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Tiffany & Co. Celebrates the Global Launch of the Tiffany Lock Collection with a New Campaign Starring Brand Ambassador ROSÉ ROSÉ for the Tiffany Lock collection Tiffany & Co. announces the global launch of the Tiffany Lock collection. Expanding on the current offering of Lock bangles that debuted in the U.S. in September, the global launch will bring an array of rings, earrings and pendants in rose gold to the brand with multiple colorways debuting later in the year. Signaling a new expression of design and craftsmanship, the Lock collection pays homage to the jeweler’s illustrious heritage while introducing the latest innovation to the bangle: an elegant swiveling mechanism that allows the designs to open and close. The new Tiffany Lock campaign features K-pop superstar ROSÉ from girl group BLACKPINK. The Tiffany & Co. House ambassador is styled in sparkling diamond Lock bangles and highlight the versatility of the designs and powerful style statement each design makes. ROSÉ has continued to embody the modern Tiffany & Co. woman and bring an energy that is aligned with the ethos of Tiffany Lock. ROSÉ, together with the male talent featured in the new Lock campaign, capture the inclusive spirit of Tiffany’s first all-gender jewelry collection. Tiffany Lock is available at Tiffany & Co. stores around the world and on Tiffany.com starting on January 2, 2023. Tiffany & Co., founded in New York City in 1837 by Charles Lewis Tiffany, is a global luxury jeweler synonymous with elegance, innovative design, fine craftsmanship and creative excellence. With more than 300 retail stores worldwide and a workforce of more than 14,000 employees, Tiffany & Co. and its subsidiaries design, manufacture and market jewelry, watches and luxury accessories. Over 3,000 skilled artisans cut Tiffany diamonds and craft jewelry in the Company’s own workshops, realizing the brand’s commitment to superlative quality. Tiffany & Co. has a long-standing commitment to conducting its business responsibly, sustaining the natural environment, prioritizing diversity, equity and inclusion, and positively impacting the communities in which it operates. To learn more about Tiffany & Co. and its commitment to sustainability, please visit @tiffanyandco #TiffanyLock Tiffany & Co. Commits to Science-Based Climate Targets In November 2022, Tiffany & Co. announced its plans to accelerate its commitment to combat climate change with a pledge to achieve net-zero greenhouse gas (GHG) emissions across its own operations (Scopes 1 and 2) and supply chain (Scope 3) by 2040 in accordance with the Science Based Targets Initiative’s (SBTi) Net-Zero Standard. To meet this goal, Tiffany & Co. has set a 2030 near-term GHG reduction target in alignment with SBTi’s Net-Zero Standard. By 2030, Tiffany & Co. pledges to reduce Scopes 1 and 2 emissions by 70%; these are the emissions generated from Tiffany’s own operations, such as stores, distribution centers, manufacturing and offices. The House has also committed to reduce Scope 3 emissions by 40%; these are the emissions generated in Tiffany’s supply chain and represent the vast majority of the House’s footprint. This near-term target will be a significant milestone towards Tiffany & Co.’s net-zero goal, which will include a 90% reduction of Scopes 1, 2 and 3 emissions by 2040. The remaining 10% of emissions will be neutralized by high-quality carbon removals through Tiffany & Co.’s expanded investments in nature-based solutions. Tiffany & Co.’s targets are all measured from a 2019 base year and were submitted to SBTi for review in September 2022. Tiffany’s goal of reaching net-zero will require the engagement and decarbonization of its entire value chain. The House will focus on deep and rapid emission cuts to achieve its new ambitious target, from the sourcing of raw materials and engagement with suppliers, to the manufacturing and transportation of products, the operation of retail stores and offices and employee travel. A selection of initiatives that support Tiffany & Co.’s net-zero commitment include: Moving toward sourcing 100% of precious metals (gold, silver and platinum) from known recycled sources. Sourcing recycled precious metals could reduce carbon emissions associated with metals procurement by up to 90%, driving significant progress in Tiffany’s Scope 3 purchased goods and services category. *This emission reduction was calculated based on 2021 gold, silver and platinum procurement volumes and assumes 2022 procurement volumes will be consistent with 2021 volumes. Investing in sustainable transportation, including a new partnership with the 6th LVMH Innovation Award winner and luxury last mile service and delivery company, TOSHI. Founded in 2017, TOSHI offers 60-minute, client-scheduled deliveries for online luxury clients and executes all deliveries with net-zero carbon emissions. Tiffany & Co. will launch with TOSHI in New York and London in 2022, with plans to expand to other cities in 2023. Constructing and retrofitting more sustainable buildings across its retail, manufacturing, offices and distribution sites. All key new construction, expansion, renovations and interior fit-outs are being designed for Leadership in Energy and Environmental Design (LEED) Silver certification or above. Utilizing 100% renewable electricity by 2030 and investing in operational energy efficiency initiatives. In 2021, 89% of Tiffany’s global electricity use came from clean, renewable sources including energy generated by solar panels at Tiffany & Co. locations and purchased renewable electricity credits. Tiffany & Co. will continue to invest in energy efficiency improvements such as LED lighting, HVAC (heating, ventilation, air conditioning and cooling) upgrades as well as enhancing building management systems. Expanding investment in nature-based solutions, building upon the House’s longstanding legacy in protecting natural ecosystems. Tiffany & Co. will continue to prioritize projects that protect and restore natural ecosystems, reduce carbon emissions and empower local communities. In committing to net-zero by 2040, 10 years earlier than what is called for in the Paris Climate Agreement, Tiffany & Co. is responding to the urgent call from climate scientists to keep warming to no more than 1.5°C to avoid the worst impacts of climate change. Tiffany & Co. believes that a net-zero emissions future is not only possible—it is an urgent priority. Beyond these ongoing efforts, the House will continue to advocate for responsible climate action throughout its supply chain and the broader jewelry industry.

