Shot against the rugged landscapes of Ayrshire, the ancestral home of the Barbour family, the campaign puts the brand’s exclusive tartan at the centre of the story.

_{Edie Campbell for Barbour}

_{Saffron Hocking for Barbour}

Though the company is synonymous with wax jackets, tartan has been a fixture since founder John Barbour, a Scotsman from Galloway, began lining coats with the pattern. The current Barbour tartan was developed in 1998 by Dame Margaret and Helen Barbour with Kinloch Anderson, the Edinburgh-based tartan specialists, to reflect the family’s Scottish origins.

“Our unique and exclusive tartans represent everything that is special about the Barbour brand,” says Paul Wilkinson, Group Deputy Managing Director.

_{Kit Butler for Barbour}

The new campaign underscores that narrative by pairing the classic check with knitwear, shirts and scarves from the autumn collection, styled on a cast that epitomises contemporary Britishness on screen and runway.

To mark the launch, Barbour will bring its heritage to central London with Tartan: The Barbour Way, a Carnaby Street pop-up exhibition timed with the start of London Fashion Week. Visitors can explore archive pieces and immersive experiences designed to highlight the brand’s Scottish connection.

_{Will Gao for Barbour}

By spotlighting tartan, Barbour reinforces its heritage while signalling its intent to remain part of the broader fashion conversation, bridging its countrywear roots with a modern, style-conscious audience.

by Adina Ilie

The post Edie Campbell and Kit Butler Front Barbour’s Return to Tartan Heritage first appeared on The Glass Magazine.

The campaign imagery is striking in its precision. Amelia Gray, Candice Swanepoel and Daiane Sodré appear as the faces of this new chapter, each bringing a distinct energy. Gray’s contemporary edge, Swanepoel’s iconic glamour and Sodré’s refined poise create a dialogue between past and present. Under Meisel’s direction, the cast becomes more than models; they are embodiments of strength, intention and unapologetic presence, traits that have long defined the ALO vision.

_{ALO Bag Campaign}

Styled by Carlyne Cerf de Dudzeele, with beauty by Pat McGrath and creative direction from Raúl Martinez, the campaign balances minimalism with polish. The bags themselves are crafted in Florence from responsibly sourced Italian leather and designed in Los Angeles to flow from studio to street.

_{ALO Bag Campaign}

_{ALO Bag Campaign}

Four silhouettes form the foundation of the collection: the Voyage Duffle, Tranquility Tote, Odyssey Bowler and Balance Bucket. Each is offered in full and mini sizes, with details such as hand-painted edges, bespoke hardware and refined interior organisation. ALO has also paired every design with a crystal, from grounding Smoky Quartz to abundant Citrine, underscoring the brand’s philosophy of intention and energy.

_{ALO Bag Campaign}

By aligning its first bag collection with a photographer of Meisel’s cultural stature and a cast that bridges the legacy of supermodels with a modern sensibility, ALO announces its arrival in the luxury arena with confidence and clarity.

by Adina Ilie

The collection, priced between $1,200 and $3,600, will be available in limited quantities, sold exclusively through 23 ALO Sanctuaries worldwide — including Beverly  Hills, Soho NY, Regent Street, Aspen, and Dosan Park.

The post ALO Steps into Luxury with Debut Bag Campaign by Steven Meisel first appeared on The Glass Magazine.

It feels less like an arrival and more like a homecoming to the essence of Andalusia, a land where Moorish arches and jasmine-scented courtyards meet an easy, cosmopolitan elegance.

_{Gran Marbella Resort & Beach Club}

Wellness takes centre stage here with the arrival of Champneys, making its first international debut. The heritage British spa brand has reimagined its ritual of rest for the Mediterranean, offering treatments infused with coastal botanicals and sun-warmed sea breezes. It is a place to recalibrate, whether through a hammam-inspired scrub or a languid afternoon by the pool, skin kissed by salt and light.

Amu Beach Club, the glamorous younger sibling to the Monaco original, is destined to become the resort’s heartbeat. Picture an infinity pool melting into the horizon, ocean-to-table dining served beneath woven parasols, and sunsets the colour of sangria. For those in the know, it is already being whispered about as Marbella’s next great address for golden-hour gatherings.

_{Gran Marbella Resort & Beach Club}

Architecture draws deeply from the region’s Moorish past with intricate tilework, shaded arcades and guest suites spilling onto generous terraces. Inside, the atmosphere is breezy and sunlit. Outside, a cluster of restaurants and bars channel the Andalusian art of living outdoors. Expect long, wine-soaked lunches, orange-laced caipirinhas in hand and the slow drift of an afternoon that refuses to end.

Beyond the beach and pool, the resort opens a door to the region’s living traditions. Guests can cast a fishing line at dawn with local sailors, press liquid gold from ripe Andalusian olives or learn the craft of winemaking from those who have done it for generations.

Gran Marbella Resort & Beach Club is not just a place to stay. It is a mood, a rhythm, a way of inhabiting the Mediterranean that blends heritage with high style.

by Adina Ilie

Prices start from £390 in the high season, and £220 in the low season

The post Gran Marbella Resort & Beach Club Brings Riviera Energy to Andalusia first appeared on The Glass Magazine.

_{The Vintage House Promenade, Duoro Valley}

My first day begins with breakfast overlooking the Douro River before an official introduction to WOW Porto, abbreviation for world of wine, a new cultural district aiming to educate as well as entertain. The Chocolate Story is a sensory journey through time, tracing cocoa’s path from ancient civilisations to modern artisanal production. The scent of roasted beans fills the air as molten chocolate is tempered into a smooth, glossy finish. Tasting single-origin varieties, I notice how terroir influences each bite, echoing the complexities of wine.

_{The Duoro Valley}

_{Bacchus Suite at The Yateman}

At The Wine Experience, I am taken through Portugal’s diverse wine regions, learning how soil, climate and tradition shape each bottle. Lunch at Golden Catch celebrates the city’s Atlantic heritage with fresh seafood.

Planet Cork shifts the focus to sustainability, showcasing Portugal’s role as the world’s leading cork producer. At the Atkinson Museum, the Dalí Universe exhibition offers a fascinating glimpse into the surreal world of the legendary artist before the evening unfolds at Mira Mira. Here Ricardo Costa presents a contemporary take on Portuguese cuisine, with dishes thoughtfully paired with selections from WOW’s extensive cellars.

_{The Vintage House}

The following day I am taken deeper into the world of wine with a journey up the Douro Valley. The road winds along the river, revealing a patchwork of steep, terraced vineyards carved into the hillsides. The Vintage House Hotel serves as a base for tasting wines from the famous estates of Quinta do Panascal and Quinta da Rôeda. 

_{Taylor’s Master Suite at The Yateman}

As the late afternoon light bathes the valley in amber hues, I sip a tawny port and understand why this landscape is so revered. The evening brings me back to Vila Nova de Gaia for dinner at Rabelo Restaurant – a final toast to a weekend immersed in wine, culture and tradition. WOW is more than a destination; it is a tribute to the past, present and future of wine, making Porto an essential stop for any oenophile.

