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The disgraceful manipulation of the Dalai Lama’s ‘tongue’ video By Charles Markeaton-Mundy © image Charles Markeaton-Mundy with His Holiness the Dalai Lama I have had the great privilege of being with His Holiness the Dalai Lama on seven occasions and participated in the organisation that arranged his last visit to Spain coordinated by the Spanish NGO Comite de Apoyo al Tibet and his president Alan Cantos in 2003. Being in his presence is one of the most powerful experiences I've had in my life. And the aura of loving kindness pervades the room. You feel in the company of a LIGHT being. His Holiness is good natured and full of humour which is probably his way to handle the pain that burdens him for the suffering his people have had to endure under the Chinese oppression. In all my encounters with him even during serious conversation he often teases in an innocent and playful way and that is part of his endearing personality. His Holiness has always been a paragon of transparency and morality, thoroughly impeccable in his thought, speech, and conduct. I am totally disgusted and upset by the immorality of the disgraceful manipulation and spicing up of the video in which His Holiness is asked by an Indian boy to hug him and that has led the Western press and social media to sensationalise His Holiness' innocent interaction converting them into a clickbait story with leading titles and fake descriptions and accusations of pederasty! The groundless interpretation has hurt the sentiments of millions of His Holiness’s followers and especially the Buddhist community and show a total disregard to local customs and ignorance of Tibetan culture where they go to the extreme that when parents or grandparents lose their teeth when old, the children chew the food and feed them by mouth to mouth as they have done for them when they were child. This is symbol of love, compassion, sincerity etc. Today’s press and social media have lost its faith and reasoning. Sadly, the masses have become shallow and bottomless. They are full of information but have a dearth of understanding. This has made the press, social media and the masses faithless, judgemental, and pretentious know-it-all being. As Utpal Kumar very well puts it: “The so-called modern mind is cursed with faithlessness. Ironically, it takes pride in it. It thinks faith is an antithesis to rationality. To add to it, it is also afflicted with a judgemental and know-it-all trait. Even the greatest of the souls can be judged, abused, and called names in no time.” The event took place in Dharamsala (India) where His Holiness who is 88 years old resides and was attended by 100 young students. It is surprising that the maliciously spiced video was released world-wide only a week ago. It is not surprising that the Chinese communist government have tried to utilise to attack whom they wrongly consider their arch enemy. The spiced up edited video has been shown by Chinese state media and for the first time the Tibetans living inside Tibet have rejoiced at seeing images of their spiritual leader. The Chinese authorities, also ignorant of Tibetan culture, miscalculated the reaction! The institution of the Dalai Lama is the strongest bulwark against Chinese hegemony in Tibet so to discredit His Holiness seems to be the motive behind the mischievously edited video. See full video: https://www.youtube.com/watch?v=bT0qey5Ts78 These self-appointed champions of morality are so vain that they think they know everything, even when all they know is in the best-case scenario their own cultural mores and they are totally oblivion to other cultures customs. They preach diversity but in fact despise it and want to impose a uniform, non-spiritual obedient brain washed humanity. In today’s world everyone is a suspect of the most heinous conduct, till proven otherwise and there is something very wrong and dangerous in this way of thinking that is being forcefully implanted in the West. The perversion in all this affair is sexualising the situation. In our culture the tongue is what we kiss with, it's sexualized but it is not so in Tibetan culture where it is just a part of the body and something playful. I am surprised at the silence of the celebrity followers of the Dalia Lama such as Lady Gaga, Richard Gere and Sharon Stone to name a few. They have not used their voices to come out and defend His Holiness of these malicious attacks. They should have made support statements. By remaining silent the press and social media that are behind this campaign were expecting them to join in their efforts to destroy His Holiness legacy, so they too are being criticised. In life when there is injustice one must raise their voice. Sadly, some celebrities who do not know the Dalai Lama were delighted to profit for a piece of the limelight by attacking him without any knowledge. Shame on them. Following the uproar, His Holiness apologised in the way that noble souls apologise on behalf of humanity, on whom his faith has not wavered an iota despite seven decades of suffering and hardship. I raise my voice to condemn the falsely narrated and misinterpreted video and the dirty twisted minds behind its edition and all those behind its distribution. I strongly condemn such acts of ill intentions. During the long years in exile His Holiness has not only preserved the religion and culture of Tibet in exile, created a non-sectarian and inclusive Tibetan nationalism and kept the link between the diaspora and homeland but he has also become a beacon of world peace, harmony, and tolerance. He is the epitome of compassion and the inspiration to millions of people from all cultures and backgrounds. His message of universal brotherhood, compassion and loving kindness is a guide to humanity. This disgusting campaign against him has only reinforced his moral standing with all of us that are not part of the herd. Explore Visionnaire Moralmoda Art Culture Lifestyle Travel Business Interviews Events ​ Get in touch About us Contacts Subscribe

“It’s bonus time at Hermès” the French #luxury maker announces after the annual €4,000 bonus pay to all the employees worldwide in February, the group will distribute this year in #France €170 million. This result is paired with brands expanding point of sales with new boutique opening today in Hamburg, #Germany. The news comes after the group's consolidated revenue reached €3,380 #million in the #q12023 , up 23% at constant exchange rates and 22% at current exchange rates. #Sales were particularly dynamic in all the geographical areas and across all the #business lines. Hermès Drops New Colors for Its H08 Model for Watches & Wonders 2023 “The first quarter of 2023 is aligned with the good results of 2022 and reflects the success met by our collections all over the world, driven by the loyalty of our customers. We are proud to strengthen our production capacities and consolidate our artisanal model. The inauguration of our 21st leather goods workshop in Louviers at the beginning of April is a recent example. This 3rd site in the Normandy Pole testifies to our local anchoring, our commitment to employment, training and our social and environmental responsibility." - Axel Dumas, Executive Chairman of Hermès. HERMÈS OPENS A NEW LEATHER GOODS WORKSHOP IN LOUVIERS (EURE, FRANCE), ULTIMATELY CREATING 280 JOBS, IN A HIGH ENVIRONMENTAL PERFORMANCE BUILDING: 11,602M€ of revenue 19,700 employees at the end of December 9,742 M€ of restated net cash position The Maroquinerie de Louviers, the second site in Hermès’ Normandy hub, perpetuates the house’s artisanal and human culture, the spirit of passing on its exceptional know-how, and the group’s environmental ambitions. The workshop will welcome 260 artisans trained at the Louviers École Hermès des savoir-faire, its own apprenticeship training centre (CFA) accredited by the French Education Department which delivers the CAP vocational diploma in leatherworking. This manufacture also includes a saddlery workshop to support the dynamic equestrian métier, historically located at 24 rue du Faubourg-Saint-Honoré, in Paris. A dynamic boost for employment and training The Maroquinerie de Louviers, which joins the Maroquinerie de Val-de-Reuil to form the Hermès Normandy leather goods hub, strengthens the house’s local anchoring and its commitment to creating sustainable jobs, training in métiers of excellence and developing its artisanal know-how. The leather goods workshop will ultimately employ 260 leatherworkers and saddlers as well as staff in management, logistics and human resources roles, among others. Inside the workshop, the artisans will produce bags, small leather goods, saddles, and bridles. It is the first equestrian workshop to be established outside of Paris. As the oldest of Hermès’ métiers, saddlery has been placed at the heart of the site. Hermès is pursuing a recruitment and training strategy in close collaboration with the Pôle emploi employment service, the Greta de l’Eure adult education service, the Lycée Augustin-Boismard high school in Brionne, and the Haras national du Pin stud. The Louviers École Hermès des savoir-faire, opened in 2022, trains artisans for excellence in the fields of cutting and table work and develops their versatility. The new manufacture is in line with the house’s artisanal model: a source of quality, sustainability, creativity, agility and innovation. With this twenty-first leather workshop, Hermès is strengthening its role as a socially responsible company, creating high-quality jobs and reaffirming its desire to make a sustainable contribution to regional development. The 6,200 m2 workshop is a living space for artisans. Its unique design was entrusted to French Lebanese architect Lina Ghotmeh, whose work is rooted in what she calls “the archaeology of the future”, or how a building emerges in its environment and from the memory of its location. This quest focused both on the architecture of the manufacture and on the way in which it enhances and preserves its site, in line with the house’s values. The workshop is thus a true technical achievement serving Hermès’ environmental goals. It is, to date, the first industrial building to have earned the French E4C2 label. The wooden-framed building was constructed on an industrial brownfield site using more than 500,000 bricks, produced 70 kilometres from Louviers to minimise the impact of construction while showcasing the know-how