The results of the largest opinion poll of its kind in the Arab world have been released by The Arab Center for Research and Policy Studies (ACRPS) With almost 33 thousand respondents across 14 Arab countries and more than 900 researchers taking part the poll touched upon the issues facing Arabs living within the region as well as their opinions on global events. Given the contentious nature of the region’s democratization efforts and political culture, Israeli-Arab relations, Russia’s war on Ukraine and more, the findings of this year’s poll highlight significant trends in Arab public opinion. The following are some of the report’s key findings. The full report is attached. DEMOCRACY AND STATE INSTITUTIONS There is overwhelming support for democracy in the Arab World, with 72% of respondents supporting a democratic system. This support for democracy has been a constant in every Arab Index survey since its launch in 2011, demonstrating an established belief in democracy. Citizens’ confidence in state institutions varies. Parliaments and legislative councils received the least amount of confidence among Arab citizens, at a rate of 47%. Arab public opinion is almost unanimous that financial and administrative corruption is widespread in their countries to varying degrees, at a rate of 87%. Just over a third of respondents (34%) said that their countries apply the law equally among citizens, while 39% think that they do not enjoy full equality, with their countries favoring some groups over others. Almost a quarter of respondents (24%) think that their countries do not apply the law equally at all. RUSSIA’S WAR ON UKRAINE More than a third of respondents (44%) agreed that Russia's declaration of war on Ukraine was unjustified, compared to 19% who said it was justified, and over a third (37%) said they do not know or declined to answer. Those who said it is unjustified deemed Russia’s declaration of war as an act of aggression, interference with the sovereignty of another state, and occupation of land. SOCIAL MEDIA Almost all (98%) internet users in the Arab World have accounts on social media platforms. More respondents had Facebook accounts than any other social media platform, except in the Gulf, where more (77%), had Twitter accounts. A majority of Arab Citizens (75%) use social media to obtain news and political information. More than half of the users (51%) express their views on political events. 57% of social media users said that they do not trust information and news circulated on social media, a notable increase from the last AOI survey. Interaction and participation with political issues among Arab social media users is divided: while 48% interact with or participate in political issues, 48% do not. The Arab Center for Research and Policy Studies (ACRPS) is an independent research institute for the study of the social sciences and humanities, with particular emphasis on the applied social sciences. It seeks to examine the key issues afflicting the Arab world, governments, and communities; to analyze social, economic, and cultural policies; and to provide rational political analysis on the region.

The largest exhibition dedicated to the artist in over 15 years, it reflects Muzeum Susch’s founding mission to spotlight women artists and revise a matrilineal art historical canon. Running from 4 January to 2 July 2023, Muzeum Susch presents Hannah Villiger: Amaze Me, a comprehensive survey dedicated to the Swiss artist Hannah Villiger (1951-1997) with contributions from contemporary artists Alexandra Bachzetsis (b. 1974), Lou Masduraud (b. 1990) and Manon Wertenbroek (b. 1991). Installation views of 'Hannah Villiger: Amaze Me' at Muzeum Susch. Courtesy all images above and below: Muzeum Susch/Art Stations Foundation; photograph: Federico Sette. One of Switzerland’s most significant women artists, Hannah Villiger’s life was abruptly cut short at age 45 by heart failure. She is best known for her large-format photographic works, combining close-ups of sometimes fragmented and abstracted body parts, addressing self-image, the body in relation to identity and the skin as an interface between inner and outer worlds. Villiger used polaroid images, enlarged them via an internegative and mounted them on aluminium to be presented both individually and as assembled groupings in wall-size grid-like formats. Developments with social media and wider discourse on gender and self-representation has brought renewed interest and approaches to Villiger’s practice. The grid-like structure of her larger works conjure reflections on platforms such as Instagram and her self-documentation as precursors to selfies. Hannah Villiger: Amaze Me showcases over 60 works, drawing an arc from Villiger’s black-and-white photographs created in the 1970s to polaroid images created in the 1980s and 1990s. Muzeum Susch has collaborated closely with the artist’s estate to present the breadth of Villiger's artistic practice. A number of the artist’s large photographic works and a group of works on paper are presented for first time. Also, Villiger’s lesser-known works on the built environment are included in the exhibition, such as polaroid-based works of city views, all from her work and living spaces in Paris and Basel. Within Hannah Villiger: Amaze Me, three contemporary Swiss-based artists, Alexandra Bachzetsis, Lou Masduraud and Manon Wertenbroek, present three smaller presentations that are distributed throughout the tour of the museum, continually stimulating thoughts about cross-generational artistic strategies and approaches. The artists have been selected based on their exploration of similar themes to those of Villiger. Bachzetsis presents This Side Up, a video installation of a performer moving in all directions in a confined space, much like the way Villiger writhes, turns and shapes her own body under the eye of her Polaroid camera. Masduraud presents Petrifying basin (kisses with the nymphs), a sculptural installation with her signature fountains and small wall objects that playfully and sensually rethink organic life and anchors mythological traditions in the present day. And finally, Wertenbroek presents a selection of objects addressing the boundaries between the skin and surrounding world. On the exhibition and Hannah Villiger, Muzeum Susch’s founder Grażyna Kulczyk says “Female artists are no longer afraid to document their bodies being destructed due to illness or aging - often the artworks become projects showing chronicles of pain. Observing and recording their own bodies has become a form of manifesto for female artists, reclaiming the subjectivity of the body. Female artists have painted, photographed and sculpted themselves. In this way, the shame of nakedness or imperfection has often become a point of pride. Hannah Villiger, through photographs of her body, became the body‘s conscious sculptor.” Hannah Villiger: Amaze Me at Muzeum Susch is guest curated by Madeleine Schuppli and Yasmin Afschar. The exhibition is accompanied by a monograph on the latest research on Hannah Villiger’s practice and influence. Villiger is often likened to an artist’s artist, which has inspired the editors to invite artists who knew her to contribute texts, including Katja Schenker, Beat Streuli, and Claudia and Julia Müller. The book, part of a larger series of monographs by Muzeum Susch and Skira, will be published in March 2023. Hannah Villiger: Amaze Me is made p