By Adina Ilie

For more information, visit wow.pt/en

The post Glass explores the world of wine in Porto first appeared on The Glass Magazine.

Glass Man speaks to The Recruit star Noah Centineo about getting to grips with the complex character he plays, his love of indie cinema and his foray into production

Noah Centineo is not one for impulse. He was never destined to be the kind of actor who glances at a script and instinctively claims it as his own. Deliberate in his choices, he gravitates towards roles that prioritise substance over spectacle, always searching for depth rather than mere display.

Wiser than his years, Centineo’s ascent into Hollywood has been steady and assured. His boyish charm and natural charisma propelled him to fame in his early teens, his presence an instant draw. Born on May 9, 1996, in Miami, Florida, and raised in Boynton Beach, he attended BAK Middle School of the Arts before enrolling at Boca Raton Community High School. There, he honed his craft until relocating to Los Angeles to pursue acting in earnest. 

_{Photographer: Ssam Kim}

_{Photographer: Ssam Kim}

Early roles in Disney Channel productions laid the foundation, but it was his turn as the affable Peter Kavinsky in Netflix’s To All the Boys I’ve Loved Before (2018) that solidified his place as a Gen Z heartthrob.

Yet rather than be confined by the genre that launched him, Centineo sought to broaden his horizons. He embraced action-driven roles, appearing in the superhero film, Black Adam (2022), and Netflix spy thriller The Recruit (2022), deftly navigating the shifting terrain of young Hollywood leading men.

_{Photographer: Ssam Kim}

In The Recruit, which started its second series at the start of the year, Centineo sheds his romantic-comedy persona and steps into the shoes of Owen Hendricks, a fledgling CIA lawyer whose first week on the job descends into a perilous web of international espionage. Created by Alexi Hawley, the series positions Centineo as an unconventional spy protagonist – his signature charm balanced against an undercurrent of tension, intellect interwoven with physicality.

Centineo has always been drawn to characters that exude emotional security. His roles in To All the Boys I’ve Loved Before and Sierra Burgess Is a Loser saw him play young men who offered stability, serving as safe harbours for the women at the centre of their stories.

The Recruit, however, presented a stark contrast. Owen is defined by volatility – deeply empathetic yet recklessly impulsive. He is, in many ways, the antithesis of safety. But what does safety mean to Centineo? And how does that notion shape his life experiences? 

_{Photographer: Ssam Kim}

“I would say that safety means reverence and mutual respect,” he reflects. “I received reverence in a moment when I thought I did not deserve it and it absolved me of the pain I was feeling at that time. At that moment, I recognised that I was safe, even though I was not right.” He pauses, choosing his words carefully. “I think if we lose that – reverence and mutual respect – then we’re losing community, connection and empathy. Empathy is a big part of that. And if not empathy, then at the very least, sympathy.”

What about the absence of safety? He considers the question before answering. “The opposite of love is certainly fear. If love is the highest and fear is the lowest, then maybe safety falls somewhere in between. If safety is below love, maybe there are different forms of love. We should find something that is not so extreme. Is fear actually ignorance?” He lets the thought linger, an invitation to consider the nuances.

_{Photographer: Ssam Kim}

_{Photographer: Ssam Kim}

Taking on the role of Owen, it was never about simplifying him into archetypes. Instead, Centineo sought to peel back the layers. Is Owen’s volatility an indicator of malevolence? Hardly. And yet, Owen is the kind of character for whom excuses come easily. But being unintentionally harmful carries its own dangers.

“I’ve often said that I would rather deal with someone who knows they are being malicious than someone who is ignorantly malicious. If someone at least knows they’re doing something wrong, we are both being honest. But if someone is ignorant of their wrongdoing … I don’t know, maybe that’s more dangerous,” Centineo muses. “Then again, someone who is ignorant may have a greater capacity for change if they are informed. That’s different from someone who is decidedly malicious.”

_{Photographer: Ssam Kim}

Owen Hendricks, however, is neither. Yet he still manages to hurt those around him. What subconscious drive manipulates him? “I think most people act from a place of self-preservation. His greatest adversities are either going to prison or dying – that’s his daily confrontation at the CIA. If he wants to avoid either, his only other option is to make choices that inevitably hurt other people. Though he searches for alternative pathways, in the end, he would rather hurt others than go to prison or die. That’s self-preservation at work.”

Centineo elaborates, his words tinged with understanding. “Whenever I’ve encountered someone who hurts the people they care about, it has usually come from self-preservation. They feel their back is against the wall, that they have no other option and that they are under attack. Whether or not they are actually under attack, or whether their perception of reality has shaped that belief, is another question.”

_{Photographer: Ssam Kim}

Finding empathy for Owen was crucial. “There was a scene in the pilot episode that didn’t make it to air,” Centineo recalls. “He was delivering a subpoena at Senator SMOOT’s office. While waiting outside, a little kid sitting next to him looked over … and asked ‘are you a spy?’ He responded ‘No. I’m a lawyer. For spies’. The kid then replies ‘Does that mean you don’t get to kill people?’. He answers with ‘Not sure. But I am allowed to choke out a 9 year old’. Something ridiculous like that… The kid just looked at him, then smiled and he smiled back. So, I know him [Owen]. I know his heart in a way no one else does, except for Alexi.

_{Photographer: Ssam Kim}

Ultimately, no one really knows Owen. “[By] season three people should know who Owen is outside of these extraordinary circumstances. I hope we get the chance to explore that if we get a third season,” he continues.  

Beyond his work as an actor, Centineo’s passion for storytelling extends into production. He launched his company, Arkhum Productions, as a platform to champion independent cinema, a space he believes fosters genuine creativity.

“We love the indie world. Personally, I think the future is very bright for independent cinema. So much money is poured into massive four-quadrant, tentpole, spectacle films. That’s great – those movies are fantastical and let your imagination run wild. But I think of the Sean Bakers, the Amanda Kramers and Oscar Boyson’s. Some of the greatest filmmakers begin in independent film,” Centineo expands.

_{Photographer: Ssam Kim}

But beyond the projects he backs, a deeper question emerges: what are his values? “We make plans, and God laughs,” he begins, a wry smile forming. “I think the focus should always be on humanity, people, empathy, reverence and respect.” Those are the things that endure. The spectacle will fade. The stories and the people behind them are what truly matter. 

For Centineo, the search for substance is far from over.

by Adina Ilie

Photographer: Ssam Kim

Stylist: Britton Litow

Art Director: Evan Woods

Groomer: Sydney Sollod

Set design: Yaro Banduro

Set producer: Adriana Levandowski

Styling assistant: Chelsea Lozano

Talent: Noah Centineo

_{All clothing and accessories LOUIS VUITTON Spring-Summer 2025 Collection}  

_{Image 1 watch: LOUIS VUITTON Tambour Automatic 40mm watch in steel and pink gold}

_{Image 7 watch: LOUIS VUITTON Tambour Automatic 40mm watch in steel and pink gold}

The post Noah Centineo’s search for substance in cinema first appeared on The Glass Magazine.

