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She speaks exclusively to Elite Traveler about the bold new vision she’s bringing to the LVMH house. 

Fashion loves nothing more than a debut. And the key one from LVMH was in Milan last week, with Maria Grazia Chiuri now at the helm of Fendi.

Probably the most important feminist designer working today, Chiuri is known for working with female artists, craftspeople, and collaborators, and prized for turning the brands she leads into commercial hits.

In 2008, she and Pierpaolo Piccioli took over at Valentino, growing the business threefold in just seven years. Subsequently she was named the couturier of Christian Dior, tripling revenues to €10bn (approx. $11.7bn) before departing last year.

After a brief break, when she opened her own pocket theater in Rome across the street from the ancient capital or Campidoglio, she was appointed creative director of Fendi, LVMH’s most famous marque in Italy.

The world’s most influential fur brand, famed for inventing knitted fur and the Baguette bag, Fendi is the luxury goods label of Rome, its facing double F logo invented by Karl Lagerfeld who was there for some 60 years until his passing. LVMH chairman and CEO Bernard Arnault acquired Fendi in a series of deals over a few years for around €800m (approx. $938m). Underlining the importance of Chiuri’s debut, Arnault was present with his wife, Helen, as was LVMH Fashion Group CEO Pietro Beccari.

See also: The Up and Coming Designers to Watch from London Fashion Week

Fendi, which celebrated its centenary last year, has created the clothes for Once Upon a Time in America, Evita, and The Royal Tenebaums. The brand’s continued pulling power was evident from the front row, where Uma Thurman and Monica Bellucci joined Iris Law and Korean-Australian superstar Bang Chan. All of them wearing Fendi looks designed by Chiuri.

How did Chiuri perform? Admirably. The Rome-born designer showed softer shapes and silhouettes for both men and women, with matching blazers. “I wanted one wardrobe, not two,” she said in an exclusive pre-show interview with Elite Traveler.

Above all, she took the skills she’d learned at Valentino and Dior and injecting them into a new seductive Latin look at Fendi – some 70 percent of the collection was in black.

“I am tired of looking at colors on Instagram,” she told me. “Fashion is not entertainment. Fashion is a job. I am a worker in fashion. So, I want to do clothes that the people love to use. I don’t want to do entertainment.”

She also placed big cats – lions and leopards – on mink scarves and stoles, which also read “Sisters.” Expect that look to ignite a major trend, just as her fabric totes for Dior became worldwide best-sellers. And don’t forget that her rock-stud shoes and bags boosted Valentino from a sleepy couture house to a billion-euro marque. Chiuri is known for taking risks. Early shows at Dior celebrated the student marches of 1968 and militant feminism of that decade, appalling many bourgeois Parisians. But when the Me Too movement suddenly emerged, Chiuri’s stance seemed prescient. And brilliantly timed.

See also: The Best Street Style at New York AW26 Fashion Week

In Milan, models walked a catwalk stenciled in giant letters that read Meno Io, Piu Noi – Less Me, More us – wearing mid-calf negligée dresses and semi-sheer cocktails in lace or perforated leather. It was another savvy collaboration with female artist SAGG Napoli with whom she worked at Dior, while the jewelry was developed with the estate of a late great Italian artist Mirella Bentivoglio.

Post-show, a clearly enthusiastic and relieved Arnault embraced Chiuri. Fendi had stalled badly in the past three years under her predecessor, British-born Kim Jones. Despite the fact Arnault attended Donald Trump’s second inauguration in Washington last year, few companies have been hurt as much by the US president’s tariffs as LVMH.

The collection marked a return to the house for Chiuri, who began her career in Fendi in 1989, working with the five Fendi sisters whose parents founded a small leather goods shop in the Eternal City back in 1925.

“They were my mentors. They gave me my career. And I felt part of their teamwork. I would like people to remember all that they created at Fendi. It’s about time we mentioned someone else besides Karl Lagerfeld,” she said.

In Hobart, Sullivans Cove Distillery unveils two 25-year-old single malts – we had a tasting of each cast. 

In the quiet maritime air of Hobart, Tasmania, where the Derwent River meets the Southern Ocean, patience has always been the guiding principle at Sullivans Cove Distillery. Established in 1994, the distillery helped ignite what would become one of the most exciting movements in modern spirits: the rise of new world whisky. Now, more than three decades later, Sullivans Cove marks a milestone that few could have imagined possible at the dawn of its journey, the release of two 25-year-old whiskies, the oldest single malt ever to emerge from Australia, and one of the oldest from any continuously operating new world distillery.