of Normandy’s brick-makers. As the main material used, the brick attests of the local embedding of the project in its environment and offers a palette of red and violet tones that vary according to daylight and the time of the year. Its position in the space takes full advantage of natural light and ventilation to limit the need for artificial lighting, heating, and air conditioning. These needs are met by geothermal energy (with 13 probes at a depth of 150 metres) and more than 2,300 m2 of solar panels, which combine to ensure the manufacture's energy autonomy. Using the soil excavated from the site and the expertise of the Belgian landscape architect Erik Dhont, three hectares of undulating gardens have been created, retaining most of the site’s original trees. Designed to preserve local biodiversity, these gardens are equipped with a system for recovering and directing rainwater into the water table. The E4C2 label The E+C- label assesses the performance of a new building according to two criteria: energy (E) and carbon (C). Level E4, the highest level, means that the Louviers leather goods workshop is a positive energy building. Level C2, also the highest, denotes the most efficient operation for carbon footprint reduction. An innovative design that celebrates Hermès’ artisanal excellence From its construction to its day-to-day operation, everything has been designed to ensure that the building embraces, extends and complements its natural environment. This “archaeology of the future” approach also permeates its appearance: echoing the motifs dear to Hermès, the square shape of the workshop is reminiscent of the house’s silk carré, while its graceful arches evoke the trajectory of a jumping horse. This innovative and timeless form, thought of from the smallest scale of the brick and as a new layer in the landscape, also recalls the gestures of artisans, the precision of the hand and the constant pursuit of excellence and beauty in their leather work. The gardens’ gentle undulations recall the arches of a manufacture that blends into its landscape, down to the materials used to construct it. It was in this precise and harmonious setting that the artist Emmanuel Saulnier was invited to design a piece of art for the “village square”, the manufacture’s courtyard and meeting place. Inspired by The Epsom Derby, a painting by Théodore Géricault from 1821, the work consists of seven stainless steel needles suspended by leather stirrup straps custom-made by the house’s bridle-makers. These horizontal lines evoke the movement of horses beneath a light-filled stormy sky and connect it to the artisanal gesture of the expert hand. The Maroquinerie de Louviers thus embodies the house’s sustainable development ambitions as well as its appreciation of beautiful things and the well-being of its employees. Since 2010, Hermès has opened ten leather goods workshops in France, bringing the number of saddlerleatherworkers employed by the group to more than 4,700. Four further workshops are currently being developed: in Tournes-Cliron (Ardennes), Riom (Puy de Dôme), L’Isle-d’Espagnac (Charente) and Loupes (Gironde), for which recruitment and training are ongoing. Archaeological discoveries echoing the artisan’s gesture The pre-construction archaeological excavations carried out on the site by INRAP archaeologists revealed a wide range of flint tools dating back to the Palaeolithic period, which attest to the leather work carried out in this prehistoric community. A horse’s jawbone was also found, adding to the symbolic links that connect the history of the site to the history of Hermès. Since 1837, Hermès has remained faithful to its artisan model and its humanist values. The freedom to create, the spirit of innovation, the constant search for beautiful materials, the transmission of savoir-faire of excellence, and the aesthetic of functionality all forge the singularity of Hermès, a house of objects created to last. An independent, family-owned company which encompasses 16 métiers, Hermès is dedicated to keeping the majority of its production in France through its 54 workshops and production sites and to developing its network of more than 300 stores in 45 countries. The group employs more than 19,700 people worldwide, including more than 12,400 in France, among whom more than 7,000 are craftsmen*. Axel Dumas, a sixth-generation family member, has been Hermès CEO since 2013. Founded in 2008, the Fondation d’entreprise #Hermès supports projects in the areas of artistic creation, training and the transmission of savoir-faire, biodiversity, and the preservation of the environment.

In all, 48 exhibitors will be taking part in GemGenève for the sixth time, while it will the first time for more than 20 others. Newcomers include names such as Berçot SAS (France), Tom Munsteiner, Heinz Mayer, Emil Weiss Opals KG (Germany) and JS Fearnley (USA). Sim Gems Limited (Honk Kong), Hari Krishna Exports (India), Futurgem Srl (Italy), Ultraco SA (Switzerland), Topaze Impériale (Austria), KGK Gems Limited (Thailand) are just a few others. J S Fearnley has been supplying discerning dealers and collectors from around the world since 1986 with the rare and the fine in branded estate and vintage jewellery as well as collectible, untreated coloured gemstones. Morelle Davidson, United Kingdom Morelle Davidson is a family-run business based in Mayfair, London, specialising in the finest antique, estate, and period jewellery, natural pearls, diamonds, and important gemstones. With over 20 years of experience, Morelle Davidson offers an exquisite selection of jewellery in their boutique on Bond Street. As Ronny Totah explains: “GemGenève will be taking over Hall 1 at Palexpo, with total exhibition space of over 13,000m2. Exhibitors will be arrayed around four coffee station areas, two main aisles and a lounge hosting exhibition spaces, projects, and after-work musical and literary events. Indeed, music will be very much a part of the event this year, thanks to a concept designed by our director Mathieu Dekeukelaire”. As Thomas Faerber emphasises, “For this thoroughly redesigned spring edition, the setting will be firmly based on the theme of plants and organic life, welcoming visitors amid new tones characteristic of nature including beige, white, green and blue.” As Ronny Totah explains: “GemGenève will be taking over Hall 1 at Palexpo, with total exhibition space of over 13,000m2. Exhibitors will be arrayed around four coffee station areas, two main aisles and a lounge hosting exhibition spaces, projects, and after-work musical and literary events. Indeed, music will be very much a part of the event this year, thanks to a concept designed by our director Mathieu Dekeukelaire”. As Thomas Faerber emphasises, “For this thoroughly redesigned spring edition, the setting will be firmly based on the theme of plants and organic life, welcoming visitors amid new tones characteristic of nature including beige, white, green and blue.” The 187 professional exhibitors from 20 different countries are the true ambassadors for the show, featuring plenty of diversity in human terms as well as in terms of the range of high-quality pieces that will be on show. Actors and full partners in a show conceived and designed with them in mind, together they offer an impressive variety of treasures to discover and acquire, ranging from affordable jewellery via rare and exceptional pieces to antique and historic gems and contemporary creations, not to mention diamonds, precious stones, pearls and more. GemGenève makes every effort to facilitate things for them when they arrive: under the leadership of Nadège and Audrey Fontanille, the team can provide them with customised turnkey stands, paying particular attention to the lighting to enhance the items on display. Since May 2022, the team has offered the services of a high-end concierge in the person of Pierre-Paul Monnet, delighting exhibitors with his range of essential services, https://www.pawelconcirge.com/. As Ronny Totah points out, “As we welcome more dealers to GemGenève for this edition, we’ve also given careful thought to exhibition traffic. The challenge is to preserve the balance between our DNA – passing on our passion to emerging designers and schools, a diverse cultural programme, and the desire to remain a human-sized event - and the quality of exhibitors and merchandise on display, whilst making sure the visitor experience is as streamlined as possible”. Explore Moralmoda Art Culture Lifestyle Travel Business Interviews Events ​ Get in touch About us Contacts Subscribe

As a part of the Future Trends Group, Future Health held its first Global Health Strategy Launch Conference in Hong Kong on April 3rd, 2023 at the Regala Sky City Hotel with approximately 1500 delegates attending from all over China and Asia Pacific. All images copyright reserved Future Trends – a new paradigm of exponential growth (future-trends.us) Dr Farzam Kamalabadi (Founder & President of Future Trends Group), His Excellency John Fredrik Reinfeldt (Former Prime Minister of Sweden) Future Health's inaugural Global Health Strategy Launch Conference was attended by global VIP guests such as Dr Farzam Kamalabadi (Founder & President of Future Trends Group), His Excellency John Fredrik Reinfeldt (Former Prime Minister of Sweden), His Excellency Saeed Al Dhaheri (Founder of Sald Investments and Chairman of BIC Contracting), His Excellency Charles Markeaton-Mundy (Chancellor of Foreign-Affairs of the Ecumenical Knights of Malta and Senior Director of the Future Trends Group), Madam Rashmi Agarwal (Senior Director of Future Trends & Founder of Kiya.ai), Mr. Armand Murnieks (CEO of Arteam Marketing Ltd and co-Founder of Global Unit Pay), Mr. Pico Goh of Korea (CEO of Rad Card & BlueCare), Ms. Adriana Lopez Catalan of Spain & India (Vegal Group, who signed MOU with Future Health at the Conference), Jorge Sebastiao, CEP & Co-Founder of Ecox Group, Mr. Kevin Kishore Kual (Founder and CEO of US-Asian Business Forum, and a California Governor candidate), Dr Allan Thomas Nhapi of Zimbabwe (Founder of Thomas Health), Mohammed Oraby (Vice Chairman of BIC Contracting) and John Adam Westover (CEO of BRI Capital and an Executive Director at Future Trends Group) and other global expert s and guests of honor from over 50 countries of the five continents. The Future Trends Group is a platform to multiply and magnify massive capital. Established in the US in 1993, it currently operates