Celebrity Life

It almost felt like a match made in heaven when Francesca Amfitheatrof joined Louis Vuitton three years ago to helm its jewellery and watch department. Amfitheatrof exudes strength, confidence and energy in the way she carries herself, and it translates into her work.

She had a four-year stint at Tiffany & Co as the brand’s first female design director, where she brought a new sense of modernity to the brand through the introduction of the Tiffany T and the Tiffany HardWear collections. At Louis Vuitton, her influence endures. Her first fine-jewellery collection, B Blossom, sees the designer reinterpreting the house’s famous Monogram flower in new proportions and in an exciting array of colours.

Amfitheatrof designs jewellery unmistakeably for the modern woman, who recognises and is unapologetic about the strength of her own femininity. B Blossom, which was her debut collection for Louis Vuitton, was really a signal for what was to come, as Amfitheatrof took into her own hands the job of revitalising the brand’s jewellery offerings. Taking the blossom motif designed by Georges-Louis Vuitton in 1896, she turned it into beads, with the logo stamped in gold and diamonds over smooth and sculptural spheres of white agate, pink opal, onyx and malachite.

Logomania as we know it peaked in the ’80s and ’90s era of success and excess, and since then it’s yo-yoed in and out of fashion. The B Blossom collection feels very much in trend, though – youthful and energetic, the jewellery is instantly recognisable, but not over the top.

This is very much to Amfitheatrof’s credit, as she’s managed to combine the opulence, power and audacity of the logo with a more refined and delicate take on the jewellery. The new line includes rings, bracelets, bangles, earrings, pendants and chain necklaces that are light and perfect for stacking. There are also chunkier and more statement-making pieces, including an appealing signet-ring design. The medley of coloured stones is pleasing to the eye – they look good however you want to mix and match them.

It’s also interesting to note that the new fine-jewellery collection is designed to be inclusive – not just for the inclusion of the signet ring, which tend to be seen as men’s jewellery, but also for the fact that the campaign embraces a diverse cast, including Indya Moore, a transgender model and actress who’s making waves in the industry. 

Released in 2019, the B Blossom Collection was a promising start. Following her debut act, Amfitheatrof has continuously delighted us with the bold and contemporary LV Volt collection with its graphic and unisex designs, then the Riders of the Knights high-jewellery collection that recalled medieval heroines and gave us Joan of Arc vibes, in armour-inspired designs, amulets and bejewelled chain mail.

Discover Louis Vuitton's B Blossom Collection here.

The post B Blossom Jewellery: Francesca Amfitheatrof’s Power Move at Louis Vuitton appeared first on Prestige Online - Hong Kong.

Fifty metres underground — this is the depth that local winemakers chose when they decided to store 10,000 wine bottles in the Aven d'Orgnac caves, an underground tourist attraction located at the southern end of the limestone plateau of the Gorges de l'Ardèche.

The experiment began in March 2018, when a new storage facility was specially created in a disused access tunnel to allow wine to mature in what amounts to a highly stable and peaceful environment.

A living product that ages best in undisturbed darkness, the wine will have benefited from ideal conditions: A constant temperature of around 12°C and an all-year-long rate of humidity of over 95%.

On December 12, 1,000 bottles of Côtes du Vivarais "Grand Aven 2017" from this treasure trove will be passed from hand to hand by a chain of human volunteers who will bring them back to the surface after two years underground. Thereafter, they will go under the hammer with a range of other local vintages in an auction with modest reserve prices.

Lots on offer will include 150 magnums of Terra Helvorum 2017 starting at 30 euros, 350 bottles of 2015 Terra Helvorum for as little as 15 euros and 350 bottles of Grand Aven 2016 from just 10 euros.

On land and sea

These days, experiments to store wine deep underground are very much in vogue in France. On June 3 of this year, 500 bottles were placed in racks at a depth of 103 metres in caves in Padirac under the watchful eye of Serge Dubs, the Best Sommelier of the World in 1989.

The first of these to return to the surface will be brought up for an initial tasting in the spring of 2021. And let's not forget that this experiment is focused on a very particular wine: A Clos Triguedina Cahors, christened Cuvée Probus, which has been produced to honour the 130-year anniversary of the Padirac Chasm.