The world's leading luxury group LVMH is one of 12 top most sustainable LVHM has been recognized for leadership in corporate transparency and performance on climate change, forests and water security by global environmental non-profit CDP (Carbon Disclosure Project), placing the Group on its annual “A List”. Image courtesy ACC. Just 1.3% of companies are leading across all environmental issues, CDP disclosure scores reveal, and LVMH is one of these (only 12 companies) that achieved a triple “A”, out of more than 15,000 companies scored. CDP’s annual environmental disclosure and scoring process is widely recognized as the gold standard of corporate environmental transparency. In 2022, over 680 investors with over US$130 trillion in assets and 280 major purchasers with US$6.4 trillion in procurement spend requested companies to disclose data on environmental impacts, risks and opportunities through CDP’s platform. A record-breaking 18,700 companies responded. Too many companies are failing to disclose. More than 29,500 companies worth at least US$24.5 trillion in market capitalization – including Aramco, Tesla, Berkshire Hathaway, Exxon Mobil and Chevron – scored an F for failing to respond to disclosure requests from their investors and clients or providing insufficient information in their responses. 59% of companies scored between D- and C, meaning they are beginning to recognize their environmental impacts and are at the start of their disclosure journey. However, far too many remain stagnant, with 66% of D- to A- scoring companies in 2021 not improving their scores in 2022. These companies must accelerate their environmental transparency and action efforts. The market demand for corporate environmental transparency is louder than ever. In a landmark year for disclosure, and with mandatory disclosure regulation set to take effect within the next three years in many major economies, more than 680 investors with over US$130 trillion in assets, and 280+ large purchasers with US$6.4 trillion in buying power requested thousands of companies to disclose through CDP in 2022. This resulted in a record-breaking 18,700+ corporate disclosures, a 233% increase since 2015 when the Paris Agreement was signed. “LVMH is pleased to see its longstanding commitment to sustainability acknowledged by CDP with a triple “A” score in 2022. LVMH would like to share this recognition with its suppliers and scientific partners. Measuring and communicating environmental impact across the LVMH value chain on climate, water and biodiversity – including forests – have proved to be powerful tools for fostering actions. Given our deep dependency on biodiversity, LVMH is particularly committed to scaling up regenerative practices within its supply chain that bridge the preservation of biodiversity and the fight against climate change”, said Antoine Arnault, LVMH Image and Environment. “CDP saw nearly 20,000 companies disclose environmental data this year, including 70% of European companies by market value. COP27 showed the need for transformational change is more critical than ever if we are to limit warming to 1.5 °C. I’m therefore delighted that European companies make up nearly half of all “A List” companies around the world, including 15 with two “A” scores and eight with triple “A” scores for climate change, forests, and water security leadership. We must cut emissions by half and eliminate deforestation by 2030, alongside achieving water security on the same timescale – there is no route to 1.5°C without nature. With the EU’s ground-breaking new reporting regulation, the CSRD (Corporate Sustainability Reporting Directive), now agreed, CDP “A List” companies are showing they are ahead of the game – taking clear action to reduce emissions and to address environmental impacts throughout their value chains. This is the type of environmental transparency and action we need economy-wide to prevent ecological collapse”, commented Maxfield Weiss, CDP Europe Executive Director. ACC courtesy. To support its growth, Louis Vuitton has revamped its careers site, with plans to recruit some 9,000 talents by 2025. The intuitive platform targets people with an appetite for challenges and an ability to meet them thanks to their creativity. Louis Vuitton encompasses a vast collection of métiers, spanning retail, merchandising, operations, R&D, production and more. Candidates simply enter a keyword or job title and a location on the site homepage to embark on their future career journey. Each job description – written in the words of actual employees of the Maison – lets candidates dive directly into the reality of the job and Louis Vuitton’s unique culture. To prepare for interviews, talents find inspiration in the history of the Maison, from founder Louis to Vivienne, Louis Vuitton’s digital mascot. The Sustainability section of the site details Louis Vuitton’s ambitious commitments, coupled with detailed figures, inviting interested job applicants to discover the “Our Committed Journey” roadmap. And a News section looks at key events inside Louis Vuitton. “Louis Vuitton offers a multitude of opportunities and exciting challenges for candidates from around the world. We designed this site to reflect our shared spirit and our incredible wealth of métiers in order to attract talented people who feel an affinity with our culture. We want to bring them a unique experience, starting right from the moment they apply for a job at Louis Vuitton,” says Olivier Sastre, Senior Vice President, Human Resources. Available in five languages, Louis Vuitton Jobs offers everyone around the world a chance to embark on a compelling professional journey. This invitation to future members of the Maison is encapsulated in the ethos “We never stop dreaming. We craft new realities.” To see all jobs available visit jobs.louisvuitton.com.

