Increasing the brand’s original footprint, the expansive space is an expression of the house’s timeless DNA: one of both modernity and tradition, whereby the past informs the future and craftsmanship is celebrated. The boutique, divided between three rooms, comprises a comprehensive curation of women’s ready-to-wear and accessories, including handbags.

_{Fendi Boutique in Harrods}

Its architectural essence is drawn from the house’s native Rome, with references to the city’s topography emerging in Palladiana flooring in Travertino Ascoli and Giallo Valencia marble, Calce Romana walls and columnar details; the latter reimagining the city’s ancient architecture in contemporary style.

From its exterior, which features a distinctive ribbed facade, an additional two windows display capture the renovated boutique’s sense of scale. Entering the main room, visitors are greeted with the design’s centrepiece: a monumental artwork by French sculptor and ceramicist Olivia Cognet, comprising a totemic column in her signature bas-relief ceramics.

_{Fendi Boutique in Harrods}

_{Fendi Boutique in Harrods}

The tenets of mid-century modernism in contemporary style, the work encapsulates the brand’s interplay of eras and veneration of handcraft, made in a base ivory ceramic with touches of yellow. The entrance is enriched with a marble table designed by Milan-based designer Roberto Sironi.

A second room has a mood of intimacy, envisioned in a lush, carpeted floor and natural-toned walls, while the displays of ready-to-wear evoke the anastylosis concept, where decorative elements comprise columnar displays in handmade glass, ribbed Travertine, and Rosso Lepanto marble. A final VIP Salon can also be accessed via a disguised passageway from the boutique’s exterior, ensuring the guests’ privacy, and features undulating walls designed to simulate the movement of leather.

by Chidozie Obasi

​

The post Fendi Points to Expansion with Renovated Harrods Boutique first appeared on The Glass Magazine.

Unveiled on the 22 October 2025 following Piccioli’s runway debut as creative director, the campaign marks a clear shift in tone for Balenciaga. Known for his poetic approach to design, Piccioli brings warmth and humanity to a brand long associated with architectural rigour and subversive cool. Captured by British photographer David Sims, the new campaign feels both casual and luxurious, offering a glimpse into a house entering a new emotional era.

_{Pierpaolo Piccioli’s debut campaign for Balenciaga}

_{Pierpaolo Piccioli’s debut campaign for Balenciaga}

Piccioli took over Balenciaga from Demna, whose tenure was marked by bold silhouettes and a provocative approach to contemporary fashion. Piccioli’s debut emphasises a delicate, more intimate aesthetic, focusing on fluid designs and personal storytelling while maintaining the house’s refined heritage.

Models Mona Tougaard and Sandra Murray embody this transformation. Captured inside the 18th-century Hôtel de Maisons Pozzo di Borgo in Paris, they sit framed by natural light, surrounded by the soft grandeur of the space. The mood is unforced, spontaneous, and sincere, a study in modern femininity defined by ease rather than excess.

_{Pierpaolo Piccioli’s debut campaign for Balenciaga}

Piccioli’s silhouettes reflect this new energy. They are fluid yet structured, delicate yet commanding. The clothes invite movement and closeness, speaking to a vision of beauty rooted in emotion and authenticity. His Balenciaga woman is not styled to perfection but seen as she is, real, graceful, and self-possessed.

The campaign also reaffirms two of the house’s enduring icons, the Rodeo and Le City bags. Symbols of Balenciaga’s dual identity, they balance practicality with allure and connect the brand’s past innovations to Piccioli’s forward-looking sensibility.

With this first chapter, Piccioli sets the tone for a Balenciaga that values sincerity over spectacle. Through light, texture, and human presence, he redefines what luxury looks like today: not distant or untouchable, but quietly powerful, a celebration of softness as strength.

by Ellis Dowle

The post Pierpaolo Piccioli Unveils Debut Campaign for Balenciaga first appeared on The Glass Magazine.

_{Fontainebleau Las Vegas exterior}

From the moment guests enter the grand lobby, the atmosphere feels curated rather than constructed. The hotel’s 3,644 rooms and suites are swathed in oceanic blues, muted silver tones and hints of coral, each one exuding sophistication. 

In terms of accommodation, the Fleur de Lis Suites stand apart. A favourite for those seeking privacy and polish, it offers expansive living spaces and dedicated butler service. Even the in-room comforts beckon a refined sensibility, with high-thread-count linens and custom-scented bath amenities tucked neatly beside plush towels.