In the 1990s, single malt whisky was facing tough times. Scotland saw 20 distilleries close their gates in the 1980s, with seven more falling to the same fate in the early 1990s. In the same period, just two new distilleries opened. Over in Ireland, only a duo of distilleries were making single malt: Bushmills in the North, and Cooley in the Republic. Japanese whisky was ticking along domestically, but global recognition was another two decades away. The notion that this island off the southeast of Australia might carve a name for itself in world whisky was quietly radical.

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Yet, as one of the earliest exponents of single malt whisky-making outside of Scotland, Ireland and Japan, Sullivans Cove built a dream on local grain and water, and on the belief that time would be the truest ingredient of quality single malt.

That conviction was rewarded in 2014, when a Sullivans Cove French oak cask, HH0525, was named World’s Best Single Malt at the World Whiskies Awards (on which I sat as a judge), the first time a whisky from outside the traditional heartlands had claimed the title. I remember well the shock on the faces of my assembled fellow judges, which included some of the most experienced and celebrated whisky makers from Scotland, Ireland and Japan, when the winner was announced. And the world took notice, too. More awards followed in 2018 and 2019, confirming what Tasmanians had long suspected: that patience pays great dividends.

Now, after a quarter of century maturing, Sullivans Cove is releasing two of their oldest casks to close that circle.

The two barrels, both American oak ex-bourbon, one a refill, the other freshly filled, have been anointed as ready for bottling a generation after distillation. A statement of just how far both Sullivans Cove, and the wider world of whisky have come in 25 years; a chapter in the story of world whisky itself. Proof that time, when granted the right company, can turn a dream into legend.

See also: The Secret to Great Finnish Whisky? It Starts in a Sauna

The first of these two extraordinary releases, both filled in 1999, is Cask HH0056, which has yielded just 134 bottles and is available to purchase by invitation only. Cask HH0010, drawn from a 300-liter American oak refill barrel, has produced 349 bottles, to be offered by ballot. Both will be priced at $4,500 AUD ($2,930). Just 50 bottles have been reserved for the global market, to be shared across London, Paris, Hong Kong, and Singapore.

“To see two of our casks mature out to 25 years is something we did not expect,” recalls former distillery manager Patrick Maguire, who filled them. “We had hopes that our locally grown barley and pure Tasmanian water would be the basis for great things.”

Those hopes, long sealed in oak, have been vindicated. Current distillery manager Heather Tillott calls HH0056 “a seamless expression of spirit, oak and cask integration,” and HH0010 “a profound display of age and character.”

See also: Johnnie Walker Vault: Whisky’s Most Exclusive Experience

Samples of each arrived on my desk, having made their way around the world from the far reaches of the Southern Hemisphere. The rarest of the pair, Cask HH0056 is listed as being filled on November 16, 1999 (decanted into the sample bottle on the May 6, 2025) and carries tropical fruit notes on the nose, with hints of banana, coconut, and jasmine. The ABV sits at 47.6% and gives a vibrancy to the floral notes. They list apple pie and vanilla on the official notes, and a creamy vanilla custard rounds off the aroma.

On the palate, there is more of the jasmine notes, but this time as jasmine tea. French pastry richness, with a thick, silky texture come next, followed by runny honey and a slight nutty note of almonds and praline. The finish is long, with peaches, white chocolate and a hint of oak spices. New world, or old is moot here: this is a fantastic dram, whatever the lineage.

The ‘older’ of these two siblings, Cask HH0010 was filled on October 12, 1999 and is a touch stronger at 47.8% ABV. This delivers a more robust nose, with hints of candied red cherry, dates, dark chocolate and fig leaf. The palate gives sweet sticky toffee pudding, nut brittle, honeycomb chocolate bar, and some leather notes. The finish is long, with liquorice and lime pickle. A different beast, with broader shoulders than the one-month younger cask, carrying more depth, but less elegance. One for before dinner, the other for after. At a push, I’d favour the elegance of Cask HH0056.

Tasmania’s mild, maritime climate, has done its work here. The island’s slow, steady seasons have allowed the whisky to evolve with grace, deepening in complexity without losing freshness; a rare gift in whisky, new world or otherwise.

What do Daniel Craig, Lewis Hamilton, and Jeff Goldblum have in common? They all wear sunglasses by Jacques Marie Mage. 

But that’s not the case for those who don Jacques Marie Mage (or as the insiders call it, JMM). The Los Angeles-based brand has been spotted on the red carpet as well as in unwarranted paparazzi shots, and is often worn on and off duty by Daniel Craig, Lewis Hamilton, and Brad Pitt. For these men, JMM sunglasses are pieces to be proud of instead of ones to hide behind.