EMAAR RECORDS HIGHEST-EVER PROPERTY SALES OF AED 23.167 BILLION (US$ 6.307 BILLION) IN THE FIRST NINE MONTHS OF 2022 There are 23 billion reasons for celebration for Emaar the UAE build-to-sell property development business, which achieved its highest-ever property sales during the first nine months (January to September) of 2022, maintaining record-breaking momentum built in the first half of the year. Property sales for the first nine months of 2022 is increased by 11% to AED 23.167 billion (US$ 6.307 billion) compared to AED 20.943 billion (US$ 5.702 billion) in the first nine months of 2021, which was previous record year for Emaar. Downtown Dubai, by Emaar Development. Images courtesy of Emaar Development During the first nine months of 2022, Emaar Development successfully launched twenty projects in various master plans, such as Talia and Orania in The Valley, Elie Saab II and Bliss 2 in Arabian Ranches III, Rosewater, Lotus, Creek Palace, Orchid, Creek Crescent and Island Park in Dubai Creek Harbour, St. Regis in Downtown Dubai, Address The Bay and Beachgate by Address in Emaar Beachfront, Greenview 3 in Emaar South, Park Field, Lime Garden, Hills Park and Address Hillcrest in Dubai Hills Estate and Seagate in Rashid Yachts & Marina. State-of-the-art laser feature has been added to the fireworks and laser & light show for a display poised to redefine New Year’s celebrations, Dubai style! Emaar, the UAE’s globally renowned and recognised integrated real estate development company, is getting ready to ring in 2022 with a fantastic Emaar New Year’s Eve display that will witness a fabulous firework show, choreographed to laser, lights and music. Aptly called “Eve of Wonders”, spectators across the globe are invited to see a dazzling spectacle as Emaar decorates Dubai’s skies with a display unlike any other. Since 2010, the Emaar NYE celebrations have become among the most iconic in the world. Watched by audiences all over the world, the display, which takes place in Downtown Dubai on December 31st, is a unique initiative by Emaar, celebrating the dynamism, creativity, and openness of the city. As the clock strikes midnight on December 31st, the spectacular pyrotechnics, light & laser extravaganza will light up the night sky in Dubai Downtown. In line with the theme’ Eve of Wonder’, a brand-new laser feature is making its debut at The Dubai Fountain in sync with Burj Khalifa’s stunning programme, creating a memorable masterpiece that is poised to redefine new year’s celebrations worldwide, Dubai style! Whether in Downtown Dubai, watching online, or on television worldwide, the public is guaranteed a show-stopping gala event to welcome in the new year. Emaar NYE 2022 will be broadcast live globally and live-streamed from 08:30 pm local time on mydubainewyear.com. Commenting on Emaar New Year’s Eve spectacular celebrations in Downtown Dubai, Mohamed Alabbar, Founder of Emaar, said: “The UAE, and Dubai, inspire hope and optimism, and bring together a global community to shape the future. This year’s celebration is a tribute to our nation’s achievements in the past 50 years. It also highlights our leadership’s vision to create a new age of progress through openness and collaboration, and Emaar is proud to be part of it.” A seamless experience awaits guests wishing to access Downtown Dubai on December 31st by using the U by Emaar app and its easy-to-use pre-registration process. Guests, including Emaar Boulevard residents and hotel guests, can simply log on to the U by Emaar app and follow the straightforward steps to access all Downtown Dubai locations. After successfully registering, they will receive individual QR codes that they can use to gain access to Downtown Dubai on New Year’s Eve. Emaar Properties PJSC, listed on the Dubai Financial Market, is a global property developer and provider of premium lifestyles, with a significant presence in the Middle East, North Africa and Asia. One of the world’s largest real estate companies, Emaar has a land bank of 1.7 billion sq. ft. in the UAE and key international markets. With a proven track-record in delivery, Emaar has delivered over 67,700 residential units in Dubai and other global markets since 2002. Emaar has strong recurring revenue-generating assets with over 880,000 square metres of leasing revenue-generating assets and 25 hotels and resorts with 5,342 rooms (includes owned as well as managed hotels). Today, 46 per cent of the Emaar’s revenue is from its shopping malls & retail, hospitality & leisure and international subsidiaries. Burj Khalifa, a global icon, and The Dubai Mall, the world’s most-visited retail and lifestyle destination, are among Emaar’s trophy destinations. Follow Emaar on: Facebook: www.facebook.com/emaardubai, Twitter: www.twitter.com/emaardubai, Instagram: www.instagram.com/emaardubai.