_{Fontainebleau Las Vegas Casino Floor}

_{Fontainebleau Azul | Photography Credit Fontainebleau}

Dining at Fontainebleau is a tour in itself, with the only problem you’ll face is having to decide where to try. Among the countless offerings in the hotel, our favourite choice has to be Chyna Club. Located on the first floor, the restaurant serves contemporary Cantonese cuisine in a jewel-toned setting that strikes the right balance between drama and intimacy. The Peking duck is a standout, paired beautifully with cocktails that play as much on presentation as flavour. 

After dinner, we couldn’t help but venture into Azul to try its signature mezcal and tequila cocktails. Inspired by mezcalerias of Mexico, the lounge surrounds you with desert sunset hues and moody lighting, setting the scene for a seductive nightcap.

_{O Cirque du Soleil | Photography Credit O by Cirque du Soleil}

Though Las Vegas is never lacking in entertainment, the true surprise of the Fontainebleau experience may be how little one feels compelled to leave the building. That said, a handful of moments are worth the detour. The Vegas Views Tour with Maverick Helicopters delivers one of those rare, cinematic experiences that lingers. Soaring above the neon-drenched Strip as the sun slips behind the desert mountains, the city transforms into a glittering circuit board.

If it’s a memorable show you are looking for, watching ‘O’ by Cirque du Soleil felt like diving into a dream. The show performed at the Bellagio is an incredible blend of stunning water acrobatics, graceful performances and visuals that leave you completely spellbound. After the show, take a short stroll to LPM Restaurant & Bar at The Cosmopolitan of Las Vegas, where its artfully curated Mediterranean menu blends European charm with Vegas Glamour.

_{Las Vegas Strip | Photography Credit Visit Las Vegas}

Even when plans shift, as they often do in Vegas, the comfort of this property makes spontaneity feel like a luxury. Between its six-acre pristine pool district, luxury fitness centre, Lapis Spa & Wellness, a curated mix of retail and dining and an in-house casino, Fontainebleau offers both escape and immersion.

With its blend of heritage, design and restraint, Fontainebleau Las Vegas isn’t just the prominent address on the Strip, it’s a redefinition of it.

by Vivian Hui

Visit Las Vegas – visitlasvegas.com

Fontainebleau Las Vegas

fontainebleaulasvegas.com

Rates start from $160 / £121 per night (excluding resort fees and taxes, subject to fluctuations)

‘O’ by Cirque du Soleil – cirquedusoleil.com/o

Maverick Helicopter Tours – maverickhelicopter.com

Chyna Club and Azul

To book visit fontainebleaulasvegas.com

LPM Restaurant & Bar at The Cosmopolitan of Las Vegas

To book visit cosmopolitanlasvegas.mgmresorts.com

lpmrestaurants.com

The post New Icon on the Strip Hits the Jackpot at Fontainebleau Las Vegas first appeared on The Glass Magazine.

Whilst put on to champion the future of entertainment, its lucrative “blue carpet” was lined with archival, off-the-runway and custom looks before the ceremony – here at GLASS‘ Best Dressed.

Charli XCX in Saint Laurent by Anthony Vaccarello

Greta Lee in Dior with Tiffany & Co. Jewellery

Kaia Gerber in custom Givenchy by Sarah Burton

Olivia Rodrigo in Giorgio Armani Privé Spring/ Summer 2005

Jeremy Allen White in custom Louis Vuitton

Michelle Monaghan in Carolina Herrera by Wes Gordon Spring/ Summer 2026 with Tiffany & Co. Jewellery

Carolyn Murphy in archive Giorgio Armani 

Zoë Kravitz in Saint Laurent by Anthony Vaccarello

LaKeith Stanfield in Dior

Dwayne Johnson in Giorgio Armani 

Maggie Gyllenhall in custom Celine

Leslie Bibb in Carolina Herrera x Sybilla

Naomi Watts in Balenciaga Spring/ Summer 2026

Channing Tatum in Fendi with Tiffany & Co. Jewellery

Cara Delevingne in Tamara Ralph Haute Couture

Jeff Goldblum in ERL with Stephen Silver Fine Jewellery

Chase Infiniti in custom Louis Vuitton with Bvlgari Jewellery

Rachel Sennott in Balenciaga Spring/ Summer 2026

Monica Barbaro in Dior

Selena Gomez in custom Giorgio Armani Privé and Benny Blanco in Giorgio Armani

Charlie Hunnam in Saint Laurent by Anthony Vaccarello

Odessa Young in custom Louis Vuitton with Louis Vuitton Fine Jewellery

Eddie Redmayne in Giorgio Armani Made to Measure

Rachel Zegler in Tamara Ralph Haute Couture

Kodi Smit-McPhee in Saint Laurent by Anthony Vaccarello

Rosie Huntington-Whiteley in custom Giorgio Armani Privé  with Tiffany & Co. Jewellery

