au

Kuro

368 Kent St, Sydney; Open Tue – Wed – Thur: 6 pm Fri & Sat: 5:30 pm P: 02 9262 1580, reservations@kurosydney.com $220 per head. Kurosydney.com;

Choji Omakase

Level 2, 228 Victoria Ave, Chatswood —upstairs from Choji Yakiniku. Every Monday to Wednesday at 6.30 pm. One seating per day only. $295 per head. Chojiomakase.com.au

Gold Class Daruma

The Grace Hotel, Level 1/77 York St, Sydney; 12–2:30 pm, 5:30–9.00 pm Phone: (02) 9262 1190 M: 0424 553 611 booking@goldclassdaruma.com.au·$120 – $150 per head Goldclassdaruma.com.au

Besuto

Besuto Omakase, Sydney Place precinct, 3 Underwood Street, Circular Quay. Omakase is available to book for dinner – Tuesday to Saturday. 5:30 pm & 8pm sittings. From $250. Besuto.com.au

Frequently Asked Questions

Why is no soy and wasabi offered during my omakase meal?
Even though sushi and sashimi are being served, the chef is serving each piece of sushi so quickly and directly that the chef is applying the wasabi and soy to the sushi themselves. Watch as they brush the top of the fish with soy and dab a tiny amount of wasabi on the rice, under the fish. You should not need to add extra, and in fact, it can be insulting to the chef to add more. Bathing the bottom of the rice of your sushi in soy sauce is considered bad manners, as it is seen as detracting from the flavour of the fish.

Nobu, Sydney

Can an omakase experience accommodate my dietary needs?
Although there is often little variation once the chef has set the daily menu, some customisation is possible. Advise the restaurant when you book and remind them of allergies or aversions again as you sit down. They will let you know when you book if your allergy is possible for the chef. Japanese menus feature a lot of seafood and dashi so accommodating a no seafood request can be genuinely tricky.

What are the golden rules for chopstick etiquette?
Use your chopstick holder in between eating, rather than putting chopsticks on your plate. Don’t use your chopsticks to gesticulate or point; if offering food to someone to try, never pass food directly from your chopsticks to theirs. Rather place the food onto a small plate and let them pick it up.
Never touch communal or shared food with your chopsticks. The longer, slightly larger chopsticks are like sharing cutlery, never put these in your mouth.

Without a menu, how can I know what I am eating during omakase?
Omakase is often a no-menu situation, and you are expected to try new things. Attending an omakase experience with an open, trusting mind yields the best results.
There are Wagyu and tempura omakase that reflect the chef’s personal predilections and training, but in a standard luxury omakase, the format will include a lot of freshly caught seafood and will usually kick off with a delicate appetiser. This will be followed by a sashimi and sushi course, a savoury egg custard (chawanmushi) with meat and seafood, a cooked or blow-torched market fish, a soup course, and dessert.

Can I talk to the chef during omakase? What is the protocol?
Guests at an omakase experience are welcome to ask questions of the chef; in fact, interacting with the chef is part of the experience. It is considered polite to ask questions or inquire about the food so they can explain.

What is best to pair with omakase  in terms of drinks?
In general, wine and sake are a perfect match for omakase. Aged fish and vinegar have strong umami flavours so depending on which course you enjoy, different wine and sake will pair well. Dry chilled sake is a great choice. Amazing sakes are imported into Australia, so trust the restaurant to advise you and take you on a sake journey at the same time.  If you don’t like sake, drinking chardonnay, a crisp young riesling, or even a dry complex Riesling is also totally acceptable. All three styles help bring out the flavour of the fish. Champagne can also be good. Try a blanc de blancs— 100% chardonnay —for a great way to start the meal. As you progress, remember that sake is good for dishes with a strong taste, such as uni and eel.

Nobu, Sydney

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The Tod’s SS25 Men’s Collection in Milan Was a Showcase of “Artisanal Intelligence”

It was also the debut men’s collection by creative director Matteo Tamburini.

By Josh Bozin 20/06/2024

Earlier this week, Tod’s presented its SS25 men’s collection at the Padiglione d’Arte Contemporanea (PAC) for Milan Fashion Week, where all eyes were fixed on Matteo Tamburini and his debut menswear collection as Tod’s newest creative director.

Striking “a balance between tradition and modernity”, was the former Bottega Veneta designer’s intention, and indeed his showcase offerered a spotlight on the quality, materials, and detailing that are central to the Tod’s wardrobe.

“The collection is more about subtraction rather than addition, highlighting the very elevated, timeless and relaxed materials,” says Tamburini via a statement.

Tod’s

In line with Tod’s restrained design codes, the garments presented were characterised by timelessness, unmistakable Italian flair, yet a casualness appropriate for everyday wear. Only the best leathers were used in the collection—thanks to the Pashmy project, which Tod’s unveiled in January to champion high-end Italian materials—used in creating garments like the Tod’s Bomber, the Gio Jacket, the Shirt Jacket, the Di Bag sack, as well as footwear staples, like the Tod’s T-Riviera.

Of course, the iconic Gommino driving shoe wasn’t without an update, too: you’ll find a new sabot interpretation, as well as the Bubble Gommino introduced in a new boat model with the T-bar accessory.