“What I love about JMM is that they do smaller runs, so they feel a little more exclusive. It’s beautiful craftsmanship,” says stylist Warren Alfie Baker, who regularly dresses Andrew Garfield, Glen Powell, and Jeremy Strong. The latter Succession actor is such a fan of Jacques Marie Mage that he collaborated with the brand on a limited-edition style called the Duende by JS.

“They have real stand-out items that feel masculine, [like] pieces of art that could take the place of jewelry.” Baker continues. “They really help create a look.” 

In today’s landscape, you have to differentiate yourself from traditional signifiers of wealth, like luxury watches, with something less ubiquitous and obviously aspirational. Much like other ‘if you know, you know’ brands, a pair of JMM sunglasses have become a subtle signifier of taste.

Jérôme Mage was witnessing a shift in the industry just before he founded the brand in 2014. He noticed businesses directing their budgets towards the marketing department and away from production, increasing the exposure of products that just weren’t up to scratch. 

He had been working with Japanese eyewear artisans throughout his career, and knew they were the best port of call for quality (all of the brand’s frames are made of either thick acetate or sleek beta titanium, and finished with glossy hardware). He worked with them to create the first Jacque Marie Mage sunglasses, and founded the brand with little to no marketing. 

Each of his frames tells a story, often inspired by cultural icons and the sunglasses they were known for wearing. While he drew from these classic designs, his goal was never to copy. One of the founding pairs, the Dealen, paid tribute to Bob Dylan and the frames popular in the 1960s. 

Lyst reported in its 2025 Q2 Index that the designer brand experienced a 34 percent increase in demand between May and June of that year, while it’s been reported that its annual revenue is around $41m. 

“I design for the second and third generation,” says Mage in an interview with the Business of Fashion podcast. “For those who will discover the eyeglasses and the inspiration behind each design years from now.” 

While the frame shapes and colorways aren’t all that revolutionary, the sunglasses’ covetability partially comes from their exclusivity. Prices start at $800, but are made even less available due to the limited runs of each design. 

What makes it even more appealing is that the brand has personality in a way that other luxury eyewear brands don’t. Take who they choose to collaborate with. Much in the same way as Strong’s collaboration, the partnership with Jeff Goldblum (that’s now in its third release) came about after Mage noticed that the actor had been wearing the brand. You wouldn’t describe either Strong or Goldblum as pallid, personality-wise or sartorially, and these collaborations feel like a celebration of that boldness.

So, what can we expect next from JMM? Last year, the brand opened stores in Milan, London, Paris, and Tokyo, with a New York outpost on the horizon. More storefronts will surely bring more customers, but will that reduce its desirability? If the brand stays true to its limited runs and meticulous craftsmanship, increased scale need not come at the expense of its allure.

The Vault offerings sourced by antiques dealer Jamie Sharp reflects his discerning eye—and the renewed American appetite for European antiques. The Vault offerings sourced by antiques dealer Jamie Sharp reflects his discerning eye—and the renewed American appetite for European antiques.

This is something that diehard fans have been clamoring for. This is something that diehard fans have been clamoring for.

One writer traveled through Lazio, Puglia, and Tuscany on La Dolce Vita Orient Express. 

An evocative blend of Italian beauty and Art Deco styling, the train was launched by Accor late last year, and operates across a rapidly growing network of routes within Italy (international trips to Paris, Istanbul, and Split are slated for later this year). Two of its itineraries, Italian Swing and Northern Greens, are specifically designed for golfers, and Elite Traveler joined the inaugural outing of the former, a four-day, three-night loop with visits to courses in Lazio, Puglia, and Tuscany.

The journey begins and ends at the Orient Express La Minerva Rome. The hotel reopened at the same time as La Dolce Vita took to the rails and its grand 17th-century bones have been fleshed out with Art Deco, mid-century Modern, and contemporary elements, reminiscent of a mode of travel that has become unfamiliar.

And so to the Marco Simone Golf & Country Club, an island of green in Rome’s dusty suburbs and the venue for the 2023 Ryder Cup – the first time Italy had hosted the tournament. The event succeeded in putting a country little known for golf firmly on the sporting map.

See also: The Return of Opulent Train Travel

That evening we finally boarded the train. The liveried conductors and the glossy 1960s-inspired design – most dazzlingly showcased in the bar car, with its curved banquettes, harlequin patterns, and Gio Ponti objets – made a powerful impression. As did dinner. We feasted, as we would do every night, on a menu curated by German chef Heinz Beck, of Rome’s three-Michelin-starred La Pergola.