Seth Rogan in custom Brunello Cucinelli 

Kerry Condon in Carolina Herrera by Wes Gordon Resort 2026

Mikey Madison in Dior with Tiffany & Co. Jewellery

George Clooney in Giorgio Armani 

Rose Byrne in custom Celine

Sydney Sweeney in custom Giorgio Armani Privé 

Logan Lerman in Saint Laurent by Anthony Vaccarello

Tessa Thompson in Balenciaga Spring/ Summer 2026

Jaden Smith in custom Louis Vuitton

_{All images courtesy of the stated brand and Getty images}

The post Glass Presents the Best Dressed at 2025 Academy Museum Gala first appeared on The Glass Magazine.

The iconic American brand will feature its legendary jewellery in Guillermo del Toro’s Frankenstein, starring Glass Man cover star Felix Kammerer alongside Oscar Isaac, Jacob Elordi, Mia Goth, and Christoph Waltz. The film premiered at the Venice Film Festival and will be released in select theatres on 17 October, before streaming globally on Netflix on 7 November.

_{FRANKENSTEIN. Mia Goth as Elizabeth in Frankenstein. Photograph: Ken Woroner/ Netflix © 2025}

The film has already been praised for its striking costume design. Bold blue feathers work as bold head pieces and adorn dresses of silk and linen, while blue-gemmed necklaces glint as symbols of old-money wealth and legacy. Costume designer Kate Hawley has clearly emphasised decadence to help tell the story, and Tiffany & Co. provides the perfect complement. The brand’s iconic jewellery reinforces the film’s visual narrative, bringing glamour, history, and artistry to every scene.

This collaboration brings together Tiffany & Co.’s heritage of craftsmanship with del Toro’s cinematic imagination. A five-minute feature offers behind-the-scenes insight into how the House’s jewellery archives and historical objects were woven seamlessly into the film’s creative vision. Guillermo del Toro, Kate Hawley, actress Mia Goth, and Tiffany & Co.’s Vice President and Creative Director, Christopher Young, all share their perspectives in the feature, highlighting the artistry and precision that make Tiffany & Co. a natural fit for the story.

_{Tiffany & Co. Favrile Glass Scarab Necklace}

To celebrate the premiere, Tiffany & Co. has unveiled immersive window displays at its Fifth Avenue flagship, The Landmark, in New York City. Each of the five windows reimagines key scenes from Frankenstein through the lens of the House’s signature artistry.

Dramatic lighting and synchronised digital screens bring the scenes to life, while a QR code allows visitors to access exclusive behind-the-scenes content. Inside The Landmark, a curated presentation showcases jewels from the Tiffany Archives worn by Mia Goth, giving audiences an intimate look at the pieces that helped bring del Toro’s vision to the screen.

_{Tiffany & Co. Wade Necklace}

In London, the collaboration continues with Frankenstein: Crafting A Tale Eternal at The Old Selfridges Hotel. The exhibition recreates archival Tiffany & Co. objects on original costumes and features artefacts, artwork, and rare books celebrating Mary Shelley’s legacy.

With more than 300 stores worldwide and nearly 5,000 skilled artisans, Tiffany & Co. continues to combine luxury, creativity, and craftsmanship, proving that its jewellery can shine not only on the red carpet but also on the silver screen.

by Ellis Dowle

The post Tiffany & Co. Unveils Jewellery Collaboration for Guillermo del Toro’s Frankenstein first appeared on The Glass Magazine.

Focusing on friendship and human connection, the brand found no others who could encapsulate this better than them – showing that warmth comes from within, and most notably, from the bonds you share with those around you.

_{Robert De Niro and Al Pacino in Moncler’s Warmer Together}

De Niro embodies this truth whilst wearing the Maya 70 jacket: a revitalised version of the original hero piece that is down-quilted and considered one of Moncler’s most treasured and widely worn designs. Made from the brand’s signature longue saison recycled nylon, its design features a logo-adorned pocket on the left sleeve and a detachable hood.

Al Pacino, on the other hand, is pictured in the Bretagne jacket: a new design for the Autumn/ Winter 2025 collection. This short, hooded puffer offers the same protection against the harsh elements of the cooler months. Though smaller in design, it allows for greater flexibility in wear, without a cocooning silhouette or form; better suited to the urban lifestyle.