globally as a group comprised of companies, partners, projects, and platforms from different industries and fields around the world and has a vast network of resources and expertise in more than 150 countries or regions. It has achieved a record of over 100 transactions with a total turnover of over $30 billion USD in the past 25 years. The core business of Future Trends is to drive the rapid and exponential development of corporations and entities, and the aggregate economies of nations, on a global scale by launching and managing robust and strong growth mechanisms within any company, enterprise, or institution using its mature platforms and systems. LTR: His Excellency Saeed Al Dhaheri (Founder of Sald Investments and Chairman of BIC Contracting); Dr Roya and Farzam Kamalabadi (Founder & President of Future Trends Group) Future Health Group was established after extensive market research and comprehensive strategic planning, with a focus on research, production, and sales in the fields of medicine supplies and digital medical care. It is a global biopharmaceutical company that prioritizes patients and focuses on innovation, combining a stable global supply system, a rich resource network, strong commercialization, and scientific research capabilities. After years of development, it is fast becoming a world-renowned supply and distribution platform for innovative medicine such as anti-tumor and vaccines and has been positioned to become a world-renowned supplier of anti-tumor medications, vaccines, anti-aging medications, regenerative stem cells, anti-infection medications, and innovative medicines. His Excellency Charles Markeaton-Mundy (Chancellor of Foreign-Affairs of the Ecumenical Knights of Malta and Senior Director of the Future Trends Group) Poised to become the world’s largest medical distribution system for the supply of scarce, high-efficacy medicines while at the same time creating a financial products platform for the futures of the medicines as commodities, the company’s mission is to provide the top medical products in the world to those in urgent need at the fastest speed at affordable prices. The Future Health Initiative will focus on driving the development of healthcare, improving the progress of medicine and science, and providing support for related health initiatives. It has set up donation projects for non-profit organizations and related legal institutions to provide financial support for related activities in the concerned treatment fields or the overall medical industry. During the conference, their cryptocurrency WP—Woodpecker Coin—was presented and is set to become the number one in the health sector in the world, with its own proprietary blockchain creating a vast ecosystem like the "Ethereum of Medicine". Besides the uniquely diversified high-level event itself, the highlight of the entire program was the loops of deep friendships formed and new partnerships forged between the different member companies of Future Trends Group, many of whom were meeting each other for the first time by design. Future Trends – future-trends.us

Dior just paid hommage to rich Indian craftmanship tradition with a star-studded show in Mumbai. The French label unveiled its Pre-Fall 2023 collection in front of a star-studded audience that included local and international royal guests, and our valued Art Contributor Shalini Passi, alongside Bollywood stars Rekha, Sonam Kapoor, and Anushka Sharma, as well as models Cara Delevingne and Maisie Williams, against the historic Gateway of India monument. Now Dior proposes modern Western style paired with French chic. © All images www.dior.com The timeless and versatile blue jeans icon is being reinvented by Maria Grazia Chiuri in a series of denim pants, promising a look at once elegant, relaxed and infinitely modern. Named Dior 8, in homage to the founding-couturier's lucky-charm number, and initially composed of eight irresistible variations, a ninth reference now completes the collection, sublimating all body types. Made from raw denim, these exceptional creations come in bootcut, flared, wide-leg, boyfriend or cargo styles - as well as a new straight shape thought up for the Dior spring-summer 2023 line. Each pair features a label on the back with the "Christian Dior" signature, enhanced by two horizontal stripes and the number of the model - from D01 to D09 – a tribute to the art of detail dear to the House. A profusion of ultra-desirable pieces to (re)discover, season after season. Explore Moralmoda Art Culture Lifestyle Travel Business Interviews Events ​ Get in touch About us Contacts Subscribe

To coincide with the Basquiat x Warhol. Painting Four Hands exhibition, JAY-Z will give a celebratory concert to pay tribute to Andy Warhol and Jean-Michel Basquiat, on Friday 14 April 2023 at 9pm, in the Fondation’s Auditorium. With the support of Tiffany & Co. BASQUIAT x WARHOL Painting Four Hands From April 5 to August 28, 2023 (all courtesy of Fondation Louis Vuitton) In spring 1985, Warhol told his gallerist Bruno Bischofberger that he and Basquiat had made numerous collaborations on their own initiative. They agreed to exhibit a selection of them at Tony Shafrazi Gallery in Lower Manhattan. Basquiat chose Michael Halsband - whose work with singer Klaus Nomi had caught his attention - to take the photo for the poster. The image was to evoke a boxing match. On July 10, Basquiat and Warhol arrived at Halsband’s studio with gloves and shorts. Three of the images were finally selected to promote the exhibition; the photographer shares 86 of them here. Designed in the late 19th century, the General Electric logo is one of the icons of the American way of life. From the 1950s, the brand could be found in every household. The omnipresence of the monogram logo, affixed to refrigerators as well as aircrafts engines, would be enough to justify Warhol choosing it,even if it were not coupled with a calligraphic game suited to the pleasure of painting. The two artists dedicated an entire series to it, one that is remarkable in its effects of transparency, juxtaposition, and inversion. Most of these works were started by Basquiat, who created his drawings using silkscreen, a technique that defined the work of his older counterpart. Bernard Arnault, President of the Fondation Louis Vuitton, wrote in foreword to the exhibition, "Some forty years later, this exhibition is an invitation to live in the present and experience, in the Fondation’s galleries, one of the most intense artistic episodes of the second half of the twentieth century. Because by creating “with four hands,” the two artists not only expressed generosity and reciprocal confidence, they also invite us into their conversation. While working with Basquiat, Warhol stopped hiding behind the screen of his silkscreens. He once again picked up his brush to paint logos and newspaper headlines free of any pretense. Basquiat then found himself in front of immense formats, as if facing a wall. Called to action, he worked swiftly. He often extended the lines traced by his elder to let new forms emerge. He sometimes completely subverted the overall balance, amending the canvas with a wide swath of color to provoke his partner and incite him to respond. Their mutual fascination created conditions for a deluge of motifs and signs; their brushes reveal a shared image. What this exhibition shows us, through some hundred paintings and even more documents, is the emergence of a work signed by a “third mind,” as their friend Keith Haring put it. And it is absolutely thrilling!I would like to thank guest curator Dieter Buchhart, who, in collaboration with Suzanne Pagé, artistic director of the Fondation Louis Vuitton, and deputy director Sophie Durrleman, staged this incomparable adventure from its inception to maturity. His collaboration with Fondation Louis Vuitton curator Olivier Michelon has played a decisive role in the success of our ambitions. Dieter Buchhart is responsible for expanding the exhibition’s scope, to include several artists with close ties to Basquiat and Warhol at the time. Their inclusion helps us better understand the distinctive artistic and social context that shaped New York in the early 1980s. In particular, the exhibition includes a number of works by Francesco Clemente, who was also part of the adventure at the beginning. Without Bruno Bischofberger, this exhibition simply would not have existed. A friend and gallerist to both Basquiat and Warhol, I truly admire his audacity. Who else would have suggested that two such unique personalities create paintings together? The exchanges between Bruno Bischofberger and my advisor Jean-Paul Claverie were in fact the starting point for this initiative..." “Basquiat x Warhol:A Dialogue in Contradictions” (Text from the catalogue) By Dieter Buchhart, Curator of the exhibition In 1985, Basquiat said that he had created “a million paintings”1in collaboration with Andy Warhol. He was referring to one of the most important artistic collaborations in art history,carried out by two of the twentieth century’s most important and influential artists. But despite the general acceptance of Warhol and Basquiat as leading representatives of art history, their unique collaboration is generally looked upon with a good degree of skepticism. As the keyboarder ofthe band Duran Duran and friend of both artists Nicholas Rhodes put it, “It’s always strange tome that collaborations between some of the greatest artists don’t seem to be taken as seriously ordon’t have the value that pieces by individual artists have. That makes no sense to me, being amusician. Some collaborations are the greatest things”. For Rhodes as a musician, collaboration issomething self-evident, even an urgent necessity, while in the fine arts, despite the accepted work ofartist collectives like the Guerrilla Girls, the Black Obsidian Sound System (B.O.S.S.), or TeamLaband artist duos like Gilbert & George or Peter Fischli & David Weiss, collaborations are still seenwith a critical eye when two individual artistic personalities create a group of works jointly. But in Virgil Abloh’s words, “Life is collaboration. Where I think art can be sort of misguided is that itpropagates this idea of itself as a solo love affair - one person, one idea, no one else involved”.3But why is the outdated urge to favor and give greater value to the artistic genius as lone wolf stillso widespread, especially considering that artistic collaboration was already part of the artisticpractice of the 1980s? Does not the collaboration between two geniuses bear within it the potentialto create something even more significant, even more important? Rhodes argues accordingly,“When you pull together these two incredible talents and minds [Warhol and Basquiat] and youpiece it together and make it work, you get this explosion of color and energy that you’re nevergonna get from either one of them [in exactly that way]. And so, when I first saw the collaborations,I was completely speechless”.4But what exactly is the significance of Warhol’s and Basquiat’s joint project? What distinguishes itfrom other artistic collaborations and makes it so significant and current even today? Why did itleave observers “completely speechless?"