Glass speaks to British actor Lucy Boynton about her latest role as Ruth Ellis and what her story of injustice says about society’s treatment of women

Women have historically been vilified, whether for their intelligence, their refusal to conform, or simply for existing. Caged by society’s expectations, they have spent centuries making amends for so-called transgressions.

“Can you believe it? When you really sit and think about the witch trials, it’s easy to view them as a detached historical event, but women were literally set on fire and drowned, for being intelligent or for simply being good at maths,” Lucy Boynton reflects as we take a deep dive into her latest project, the TV drama A Cruel Love: The Ruth Ellis Story.

_{Photographer: Pip}

Ellis, a London nightclub hostess, holds a singular and haunting place in British history as the last woman to be executed in the UK. Convicted of murdering her lover, David Blakely, in 1955, Ellis’s case captured the nation’s attention and ignited a fierce public outcry. She shot Blakely six times, four of those shots fired at close range, with forensic evidence revealing shotgun residue on his skin.

Her swift conviction and subsequent execution by hanging stirred widespread outrage, casting a stark light on the harsh realities of capital punishment and leaving an enduring mark on the national conscience.

_{Photographer: Pip}

The case, marked by later revelations of her abuse at the hands of Blakely, ignited the debate about capital punishment. At just 28, Ellis was hanged at Holloway Prison. Her execution fuelled calls for reform, contributing to the eventual abolition of the death penalty in the UK. Her life saved thousands of others. But what a costly price to pay. 

Taking on the lead role as Ellis carries weight. What was Boynton’s route into her universe? “My plan was to gather all the facts and then approach it from an analytical point of view, figuring out how I wanted to play her. But the empathy engaged much earlier than I had anticipated. I was mistaken in thinking there could be any neutrality when reading this case. It is devastating.”

_{Photographer: Pip}

Boynton is introspective yet precise, a rare balance among performers. But she’s no stranger to portraying complex, enigmatic women, often drawing from real-life stories. Born on 17 January 1994, in New York City to English parents, journalists Graham Boynton and Adrianne Pielou, she was raised in southeast London and attended Blackheath High School, followed by James Allen’s Girls’ School in Dulwich. 

After an early breakout in Miss Potter (2006) about Beatrix Potter, Boynton gained recognition in Bohemian Rhapsody (2018) as Mary Austin, Freddie Mercury’s steadfast yet conflicted partner. She has since embraced historical roles, including the fiercely intelligent Marie Antoinette in Chevalier (2022), bringing nuance to a figure often reduced to excess.

Across projects like The Politician (2019-2020) and The Pale Blue Eye (2022), Boynton gravitated toward characters shaped by power, ambition and isolation, solidifying her reputation for portraying women of depth and contradiction.

_{Photographer: Pip}

“It’s always interesting to re-examine the way women have been presented to us,” says Boynton. “When doing any kind of historical piece or reading anything throughout history, we are very aware that there has always been an author. So, it’s always worth challenging the way a historical event or historical figure has been framed. But I think this is especially true when it comes to women. We are progressing, but only now. Society has become increasingly more equal, yet we still live in a patriarchy. We still live in a misogynistic society.”

This was particularly evident in the life of Ruth Ellis and her subsequent trial. “Her case directly impacted our judicial system. Sadly, the general public had already come to that conclusion at the time. Many people wrote to their MPs, saying that she absolutely did not deserve to be hanged. In the UK, the general appetite for capital punishment had almost completely diminished. There had been a few cases just before Ruth where people were hanged, only for it to later be discovered that they had been wrongly convicted. So, it was murder.”

_{Photographer: Pip}

It is harsh language but necessary, a conversation that, decades later, still demands attention. “The way we have viewed and portrayed women has always been, in some way, tinted by misogyny. Whether slightly or heavily, it has been coloured by societal biases. This is why, with stories like Ruth Ellis, I want to re-examine them through a contemporary lens, through the modern understanding we have now. It is a gift to be able to do that, informed by hindsight, contemporary freedoms and the knowledge of how far we still have to go,” Boynton continues.

Even today, the biases persist. “I find it so interesting talking to women about this. Every time I brought it up before filming, during or after, the reaction was always the same. Every woman I spoke to, upon hearing that Ruth Ellis was the last woman hanged in the UK for shooting her partner, responded with ‘what did he do?’ That reaction is not unreasonable. The statistics for domestic violence in 2025 are abhorrent, horrific. It has been deemed a national crisis. Domestic violence against women is an epidemic.”

_{Photographer: Pip}

An epidemic that must be confronted, and one that can only be dismantled through more open, relentless conversations. On a roll, Boynton adds, “When I started this press tour, I wanted to bring positive numbers, thinking things would have significantly improved. But the reality of it is shocking. Yes, it is better than in 1955, when domestic violence was so commonplace that people didn’t even think to report it. But we are nowhere near where we need to be.

“There is so much exhaustion in women’s voices when discussing this because it is still posed as a ‘women’s issue’ despite the fact that women are the victims. Yes, men are also victims, statistically speaking, but they are primarily victims of male violence. Women, however, bear the overwhelming brunt of it. I just wish more men, especially the men who know themselves to be good men, spoke about it as much as we are forced to,” she laments. 

But the reality is more complicated. Take Ruth Ellis and her tragic story, the system that failed her, the men who judged her. The very fact that, in the 1950s, the judicial system was unequipped to deal with the nuances of her case speaks volumes. Empathy was limited, sympathy non-existent. 

_{Photographer: Pip}

“The very facts of her life show that she endured so much abuse from childhood. Her father sexually assaulted her and her sister. Her first partner abandoned her. Her first husband was abusive. She lived through the Second World War, experiencing the Blitz in London. She lived so much life in such a short amount of time. She was executed at 28. When I approached this role, I was 29 and, already, I had outlived her without experiencing even a fraction of what she had endured,” Boynton explains. 

There is real tragedy in the fact that these conversations remain necessary, with facts not having improved much. “A lot of fundamentally kind and educated men are genuinely surprised by this. And that confusion, that lack of awareness, baffles me. I wish the gender divide in these conversations didn’t exist.

“I hope that with this show, men don’t feel defensive. I hope they lean into it, realising, ‘I didn’t know the figures were this bad. How can I help?’ I hope it extends the conversation beyond just women.” 

_{Photographer: Pip}

The gender bias today may be less explicit than in Ruth Ellis’s universe. However, her reality is stark and dark. “For Ruth to sit in a courtroom, with male psychiatrists, a male jury and a male congregation, hearing them talk about ‘female hysteria’ as an actual diagnosis, for a woman who made a conscious decision to end the cycle of abuse in her life, is baffling.”   