_{Robert De Niro and Al Pacino in Moncler’s Warmer Together}

Shot in New York, the campaign marks the first time the duo has appeared together in a fashion campaign, reframing their partnership through a new lens all these years later. Photographed by British image-maker Platon, the series of black-and-white images, along with five accompanying short films, translates Moncler’s manifesto into a visual narrative.

To accompany Warmer Together, the score is a rendition of Bill Withers’ Lean on Me by Moncler ambassador Tobe Nwigwe and his wife, further reinforcing this notion of shared endurance.

_{Robert De Niro and Al Pacino behind the scenes in Moncler’s Warmer Together}

Speaking on the campaign, Al Pacino said: “Friendship is the greatest thing you can have. Friends, people whom you share the same world with. There is just an innate trust. And the understanding of life.” Adding to this De Niro aptly said: “Warmth was never about the outside. It was always about what was happening on the inside.”

by Imogen Clark

The post Robert De Niro and Al Pacino Star in Moncler’s Warmer Together Campaign first appeared on The Glass Magazine.

Just like champagne, music relies on the same pursuit of excellence in every part of its creation.

_{Max Richter for Maison Krug}

Looking back to the year 2008, the harvest was of exceptional quality, leading Cavil to create three distinctive expressions. Inspired by the different qualities of each, Richter was asked to respond in the language of music to what he felt with the cuvées. The result was three original pieces composed by him, titled Krug from Soloist to Orchestra in 2008 (Act 2).

The first, Krug Clos d’Ambonnay 2008, is reflected in Clarity —a solo piece celebrating the purity of champagne from a single year, a single plot, and, of course, from a single grape. Krug 2008 is seen in Ensemble, a chamber composition that is centred around the ideas that came from 2008. Finally, Krug Grande Cuvée 164ème Édition is translated into Sinfornia; this is the most expressive bottle that boasts 127 wines from 11 different years.

_{Maison Krug 2008}

Together, these three adjoining partnerships prove that two disciplines and methods can unite to create an unparalleled experience.

by Imogen Clark

Discover more at krug.com/maxrichter

The post Krug Champagne and Composer Max Richter Unite Taste and Music first appeared on The Glass Magazine.

Now, with the arrival of Miss Dior Essence, a new chapter unfolds in its story. This new creation reimagines the House’s most beloved floral signature through a lens of intimacy and purity. At its heart lies a sensual jasmine sambac while an opening accord of blackberry and elderflower adds a gourmand sweetness that feels both indulgent and fresh. Below it, a dense, enveloping woody oak base grounds the fragrance lending depth and warmth to the overall composition.

Crafted with the same precision and passion that defines both the French House and Portman herself, Essence is not merely a scent but a standout fragrance in its own right. This new Miss Dior Essence reinterprets Dior’s heritage through a modern lens: the frosted glass bottle recalls the original 1948 design, now etched with a houndstooth motif and crowned with a bow.

Reflecting exclusively with GLASS, Portman takes a moment to celebrate both scent and self.

_{Natalie Portman by Zoe Natale Mannella for Christian Dior Parfums}

You have been the face of Miss Dior for 15 years now… How has your relationship with the House and the fragrance evolved throughout the years?

I felt much more intimidated by it at the beginning, but working with Dior for so long, the team has really become like a family and I am much more at ease now. They were with me before I had kids and as I’ve gotten older and gone through different periods of my life. The Miss Dior character has grown as I have grown.

Can you describe Miss Dior Essence in three words?

Floral, feminine, bold.

How much of yourself do you inject in the Miss Dior character? Or is she shaped on you like a handmade dress?

The character was definitely created by the Miss Dior team, but since it is associated with me as a person, some of it is based on who I am. The main inspiration comes from Catherine Dior, who was the original Miss Dior for her brother Christian. The energy of her spirit is the inspiration for what the character is: a courageous, strong, bold, free, liberated woman who stands up for justice.

_{Natalie Portman by Zoe Natale Mannella for Christian Dior Parfums}

Can you say a few words about Catherine? When were you first introduced to her story?

Several years into my collaboration with Dior, the team started digging up the archives and this wonderful story emerged. Catherine was an incredibly courageous woman. She was very active in the Resistance to the Nazis during the war, was sent to a concentration camp, survived and came back.

I think her story also gives a lot of meaning to the whole enterprise of what Christian Dior was doing: he was trying to revive beauty after a very ugly time, and to bring it back into people’s lives after they had lived through so much horror. I think that’s so necessary, and that there can be so much pleasure and meaning in beauty and in the power of humans to create beautiful things.