[...] According to Jay Shriver, a studio assistant at Warhol’s factory during the years of collaboration, Basquiat and Warhol’s collaboration already began in 1983 with the modification of small panels by Warhol with motifs such as eggs, dollar signs, or crabs and lobsters.6Here, Warhol not onlysupplied these paintings to his artist friend, but according to Shriver encouraged him to continueworking on them.7While he took up the engagement with his Lobster variations by modifying the lobster, but keeping the subject of the maritime creature, in Don’t Tread on Me he added the formulation “Don’t Tread on Me” as a critical commentary. Here, two opposites literally meet, two different world views. While Basquiat exercised an explicit critique of capitalism, Warhol was apparently the perfect incarnation of the artist as businessman. “Being good at business is the most fascinating kind of art. Making money is art and working is art and good business is the best art”.8He tore down all barriers between business and art and adopted the rules of industrial society bycommunicating the impression that he had artwork produced on an assembly line at his Factory.But it is still a matter of controversy today whether Warhol was pursuing the mere glorification ofconsumer goods as icons of modernity in the sense of an affirmation of capitalism or intended anironic take on the represented and lived world of consumption. Since the artist’s death, a moredifferentiated point of view has taken hold. The image of Warhol as a star artist is understood moreas a mask that, like his silk-screens, reflects the mechanisms of modern capitalist consumer society.All the same, a conscious ambivalence remains in Warhol’s work that leaves open the questionof whether the artist explicitly sought to criticize the system or wanted to sharpen the audience’sawareness of their own approach to the world of consumption and media that dominates oursociety. Basquiat’s clear anti-capitalist attitude is expressed clearly in his counter-workDon’t Treadon Me, where he refers to the Gadsen Flag, a historic American flag that shows a rattlesnake rearingup to bite on a yellow background.Beneath the image of the snake, the slogan “Don’t Tread onMe” can be found. The flag was named after the American general and politician ChristopherGadsden and was considered a symbol of the colonies during the American Revolution andbecame an important symbol for freedom of thought and anarchism. To that extent, this was notan act of animosity, but a friendly yet critical modification of an existing work intended by bothsides, for “collaboration can be conspiracy, and it can be open”.9[...] Artistic work in various artistic disciplines such as painting, performance, music, or film wasespecially widespread in the New York art scene of Downtown Manhattan in the late 1970sand early 1980s; collective artistic work was common practice among younger artists. Warhol’sopenness to the various media since the 1960s was surely an important model here; he had workedin a whole range of artistic media and over the years was constantly expanding his repertoire.6Jay Shriver was . . . hired as a studio assistant by Warhol in 1980, helping to create paintings as well assist in producing three television shows created by the artist. Ultimately, over a two-year period Warhol and Basquiat created more than 160 collaborations,making up more than a tenth of Basquiat’s painting oeuvre.On closer inspection, various groups of collaborations can be distinguished: first, Warhol’s hand-painted logos like Arm & Hammer, the Olympic rings, or Paramount; second, simple motifs ofWarhol’s like dogs, household appliances, or fruits as basic themes, third Warhol’s more complexvisual creations like a landscape to which Basquiat reacted; and fourth, those paintings withheadlines provided by Warhol; fifth, works whose foundation motifs took the form of silkscreens;and the sixth and last group of collaborative works, joint works initiated by Warhol in a copy andpaste style of the highest complexity.Arm and Hammer IIrepresents a key work to understanding theirjoint collaboration. Warhol painted the company logo of the American baking soda manufactureron the prepared acrylic gold background twice, each one filling half of the image and evoking thedoubling and multiplication of a motif, a stylistic device that he had used frequently since his earlysilkscreens from 1962. The golden background in turn refers to works likeGold Marilynand theemphasis on the iconicity of the well-known image. Basquiat concentrated on reworking the leftlogo. He obliterated the arm and hammer with white acrylic and painted onto it the face of jazzmusician Charlie Parker and the heads side of a coin.With the year 1955, he referred to the yearof Parker’s death; the musician’s saxophone seems to explode the logo.15Interview with Jay Shriver published in the catalogue.16Jean-Michel Basquiat interviewed by Becky Johnston and Tamra Davis.17Interview with Jay Shriver published in the catalogue.18Jean-Michel Basquiat interviewed by Becky Johnston and Tamra Davis. Basquiat crossed out the words “ARM” and “HAMMER” with broad black brushstrokes and wroteover them with “COMMEMERITVE” (a play on the words “commemorative“ for memory/remembering [coin]) and “ONE CENT,” but he again crossed out these words. Very much in terms of his understanding of emphasizing them: “I cross out words so you will see them more:the fact that they are obscured makes you want to read them”.19[...]Thus, despite the aesthetic and creative contrasts between the two artists, a mutual influence is clear. While Warhol, inspired by Basquiat, returned to his painterly beginnings, from around 1961,Basquiat in contrast used silk screening in their collaboration. The result was an additional series of works that take Basquiat’s silkscreens as a starting point, evoking the construction drawings of Leonardo da Vinci, but concretely referring to A. C. Gilbert’s 1935 Erector Set: “The World’s Greatest Toy - Developed by the Gilbert Hall of Science”, whose windmills, catapults, and meansof movement and transportation, Basquiat captured in the largeformat painting. Basquiat responded with a black head evoking a skull with broad white brushstrokes ascontour lines and limited by green lines in a suggested rectangle.Basquiat and Warhol attained the highest complexity and synthesis of their two positions in workslikeChina Paramount,Untitled, and6.99. InUntitled, Warhol created a network of athletic goods likea catcher’s glove, a tennis racket, and loafers. A dialogue in contradictions, this develops into anetwork of symbols, numbers, signs, objects, heads, and light blue and ivory surfaces of color, likeone of Basquiat’s spaces of knowledge in which the artist combines everything around him andwhat he gathers about him. For Basquiat always copied consciously and transformed the foundaesthetic material as in the copy and paste sampling of the internet and post-internet generationinto his own aesthetic. In so doing, he creates as part of the “copy society”20using copy and pastea cultural technique and an aesthetic principle21as “a key cultural technique of modernity.”22Following this cultural technique, Warhol’s “1/2” combines with “exercise specials”, Basquiat’sblack heads, his African-American athletes, vegetative structures of life and growth, the A in thename of Hank Aaron to form an overall ensemble with an inner logic that for the beholder, asalways in Basquiat’s art, is able to open new conceptual spaces. The same is true inChina Paramount,in which Warhol’s private relationship to Jon Gould, a manager at Paramount, is expanded usingthe logo of the film studio with a profile of Ronald Reagan saturated with numbers, US foreignpolicy toward China, all sorts of mask-like faces of Black figures and other people of color to aspace of association and in the dialectic space of thought illustrates Warhol’s dictum: “I thinkthose paintings we’re doing together are better when you can’t tell who did which parts”.2319Quoted in Robert Farris Thompson, “Royalty, Heroism, and the Streets,” TIn one of their final joint works,6.99, which was created at Warhol’s new studio, his last Factory at22 East 33rdStreet highly painterly elements by Warhol of a woman in profile and two Americanfootball players running towards own another in black and white encounter Basquiat’s fire-spittinghead in the lower right corner, brushstrokes in a gestural white that counter, sometimes obliteratingthe colorful surfaces, and lines like sutures that cover the deleted bodies of the figures on the leftand in the middle of the image around and next to the flaming head.24All of this beneath “6.99”,the sale price painted by Warhol on a red background, the sign of the capitalist economic systemdominating the dynamized visual events, bracketed like a footnote on the lower left by the number“5599” probably added by Warhol. The dynamic, the burning lungs of the middle figure, thevirtually gesturally placed brushstrokes, seem like the finale of a symphony and form the ultimateclimax of this unique joint project.Warhol and Basquiat’s collaborations were “physical conversations” in the sense of dialoguesand physical confrontations and demanded a great deal of mutual respect and acceptance. ... As their collaboration gradually came to an end, the two artists remained friends. Warhol’s death on February 22, 1987 due to complications during a gall-bladder operation hit Basquiat very hard. The following year, Basquiat died surprisingly on August 12. Like Warhol, he too sampled fromhumanity’s collective visual memory. While Warhol used the worn-out icons of capitalism,Basquiat transformed the found