Her voice sharpens. Rightfully so. Women have endured oppression and abuse for so long and anger against it has been passed down through generations. It begs the question, where does it pinnacle? “I wonder what the accumulation of all of this will result in,” Boynton echoes. 

But if she had the chance to speak to Ruth Ellis in her final moments, what would she say? “If I couldn’t change anything then I don’t know that I could say anything,” comes the swift reply. “She’d been on the receiving end of a cacophony, I would just want to let her have her peace. In quiet company. I wouldn’t try to create any ripples. I would simply show respect for the fact that, in the end, she took ownership of her own narrative.”

As all women should. 

by Adina Ilie

Photographer: Pip 

Stylist: Esperanza De La Fuente

Hair: Halley Brisker

All make-up by Andrew Gallimore using CHANEL Spring-Summer 2025 Make-up Collection and No.1 de CHANEL Body Serum-In-Mist

Manicurist: Sabrina Gayle using CHANEL Le Vernis in 197 Artiste and CHANEL La Crème Main

Photography Assistant: Emmanuel Robert

Styling Assistant: Maria Anita Pompili

Talent: Lucy Boynton

_{Look 1: Eternal N°5 ring in 18K beige gold with diamonds CHANEL Fine Jewellery, No.1 de CHANEL Red Camellia Cream, CHANEL Les Beiges Bronzing Cream, CHANEL Rouge Coco Baume Shine in 762 – Raspberry Kiss, No.1 de CHANEL Body Serum-In-Mist, CHANEL La Crème Main, All fashion CHANEL Spring-Summer 2025 ready-to-wear collection}

_{Look 2: Bouton De Camélia earrings in 18K yellow gold with diamonds and Coco Crush earrings in 18K beige gold, all CHANEL Fine Jewellery, No.1 de CHANEL Red Camellia Cream, CHANEL Les Beiges Bronzing Cream, CHANEL Jeux de Lumières Multi-Use Eyeshadow and Highlighter Palette, CHANEL Ombre Essentiell in 252 – Pêche Glacée, CHANEL Rouge Coco Baume Shine in 762 – Raspberry Kiss, All fashion CHANEL Spring-Summer 2025 ready-to-wear collection}

_{Look 3: Coco Crush earrings and rings in 18K white gold with diamond, 18K beige gold with diamond and 18K yellow gold with diamond, all CHANEL Fine Jewellery, No.1 de CHANEL Red Camellia Cream, CHANEL Jeux de Lumières Multi-Use Eyeshadow and Highlighter Palette, CHANEL Rouge Coco Baume Shine in 762 – Raspberry Kiss, No.1 de CHANEL Body Serum-In-Mist, CHANEL La Crème Main, CHANEL Le Vernis in 197 – Artiste, All fashion CHANEL Spring-Summer 2025 ready-to-wear collection}

_{Look 4: Bouton De Camélia choker in 18K yellow gold with diamonds and Coco Crush hoop earrings in 18K beige gold, both CHANEL Fine Jewellery, No.1 de CHANEL Red Camellia Cream, CHANEL Les Beiges Bronzing Cream, CHANEL Jeux de Lumières Multi-Use Eyeshadow and Highlighter Palette, CHANEL Rouge Coco Baume Shine in 758 – Blushing Pink, No.1 de CHANEL Body Serum-In-Mist, All fashion CHANEL Spring-Summer 2025 ready-to-wear collection}

_{Look 5: Coco Crush rings in 18K white gold with diamonds and 18K yellow gold with diamonds, both CHANEL Fine Jewellery, No.1 de CHANEL Red Camellia Cream, CHANEL Jeux de Lumières Multi-Use Eyeshadow and Highlighter Palette, CHANEL Rouge Coco Baume Shine in 764 – Charming Lilac, No.1 de CHANEL Body Serum-In-Mist, CHANEL La Crème Main, CHANEL Le Vernis in 197 – Artiste, All fashion CHANEL Spring-Summer 2025 ready-to-wear collection}

_{Look 6: Coco Crush earrings and rings in 18K white gold with diamond, 18K beige gold with diamond and 18K yellow gold with diamond, all CHANEL Fine Jewellery, No.1 de CHANEL Red Camellia Cream, No.1 de CHANEL Body Serum-In-Mist, CHANEL La Crème Main, All fashion CHANEL Spring-Summer 2025 ready-to-wear collection}

_{Look 7: Coco Crush rings in 18K beige gold with diamonds, 18K white gold with diamonds and 18K yellow gold with diamonds, all CHANEL Fine Jewellery, No.1 de CHANEL Red Camellia Cream, CHANEL Rouge Coco Baume Shine in 762 – Rapsberry Kiss, No.1 de CHANEL Body Serum-In-Mist, CHANEL La Crème Main, CHANEL Le Vernis in 197 – Artiste, All fashion CHANEL Spring-Summer 2025 ready-to-wear collection}

_{Look 8: Coco single earrings in 18K beige gold with diamond and 18K yellow gold with diamond, all CHANEL Fine Jewellery, No.1 de CHANEL Red Camellia Cream, CHANEL Jeux de Lumières Multi-Use Eyeshadow and Highlighter Palette, CHANEL Ombre Essentiell in 252 – Pêche Glacée, CHANEL Rouge Coco Baume Shine in 762 – Rapsberry Kiss, CHANEL La Crème Main, CHANEL Le Vernis in 197 – Artiste, All fashion CHANEL Spring-Summer 2025 ready-to-wear collection}

The post Lucy Boynton talks to Glass about her latest role as Ruth Ellis first appeared on The Glass Magazine.

Already, Dublin is casting its spell, one of quiet luxury and urban poise. The Radisson Blu Royal Hotel rises like a modern fortress of calm just steps from the city’s pulse, and inside, everything moves with the practised grace of hospitality done right.

_{The Radisson Red Galway Hotel}

Outside, the cobbled streets of the capital unfurl like scenes from a stage set. There’s a rhythm to it, the jostle of foot traffic, the occasional violinist tucked into an alley archway, the faint lilt of conversation that sounds more like poetry than small talk. Over lunch at the Old Town Wine Bar, I’m immersed in a future-forward performance of sorts, an AR experience that fuses storytelling with bites of local fare, served with wine that tastes of ripe stone fruit and soft spice. Every element feels choreographed, but never staged.

The evening begins with a clink of glasses in the Castle Suite, champagne against cut crystal, a shimmer of anticipation in the air. Then, we’re whisked off through the streets, past doors painted in moody jewel tones, to The Irish House Party, where dinner becomes a rousing performance. Fiddles soar. Feet tap. Laughter swells. The line between guest and performer blurs in a way only the Irish seem to manage, charming, unscripted, utterly joyful.

The road west the next morning rolls out like a ribbon, winding through a land that grows greener, wilder, softer. By midday, we’re at Sean’s Bar in Athlone, supposedly the oldest pub in Europe, though its heart feels timeless. I’m handed a pint glass and shown the sacred dance of pouring the perfect Guinness. There’s something reverent in the hush as the stout settles, dark liquid crowned by cream, like a slow exhale. At Athlone Castle, stone walls rise against the sky, echoing with tales of rebellion, romance, and rainstorms.