It is interesting that, of all senses, smell is rather absent in movies…

I think about it all the time! Many actors get into character by scent, and it can sometimes be very helpful. I had a rose scent for Black Swan. On Star Wars, because we shot in North Africa, the scent of jasmine was very present. And A Tale of Love and Darkness, the movie I directed in Israel, is related to orange blossom.

_{Natalie Portman by Zoe Natale Mannella for Christian Dior Parfums}

You shot the new Miss Dior Essence campaign in Paris. Do you remember your first time -or times- there?

My first time, I can’t remember it, even though my parents told me about it a lot. I was 3 years-old when we moved from Israel to the United States. We had a layover in Paris, and my dad always tells the story of how I tried to take a bath in the bidet in the hotel room.

But my real first time was at 11, when I was filming Léon. It was magical. I had this image of Paris being the chicest, most intellectual city in the world. And it was! I was in awe of how everything and everyone looked. My mom took me to museums on the weekends, and I ate crepes every day for dinner. I thought they were the best thing I’d ever eaten in my life.

Can you talk a little bit about Arco, one of your exciting new projects?

Arco is the first feature from a young French animation director called Ugo Bienvenu. He is such a beautiful artist and has a very important voice in animation, it feels like the birth of a Miyazaki. The story is also very touching: it is about kids figuring out how to take care of the planet through time travel.

_{Natalie Portman by Zoe Natale Mannella for Christian Dior Parfums}

You played a major role in the creation of Time’s Up in the wake of the Me Too movement. Can you talk a little bit about the state of things for women in Hollywood today?

It’s been an incredible part of my life experience to get to be part of Time’s Up with so many amazing colleagues. I built friendships and working relationships that continue till today. When we created Time’s Up in 2018, it was the first time women in our industry came together. For the first ten years of my career, I was the only woman on set except for hair and makeup, and I had a lot of girlfriends outside my work but I didn’t know any women in my industry. We were so often kept apart and pitted against each other because of the scarcity of interesting roles.

So, it was such an incredible moment to all talk, share experiences and information, be friends and support each other. We talked about what we could ask for in our contracts, about money, about who’s a good person to work with or not, about the importance of taking leadership roles in producing and directing, of speaking up and being a leader on set as an actress, of reaching out to younger actresses and being a support system for each other… We still have those friendships and reach out to each other and gather all the time. About the film industry, I think it’s changed a little but there’s still a very long way to go.

by Imogen Clark

Miss Dior Essence from £93, dior.com

The post Natalie Portman On Being The Face of Dior’s Miss Dior Essence first appeared on The Glass Magazine.

Cabo San Lucas: Coastal glamour

Our journey begins at the newly opened Four Seasons Resort and Residences Cabo San Lucas at Cabo Del Sol. A glamorous yet laid-back retreat with 96 guestrooms and suites on the Baja California Peninsula’s golden corridor, this resort offers year-round sunshine and is a perfect destination for a winter vacation. Visiting between November and April offers the magical bonus of humpback whale sightings arriving from Arctic waters, which can be viewed directly from our ocean-facing patio. 

_{Four Seasons Cabo San Lucas Ocean Front Villa}

Each morning gently unfolds, commencing with barefoot beach walks and dips in our heated plunge pool, or simply relaxing on the sun loungers within the privacy of our suite. Afternoons bring us choices: a round of golf at the adjacent Cabo Del Sol golf course, indulgent spa rituals, guided mountain bike rides, sculpture or art classes in the dedicated studio, or peaceful hours spent at the spa’s adults-only ocean-view pool (where the chilled drinks and healthy bites on offer are the only interruptions).

Dining at this Four Seasons resort is always a highlight, from the outstanding Cayao – Richard Sandoval’s Japanese-Peruvian fusion signature restaurant – to Caraluz, a casual beachfront Mexican eatery that becomes our lunchtime favourite.  

_{Four Seasons Cabo San Lucas Spa Pool}

Mercado, the on-site market set within the Mexican-inspired cobblestone square and its vibrant bursts of Jacaranda blossoms, ensures the opportunity to order fresh coffee, cold-pressed juices and grab-and-go salads and sandwiches, as well as to browse the resort’s not-to-be-missed boutiques. 

Tamarindo: Jungle seclusion

Our next destination is Four Seasons Resort Tamarindo, an expansive and secluded hideaway retreat set within sub-tropical jungle spread across a 3,000-acre private reserve on Mexico’s Pacific coast. We’re immediately captivated by the panoramic vista from the clifftop 300 feet above the sea. Every detail of this resort exudes refinement, including the exemplary service from all of the immaculately trained staff, most of whom hail from the local village. 