aesthetic material, like the cut-and-paste sampling of the internetgeneration, into his own aesthetic; he always collaged his “own hand”. “Collaborations :Reflexions on the Experiences with Basquiat, Clemente and Warhol”1(text from 1995, republished for the catalogue) Bruno Bischofberger, Special Advisor for the exhibition In the winter of 1983-1984, on the occasion of one of Jean-Michel Basquiat’s many visits to our home in St. Moritz, we spoke about works that artists had done together, so-called collaborations. There wereseveral reasons why we had started talking about them. Basquiat had done a 120 × 120 centimetersacrylic on canvas painting in our garage together with my daughter Cora, who was not quite fouryears old at the time.2In my guest book in St.Moritz, Basquiat drew, at the same time, a double-page drawing, also with Cora. The baby-child “primitive” technique of my daughter and Basquiat’sindependently chosen “primitive” style were a perfect fit. Already during my first visit to his studio in1982 in New York, he answered my question about which artists had influenced him: “What I reallylike and has influenced me are works by three to four-year-old children”. The same guest book shows,immediately preceding, a two-page color pastel, a collaboration between Francesco Clemente andCora, dating from the preceding winter (January 1983), and signed by Francesco with both names.Again, some pages earlier, dated March 1982, one finds two drawings by Walter Dahn and Jiří GeorgDokoupil. These artists had, during that stay, painted a small group of collaborations using acrylic oncanvas in our garage, one of which was hanging in our house in the winter of 1983-1984.All these were reasons for Jean-Michel Basquiat and me to start talking about collaborations. I personallyhad been fascinated by such works for some time. I knew the collaborations of painters from the fifteenthto the nineteenth centuries and the cadavre exquis of the Surrealists. For over twenty years, I had owneda collaboration, dating from 1961, between Jean Tinguely, Niki de Saint-Phalle, and Daniel Spoerri.I also owned a painting that had been jointly painted by Enzo Cucchi and Sandro Chia, and since 1983,I had bought my first works by the New York artists David McDermott and Peter McGough.The conceptuality of these paintings fascinated me, because through the voluntary act of collaborating,a certain theory became more apparent than in works which the artists created individually.I had noticed that in the works of the so-called “postmodern” movement a certain kind of conceptualcollaboration was taking place, because artists were referring to other artists’ works or integratingparts thereof in their own paintings. From a large diversity of examples let me mention: Caravaggio inseveral early works of Julian Schnabel, from 1980-1981, Watteau and Giacometti in works by DavidSalle, and early works of Warhol in his own series ofReversal Paintings(1979-1980).1This is an edited version of the text that was first published in Tilman Osterwold, ed.,Collaborations: Warhol, Basquiat Clemente(exh. cat. Ostfildern-Ruit: Cantz, 1996). A project had developed in my mind to ask Andy Warhol, whose main dealer I had become in 1968, whether he would make some works together with one or two younger artists that I represented. At that time, I asked Jean-Michel Basquiat in St. Moritz whether he would be interested in doing some collaboration paintings with Warhol and perhaps another artist. Jean-Michel was exceptionallyreceptive to new ideas and immediately agreed. He was surely also interested in creating workstogether with the famous Warhol.In fall 19824, I brought Jean-Michel Basquiat to Andy Warhol in the Factory and this is how theyreally got to know each other. I had a firm agreement with Warhol that I could propose youngerartists, which I found interesting, for an article inInterview Magazine, which we had founded togetherin 1969. Warhol also let me decide which young artists I could bring with me to the Factory to have aportrait done, in exchange for which they could swap one of their works. Warhol trusted my judgmentand it was of no consequence that the works that he received in exchange were often worth much lessthan his portraits. In this way, Andy established a relationship with the generation of younger artists.When I told him that I would bring Jean-Michel Basquiat for a portrait session and the usual buffetlunch at the Factory on Union Square the next day, he seemed rather surprised and asked me, “Doyou really think that Basquiat is such an important artist?” Warhol was not familiar with Basquiat’snew work and told me that he remembered having met the artist on one or two occasions, on both ofwhich Warhol had felt him to be too forward. Basquiat had been trying to get to know Warhol andhad offered him his street sale art, small drawings on paper that Warhol had been very skeptical of.Warhol photographed Basquiat with his special Polaroid portrait camera. ... Jean was aggressive and “point blank,” while Andy was shyand polite. Jean had the nerve to do anything he felt like, anywhere he felt like it, and Andy lovedto watch. It was a wonderful kind of give and take that enabled each of them to fulfill their ownsecret desires. The relationship was built on mutual respect. Jean had sought after Andy since hewas a teenager, and by 1980, he had been to the Factory on several occasions. In time, Andy grew torespect Jean-Michel. The more he saw his work, the more he loved it. Andy eventually trusted Jeanto the point that he would actually let him cut and sculpt his “hair”. The respect ran deeper than justaesthetics. Each had a fascination with the other’s impenetrable shell. The mystery that was Warholwas challenged by the complexities that were Basquiat. Their projected “images” were powerful anduncompromising, while they both harbored a vulnerable, humble spirit, which endowed both ofthem with a sense of humor. They “understood” each other.A successful collaboration is always the result of a successful relationship. The paintings are thephysical proof of the harmony that existed beyond the canvas. I’m not sure if their collaborationwas a deliberate, planned strategy or if it simply “happened.” Jean was spending more and moretime visiting the Factory and eventually started painting there. This is not hard to imagine, sinceJean painted anywhere he found himself. He would create with whatever materials were readilyavailable on whatever surface would sit still long enough to draw on. Andy was also a workaholicand loved the added incentive of havingJean around. They exercised together, ate together, andlaughed together. The great thing about visiting Andy was that he was always working. Whether ornot there may have been endless interruptions from phone calls and visitors, there was still a sensethat in between, a lot of things were getting done. There were always new paintings leaning againstthe wall, new piles of Polaroids, and new clippings or photostats of prospective projects. For an artist,the most important and most delicate relationship he can have with another artist is one in which heis constantly challenged and intimidated. This is probably the only productive quality of jealousy.The greatest pleasure is to be provoked to the point of inspiration. Most artists only admit it to one ortwo others whom they feel are equal to themselves. Very few would accept the notion that their peersare actually superior. However, in the privacy of their own thoughts, they must admit to them selves that these thoughts arise and usually lead to a kind of unspoken competition. NEW YORK’S DOWNTOWN ART SCENE IN THE 1980S A collective energy characterized New York’s art scene in the late 1970s and early 1980s. More than a decade earlier, Warhol, with his radical openness to different artistic practices, paved the way for collaboration to become more widely accepted. But it was also artists linked to the world of graffiti—used to working together and navigating varied supports and disciplines—who made collaboration much more than an exception: it became one of the period’s defining features. Throughout his career, Warhol sought the sensational and the mundane in the press, making magazine and newspaper headlines subtexts in his work. With Basquiat, the use of the headlines was different. As he said, "[Warhol] would start most of the paintings. He would put something very concrete or recognizable, like a newspaper headline or a product logo, and then I would sort of deface it, and then I would try to get him to work some more on it, and then I would work more on it." The legibility of the texts is totally transformed, privileging the lettering’s formal, even sonorous, impact. Fragments of words are captured in a network of information constructed by the two artists. Those close to Basquiat have testified to his desolation following Warhol’s death on February 22, 1987. Gravestones are a clear manifestation of this grief. In the form of a polyptych, the painter erected an altar where we can recognize several references to the work of Warhol. Though the two artists drifted apart after their joint exhibition in 1985, they stayed in contact. Warhol kept Physiological Diagram (1985) in his reserve; in its format and anatomical subject, it is like a collaboration waiting for Basquiat. PAINTING FOUR HANDS "I think those paintings we’re doing together are better when you can’t tell who did which parts, Warhol wrote in his diary. Initially simple interventions by Basquiat on Warhol’s canvases, the paintings by the two artists culminated, at the very end of their collaboration, in a complex entanglement in which personal subjects such as racism (Felix the Cat) or the connection to the body are addressed. 6.99 is a stratification of forms and meanings. The painting is literally covered with scars (pentimenti), but these are also drawn,echoing the scarred torsos of both Basquiat and Warhol. Chronology Basquiat x Warhol Compiled by Antonio Rosa de Pauli 1928 Andy Warhol was born in Pittsburgh on August 6. 1949After finishing his pictorial design studies, Warhol moves to New York. Within a decade, he will become one of the most successful graphic designers and illustrators in the United States. 1960: Jean-Michel Basquiat is born in New York on December 22. Warhol creates his first paintings, inspired by newspaper ads and comic books. 