_{The Radisson Blu Royal Hotel}

And then, at last: Galway.

A city that feels like it was dreamt into being by a playwright with a fondness for salt air and stories. The Radisson RED Galway is a punchy, modern perch above this city of edge and art. I wander through streets that feel alive with performance, shopfronts spilling over with watercolours and poetry, pub windows fogged with music, corners that could’ve come straight out of a Yeats sonnet. The wind carries the tang of the sea and the briny hush of ancient magic.

Dinner on Lena’s Rooftop tastes of the Atlantic, succulent shellfish, just-caught white fish with a glint of lemon butter, and the sunset turns the bay into molten rose gold. From here, the town glimmers like a constellation pinned to the western edge of Ireland.

_{The Radisson Red Galway Hotel}

The final morning is a stroll through Galway proper, with a guide whose voice is threaded with reverence. He speaks of playwrights and protestors, of stone archways that once welcomed kings, of theatres now hidden in plain sight. The air smells like morning tide and oven-fresh soda bread.

Galway feels like a love affair between art and artist, performer and performance, viewer and message, soul and landscape. It hums with the quiet electricity of connection. The air itself carries the memory of stories once told and still unfolding. And in that symphony of wind, sea, stone, and spirit, I hear it clearly. This is what Ireland is meant to sound like. To feel like. To reverberate as. A living poem, always just about to begin again.

by Adina Ilie

_{Radisson Blu Royal Hotel Dublin can be found at Golden Ln, Dublin 8, D08 VRR7, Ireland. Set in the city centre, this upscale modern hotel is a 6-minute walk from St Patrick’s Cathedral and a 7-minute walk from Dublin Castle. Rooms are available from £140.00}

_{Radisson RED Galway can be found at Crown Square, Joyce’s Road, Galway, H91 H5PX, Ireland. Located just minutes away from the city centre, rooms are available from £118.00}

The post Glass experiences a journey through Ireland’s living tapestry of art, story and seashore first appeared on The Glass Magazine.

_{Swimming Pool at Fairmont La Hacienda}

The moment I land, something shifts. And I don’t just mean the unusual experience of crossing the border into Spain on foot, but also a noticeable change in my demeanour in the presence of nature. You see, the thing about Gibraltar Airport is that the eponymous Rock greets you as you land. Legend has it that it’s one of Achilles’ heels. I do love a good Greek myth reference.

The drive to Fairmont La Hacienda is smooth. Hills roll out beside us, the sea winks in the distance, and already I feel as though I’m somewhere far from my usual thoughts.

Upon arrival, Fairmont delivers immediately. There’s something about certain hotel chains that gives you an instant sense of belonging. It feels like a home away from home. This is especially true of Fairmont, which even has a signature scent designed specifically for its properties. And we all know that scent is deeply connected to memory.

As I enter my room and draw back the curtains, I’m taken aback by the view. The seafront, the lighthouse, the hills—all of it transports me to a place I once regarded as my healing sanctuary in Spain. I feel a subtle but undeniable pull, a sense that the energy of this place will offer something similar. After all, energy rarely lies. I sit on the balcony and exhale. At last, I’ve fully arrived.

_{Fairmont La Hacienda Hotel}

The afternoon unfolds peacefully. What I love about the resort’s atmosphere is how it allows you to ease in at your own pace. Lunch at Umbra is light and served family style, with a cheeky glass of cava to start. That’s all you really need, along with a bit of poolside sunshine. It’s only mid-May, but what better way to open the season?

The resort’s grounds are expansive, green and open. You can hear birds, the distant sound of waves, and little else. The view stretches out towards the hills, and as the sun sets, everything slows. No one checks their phone.

Dinner at Dalmar is calm and confident. The menu focuses on local produce—vegetables that taste of real sunshine and seafood prepared with care. There are no unnecessary garnishes or over-explanations. Just food that knows where it comes from. It is the kind of tasting menu I could return to again and again. The simplicity of presentation is where two-star Michelin Chef Benito Gómez truly shines. The sardines, in particular, have made a lasting impression.

_{Dalmar Restaurant at Fairmont La Hacienda Hotel}

The next morning is quiet and breath-focused. A well-needed yoga session awaits beside the hotel’s spa. The view is grounding rather than overwhelming, and my body and breath begin to move in time with the ocean tides. It has been a while since I’ve felt this connected to my surroundings. The Fairmont experience is all about surrendering. Everything here feels safe, as long as you lean in and trust.

The afternoon stretches into a long lounge by the pool, followed by a much-anticipated spa treatment. I’ve been craving it. The space is simple, the therapists warm. There is no performance, only genuine care.

Back at Umbra for lunch, everything feels lighter. We chat more easily now. The meal meanders with fresh bread and small plates, passed around without fuss. Then it’s time for the boat.

My transfer is unconventional. I hop into a local Mini Moke and we drive through Sotogrande, often called the Palm Springs of Spain, on our way to the yacht at the pier.

The sea is still. We drift for hours, sharing snacks and stories. There are no grand moments, just a quiet calm you don’t realise you’ve been missing until you’re immersed in it. The sun begins to set, and no one hurries to leave.

Dinner at El Faro de la Hacienda is another highlight. The pace is gentle. Dishes arrive at just the right moment. Local wine flows, and a quiet contentment fills the table. It doesn’t feel like the last night, only another good one.

_{Yoga at Fairmont La Hacienda Hotel}

Sunday arrives softly. I wake without an alarm and wander alone to the beachfront for one final look. I reflect on the internal changes I’ve experienced, brought about by an exceptional level of external care. Friends, wine, sunshine, and the thoughtful wellness provided by Fairmont all played their part. I now believe a little more in the future.

There’s a tender feeling of being open to serendipity when you least expect it. A hope that what is meant for you will find you. And perhaps, just perhaps, a reason to romanticise your life a bit more. Who knows when your next beautiful moment might come? It could be right now.

I look out to sea, and it gazes back. I had forgotten how cleansing an empty beach can be. It is priceless. I will never take it for granted again.

Fairmont La Hacienda gave me more than a break. It gave me space—not just to rest, but to feel clearer and lighter. The food, the pace, and the care in every detail came together to create something truly rare. I arrived full of noise. I leave with nothing but peace.

by Adina Ilie

_{Fairmont La Hacienda is located on Calle De Faro De Punta Mala 2, 11310 SAN ROQUE, Spain. Prices start from £380. Book via https://www.fairmont.com/en/hotels/san-roque/fairmont-la-hacienda-costa-del-sol.html} 

The post Glass discovers a sense of stillness at Fairmont La Hacienda first appeared on The Glass Magazine.

_{From Winter Issue 60}

Kelsey Asbille’s portrayal of Monica Dutton in the ongoing US TV series Yellowstone has always been defined by a deep emotional undercurrent, one that navigates the complexities of family loyalty, cultural identity and personal trauma. As the show enters its final chapters, Asbille’s character is tested like never before, caught between the demands of the Dutton family and her own sense of self. 