“Craftsmanship” was at the forefront of messaging, with chairman and chief executive officer of the Tod’s Group, Diego Della Valle, reiterating the message of honouring artisanal arts in an increasingly digital-first world.”[It’s] important to uphold artisanal intelligence, keeping under control artificial intelligence as it is now developing rapidly and powerfully,” he said via a statement.

“Individuals and artisanal intelligence at the centre, with its traditions and values, will contribute to keep artificial intelligence in check. Our Italian craftsmanship and supply chain can be an example of the combination of tradition and the new speed of artificial intelligence.”

tods.com

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Pitti Uomo’s Best-Dressed Men Cut Through the Noise With Personal Style

From vintage gems to tasteful tailoring, attendees of Florence’s biannual tradeshow brought their best sartorial selves.

By Naomi Rougeau, Lorenzo Sodi 20/06/2024

Whether or not you’re well versed in the ins and outs of Pitti Uomo, the biannual menswear tradeshow in Florence that brings together buyers, press—and, naturally, a vast ostentation of peacocks—the chances are that photos from the gathering are still making their way into your newsfeed. You might even smirk at the mention of it. To be sure, you’ll encounter plenty of “overdressing” strolling through the main venues but by and large, great personal style manages to cut through the noise.

Part of what makes the Pitti scene so exciting is that menswear moves relatively slowly. It’s less about seeing something earth shatteringly new but rather gradual shifts and discovering fresh ways to put things together. Menswear regulars such as Alessandro Squarzi, owner of a considerable vintage archive that influences his Milanese boutique Fortela, can be relied upon to provide inspiration on how to make tried and true staples and silhouettes feel modern.

Speaking of new old things, vintage fashions made their way into the chat in a big way this June, whether in terms of rare finds or sustainable efforts via upcycling, fabric development and natural dyes (Paris-based De Bonne Facture achieved an ideal medium brown using coffee, for instance). At the heart of the conversation was another bona fide vintage guru Maurizio Donadi who made a case for the timelessness and democratic nature of indigo with his centuries-spanning exhibit of antique garments from around the globe.

Below you’ll find a dozen of our favorite looks from Pitti Uomo 106, lensed by our eagle-eyed street-style photographer Lorenzo Sodi. We hope they inspire.

Lorenzo Sodi

A lesson in simplicity and the power of a classic palette—good quality vintage accents such as a turquoise embellished belt buckle add interest to timeless workwear. Ray-Ban’s universally-flattering Wayfarer sunglasses are the perfect finishing touch.

Lorenzo Sodi

Sans suit and shirt, the neckerchief (of which there were many at Pitti), adds a welcome dose of colour to a white tee and relaxed jacket and proves that sometimes one choice detail is all it takes. A well-loved, slightly-too-long belt and canvas Vans contribute to the casual harmony.

Lorenzo Sodi

Whatever the weather, you’ll find Douglas Cordeaux, from Fox Brothers, looking immaculate in shirt and tie… and a suit made of one of Fox’s many fabrics. British elegance, embodied.

Lorenzo Sodi

Relaxed elegance is the foundation of the Brunello Cuccinelli brand. Here, the maestro himself shows us how it’s done in a double-breasted linen ensemble featuring a few personal flourishes.

Lorenzo Sodi

Designer Alessandro Pirounis of Pirounis offers a masterclass on the rule of three with a contemporary twist, subbing the usual jacket with an overshirt of his own design.

Lorenzo Sodi

A renaissance man takes Florence. True to his roots, US Marine veteran, Savile Row-trained tailor and photographer Robert Spangle blazes a sartorial trail that’s all his own.

Lorenzo Sodi

Cream trousers are an essential element of elegant Italian summer style. Designer Nicola Radano of Spacca Neapolis channels one of the greats (Marcello Mastroianni) in a dark polo of his own design, collar spread wide across his jacket’s lapel for a welcome retro lean.

Lorenzo Sodi

Proof of the power of tonal dressing, that can create an impactful outfit just by sticking to the same colour family. A chic ensemble and in some ways an elevated version of the double-denim look, every element is working hard in service to the whole.

Lorenzo Sodi

UK-based stylist Tom Stubbs has long been a proponent of blousy pleats, lengthy db jackets, and statement-making neck scarves and here, in vintage Armani, he embodies the louche, oversize look that many designers are just now catching up on.

Lorenzo Sodi

A tailor splitting his time between Berlin and Cologne, Maximilian Mogg is known for his strong-shouldered, architectural suiting. Yet in Mogg’s hands, particularly with this non-traditional colour scheme, the effect is always modern and youthful.

Lorenzo Sodi

If Max Poglia’s relaxed Hawaiian shirt and suit combo is any indication, summer has truly arrived. But it’s an excellent example of how to wearing tailoring in more casual fashion. This cream db would look perfect with shirt and tie at a wedding in August and just as chic here with slippers and a laid-back shirt.

Lorenzo Sodi

Another example of how tailoring can be laid-back and breezy for summer, from a dude who looks no stranger to enjoying the best of the warmer months. Jaunty pocket square, sandals, untucked linen shirt…go forth and emulate.

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