1962, Warhol begins using the mechanical reproduction process of silks creening. Characterized by its "pop vocabulary, his work is exhibited widely in the United States and Europe. 1963 Warhol moves to a new studio on East 47th Street,where artist Billy Name covers the walls with aluminum foil and silver paint: the famous Silver Factory is born, center of the underground scene. 1965 Basquiat begins kindergarten; his mother Matilde encourages his interest in art, taking him to the Brooklyn Museum of Art, MoMA, and the Metropolitan Museum of Art. Warhol’s first retrospective is held at the Institute of Contemporary Art in Philadelphia. He declares he is giving up painting to devote himself to making films. 1968 In May, Basquiat is hit by a car. He has his spleen removed and remains in the hospital for a month, during which time he becomes entranced by Gray’s Anatomy, a gift from his mother. The plates in this reference book will be a major influence on his work. The Factory moves to 33 Union Square West, and on June 3, Warhol is shot by Valerie Solanas. He miraculously, he survives but is hospitalized for eight weeks. 1969: Bruno Bischofberger, Warhol’s main gallerist since 1968, joins forces with him to found Interview Magazine. In 1974, Jean-Michel and his sisters Lisane and Jeanine move to Puerto Rico with their father, Gerard. 1976The family returns to New York, and Basquiat briefly attends Edward R. Murrow High School before transferring to the experimental City-As-School.1977, Basquiat and his high school friend, graffiti artist Al Diaz, sign a series of poetic statements as SAMO; these appear across New York and attract the art scene’s attention. 1978 Warhol produces portraits of Liza Minnelli and Muhammad Ali, among others. This portrait work occupies much of his time and finances all his activities. 1979 Basquiat ends SAMO and begins painting. He approaches Warhol in a Soho restaurant and sells him two postcards, collages made with his friend Jennifer Stein. 1980 Basquiat visits the Factory thanks to Glenn O’Brien,one of the writers of New York Beat Movie/Downtown 81, a film in which he also plays the lead role. He briefly meets Warhol again, who buys a man-made sweatshirt that he designed himself. Basquiat shows his work publicly for the first time in the Times Square Show. 1981: Basquiat’s reputation grows with his participation in the exhibition New York/New Wave. His first solo exhibition takes place in Italy, at the Mazzoli gallery in Modena. 1982 was Basquiat’s first solo exhibition in the United States, at the Annina Nosei Gallery, followed by a second, in April, at Larry Gagosian’s gallery in Los Angeles. In May, the Swiss gallerist Bruno Bischofberger becomes his exclusive representative. On October 4, Bischofberger officially introduces Basquiat to Warhol at the Factory. Excited by meetings, Basquiat creates his celebrated work, Dos Cabezas.1983 Basquiat begins spending time with Paige Powell,associate editor of Interview Magazine. She fosters the relationship between the two artists; Basquiat moves into a loft he rents from Warhol at 57 Great Jones Street. He becomes a regular at the factory. With Warhol, he visits galleries, museums, and clubs. In the fall, Bischofberger proposes a collaborative project to Basquiat, Warhol, and Francesco Clemente. The three artists are all enthusiastic. Bischofberger commissions 15 works, which he will present in his Zurich gallery twelve months later. At the end of the year, Basquiat and Warhol begin collaborating on their own, working on small silkscreens by Warhol, on which Basquiat paints. 1984 Warhol begins moving to an old Con Edison building at 33 East 33rd Street to set up his new factory and group together his studio, video studio,and the offices of Interview Magazine. For over a year, the old Factory at 860 Broadway has remained vacant, and Basquiat and Warhol meet there to paint nearly every day. On September 17, Warhol writes in his diary, "Jean-Michel got to painting differently, so that’s a good thing". 1985 Warhol tells Bischofberger that he and Basquiat have been creating work together. At Warhol’s request, Bischofberger makes contact with Tony Shafrazi to organize an exhibition of these collaborations in his New York gallery. To promote the exhibition, Basquiat asks photographer Michael Halsband to take a series of photos of the two artists, both wearing boxing shorts and gloves. The exhibition Warhol/Basquiat: Paintings opens at the Tony Shafrazi Gallery on September 14, with 16 paintings lent by Bischofberger. "The paintings looked really great; everyone seemed to like them, #Warhol writes in his diary, but almost all the reviews are negative. On September 19, Warhol writes: And there in Friday's Times, I saw a big headline: ‘Basquiat and Warhol in Pas de Deux." And I just read one line—that Jean-Michel was my mascot.’ Oh God". Dispirited by the critical reactions, #Basquiat slows and then stops his collaboration with Warhol, to the latter’s great disappointment. 1986Warhol works on a commission related to Leonardo da Vinci's Last Supper, a subject also found in the Ten Punching Bags, realized with Basquiat. Basquiat travels to Africa for the first time. 1987 Andy Warhol died on February 22. 1988: Jean-Michel Basquiat dies on August 12.

The artist’s first solo show in New York since 2015. Bradford embarks upon a personal exploration of the nature of displacement and the predatory forces that feed on populations driven into motion by crisis. Join us tonight for the opening reception from 5 – 8 pm at 542 West 22nd Street in New York.

DarGlobal, the premier luxury real estate developer, unveil its groundbreaking partnership with the world-renowned luxury brand, Dolce&Gabbana’s debut in the hospitality and real estate industries. Dolce&Gabbana FW 23/24 collection. This pioneering partnership marks the launch of a bespoke hospitality project that seamlessly merges the unrivalled style and sophistication of Dolce&Gabbana with DarGlobal’s unparalleled attention to detail and world-class standards. Located in the Maldives, one of the world’s most sought-after luxury destinations, this project is poised to redefine the essence of luxury living. It offers an unforgettable experience that epitomizes the best of both brands. The Maldives has long been associated with unparalleled extravagance and indulgence, with many world-class resorts and hospitality destinations catering to the most discerning travellers. The project will represent the brands’ core values and the highest international hospitality standards by choosing the Maldives as their inaugural hospitality venture site. With this partnership, DarGlobal reaffirms its commitment to providing its discerning clients with exceptional living experiences and unparalleled investment opportunities across international hubs. As one of the world’s leading luxury real estate developers, Dar Global is uniquely positioned to bring this vision to life and offer a comprehensive lifestyle experience that uniquely interprets the Dolce&Gabbana Italian spirit. Commenting on the hospitality project, Ziad El Chaar, CEO of DarGlobal, said , “We are thrilled to bring the world-renowned Made in Italy brand ambassador, Dolce&Gabbana, into the world of real estate and hospitality. Our partnership represents a unique interpretation of the brand’s Italian spirit and reinforces our commitment to delivering exceptional living experiences and investment opportunities to our clients. We are confident that this partnership will be a great success, and we look forward to working with Dolce&Gabbana to bring their vision to life.” The partnership’s debut project is set to be a game-changer in the luxury hospitality industry, combining Dolce&Gabbana’s unparalleled sense of style with DarGlobal’s unrivalled attention to detail and commitment to excellence. With this groundbreaking venture, the partnership is poised to revolutionize the concept of luxury living, setting a new standard for the industry and cementing its position as a real estate and hospitality leader. Dolce&Gabbana exclusive party at Palazzo Reale, A special evening, in a magical location, to celebrate "Sensuale", the new FW 23/24 collection with many special guests

INVESTORS IN ART, STOCHS AND WATCHES NOW OPT ALSO FOR NFT INVESTMENT WATCHES & JEWELRY Takashi Murakami wearing the Classic fusion Takashi Murakami black ceramic rainbow watch. “When my collaboration with Hublot was announced, we made it known that we would be adopting new forms of artistic expression. After creating all the timepieces together, as well as the digital works of art, we are now imagining new ways of accessing contemporary art,” notes Takashi Murakami. © ARR. Listen text Hublot and Takashi Murakami have continued their creative dialogue with a compelling fourth collaboration. Their 13 new timepieces, each paired with an NFT, fuse watchmaking innovation and contemporary art. The watches feature the artist’s iconic smiling flower, in perfect harmony with Hublot’s renowned expertise. For this new chapter in their collaborative story, Hublot and Takashi Murakami salute the owners and collectors of previous editions of their NFTs and watches. Access to the online sale of twelve Classic Fusion watches is reserved to owners of at least one of the NFTs created as part of the third collaboration between Hublot and Takashi Murakami, taking the art of high-quality watchmaking and digital art into a new realm. “Our partnership with Takashi Murakami allows us to create a story that interlinks all the works we have released with Takashi, both digital pieces and the watches themselves. Faithful to its history, Hublot is once again first, unique and different in how it rewards its collectors, providing them with privileged access to both ownership of and trade in unique artistic pieces. Hublot Loves Art!” enthuses Hublot CEO Ricardo Guadalupe. The 12 watches, referencing the 12 hours on the dial, are each paired with a different color and linked to an NFT. The NFTs are inspired by Japanese video games and television from the 1970s, as well as the Classic Fusion Takashi Murakami All Black, the first collaboration between the Swiss watchamker and the artist released in January 2021. Collectors have one year to acquire the 12 unique NFTs on the OpenSea platform. After this period, in April 2024, only the collector who has been successful in purchasing the 12 NFTs will be eligible to purchase the 13th and most sought-after watch, the Classic Fusion Takashi #Murakami Black Ceramic Rainbow. A veritable masterpiece, the watch reinterprets Takashi Murakami’s emblematic smiling flower with 12 petals forming a perfect gradient of rubies, sapphires, amethysts, tsavorites and topaz. Thanks to an ingenious ball-bearing system developed by Hublot engineers, the petals offer a dizzying rainbow spectacle as they spin and create a striking effect against the 45mm black ceramic case. If no one person is able to accumulate all twelve #NFTs, this unique watch will be auctioned by Hublot to raise funds for #charity. READ ALSO FASHION & LEATHER GOODS · 04.07.2023Dior Fall 2023 celebrates new creative dialogues between France and India WINES & SPIRITS · 04.06.2023Ruinart chooses artist Eva Jospin for 2023 Carte Blanche commission LVMH · 04.05.2023“The Story Behind ME” reveals LVMH Métiers d’Excellence SUBSCRIBE TO OUR NEWSLETTERS