Prada's 8th Timecapsule NFT Drop Offers Chance to Attend Upcoming Fashion Show Prada will release its eighth exclusive Time capsule NFT collection on January 5, 2023, featuring a shirt with a design created by Italian photographer Enzo Ragazzini. Prada Timecapsule NFT Jan 2023 Courtesy of Prada. To be eligible to participate in the drop and attend the fashion show, customers must hold a Prada Time capsule NFT, be a member of the Prada Crypted Discord, and be verified as a holder in the Discord. The January edition shirt, titled INTERFERENZA OTTICA ART PRINT BY ENZO RAGAZZINI 1969, will feature a design created using the optical interference technique and mechanical devices invented by Ragazzini. The shirt’s front pocket will feature the Prada enameled triangle logo, and the back will have a transfer with the word “JANUARY.” Each shirt will come with its own gifted NFT, serving as an invitation to join Prada’s exclusive Crypted NFT community on Discord. Since 1913, Prada has been at the forefront of fashion, known for its cutting-edge style and an intellectual universe that combines concept, structure, and image. The brand’s style goes beyond just products, creating a universe that has become a benchmark for those who dare to challenge conventions and focus on experimentation. In recent years, Prada has embraced the world of Web3 and NFTs, offering unique experiences and behind-the-scenes access to its exclusive Crypted NFT community on Discord. The brand’s latest Time capsule NFT collection, set to drop on January 5, 2023, continues this trend, offering limited edition shirts with prints designed in 1969 by Enzo Ragazzini and accompanying gifted NFTs. As a global leader in the luxury goods industry, Prada owns the Miu Miu, Church’s, and Car Shoe brands and operates in the food, eyewear, and fragrance industries through licensing agreements. Its latest initiatives in Web3 and NFTs demonstrate the brand’s commitment to innovation and staying at the forefront of the industry. Prada’s embrace of NFTs and the Web3 community has allowed the brand to reach new audiences and offer unprecedented behind-the-scenes opportunities. The latest Timecapsule release is sure to be highly coveted, with fans of the brand and NFT collectors eager to get their hands on this limited edition shirt and accompanying NFT. In other web3 news, Takashi Murakami Presents Solo Exhibition in Dubai

The Danish capital is brimming with examples of sustainable design Chief among them is the ongoing redevelopment of the once-industrial Nordhavn (or Northern Harbor) into a pedestrian-friendly "smart" district complete with green energy supplies and a "super bikeway" link to the city center. Recent years have seen abandoned grain and cement silos converted into offices and apartment blocks, while a sprawling United Nations campus, UN City, opened there in 2013. Danish architecture firm Henning Larsen's latest addition to the neighborhood, Nordø, is emblematic of the transformation taking place. With a redbrick facade that honors to the site's industrial past, sizable public gardens and a rooftop terrace, the 115-home development promises residents an "island oasis" with easy access to the district's growing collection of restaurants and public spaces.

The exhibition explores the fluidity of meaning of art objects that in time shift their use, reception, and interpretation Fondazione Prada presents “Recycling Beauty,” an exhibition curated by Salvatore Settis and Anna Anguissola with Denise La Monica, in its Milan venue from 17 November 2022 to 27 February 2023. “Recycling Beauty,” designed by Rem Koolhaas/OMA, is an unprecedented study dedicated entirely to the reuse of Greek and Roman antiquities in post-antique contexts, from the Middle Ages to the Baroque era. Courtesy of Fondazione Prada. Leone che azzanna un cavallo. The exhibition is part of a broader investigation undertaken by Fondazione Prada since 2015, when it simultaneously presented “Serial Classic” and “Portable Classic” in its Milan and Venice spaces, two exhibitions curated by Salvatore Settis (with Anna Anguissola in Milan, and Davide Gasparotto in Venice) and designed by Rem Koolhaas/OMA. The underlying premise of this research is the need to think of the classical not simply as a legacy of the past, but also as a vital element with the power to affect our present and future. Such themes as seriality, reuse, and recycling in art are closely linked to our conception of modernity, but they also attest to the extraordinary persistence of certain classical values, categories, and models. Through an innovative interpretive approach and experimental exhibition formats, ancient heritage—in particular Greco-Roman heritage—becomes, in Settis’ words, “a key that provides access to the multiplicity of cultures in the contemporary world.” Despite its cultural relevance and widespread diffusion, the reuse of ancient materials has been studied in depth only recently. In the last few years detailed attention has been devoted to the essential aspect of this phenomenon: the visual and conceptual interaction between the reused ancient elements and the post-Antique context, far from their origin, they became part of. “Recycling Beauty,” instead, aims to draw attention to the moment when an antique artifact crosses the boundary between its condition of abandonment among ruins and the moment its value is reactivated through its reuse. Each recycled piece thus transforms its new context and is in turn transformed by it, in keeping with an intertextual mechanism of mutual legitimation and attribution of meaning. Exploring the fluidity of meaning of art objects that in time shift their use, reception, and interpretation means to reflect on the unstable and transformative nature of artistic processes. As Salvatore Settis explains, “Reuse entails the coexistence of different temporalities, in which historical distance