_{Four Seasons Tamarindo}

Our spacious suite’s interior echoes the surrounding palette of the resort – taupe, brown and ocean blue accents – with accessories and coffee table books adding an authentic Mexican touch. Our bathroom is a marble sanctuary, complete with an indoor-outdoor shower and a sunken stone tub, framed by a picture window. Morning coffee arrives, timed perfectly to view the sunrise shimmering across the bay below us, which we follow with laps in our own private 35-feet pool – the most idyllic way to start the day without leaving our suite.

We experience our first paddle boarding class with personal guide George, who successfully gets us standing up. Later we partake in a uniquely transformative Mexican temazcal ceremony at the resort’s spa – a traditional two-hour spiritual ritual dating back to pre-Hispanic times held in a steamy domed sweat lodge and led by a professional temazcalero. This was the most spiritual experience we’ve ever undergone on a vacation anywhere on the planet and we depart feeling peacefully enlightened.

_{Four Seasons Tamarindo view}

Sustainability runs deep here. At Rancho Lola, the resort’s working farm, we savour a Mexican breakfast al fresco one morning, serenaded by Mexican music.  From vegetables, livestock, flowers and free-range eggs, this is a perfect showcase of farm-to-table living.

Dining options range from Coyul, curated by celebrated Mexican chef Elena Reygadas, to Sal, the beachfront gem featuring fresh catches of the day and where we toast the sunset over the freshest tuna and pillow-soft house-made mash – one of the best meals of our stay.

Mexico City: Urban elegance

Our final stay is at the elegant Four Seasons Hotel Mexico City, an urban sanctuary wrapped around a courtyard with a water fountain. The recently renovated interiors feature Pan Dulce, a coffee shop offering pastries and snacks, alongside curated boutiques showcasing stylish, locally sourced items. This leads the way to the star attraction: the legendary Fifty Mils bar. A favourite among discerning locals and international jetsetters, it’s currently ranked among the world’s top 50 bars and is an essential stop during any stay in the metropolis.

_{Four Seasons Mexico City}

The hotel is perfectly located for exploring the city, being adjacent to Chapultepec Park, home to the Chapultepec Zoo and nine of the city’s museums, including the outstanding, not to be missed Museum of Anthropology (note: all museums are closed on Monday).

The city’s upmarket neighbourhoods are also in close proximity – from Polanco with its world-class designer shopping and Roma and its trendy art scene to Condesa, renowned for Art Deco buildings and café culture. After an evening dip in the hotel’s rooftop pool, which is adjacent to the 24-hour gym, we head for dinner at the impeccable Il Becco, the hotel’s spectacular Italian fine-dining restaurant, a destination in itself with a separate street entrance.

Our journey through Mexico with Four Seasons Hotels and Resorts provides a harmonious blend of natural beauty, cultural immersion and unparalleled luxury. From the sun-kissed beaches of Cabo San Lucas to the lush jungles of Tamarindo, and finally the vibrant beating-heart of Mexico City, each destination provides us with unforgettable memories that will remain in our hearts long after our last drop of duty free tequila.

by Amanda Bernstein

fourseasons.com

The post Mexico In Three Movements: A Journey With Four Seasons first appeared on The Glass Magazine.

Last year Bense launched grooming line, To My Ships – the title inspired by an extract from Homer’s epic poem The Iliad – which has sustainability at its core. The elegantly minimal To My Ships has the ambition to prioritise “quality and responsibility, we aim to minimise waste and environmental impacts through responsible design and use of resources, the application of a subtractive aesthetic, and an encouragement to reuse, refill and recycle containers.”

_{Daniel Bense – founder of To My Ships}

To make the brand’s chic post-consumer recycled and recyclable aluminium containers, To My Ships worked with a packaging manufacturer based outside Bilbao, Spain, where the team ingeniously discovered that by reducing the diameter of the aluminium containers to make a slimmer and taller bottle, this would save 10 per cent of the material used.

The pared down, thoughtfully curated debut range, entitled Of The Gods Polygonum, comprises a roll-on and spray-on deodorant; a hand and body wash; as well as an eau de parfum. They are all scented with a 99.97 per cent naturally derived fine fragrance, formulated in the “tradition of haute parfumerie”. Created by leading perfumer Céline Barel, they are verdant, fresh, citrusy-infused with hints of polygonum (derived from lily of the valley), petitgrain and patchouli.

The products are all made from the highest quality ingredients. For instance, the Of The Gods Polygonum hand and body wash is sulphate-free, vegan, while the roll-on deodorant is dermatologically tested and free from aluminium salts.