But it’s not just the grand, sweeping landscapes of the American West in the Paramount Network drama that define her work. Asbille is also embracing a new level of emotional intimacy in her latest role in Don’t Move, a Netflix film that premiered globally in the number one spot, in which she plays a woman attempting to escape from the effects of a paralysing drug she’s been injected with.

As Asbille reflects on these two vastly different roles, she opens up about what it means to portray characters who find strength in their vulnerability, how her own experiences inform her approach to family dynamics, and what she hopes audiences take away from her performances. 

_{Photographer: Kat Irlin}

In the second part of the fifth season of Yellowstone, your character faces more intense challenges. How do you portray someone constantly torn between loyalty to her family and the tensions that come with marrying into the Dutton clan?

Monica is someone who believes the world is good. Even with everything that’s happened in her life, she believes that world is possible, that there are other ways of imagining the world that do not depend so much on opposition as they do on cooperation. That said, I wouldn’t advise marrying a Dutton.

_{Photographer: Kat Irlin}

Monica has always been a character deeply connected to her heritage. How does this evolve this season and what did you bring to the role that felt new or different from previous seasons?

As an Indigenous woman, Monica carries both the past and the future in the same glance. This season, that means finding joy and ways to invest in her family’s future. She understands land as a relation, recognising that it is us who belong to it. It’s this understanding that shapes her role in the Dutton legacy.

How do you balance the strength and vulnerability of Monica’s character, especially in the heightened emotional landscape of the second half of season 5?

Monica’s strength is her vulnerability, her softness, her instincts; the fact that she does have emotion, and she does care. She’s human, and she is trying her best to show up for herself, her family and those who came before her.

_{Photographer: Kat Irlin}

The Yellowstone universe is known for its layered storytelling, where even supporting characters like Monica are given complex arcs. How do you navigate the nuances of a character who is central to some of the most pivotal moments but still often working in the shadow of the larger Dutton narrative?

I don’t know if that’s something I actively consider when I’m working. Monica is someone who is worthy of expression. Her perspective is valued. I think every character you play deserves that mindset.

_{Photographer: Kat Irlin}

In Don’t Move, you portray a character that’s dealing with a very different kind of struggle. What attracted you to this role and how does working in an intimate, emotionally raw film like this contrast with the more epic scale of Yellowstone?

What initially drew me to the project was the team behind it. I met with directors Adam Schindler and Brian Netto, and producer Sam Raimi, and I knew right away that I wanted to be a part of it. Sam is a master of the genre, but they also aimed to create a deeply personal, intimate story about a woman who must discover something buried deep within her in order to win. That’s what resonated with me most. Sam asked me to play the part at the end of our meeting, and that was a dream come true. Then, absolute panic set in. How the hell do I pull this off? 

In Don’t Move, how do you navigate playing Iris, a character that’s so quietly powerful yet on the verge of collapse?

It had its challenges both mentally and physically – navigating a character who is experiencing deep emotional turmoil while being so limited physically. I think it becomes about embracing contradictions. Finding moments of quiet defiance in her state of fragility. Translating the paralysis was very technical. I really had to lean on our directors, making sure my movements not only lined up narratively but also came across convincingly on camera.

_{Photographer: Kat Irlin}

Both Yellowstone and Don’t Move showcase characters dealing with loss, identity and resilience. How do you think your portrayal of Monica in Yellowstone informs your approach to more intimate, independent films like Don’t Move, and are there similarities in how both characters confront their realities?

I do see similarities, of course. What ties them together is their humanity. Both roles challenged me to dig deeper into what drives a person to keep going, even when the world feels like it’s against them. Adversity shapes who we are and how we deal with life, but Monica and Iris are not defined by their trauma.

_{Photographer: Kat Irlin}

You’ve been part of Yellowstone since it began in 2018. Looking ahead, what are you most excited to explore with Monica’s story in the final chapters of the series?

Monica’s journey has always been about fighting for her family and helping them find their own path in a world that constantly challenges them. I’m excited to see where that takes her in the end. Hopefully, she finds some peace.

_{Photographer: Kat Irlin}

How has your experience working on Yellowstone and Don’t Move shaped your understanding of the familial dynamics in both stories, and how do you think these themes resonate with audiences today?

That’s such a thoughtful question, and a tough one to answer. Family is such a universal theme – they shape so much of who we are and who we become. I think audiences connect with the show in different ways, depending on their own experiences. It really comes down to where you are in your own life when the story finds you.

by Adina Ilie

Photographer: Kat Irlin

Stylist: Natasha Colvin

Makeup: Tyron Machhausen

Hair: Blake Erik

Styling assistant: Aisling Finucane

Retouch: Katy Sims

Talent: Kelsey Asbille

_{Look 1: Enchanted Lotus band in rose gold and set with diamonds, Enchanted Lotus earrings in rose gold and set with diamonds, Enchanted Lotus ring in rose gold and mother-of-pearl, set with diamonds, all DE BEERS, Dress SCHIAPARELLI}

_{Look 2: Enchanted Lotus bezel set necklace and clip in white gold, set with diamonds DE BEERS, Shorts DIOR}

_{Look 3: All three necklaces: Enchanted Lotus pendant in white gold and set with diamonds, Enchanted Lotus open ring in white gold and set with diamonds, all DE BEERS, Coat GIVENCHY, Underwear STYLIST’S OWN}

_{Look 4: All three necklaces: Enchanted Lotus pendants in white gold, set with diamonds DE BEERS, Coat GIVENCHY, Socks CALZEDONIA, Shoes ROGER VIVIER, Underwear STYLIST’S OWN}

_{Look 5: Enchanted Lotus sleepers in white gold and set with diamonds DE BEERS, Dress MAX MARA, Hat SELECT VINTAGE}

_{Look 6: Enchanted Lotus drop earrings in white gold and set with diamonds DE BEERS, Dress LAUREN MANOOGIAN}

_{Look 7: Enchanted Lotus band in white gold and set with diamonds, Enchanted Lotus pendant in white gold and set with diamonds, Enchanted Lotus ring in white gold and set with diamonds, all DE BEERS, Top, skirt KHAITE, Tights CALZEDONIA}

The post Glass speaks to Kelsey Asbille about navigating the complexities of her roles first appeared on The Glass Magazine.

Glass Man speaks to Wolf Hall star Thomas Brodie-Sangster about his nuanced approach to acting, how a film about chess became a sensational hit and his take on counter-culture icon Malcolm McLaren

When I met Thomas Brodie-Sangster, the first snowfall of the season in England had arrived, a fitting backdrop with Christmas just around the corner. “I was a bit taken aback this morning when I saw the cars covered in snow,” he remarked, as we settled in for an early coffee before his cover shoot.