Through the eye of a needle, not with a camel but with an idea. By Ignatious Joseph The Porto do Commerce was erected after the Great Earthquake that destroyed old Lisbon. That is at least two hundred years after the Portuguese laid anchor in Bombay, Goa, or Colombo. Yet the gates to empire have always been the last to fall. Perhaps that is because every door inward is also the door outward, as the proverbial Janus figure of Roman mythology symbolises. In 2022, I began my own voyage to the East. In contrast to those gatebuilders, I was returning through the doors—the gates others built before me—through which I left my home more than 30 years ago on a journey of discovery. It was my own personal voyage to the source of those ideas and practices that had imposed themselves on my culture and on me—to the lands of those who built those gates. Unarmed, I was determined to bear the legacy of transformation, the product of those historical journeys—whether missionary, exploratory, piratical, or commercial—that transformed my part of the world through its interaction with the far western peninsula of the great Eurasian landmass, on whose southern extremity I was born. Leaving Lisbon via Frankfurt and Dubai, I reached Kayman's Gate, now a mere bell tower, where the Portuguese erected their fortress in what is now our national capital. Then, after a long weekend prospecting from the Jaffna peninsula across the Palik Strait, I resolved to go "gate-crashing" across the strait. To follow this thread, I flew to Bombay, now called Mumbai. This megacity was established by the Portuguese, who called it Bom Baia, or the beautiful bay. It was passed to the English in the dowry of Catherine of Braganza and became known as Bombay. After the loss of the thirteen British North American colonies, the British Empire raised its banner. After absorbing the property of the British East India Company, Her Britannic Majesty Victoria became Queen Empress of India. The gate to this great empire was erected in Bombay. Through that gate, I must also pass, which I did. A red thread, with red shoes tread, led me south, not east, since the Portuguese created the colonies of Goa as the capital of their great Estado da India (State of India). From Goa, all the Portuguese colonies from Timor to Mozambique were ruled. Thus the red thread leads through the South Asian kitchens of these smallest of states in the Indian Union. While there is no gate, strictly speaking, Goa is the perfect door through which India, in the old sense of the word, passes to Portugal and Portugal, representing "old Europe," passes into India. Coincidentally, the current prime minister of the Portuguese Republic is a descendant of Goan Indo-Portuguese. Ignatious Joseph T:+491722078201 www.Ign-Joseph.com

What time does the film premiere? Keep track of time on the red carpet of Festival de Cannes red carpet with Chopard's Fairmined Initiative high jewelry collection presented at Watches and Wonders in Geneva. Chopard Haute Joaillerie. All images courtesy of Chopard Gemset timepieces are a source of very special emotions within Caroline Scheufele’s creative repertoire. Almost a century ago, the grandfather of Chopard’s current Co-President and Artistic Director was already renowned for the jewellery watches in which he had come to specialise. This longevity gives an idea of the expertise cultivated by several generations of artisans within the Maison’s Haute Joaillerie workshops from which two new jewellery feats have now emerged. The first white gold model is entirely set with diamonds in a virtuoso arrangement of round and pear shapes, studded with emeralds exuding a mesmerising charm. The emerald has been much sought after since Antiquity, with Cleopatra, Queen of Egypt notably said to have loved this precious stone evoking the fresh charm of verdant Nature and its prolific bounty. Through its green colour, it symbolises triumphant life forces. It is this unique yet fragile gem requiring extremely careful handling that the Maison’s master jewellers have chosen to highlight in this watch. Nature makes an indelible imprint through to the very heart of the dial, on which 12 pear-shaped diamond hour-markers form a generous rosette. In another equally splendid jewellery watch, two very rare fancy vivid yellow pear-shaped diamonds light up the dial at 12 and 6 o’clock. These over two-carat precious stones are discreetly held by yellow gold prongs whose colour matches that of the diamonds. The rest of the corolla surrounding this jewellery watch is adorned with white diamonds in an infinitely graceful symmetrical composition whose supreme refinement is paired with a grey satin strap. Haute Joaillerie - 2/3 In keeping with Chopard's commitment to sustainable luxury, both watches are made from Fairmined-certified ethical 18-carat gold, Haute Joaillerie by Chopard Chopard’s approach to Haute Joaillerie is guided by the visionary eye of Caroline Scheufele, who has progressively developed Switzerland’s largest specialised workshops. Based in the Geneva headquarters of the Maison, they are currently home to more than 30 crafts dedicated to celebrating precious stones and boundless creations. Chopard’s Haute Joaillerie department at Chopard is led by tireless Co-President and Artistic Director Caroline Scheufele, who over the years has created the largest specialised workshops in Switzerland. Today, these bring together more than 30 craft skills dedicated to celebrating precious stones and boundless creative generosity. Haute Joaillerie 'Coloured Dreams' rings Haute Joaillerie ‘Coloured Dreams’ A virtuoso in the realm of jewellery crafts, Chopard has taken up the eternity ring theme to offer new interpretations imbued with a sense of freshness and daring. Set with coloured gems, these new rings enrich the Maison’s Haute Joaillerie collections through two original settings developed by its workshops. Caroline Scheufele, Chopard’s indefatigable creative soul, does not only see life in colours. Her dreams, too, are infused with the hues of precious stones that now adorn a new series of eternity rings. Revitalising this iconic category, these 'Coloured Dreams’ creations combine the concept of a timeless jewel with coloured gems and two bold setting choices. Chopard’s signature heart symbol deploys its charms through a setting technique perfected in the Maison’s ateliers. A gem no longer held by metal prongs, but instead nestling in the soft lobes of a heart epitomising the source of love and life: such is the feat embodied in these resolutely romantic creations. Held in place by four attachments formed by the sides of a polished gold or brilliant-set heart, the precious stones are enhanced by the lightness of the setting enabling the light to flood through their facets and intensify their colours. By successfully transforming a technical detail into a fully-fledged decorative element, Chopard is pursuing its constant quest for innovation and aesthetic refinement. Firmly embedded in the design of many of the creations from the Manufacture, the heart symbol chimes with the values of the Maison. It has for many years guided the shapes of numerous creations, from the Happy Hearts collection to Haute Joaillerie, as well as the Palme d'Or – the most prestigious award in international cinema – for which Caroline Scheufele designed a heart-shaped tip. In a further expression of this creative momentum, the Maison’s Co-President and Artistic Director also revisits the eternity ring theme in another contemporary and delightfully pleasing aesthetic, with rings in which the central stone is held on a gently undulating band. Tracing graceful curves, this light, refreshing design is the epitome of femininity, which Chopard is always keen to celebrate. For both settings, the central stones chosen to adorn these rings – featuring bands set with brilliant-cut diamonds – have been rigorously selected for their colours: the sapphires range from soft, comforting blue to eminently feminine purple and pink; while the red of the rubies blaze with the passion of deep feelings. Luminous, sunny yellow diamonds and tender green emeralds continue this invitation to dream in technicolour. Chopard, a contemporary vision of Haute Joaillerie Haute Joaillerie at #Chopard is guided by Caroline Scheufele, who has steadily developed the largest specialised workshops in #Switzerland. Located within the Maison’s Geneva headquarters, they are now home to more than 30 artistic crafts dedicated to celebrating precious stones and nurturing boundless creative generosity. And because the future of jewellery is directly linked to the responsible origin of raw materials, all of the Maison's Haute #Joaillerie is crafted in Fairmined-certified ethical gold: a heart-felt commitment to a more sensitive vision of #luxury. Technical Details Haute Joaillerie ‘Coloured Dreams’ ring in Fairmined-certified ethical 18-carat white gold, set with an oval-shape ruby (1.06 ct) and diamond brilliants. Ref. 828629-1001 ‘Coloured Dreams’ ring in Fairmined-certified ethical 18-carat white gold, set with a cushion-shape ruby (1.79 ct) and diamond brilliants. Ref. 828629-1002 ‘Coloured Dreams’ ring in Fairmined-certified ethical 18-carat white gold, set with an oval-shape sapphire (2.34 cts) and diamond brilliants. Ref. 828629-1007 ‘Coloured Dreams’ ring in Fairmined-certified ethical 18-carat white gold, set with a cushion-shape pink sapphire (6.64 cts) and diamond brilliants. Ref. 828629-1014 ‘Coloured Dreams’ ring in Fairmined-certified ethical 18-carat white gold, set with an emerald-cut emerald (3.20 cts) and diamond brilliants. Ref. 828819-1001 ‘Coloured Dreams’ ring in Fairmined-certified ethical 18-carat white gold, set with an oval-shape sapphire (2.90 cts) and diamond brilliants. Ref. 828819-1002 ‘Coloured Dreams’ ring in Fairmined-certified ethical 18-carat white gold, set with an oval-shape purple sapphire (3.25 cts) and diamond brilliants. Ref. 828819-1003 ‘Coloured Dreams’ ring in Fairmined-certified ethical 18-carat white gold, set with an oval-shape purple sapphire (4.91 cts) and diamond brilliants. Ref. 828819-1004 ‘Coloured Dreams’ ring in Fairmined-certified ethical 18-carat white gold, set with an oval-shape pink sapphire (1.58 ct) and diamond brilliants. Ref. 828819-1007 Haute Joaillerie - 4/4 ‘Coloured Dreams’ ring in Fairmined-certified ethical 18-carat white gold, set with an oval-shape #sapphire (5.17 cts) and diamond brilliants. Ref. 828819-1011 ‘Coloured Dreams’ ring in Fairmined-certified ethical 18-carat white gold, set with an emerald-cut tanzanite (5.30 cts) and diamond brilliants. Ref. 828819-1014 ‘Coloured Dreams’ ring in #Fairmined-certified #ethical 18-carat white and yellow #gold, set with an oval-shape yellow #diamond (5.51 cts) and diamond #brilliants. Ref. 828819-9001