Surprisingly enough, this new approach to maturing wine was initially inspired by a find at sea. In 2010, divers in the Baltic discovered a wreck containing what turned out to be a cargo of champagne, which was probably on its way to 1840s Russia.

The wave of experimentation that is now ongoing began when the bubbly, which was made by such houses as Veuve Clicquot, Heidsieck and the now defunct Juglar, was discovered to still be delicious after some 170 years under water.

In Saint-Jean-de-Luz in the French Basque country, winemaker Emmanuel Poirmeur has registered a patent for a process that involves vinifying wine in special vats at a depth of 15 metres under water. For its part, Leclerc-Briant set a record when it vinified one of its champagnes at a depth of 60 meters under the Atlantic in 2012, not surprisingly the vintage was christened "Abyss."

The post In Real Life with Mayuri Vara of Vara of London appeared first on Prestige Online - Hong Kong.

Today, when I got dressed my theme was kind of The Matrix,” says the designer Yoon Ahn. “I’m wearing a super-tight, black, long coat with slim black pants, so I’ve been quite minimal with the jewellery. I’m wearing my silver-ball closure earrings from a few years ago and I have a few silver rings on me.” It’s a different theme every day, she adds.

It’s strangely appropriate that Ahn is referencing a movie governed by the concept of a new, parallel reality. As part of the vanguard of contemporary style arbiters whose firm friendships with the likes of Virgil Abloh, Kim Jones and Kanye West reach back to a time when those names weren’t even blips on the fashion or cultural radar, Ahn has been key in changing the criteria as to what exactly constitutes an arbiter of fashion, as well as in guiding the evolution of a new global order or the industry.

Where did it all begin? According to Ahn, the library. “When I’d just moved to the US and couldn’t speak English, I spent a lot of time at the public library because I was working there part-time, but because it was a public library I’d read all the books and magazines that I wanted,” she says. “It wasn’t very busy and that was how I got to know about fashion.

“Because I was in the suburbs in Seattle, I’d obsess over Vogue and Elle. This was before the Internet, so I remember thinking, ‘Oh my God, there’s a world out there.’ There were all these beautiful people and I’d want to know where they were living and what they were wearing, and I’d just read and read. I would really study it.”

At the same time, Ahn got into Seattle’s then-flourishing underground music scene. “This was before Amazon or Starbucks, before any of those companies got huge, so there was really a split between kids from not-so-well-off backgrounds in my school and middle-class suburban kids. Because it was always rainy and they needed to protect themselves and keep warm, kids would actually wear worn-out denim, flannels and The North Face. A lot of them went to the thrift shop, so that was a part of the fabric of the city, the same way it is for hip-hop culture. You imitate your favourite bands and musicians who were basically fashion heroes -- and that’s how I got into it.”

[caption id="attachment_159462" align="alignnone" width="1341"] Looks and pieces from the Ambush Autumn/Winter 2019 collection[/caption]

On the topic of subcultures and the underground, Ahn has firm opinions. “There’s no underground any more, like there’s no such thing as underground culture, because everything’s on the Internet,” she says. “It’s exposed. Once it gets taken hold of by the media or the mainstream, people get bored right away.”

However, Ahn clearly regards the end of one era as the beginning of another. “We evolve as humans,” she says, “and that was then and this is now. The Internet has brought the world much closer and I’m just happy that people are much more open.

“In the West, they’re now more aware and tolerant of Asian culture. We’re no longer this weird thing because they can see it more and more, and you can see it through K-pop and the way that American people are being exposed to it and getting used to it, which includes how we define beauty and how we dress.

“[Streetwear] is big, especially out in Asia,” says Ahn of the style with which she’s become so associated. “I think it’s quite new for people in the West. It’s funny, a lot of cultures like America and the UK give birth to things like this, but in this instance Japan took it and made it better. It’s because the Japanese get obsessed over things and partially because it’s an import culture, they still have these little obsessions [over foreign cultures and trends] and they feel like they need to really study it and master it instead of just living it, so I think the Japanese really perfected the street look.