The pattern for the remainder of the trip had been set. It was repeated in Puglia at the San Domenico course, with its Baja California vibe, adjacent to the feted Borgo Egnazia hotel, where I squeezed in a sublime spa treatment; and then in Tuscany, at the equally celebrated Rosewood Castiglion del Bosco, an idyll of undulating vineyards and cypress trees.

At that point, biblical-level rain meant Plan A, a round of golf, was no longer attractive. Plan B, a walking tour of Montalcino, was off. Plan C, truffle hunting in the woods, ditto. Most of us opted for Plan D, a tasting of the Brunello wines for which Castiglion del Bosco is renowned. Should you encounter similar conditions, go for Plan D.

A personal highlight came on our final day, at the Argentario course, near Porto Ercole. During some rainy one-to-one coaching with resident expert, Edoardo Schiavella, I sank a 29-ft putt across a vast and sodden green with a treacherous double break. Though I’d only played three holes, I called it a day then and there.

See also: Why Golfers Are Making a Pilgrimage to This Las Vegas Desert Course

During our final hours en route back to Rome, reflecting on the day’s triumph, I surmised that while other railbuffs will likely agree that Belmond’s Venice-Simplon Orient Express remains the benchmark, La Dolce Vita strikes a different note – it is younger, more relaxed, less conspicuously nostalgic. One quibble is a logistical one: I wish we’d spent less time in cars and more on the train itself. We piled into vehicles early each morning and only got back on board after sunset, but to my eye, La Dolce Vita’s interiors are at their sparkling best in natural light. Because Italy, like most places, is rarely viewed at its best from the back row of a people carrier. Give me a train window with a cocktail in hand any day.

Your definitive guide to curating a luxury ear stack. 

At its simplest, an ear stack is the artful layering of multiple earrings across different piercings – lobe, helix, tragus, conch, and beyond–- to create a cohesive visual story. Unlike traditional matching sets, a stack embraces contrast. Studs sit beside hoops; pavé diamonds catch the light next to sculptural gold; delicate huggies balance statement pieces.

Luxury houses have embraced this shift. Parisian Maison Messika brings angular shapes into its designs; and New York’s cult piercing destination Maria Tash has elevated curated ears into a global phenomenon. Together, they demonstrate that fine jewelry doesn’t always follow the rule book of ‘less is more’.

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Building the perfect ear stack, however, is not necessarily about adding as many pieces as possible. It’s about composition. “A perfect ear stack is about balance rather than symmetry,” explains Maria Black, founder of the Danish jewelry brand of the same name. “The goal is to create rhythm across the ear – varying scale, spacing, and texture so the composition feels considered but effortless.” So how, exactly, does one achieve that balance?

For Black, the key lies in understanding composition. “I always think in terms of three elements: a visual anchor, supporting pieces, and negative space,” she says. “When these are in dialogue with each other, the stack feels modern and personal rather than over-styled and busy.”

See also: Lab-grown vs Natural Diamonds: Will Innovation Beat Tradition?

How to build the perfect ear stack, according to the experts

1. Start with a visual anchor

Every successful stack begins with a focal point. This might be a sculptural hoop in the first lobe, a statement diamond stud, or a distinctive conch piercing. Think of it as the piece that draws the eye first.

A diamond-forward brand like Messika excels in this role: a fluid pavé hoop or a delicate drop earring can serve as a luminous centerpiece around which everything else revolves.

2. Layer supporting pieces

Once your anchor is established, build around it with complementary designs. Smaller huggies, minimal studs or fine bars can echo the main piece without competing with it.

“Mixing sizes creates depth,” Black advises. The trick is to vary scale while keeping the overall visual weight balanced. If your anchor is bold and gold, consider finer pieces in the same metal to maintain cohesion.

3. Respect negative space

Perhaps the most overlooked element of a great ear stack is restraint. “Spacing is critical,” says Black. “Allowing the ear to breathe ensures the final result feels refined and intentional rather than crowded.”

Negative space gives each piece room to shine. An untouched helix or a single delicate stud placed slightly apart can create a sense of rhythm that feels elevated rather than excessive.

4. Consider placement as architecture

Perfecting your piercing placement begins long before the jewelry is selected. “Balanced placement starts with reading the individual ear,” Black explains. “No two ears are the same, so we map the anatomy first – looking at natural curves, available flat areas, and how jewelry will sit in motion.”

This architectural approach, championed by specialists like Maria Tash, ensures that each piercing enhances the ear’s natural shape.

See also: Who to Call When Your Diamonds Need a Facelift

How to choose jewelry for your ear stack

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Prioritize proportion

“Proportion is everything,” says Black. Pieces should relate to one another in scale, metal, and finish. A stack works best when there is consistency in craftsmanship, even if silhouettes differ.