Hanif Shaikh, the chairman and founder of Emirates Holding Group has been awarded this year’s Pride of UAE at the Global Business Symposium held at The Sheraton in Abu Dhabi on 28th February. Several top dignitaries attended the event and Hanif was among them chosen for his exceptional achievements in turning the UAE into a center of global commerce. Organized as a part of the Global Business Symposium 2023, the Pride of UAE award serves to recognize and felicitate individuals who have made a solid mark in their ventures and advanced their talents in enhancing the prestige and legacy of the UAE. In his 27 years living as an ex-pat in the UAE, Hanif has emerged as a key player in the business world and in the thriving fashion industry of the middle east. Having set up a growing chain of businesses across the UAE, Hanif has brought remarkable progress to the UAE. He also confidently ventured into the growing world of fashion, taking up the role of an organizer and supporter of fashion shows and beauty pageants across the UAE. As a patron of fashion and with exquisite taste in the same, Hanif didn’t step back in going further. Over the various fashion events that took place in recent years, he was on the judging panel while also serving as a business advisor and mentor to these events to elevate their standards. Hanif Shaikh Conferred the Pride of UAE Award With its promise of opportunity, the Middle East especially the UAE has offered itself a fertile ground for individuals like Hanif with tons of potential and sky-high ambitions to make their mark and set forth on a never-ending journey of success and prosperity. The Beginnings: Migrating Overseas Almost every story of success has humble beginnings. Hanif Shaikh was born and brought up in Mumbai, India and the busy emerging metropolis shaped his early years growing up. He belonged to a middle-class family and the sprawling city streets sparked his ambitions to make it big in the business world. Soon after completing his master's degree in business administration majoring in marketing, Hanif came to the realization that the Middle East was the best place to kickstart his career and establish a self-made business later on. And in 1995, he bid adieu to Mumbai and set off for Saudi Arabia where he spent almost a year working for an advertising and events company. He then had an extensive stint in Muscat, Oman working as a managing partner for yet another advertising and events company. Fortune favored him at the beginning of the millennium. In the 2000s, Hanif finally moved to the UAE and settled there. It marked the start of his venture into numerous businesses, later making him a thriving entrepreneur in the region. He debuted in business by setting up the Fujairah Exhibition Centre, a major venue for organizing large expos and trade shows in the region. During his nine-year tenure managing the expo center for the chamber of commerce, Hanif served an equally important role working for the local government at the director-general level, the only ex-pat to rise up to that position. Going Big: Forming Emirates Holding Group With the level of experience gained over years managing the expo center and employment at the government, Hanif didn’t just limit himself there. He had big goals, which were triggered when he made the landmark decision to launch yet another ambitious business undertaking: Emirates Holding Group. Flagging off operations in 2005 in Dubai, the Emirates Holding Group has broadened into a consortium of companies with a marked presence all over the Middle East, Africa, South Asia, and Europe. Together, the group has offered services across a wide span of industries from oil and gas to investment funding, trading, gold mining, crypto, etc. Since its 15 years of operations, Hanif has been the key driving force behind the company’s activities. As the chairman, he along with his business associates has actively shaped Emirates Holding Group into a well-respected and highly competent business consortium in the Middle East and across the globe. Making a Foothold in Event Management & Fashion Over the years, the UAE especially Dubai has been the de facto location for conducting events. The welcoming and investment-friendly government policies plus the record-breaking infrastructural development has pushed the region as a dominant center for global commerce and industry lately. Considering this enormous potential, it is no wonder that Hanif had set his eyes on making it into the event management field. He did and shortly after forming the Emirates Holding Group, Hanif tried his luck in the vast field of event management with positive results. With an impressive portfolio of having organized more than 500 events for consumers, businesses, and the government, Hanif did leave a mark in event organizing and contributed to the growing popularity of Dubai as a destination for big expos, trade shows, festivals, and the like. Some of the widely popular shows that were organized by him include the Muscat Festival 2022, Global Village of Qatar, and several other jewelry shows and trade expos. He soon ventured into fashion shows taking the role as the co-organizer, partner, and sponsor for multiple fashion shows with the sole aim of upbringing the standards of the event industry in the UAE. Last year, Hanif was among the main organizers behind the highly successful International Fashion Gala 2022. This year, he was in the spotlight again as co-organizer and supporting partner of several prominent fashion events in the Middle East such as Women Of The Universe, Fashion Factor, and The Modest Fashion Show. International Fashion Gala 2022 In June 2022, the Emirate of Dubai hosted a first-of-its-kind fashion show - International Fashion Gala (IFG) organized by Al Shomouk in which Hanif served as the co-organizer. The show witnessed the confluence of prominent designers, world-renowned fashion houses, and models as they brought to life top-of-the-line designs that made a distinct statement on the modern fashion industry. International Fashion Gala showcased the collections of 10 high-profile fashion designers: ● Hani Al-Behairy ● Rami Kadi ● Amato Owing to the huge success of the show, Dubai was lauded as a prime fashion destination with many more successive events being planned to be held there shortly after. “It was indeed a fascinating experience to be a part of this high-profile show and the fact that Dubai was chosen as the venue got us more excited,” said Hanif, recalling the experience and insights he earned from organizing IFG. “As a patron of fashion and the immense possibility that lies there pushed me to offer my contribution and it did pay off well. Overall, co-partnering with IFG and the people behind with exceptional caliber has been a privilege. And this gets me more enthusiastic about planning and being a core part of more such fashion events in the coming years.” Women Of The Universe 2023 seems a promising year for fashion as Dubai once again hosted a mega beauty pageant contest - Women Of The Universe on March 11. Once again, Hanif took on the role of co-organizer in which 30 countries participated. A grand success, the event showcased talented fashionable women each representing their country that put forth an extravagant display on the ramp adorned in the trendiest of outfits. Besides, the event also brought together well-known and reputed people in fashion and show business from across the UAE and around the world. Fashion Factor 4th Edition The 4th Edition of the much sought-after event Fashion Factor took place on the 24th and 25th of February in Dubai. The two-day fashion extravaganza brought together some of the most talented and established fashion designers globally like Amato, Hany El Behairy, and Ezra to name a few. Fashion Factor was a big success owing to its huge turnout of attendees, industry experts, fashion enthusiasts, and influencers. The Modest Fashion Show Fashion model Yasmin Akhter and Hanif together organized The Modest Fashion Show on 24 February at the event venue The Agenda in Dubai. Themed on modesty and elegance in fashion, the show and designer competition was a big success and had endorsements from the MEA Corp. and The Fashion Factor 4th Edition. Gazing at the Future 27 years in the Middle East and Hanif is more confident and empowered. He envisions a future where his businesses would set themselves apart with rapid upward growth. And Hanif has more ambitious projects and undertakings ready to be let out. In the coming years, he is pledged to diversify his business, reaching more markets and serving an expanded customer base worldwide. And in the events space, he has already eyed major-level partnerships and a dream of hosting big fashion shows that further skyrocket the UAE’s reputation as a true fashion powerhouse. One such upcoming beauty pageant is Mr., Mrs., and Miss #UAE International that’s all set to happen in May. Once again, Hanif will be co-organizing this event which is sure to draw in attendees globally and open up the enormous potential for fashion and modeling across the UAE. With decades of experience under his belt, Hanif has acquired the eyes of a visionary. Those that truly can gaze far ahead than the rest and take action to bring progress and prosperity for the benefit of the whole.