Brodie-Sangster is a fascinating, multifaceted presence, one whose quietude speaks volumes. His demeanour is so still, so composed, that it commands attention without him ever uttering a word. Despite his fierce commitment to privacy, he remains instantly recognisable, even in the most tucked-away café in east London.

And yet, there’s an unspoken agreement with the public – no one approaches him. In a city where fame often invites intrusion, Brodie-Sangster is the rare celebrity whose understated, almost aloof nature invites respect rather than attention.

_{Photograph: Jason Hetherington}

Born in London in 1990, Brodie-Sangster first captivated audiences with his breakout role in Love Actually (2003), where, as a lovestruck young boy, he stole scenes with his earnest portrayal of the complexities of first love. Since then, his career has flourished with memorable performances in The Maze Runner franchise, Game of Thrones, and The Queen’s Gambit, where his nuanced, often understated presence has earned critical acclaim.

With a mix of affable charm and quietly intense screen presence, Brodie-Sangster has become one of our generation’s most compelling actors.

_{Photograph: Jason Hetherington}

This autumn saw the resurrection of Wolf Hall: The Mirror and the Light, a critically acclaimed BBC historical drama based on Hilary Mantel’s Booker Prize-winning novels Wolf Hall and Bring Up the Bodies, which chronicle the life of Thomas Cromwell, a key advisor to King Henry VIII. The series, known for its rich historical detail and intense character-driven storytelling, originally aired in 2015, starring Mark Rylance as Cromwell. Rylance reprises the role and Brodie-Sangster plays Rafe Saddler again, Cromwell’s secretary.

Over six episodes, Wolf Hall resurrects the idea of silence that speaks louder than  words, a rarity on screen and mostly reserved for theatre. With just a few new additions,  the cast and crew appeared on set again with a shared thought.

“We all came back together because we did it so well and really enjoyed it the first time. But at the same time, you rely on everyone else to bring their skills to the table. It’s really about all of us coming together and contributing something special—something beautiful, wonderful, and entertaining,” Brodie-Sangster explains.

_{Photograph: Jason Hetherington}

The 34-year-old actor looks just a little over 20, yet the way he carries himself reveals someone wise beyond his years. He’s only seemingly hard to crack because actors who don’t perform in their waking lives are a rarity. Instead, he perpetually embodies the essence of people at their core. In this way, Brodie-Sangster invites you to explore the intricate relationship between performance and persona.  

“As an actor, if you’re trying to portray strength, you need to understand where that comes from. You have to ask yourself why someone would feel the need to put on that kind of façade. It’s about figuring out the motivation behind that exterior,” he says. “What’s underneath is the same for everyone – a fragile human being who’s trying to make sense of the world and wants to be loved.”

_{Photograph: Jason Hetherington}

His characters (no two alike) echo his approach to the psyche. Ultimately, it’s human nature that he finds fascinating. In the mini-series Pistol (2022), his portrayal of Malcolm McLaren, the charismatic yet controversial figure behind the rise of the Sex Pistols, Brodie-Sangster is both enigmatic and layered, revealing the complexities of a man who was as much a provocateur as a visionary.

Known for his ability to bring subtlety and depth to roles that could easily veer into caricature, Brodie-Sangster approached McLaren as a man driven by a subconscious chameleonic pull. “When you look at someone like Malcolm [McLaren], it’s hard to even pin down his real voice. In every interview I watched, his accent changed. Sometimes he sounded American, other times very posh, or even south London Cockney, depending on who he was speaking to and what he wanted to convey to them,” the actor explains.

_{Photograph: Jason Hetherington}

“I think a lot of his behaviour stems from insecurity, which is actually a form of vulnerability. So, in order to hide that, he puts on a show. Everything’s about the image he projects, about what people see on the surface,” he continues.

He’s not been short of characters with a wild dimension to them. Reflecting on The Queen’s Gambit (2020), he recalls his role as  brash New York chess champion Benny. “I think Benny was very talented – almost cocky about it – and completely unafraid to be himself. His bravado was part of his persona. I also think he used that image – kind of like the ‘chessboard’ look – to mess with his opponents, to create a kind of ‘anti-chess’ vibe. It might’ve been a strategic tactic, something designed to throw people off.”

_{Photograph: Jason Hetherington}

The Queen’s Gambit was a wild, unprecedented success for Netflix. “They tried to make that show for about 15 years but no one wanted to touch it,” Brodie-Sangster begins. “Nobody cared about chess. But what really made the difference was how they approached it. It’s not about the subject matter – it’s about how you tell the story. Most people wouldn’t find chess all that interesting; visually, it’s not dynamic. It’s just two people sitting across from each other, moving pieces around.

There’s not much happening visually to grab attention. But then they figured out how to make it work. They found a way to make chess entertaining. When Queen’s Gambit was pitched to Netflix, a lot of people didn’t think it could be done. But they proved that you can take a story – no matter how seemingly mundane – and find a way to make it compelling on-screen.”

The actor concludes, “It’s about translating the intensity of what’s happening in people’s heads into something that comes across powerfully on camera”. 

_{Photograph: Jason Hetherington}

On-screen, Thomas Brodie-Sangster exudes nothing short of intensity. When the cameras stop rolling, what emerges is a man of substance, grounded, thoughtful and deeply committed to his craft. Off-camera, he radiates an unmistakable work ethic, which only adds to his appeal. And throughout his varied career, one thread remains consistent: a remarkable ability to choose projects of exceptional quality.

_{Photograph: Jason Hetherington}

At home, Brodie-Sangster is a study in contrast. “I’m generally quite a shy person,” he admits. “I’m not an extrovert – I don’t jump around, scream, shout or demand attention. I’m not a hugely social person either. I have a few very close friends, and I really value those friendships. I enjoy quiet, low-key time.” But despite his reserved nature, he’s not completely closed off.

“It does take me a while to open up to people,” he says. “But if I sense someone else is open and willing to connect, I can slowly open up, too. If I don’t like someone from the start, though, they won’t get that from me, unless I’m wrong about them. First impressions aren’t always right.”

And then there’s the one question that’s bound to follow him forever: Will he ever stop talking about his breakthrough film, Love Actually? “No,” he laughs. “Probably not.”

by Adina Ilie

Photographer: Jason Hetherington

Fashion Director: Katie Felstead

Grooming: Emma White-Turle using HAIR BY SAM McKNIGHT

Styling assistant: Monty Cooke

Photography assistant: Andrew Mayfield

Talent: Thomas Brodie-Sangster

_{All clothing and accessories DIOR MEN Spring 2025}

The post Thomas Brodie-Sangster spans through his diverse career with Glass first appeared on The Glass Magazine.

_Theoskepasti

What inspired the restoration of the village and the revival of the local wine culture?

It all starts with my father. He was born and raised in Kalopanayiotis until he was around 18. Like many young Cypriots at the time, he left for the UK to pursue education and employment because, back then, making a living off the land was incredibly difficult. The 1950s and 60s saw a mass exodus from the mountain villages as people sought better opportunities abroad.