For a minimalist aesthetic, Maria Black offers sculptural gold huggies and organic-shaped studs that lend subtle edge. For high-impact brilliance, Messika’s signature diamond motifs add light without heaviness. Meanwhile, Maria Tash is renowned for delicate diamond and opal studs designed specifically for cartilage placements.

Think about longevity

An ear stack is rarely occasional; it becomes part of one’s everyday uniform. “Comfort and longevity are equally important, especially for piercings worn daily,” Black notes. If you experience sensitivity, consider skin-friendly materials.

Embrace personal expression

Ultimately, the perfect ear stack is not trend-led but identity-driven, whether you lean towards pared-back or intentionally statement.

Call it salmon, amaranth, or “Himalayan salt.” The color recasts a softer shade as a masculine essential. Call it salmon, amaranth, or “Himalayan salt.” The color recasts a softer shade as a masculine essential.

The workout method is favored by names including Gwyneth Paltrow, Madonna, and Victoria Beckham. 

For a fitness method built on small, repetitive movements, the Tracy Anderson Method has had an outsized cultural impact. What began as a niche training philosophy favored by a handful of Hollywood insiders has, over the past decade, evolved into a global brand – amplified recently by social media and a renewed interest in low-impact, sculpting-focused workouts.

At the center of it is Tracy Anderson herself: a former dancer and fitness entrepreneur who rose to prominence in the early 2000s through a growing celebrity client list that includes Gwyneth Paltrow, Madonna, Jennifer Lopez, Victoria Beckham, and Tracee Ellis Ross.

See also: How To Train Your Brain For Optimal Longevity

Paltrow credited the then little-known trainer with helping her reshape her body following weight fluctuations in 2006, describing her as a ‘“pint-sized miracle,” a moment that marked the beginning of Anderson’s ascent.

Rather than promoting heavier weights or traditional strength benchmarks, her method promises a lean, elongated physique built through precise, high-repetition movement. Yet, like most celebrity-favorite workouts the question remains: what exactly is it – and does it merit the devotion?

What is the Tracy Anderson Method?

The Tracy Anderson Method (TAM) is a proprietary fitness system focused on training smaller stabilizing muscles through low-load, high-repetition exercises. Workouts prioritize isolated movement patterns over compound lifts, often using light hand weights, bodyweight resistance, and mat-based sequences.

A defining feature of the method is constant variation. Exercises are rotated regularly, based on Anderson’s belief that repeating the same movements leads to muscular dominance and imbalance. Sessions typically combine muscular work with a dance-influenced cardio component, creating a hybrid format that sits somewhere between strength training and choreography.

TAM is delivered through Tracy Anderson Studios in cities including New York, Los Angeles, London, Madrid, and the Hamptons, as well as through a digital platform offering streamed and on-demand classes, some of which are personalized using assessment-based programming.

What are the benefits of the Tracy Anderson Method?

The method’s most obvious benefit lies in muscular endurance, posture, and coordination. By targeting smaller muscle groups and emphasizing controlled movement, TAM can help improve body awareness and stability – particularly for those with a background in dance or Pilates-style training.

Research supports aspects of this approach. Studies published in The Journal of Strength and Conditioning Research indicate that low-load resistance training performed to fatigue can stimulate muscle hypertrophy and endurance, particularly in accessory muscle groups. Separately, studies suggests that varying movement patterns may help reduce overuse injuries by distributing mechanical stress more evenly across muscles.

The dance-based cardio component also contributes to cardiovascular fitness, while research in Frontiers in Psychology has shown that choreographed movement can improve exercise adherence – an often-overlooked factor in long-term results.

Who is the Tracy Anderson Method best for?

The Tracy Anderson Method is well suited to those who value movement quality, variety, and muscular endurance over traditional performance metrics. It appeals to individuals who prefer structured, low-impact workouts and who are less motivated by gym-based strength training.

For those who can’t access the studios, the method’s digital platform offers continuity, allowing users to maintain routine regardless of location. However, those seeking measurable gains in strength, power, or bone health may benefit from pairing TAM with complementary forms of resistance or impact training.

This is a fitness method which endures because it delivers a clearly defined outcome – not because it attempts to be all things at once. Its success lies in consistency, variation, and a focus on how the body moves and appears, rather than how much it can lift.

Owned by the singer and songwriter from 2016 to 2020, the Hollywood Hills home has a penthouse-level bar and media room that spills onto a sky-lounge terrace. Owned by the singer and songwriter from 2016 to 2020, the Hollywood Hills home has a penthouse-level bar and media room that spills onto a sky-lounge terrace.