_{To My Ships Polygonum Hand and Body Wash refill (750ml) £65 | Buy here}

What challenges do you encounter in producing reasonably priced, high quality innovative products while maintaining the brand’s commitment to sustainability?

We set out to create a deodorant for those who seek responsibly made, intelligently designed products – exceptional in quality, reliably effective and intensely pleasurable to use. We should all care more about what we put on and in our bodies; for too long, we’ve overlooked this. Your underarms are incredibly sensitive and deserve to be treated with respect, which is why we pared-back the formula to its essential elements – a challenge for our lab and perfumers alike, from a toxicological, price and efficacy perspective.

Building a fully European supply chain added another layer, but real business happens in person, forged through genuine relationships. A good block of Pitchfork cheddar goes a long way with a Bavarian glassmaker or a Basque aluminium supplier. We knew we wouldn’t be the largest customer, but we’d certainly be the one of the more interesting.

_{Of The Gods – Polygonum, Eau de Parfum 100ml £175 | Buy here}

Why is the classical world so important to you?
The title To My Ships is an excerpt from The Iliad, as are the names of each of the company’s products. Amid the chaos, there is so much beauty in a piece of text that has been passed down by orators over the ages. Drawing on this ever-resonant advocacy for calm and civilised living is inspiring. We have much to learn from the classics; they are full of beauty, tragedy and life.

What are your future plans for the brand?
We are ambitious and focused on continuing to create more with less – and better. In the coming months, we will launch with key partners in the UK, Australia, Benelux and the US, alongside three new product lines throughout the year. It won’t be long before we enter the world of retail; we know that this will be the truest expression for our customers. At the same time, we’re continuing to push ourselves to work with our lab to develop products that are simple, responsible and that redefine the status quo.

What is your hero product from the range?
The Of The Gods Polygonum Roll-on Deodorant is the true hero of the range. To My Ships began as a contrast to the too-loud, too-overbearing, too-artificial, too-duty-free fragrances of today. We set out and created a deodorant from the world of fine fragrance – elevating a dark, functional product with the care applied to skincare formulation and a unique, seductive green citrus scent. And it works.

Where and how do you see grooming evolving?
Now feels like the moment to connect with those who are discerning in their purchases – who refuse platitudes, fads, superficiality and greenwashing, and who take time to research and source products of value. I hope we will move away from jargon and more towards reality, and this means simple, effective products that are priced for their quality. And refills – I hope that they provide significant value while considering the full system of customer use, reuse, refill and household recycling.

_{Of The Gods Polygonum Spray-On Deodorant 75ML £35 | Buy here}

What defines your style?
Simple, understated, mostly navy and of good quality – a Harley lambswool jumper, a Barena shirt and pretty much anything from Dick’s in Edinburgh.

What is your signature scent?
Nothing too smelly. I’m drawn to fresh, green notes with bitter citruses and light woods – crisp, sophisticated and quietly confident. Right now, I’m wearing Stand Up Bravely, which launches in April. It’s centred around marjoram heart, giving it an earthy, natural simplicity that stays with you in the most effortless, understated way. Honestly, the deodorant version might be the best product I’ve ever worked on.

by Caroline Simpson

tomyships.com

The post Daniel Bense On His Innovative Body Care and Fragrance Company, To My Ships first appeared on The Glass Magazine.

The initiative involves a curated selection of skilled, auspicious artists — each of whom has earned the endorsement of another top-tier artist due to their distinctive visual vernaculars and individualistic creative visions.

This year’s iteration will feature the following lineup: Ilana Harris-Babou, who was selected by Camille Henrot; Katherine Hubbard, who was selected by Nicole Eisenman; René Treviño, who was selected by Amy Sherald; Neal Tait, who was selected by Chris Ofili; T Venkanna, who was selected by Bharti Kher; and Ana Segovia, who was selected by Abraham Cruzvillegas. Their work will be exhibited across six solo presentations, representing a steadfast devotion to fostering connection and growth within the Frieze fair and global network.

_{Camille Henrot}. _{Photograph: Ellen Fedors}

The vision underpinning Artist-to-Artist is to cast a necessary spotlight on the art world’s overarching commitment to championing future generations of talent. Crucially, it offers up-and-coming creatives career-defining exposure to the bona fide collectors, critics, and curators who flock to London for the five-day fair. Its assemblage is resolutely artist-driven and this year is no different — with the added delight of being bolstered by monetary support from the fêted fine jewellery house.