and narrative and emotional simultaneity are continually intertwined. The ancient Roman marbles belong to the same cultural horizon as those who reuse them, therefore appropriating them is felt to be natural. But the dimension of time evades the sequence of the calendar: it is unstable and can be manipulated and bent […]. Why take from ruins a relief, a vase, a capital? Why carry it somewhere else to insert it into a new context? The answers explored in recent decades go in three complementary directions: reuse can have a value that is either memorial (aimed at the past), foundational (directed towards the present), or predictive (oriented towards the future). Without documents it is often difficult to decide which of these intents prevailed from one case to the next; it is certainly possible that they were present simultaneously. […] The heart and spur of the act of reuse is often, or maybe always, ‘to insert the past into the future,’ as German historian Reinhart Koselleck contends to foresee or determine its development. The new context absorbs what it reuses, but it must (and wants to) leave it recognizable even while (or rather, precisely because) it takes possession of it.” The exhibition design, conceived by Rem Koolhaas/OMA, together with Giulio Margheri, takes place in two of Fondazione Prada’s buildings—the Podium and the Cisterna—as a process of historical analysis, discovery, and imagination. The scenography in the Podium invites visitors to engage with the exhibits at different speeds. A landscape of low-rise plinths made of acrylic allows for the pieces on display to be perceived as an ensemble, while the cubicle-like structures encourage a closer examination with the presence of office chairs. In the Cisterna, visitors encounter the exhibits gradually, in a sequence of spaces that facilitate observation at different points of view from the height of a balcony to the confined perspective of a room built inside one of the existing rooms. Parts of the design come from materials from previous exhibitions hosted at Fondazione Prada—the acrylic bases were first used in 2015 for “Serial Classic”, adding a spatial dimension to the theme of “Recycling Beauty.” The installation aims to underline the great artistic and historical value of the works presented, but also to demonstrate how they have experienced migration, transformation, and evolutions of meaning. Highlighting the importance of fragments, reuse, and interpretation, the exhibition design helps to consider the past as an unstable phenomenon in constant evolution. This layered path houses over sixty highly representative artworks from international and Italian public collections and museums, including Musée du Louvre in Paris, Kunsthistorisches Museum in Vienna, Ny Carlsberg Glyptotek in Copenhagen, Musei Capitolini, Musei Vaticani, and Galleria Borghese in Rome, Gallerie degli Uffizi in Florence, and Museo Archeologico Nazionale in Naples. Although Rome’s immense ruins shattered to pieces within a few generations after the collapse of the Western Roman Empire, their remnants were considered as a vast repertoire of materials able to preserve and revitalize latent values and symbols of antiquity. Two rooms in the Cisterna are dedicated to the colossal statue of Constantine (4th century CE), one of the most important works of late ancient Roman sculpture. Two monumental marble fragments, the right hand and foot—normally displayed in the courtyard of the Palazzo dei Conservatori in Rome—are placed alongside a full-scale reconstruction of the Colossus. Something that has never been attempted before, this demonstrates how the statue was the outcome of the reworking of an earlier cult statue, probably of Jupiter. This project is the result of collaboration between the Musei Capitolini, Fondazione Prada, and Factum Foundation, with the scientific supervision directed by Claudio Parisi Presicce, the Capitoline Superintendent of Cultural Heritage. After the exhibition, the Colossus will be displayed at the Musei Capitolini. Another group of works reflects on how the transformation of ancient pieces into decorative elements, despite harming their physical integrity and original setting, paradoxically ensured their preservation. Two examples are the marble mensa embellished with a relief of Achilles’ life (4th century CE) and Cosmatesque decoration (13th century) that adorned the ambo of Santa Maria in Aracoeli from the 13th century to 1743, and the Dionysian marble krater (1st century BCE) carved by the Athenian sculptor Salpion and reused as a baptismal font in Gaeta Cathedral. Certain works in the exhibition investigate the functional, political or religious reasons for the reuse of antique artifacts, even though the original meaning of the reused objects was almost never understood. One such case is the Hellenistic-age sculptural group A Lion Attacking a Horse (4th century BCE), which in the Middle Ages was placed on the Capitoline Hill and became an allegory of good city government. Other examples are given by the reuse of ancient tomb monuments decorated with mythical scenes that no one was able to ‘read’ anymore, except as generic evidence of the greatness of a vanished empire or the defeat of paganism. These include a Dionysian sarcophagus from Cortona (2nd century CE), which was reused in 1247 as a tomb for the Blessed Guido Vagnottelli, and an Etruscan urn (2nd century BCE) that was recycled in Pistoia in the 12th century to hold the relics of Saint Felix, though the representation that celebrated the founding myth of the Olympiads was not recognized. The semantic instability of reused ancient artifacts, or rather their continuous mutation of meaning, is illustrated in the exhibition by a funerary relief (1st century CE) that was once displayed on the façade of Casa Santacroce in Rome. Inscriptions added in the 15th century interpret the figures of the deceased