By the time he returned in 2000, nearing the end of his career, he found a village in decline. The population had dropped from around 1,500 to just 200, mostly elderly residents. The once-thriving community had dwindled, and the old part of the village was in a state of complete disrepair. Buildings had collapsed, and nature had taken over.

Despite the economic boom in Cyprus, driven primarily by coastal tourism, inland villages like Kalopanayiotis had been overlooked. My father wanted to change that. Not to establish a business, but to revive his birthplace. He got himself elected as the village leader, which allowed him to access financial support—from his own savings, the European Union, and the Cypriot government. His first steps were simple: fixing infrastructure, repairing roads, improving drainage systems, and even planting flowers to signal the start of something new.

_{Hufton Crow}

How did the tourism revival begin?

Historically, Kalopanayiotis had always been a retreat for both local and international visitors, particularly in the summer months. The Troodos Mountains provided a cool escape from the sweltering Mediterranean heat, and people came from Cyprus and neighbouring countries like Egypt and Jordan to relax. Wealthier visitors would stay in Kalopanayiotis, drawn by the natural sulfur springs and the serene landscape.

My father realised that in order to bring back life to the village, he had to reignite its hospitality legacy. He started buying abandoned homes and applied for European funding to restore them into guest accommodations. At the same time, he set up an office to encourage locals to do the same, offering renovation grants. The response was incredibly positive. But he quickly saw a gap—without restaurants or cafes, tourists wouldn’t stay. So, he converted a few properties into dining establishments, and just like that, Casale Panayiotis was born.

We started small. In 2008, we opened with just 11 rooms. By 2012, we had expanded to 26, and today, we offer 41 rooms, three restaurants, and a spa. Other villagers have followed suit, and now there are around 20–25 additional guest accommodations in the area. The demand has only grown, proving that Kalopanayiotis has become a must-visit destination.

_{Spa Hydrotherapy Pool}

How do you incorporate local traditions into the spa experience?

Kalopanayiotis is built on a steep mountainside, with a river that runs year-round—quite rare in Cyprus. One of its greatest assets is the natural sulfur springs, which have drawn visitors for centuries. These mineral-rich waters were believed to have healing properties, with references to them dating back to Venetian times.

At Casale Panayiotis, we wanted to embrace this tradition. We’ve piped the sulfur water into one of our treatment rooms, where guests can enjoy a therapeutic bath experience just as people did centuries ago. Even in my childhood, I remember my grandfather sending me to collect sulfur water for him to drink, as it was believed to aid digestion. Today, our spa honours these age-old wellness practices while integrating modern luxury treatments.

_{Casale Panayiotis}

How do you champion sustainability in your resort?

Sustainability is at the heart of everything we do. A few years ago, we hired a dedicated team member to focus solely on sustainability, and we worked closely with the Global Sustainable Tourism Council (GSTC), which is affiliated with the United Nations. Casale Panayiotis became the first and, at one point, the only hotel in Cyprus accredited by the GSTC.

We focus on three key sustainability pillars: environmental impact, cultural sustainability, and community engagement. To minimise our environmental footprint, we have significantly reduced plastic use, implemented comprehensive recycling, and introduced composting. When we first started, there was no recycling service in the village, so we collaborated with local authorities to establish one. Now, all our food waste is composted and used as manure for our orchards and vineyards. In terms of cultural sustainability, we prioritise hiring local staff to support the community and actively contribute to local industries such as beekeeping and traditional sweets production. Our commitment to community engagement encourages guests to visit local businesses, participate in cultural experiences, and support the village economy. Additionally, we undergo reassessments every two to three years to ensure continuous improvement in our sustainability efforts.

Can you tell us about the wine heritage in the Marathasa Valley?

The Marathasa Valley has a deep-rooted winemaking tradition. We have historical records dating back to the 1700s that mention wine from Kalopanayiotis, written by Italian travellers. Most homes in the village once had a ‘patitiri,’ a stone trough used for grape treading.

When my father was young, the mountains were covered in vineyards. Unfortunately, many were abandoned over time. In 2014, he set out to restore the region’s viticultural heritage. He started purchasing and leasing old vineyard plots, replanting them, and even carving new terraces into the mountainsides. Our vineyards sit at an altitude of 1,000 to 1,100 meters, on north-facing slopes, which provide ideal conditions for premium wine production.

For us, Marathasa Wines is more than just producing high-quality wines—it’s about preserving the region’s centuries-old winemaking legacy and ensuring that future generations can continue this tradition.

What makes Kalopanayiotis a must-visit destination today?

It’s a place where the past and present exist in perfect harmony. Guests can wander through cobbled streets, admire beautifully restored stone houses, and immerse themselves in authentic Cypriot culture. The village is also home to the 11th-century monastery of Saint John Lampadistis, a UNESCO World Heritage Site, adorned with breathtaking frescoes.

Beyond history, there’s a real sense of life here. Visitors can experience the therapeutic sulfur baths, savour traditional Cypriot cuisine, and sample wines rooted in centuries-old craftsmanship. Kalopanayiotis is a hidden gem, offering an escape that’s as indulgent as it is deeply connected to its heritage.

by Adina Ilie

_{Discover more here: Casale Panayiotis Marathasa Wines}

The post Alexa Papadouris talks to Glass about Cyprus’ most luxurious holiday retreats first appeared on The Glass Magazine.

Curated by Executive Chef Ivan Fargnoli, the menu brings a bold fusion of seasonal Italian ingredients and international flair to the historic Giudecca Island setting.

_{Aromi Restaurant at Hilton Molino Stucky, Venice}

Chef Ivan’s new offerings balance elegance and innovation, with standout dishes such as Fassona Tartare with turnip and whiskey, Spaghetti with cuttlefish ink and sea urchins, and a show-stopping dessert of Popcorn English Cream with burnt milk panna cotta. His signature Glacier 51 codfish dish – paired with Japanese spinach, chorizo sauce, and marinated zucchini carpaccio – promises to deliver a multisensory experience.

_{Aromi Restaurant at Hilton Molino Stucky, Venice}

With its tranquil terrace overlooking the canal and curated wine pairings to match each dish, Aromi is designed to offer guests an unforgettable fine dining experience in the heart of Venice.

The reopening coincides with the hotel’s Easter celebrations, including themed afternoon teas at the Skyline rooftop bar, a family Easter feast at Bacaromi, and chocolate-inspired treatments at the luxurious eforea Spa.

The 379-room Hilton Molino Stucky Venice continues to be one of the city’s most iconic stays, combining historic charm with modern luxury, and offering guests an elevated experience from arrival to aperitivo.

by Adina Ilie

_{Nightly rates at Hilton Molino Stucky Venice begin at €240 per night based on double occupancy with breakfast included. Molino Suites start from €590 per night.}

_{For more information or to book visit https://www.hilton.com/en/hotels/vcehihi-hilton-molino-stucky-venice/.}

The post Aromi Restaurant reopens with bold new menu at Hilton Molino Stucky Venice first appeared on The Glass Magazine.