Tiffany & Co. is no stranger to the realm of classic and contemporary art. Indeed, this symbiotic partnership recalls some of its absorbing contributions to the art scene since the American jewellery atelier’s inception by Charles Lewis Tiffany in 1837. Case in point, the enchanting window displays designed by Gene Moore, which, from the 1950s onwards, invited cerebral collaborative contributions from artists including Jasper Johns and Robert Rauschenberg.

In more recent years, the house has also continued to commission cutting-edge works by artists such as Damien Hirst, Vik Muniz, and Michelangelo Pistoletto, and on occasion, has even displayed pieces by Pablo Picasso, Andy Warhol, and Hans Hartung in select stores.

_{Ilana Harris-Babou. Photograph: Ellen Fedors}

As emphasised in its press release, a commitment to superlative quality paired with a profound love for art, design, and exceptional craftsmanship has long been engrained in the House’s DNA. Honing a focus on these themes, conversations between the chosen artists and other original editorial content will be available on all Frieze social channels once the fair has officially commenced. 

Frieze London’s “celebration of creative community” will run from 15 to 19 October 2025, as will its unmissable Artist-to-Artist inclusion. And just like Tiffany’s trademark windows in The Big Apple, it beckons visitors and visionaries inside to experience the artistic beauty at play firsthand.

by Ella O’Gorman

The post Tiffany & Co. Joins Forces with Frieze London for Impactful Artist-to-Artist Initiative first appeared on The Glass Magazine.

Would we be left with questions, or with a clear statement of what this new chapter would look like? The answer was simple: we were invited to listen in on the quiet dialogue between Blazy and Gabrielle Chanel herself.

The Spring/ Summer 2026 show was titled Une Conversation, a slow three-part exchange that traced the House’s 115-year history. It began with a cotton shirt and trousers that directly referenced Charvet, the historic French shirtmaker that supplied her lover Boy Capel’s shirts. Blazy’s opening whisper was a declaration of love.

“The birth of Modernity in fashion comes from a love story. This what I find most beautiful. It has no time or space; this is an idea of freedom. The freedom worn and won by Gabrielle Chanel.” The gesture was straightforward: he presented a woman wearing traditional men’s clothes. This beautiful paradox stemmed from the founder and was an outfit that signalled, Blazy’s Chanel would lead not through replication but by reflection.

The opening chapter, Un Paradoxe, therefore was charged with menswear codes. The silhouettes were almost architectural: cut with the understanding that construction and fluidity needed to walk hand-in-hand.

Suits were made in pressed tweeds that looked purposeful with waistlines low, trousers loose and skirts slit to expose the leg – a nod to his precision of cut learnt working under Raf Simons and Phoebe Philo – but executed with a softer sensuality. “Never just something, but someone,” reads the press release, illustrating this is not about designing a new archetype, but rather offering presence.

Le Jour was up next, and this shushed the focal point of structure and invited erosion. How could he disrupt daywear without losing pragmatism and beauty? The result was an array of familiarity. The famous 2.55 bag arrived battered and beloved, with its burgundy lining deliberately exposed. Crumpled camellias weaved their way onto knitted silks, tweeds were frayed and suits seemed to carry a layer of patina on them.

Even the colour palette felt new although the shades of ivory, burgundy and grey were just manipulated into other forms. The black and white monochrome referenced both the Art Deco era and of course, the brand’s design DNA but it arrived in a more contemporary syntax that felt unobvious.

The final third of the collection was L’Universel, a more personal statement that invited us to look outward. The Chanel woman was once distinctly Parisian, now she is not defined by her environment but by how she carries herself. This chapter is maybe where Blazy truly begins to write his own distinctive declaration. The exploration of tweed reached new frontiers: it was hand-knotted, translucent and at times, looked like it melted.

Jackets revealed their interiors showing off contrasting linings and textures played against each other in visual duels. Jewellery leaned into excess with baroque designs, strings of pearls and enamelled chains looking like swinging relics that have been passed from one Chanel woman to another. This was a collection that ignited motion: we are all moving forward.

As the fourth designer to lead this House, Chanel has come to an integral intersect of what comes next. Blazy’s approach to this mammoth task was both cerebral and tactile, not chasing novelty but rather restoring purpose to the codes.

His intellectual pursuit of what Gabrielle Chanel set out to do was met with resonance – how could he bring her ideas of rebellion and freedom to the present day and give birth to a new uniform fit for the woman she designed for? His collection was not only a calming reassurance but also a profoundly elegant rediscovery of Chanel’s ever-evolving spirit.

by Imogen Clark

The post Chanel Enters A New Orbit With Matthieu Blazy’s Debut first appeared on The Glass Magazine.