as Honor, Amor, and Veritas. Incorporating this relief into a new context meant not only paying tribute to Roman art, but above all transforming the ancient image into a modern model of moral conduct. This same principle was followed in the 15th century by whoever installed seven ancient male heads sculpted in marble on the façade of Palazzo Trinci in Foligno, transforming them into an allegory of the Seven Ages of Man. Other works exhibited in “Recycling Beauty” relate the rediscovery or rebirth of ancient artifacts which, having been part of forgotten ruins or neglected elements of the past, became prestigious collectibles, thus initiating a twin process of dispersal and concentration. This is what happened on two occasions to the funerary “stele of an athlete” (450–430 BCE), in which we see the figures of an athlete and his servant. The stele arrived in ancient Rome from Greece as a collector’s object, then reappeared in the collection of a cardinal during the early 16th century, but in 1701 was cut into two pieces and obliterated, before finally being reassembled at the Musei Vaticani in 1957. An even more intricate history, bound up with the birth of antiquities collection, is that of the thirteen sculptural fragments of the Thrones of Ravenna. These are all that remain of twenty-four carved slabs datable to the mid-1st century CE that depicted the empty thrones of the twenty-four deities expected at a banquet: this theme of remote Mesopotamian origin would later be taken up in Christian and Buddhist iconography. Beginning in the 12th century, some of the reliefs began to circulate in small Italian towns (Biella, Treviso, Foligno), and only later in such major art cities as Venice, Florence, Rome, Milan, Fontainebleau, and then Paris. For the first time, “Recycling Beauty” shows all the surviving reliefs together, either the originals or (in the few cases of impossibility to move them) in the form of casts. Another set of exhibited works explores the short-circuit sparked between different temporalities when art objects are mistaken for antiquities, despite being from the Modern age. One famous example, shown in the exhibition, is the marvelous horse’s head created by Donatello in the mid-15th century for the arch in the Castel Nuovo in Naples, which until a little over twenty years ago was thought to be of Greco-Roman origin. More research conducted for “Recycling Beauty” later showed that the statue said to be “of Paris,” which formerly stood on a spire in Milan Cathedral and was believed to have been made in the Roman age, should instead be dated to the 16th century. In the vast process of destruction and gradual oblivion of much of Greco-Roman art, only objects considered particularly valuable have often been saved. Among these, the show displays the bronze statue of a Camillus (1st century CE) donated to the City of Rome by Sixtus IV in 1471, and a pair of Baroque works, The ‘Borghese Moor,’ and Gypsy Girl, both of which were reassembled in Rome by French sculptor Nicolas Cordier by combining ancient fragments with parts of his own creation. These two statues were both in the collection of Cardinal Scipione Borghese from the early 17th century, while today The Moor is at the Musée du Louvre in Paris and the Gypsy Girl at the Galleria Borghese in Rome. Other objects in the exhibition can be regarded as real treasures that have resisted the ravages of time. One such case is the Farnese Cup (2nd – 1st century BCE), the largest hardstone cameo that has come down to us from antiquity. This Hellenistic artifact, extraordinary in material, technique, and size, was passed from court to court, crossing great geographic distances from Egypt to Rome and Byzantium, then to Persia and back to the West, moving between some of the most important collections of antiquities of the Middle and Modern ages, including those of Frederick II and Lorenzo the Magnificent. On the occasion of the “Recycling Beauty” exhibition, Fondazione Prada created an extensive illustrated volume. A visual essay, sixteen critical texts, four in-depth studies, and a comprehensive series of detailed profiles of the exhibited objects analyze the theme of reuse in art and architecture from different historical, artistic, and philosophical perspectives, with the aim of outlining a history and recognizing the continuity or the conformity of these practices with the thinking and experiments of the present day

Diamond N Dresses @diamond_n_dresses is a luxury brand from Dubai for the fashionable woman. Each dress is thoughtful, carefully crafted, and created to impress. Debut collection of Diamond N Dresses was launched in 2022 in Dubai Nailya (above center) is an young mother, who lives a busy life in Dubai. She is also a businesswoman and a fashion designer. Her debut collection of Diamond N Dresses was released in 2022 and it became an instant best seller. Q: Why did you develop your line of dresses? As women, we know how important it is to feel good about your clothing and look beautiful. Our dresses are designed with a touch of mystery, derived from the deep meaning of the term 'DND'. The inspiration comes from the idea that women who wear our clothes become more confident, striking and seductive. A classic dress that is as timeless as it is beautiful. It's perfect in every way, from the exquisite tailoring to the finest French lace make the look stellar. Q: How do you envision the brand developing through Porterium marketplace? We have had a huge success at the Emirates Fashion Week and have been approached by many prospective collaborations for 2023. Our vision is to grow our brand awareness internationally and develop it into a luxury brand through Porterium Fashion marketplace. It also offers benefits like collaborations with influencers and fashion shows, media coverage, and many more exclusive benefits available only for Porteriumverse community.