“The reason I don’t call it streetwear and call it casual wear is because not all casual-looking ‘streetwear’ comes from that specific culture any more. It’s just the look. It’s very surface-level now, you know? So I just don’t think it’s right to sum everything up as streetwear, because that originated from a specific culture, like skate culture.”

Despite having no formal design education, Ahn is extraordinarily knowledgeable about her metier. She isn’t the least bit concerned that she didn’t come out of the prescribed design-school/assistant route.

Born in Korea and raised in Seattle, Ahn moved to Tokyo with her musician husband Verbal, where, with no design training, she built her jewellery brand Ambush. “First of all, what we do now started as a hobby, which then became a business, so we had no business or fashion background and just jumped in,” she says. “It was very organic in the beginning because we knew what we wanted to do and made it take shape.”

But a lack of formal education does not, for the designer, mean any less hard work. “You don’t have to be from that background, you don’t have to come from a specific school. But if you didn’t study it, make sure you’re ready to study it on the job,” Ahn says. “You need to put in more hours than people who studied it, because you need to know what you’re doing and you need to know your subject. In my case, I didn’t come from this, but I work seven days a week. I go to the factories myself and I talk to everybody because I want to make sure I’m on top of it, I know exactly how those things work. You can’t bullshit that, so you need to put in hours and be prepared to study it non-stop.”

It’s a work ethic that’s clearly paid off, with Ahn progressing since starting Ambush from a cult following in Tokyo to international success. “Because I run my own business I’ve always been very in tune with customers and can see what works and what doesn’t, so I know how to look at it from a customer’s point of view. I think now customers have more power than brands or fashion houses, and I think this is where my strength lies -- in having a connection with a lot of customers and knowing that they’re sophisticated and not buying things because of the brand name.

[gallery ids="159463,159464,159465,159466,159467,159469,159470"]

“You can see it in the way they coordinate their outfits, the way they mix it up. They’re trend sensitive but at the same time they know what they want because they’ve researched it.”

When Ahn ventured into clothing, her brand was shortlisted for the LVMH Prize. She also expanded the Ambush universe by working with brands such as Nike, Gentle Monster, Converse and Rimowa.

More recently, Ahn was invited by Dior Homme’s creative director Kim Jones to head up the house’s new men’s jewellery division and in an effort to define its DNA is now working her way through the women-heavy archive. “Because we have so many customers from so many different continents, we don’t look at it as if there’s a specific male archetype, but rather a certain vibe that we like to see in men,” she says.

“There’s so much in the archives that we can look back to and bring back, but as I don’t want to repeat the exact same thing that’s been done before I take certain elements -- like, for example, an iconic CD link -- and make it into something current, something like a skateboard and Cuban-link necklace, so that it’s a timeless piece that can blend in with the suit as well as with sneakers and T-shirts. I think the balance matters more than anything, rather than one specific look.”

But if you think Ahn is basking in her success, you’d be wrong. Her strict work ethic is defined by Scarface protagonist Tony Montana: “Don’t get high on your own supply.”
“I watched a lot of Italian mafia movies,” she says. “Korean ones too. Everything. The reason I do it is because the mafia seem like they do bad things, but they have more rules within the community. It’s their code and they really value loyalty and integrity. There’s a lot of street knowledge and life lessons that I’ve learnt from watching these movies. It also teaches good business, like how they manage to survive and not get stabbed in the back.

“So like right now, all of this is nice and I’m flattered, but I also look at it as a test from the Universe to see if I can push myself to the next step. So I want to stay more clear. I want to make sure everything we do is levelling up and you can apply the quote in every part of life, but for me what it means is to not get high off of everything I have right now. Because I don’t see this as an end, I see it as a step to the next level.”

The post Jewellery Designer Yoon Ahn on the Internet, Subcultures and Working at Dior Homme appeared first on Prestige Online - Hong Kong.

We talk to the Brazilian designer about her new jewellery collection as she launches for the first time in Asia.

The post Simone Coste’s Statement Stones for the Modern Woman appeared first on Prestige Online - Hong Kong.