In London on 4. and 5. December 2022, starts glitter in silver looks at the red-carpet British Fashion Awards event. Suki Waterhouse (@sukiwaterhouse, 2.7M Follower), Naomi Campbell (@naomi, 13.9M Follower) Erin O'Connor (@erinoconnor, 84.9k Follower) in spectacular Jewellery and High Jewellery by Bulgari: Dr Naomi Campbell in Valentino look and in spectacular Jewellery (al images courtesy of Getty) and High Jewellery by Bulgari

Celebrating the 160 years of creative exchanges that have taken place in tandem with Louis Vuitton’s innovative evolution, LV DREAM invites visitors to immerse themselves in the Maison’s historic and contemporary artistic collaborations. LV DREAM EXHIBITION. All photos by Adrien Dirand, Courtesy of Louis Vuitton. From a digital portrait of Louis Vuitton by artist Cao Fei to iconic travel trunks and custom orders showcasing the Maison’s meticulous expertise in multiple domains, the exhibition traces a pioneering creative journey. Comprised of nine rooms with many interactive components, this immersive journey revisits the highly original interpretations in constant dialogue with the Maison. Comprised of nine rooms with many interactive components, this immersive journey revisits the highly original interpretations in constant dialogue with the Maison. A spacious gift shop offers an exclusive LV DREAM design, along with a selection of small leather goods, accessories and publishing. LA CHOCOLATERIE Also overseen by Maxime Frédéric, La Chocolaterie showcases a delightful assortment of chocolates that once again draw inspiration from Louis Vuitton codes and come packaged in emblematic boxes. MAXIME FRÉDÉRIC AT LOUIS VUITTON Alongside the exhibition is a café and chocolate shop in collaboration with Pastry Chef of Cheval Blanc Paris, Maxime Frédéric. LE CAFÉ Surrounded by tropical plants, Le Café offers a lush respite for visitors with a specially developed selection of fresh pastries that play on the Maison’s motifs. Discover the menu Enjoy teas: WHITE TEAS Jasmine beads - China - 4 min €18 Zhen Zhu Cha jasmine pearls are made with a subtle, delicate white tea that infuses to a light colour with soft floral scents. Tea harvested in April with jasmine harvested in July. GREEN TEAS Long Jing grand cru - China - 3 min €16 Grown in an exceptional terroir by descendants of Confucius. The flat, dried green leaves are characteristic of the “Long Jing” style. The light-yellow infusion offers a verdant flavour, a fine hazelnut aroma and a persistent taste. Sencha - Japan - 3 min €14 A hand-harvested organic Nippon tea from the Shizuoka region of Japan. Grown by Moriuchi-san, one of the most venerated tea masters in Japan, in his 200-year-old tea garden. Pure, complex and deep. Genmaicha - Japan - 3 min €13 Sencha green tea of superior quality mixed with roasted organic brown rice. The Sencha is grown by Moriuchi-san: his 200-year-old tea garden in Shizuoka is still family-run. The lush notes of tea mingle harmoniously with the toasted flavours of roasted rice. Matcha Latte - Japan €16 Organic Japanese green tea of superior quality made with precious Tencha very finely ground in a ceramic mill. When beaten with a bamboo whisk, the powder produces a very deep, intense, frothy tea Located in the heart of Paris, LV DREAM unfolds at a historic building that housed the former La Belle Jardinière. A well-known Parisian department store during the second half of the 19th century. 2, rue du Pont-Neuf Paris 1er – France December 15th, 2022 to November 15th, 2023 Open all week, from 11am to 8pm Closing early at 6 pm on December 24th and 31st Free admission upon reservation Admission to the Café, Chocolaterie and Gift store is without reservation

Vasima Imran, Dubai-based designer debuts haute-couture collection Vasima Imran Couture @vasimaicouture was founded in summer 2021 by Vasima Imran, a young female designer and entrepreneur with a passion for fashion and a desire to provide women beautiful yet modest fashion for all occasions. The brand stands for serving independent, elegant, and modern women of all races, backgrounds, and faiths who seek a modest lifestyle without compromising their individuality. Vasima Imran is a Dubai-based designer who recently debuted her haute-couture collection at Vie Fashion Show, and has been featured in numerous notable publications. We are excited to meet this talented designer before the New Year 2023. Dubai fashion show by www.vi-couture.com. All images courtesy of www.vi-couture.com VMM: what drove you to start your own haute couture collection? The Middle Eastern culture is infused and expressed through many styles, fashion statements and fabrics. I wanted to design kaftans, abayas and all other forms of dress that celebrate the culture but still be practical and chic for everyday's girls and women all over the world. VMM: What's important to you when creating your clothing line? Our designs celebrate the grace and beauty of women. We seek to glorify our customers through fashion that encompasses modesty, elegance and timeless sophistication. We strive to make a positive impact on society by promoting inclusivity and love for all women, regardless of race or religion. VMM: Our magazine, is the world's first sustainable fashion magazine. What aspect of your business most closely aligns with our mission? The recent media coverage on the exploitation of workers in the garment industry has led to a heightened level of awareness regarding the importance of ethical sourcing. As a result, we have taken it upon ourselves to ensure that our supply chain is free from all forms of exploitation and that our products are produced lawfully, through fair & honest dealing. We work hard to make beautiful clothes with the highest quality and attention to detail while caring for the community and environment. VMM: Thank you for taking the time to share your story with us and we wish you continued success with your brand. https://vi-couture.com/