Автор: karymsakov_qq4zn395

The 21C did a lap at the famed track in 1:22.30. The 21C did a lap at the famed track in 1:22.30.

«Thunderball» exudes classic style. «Thunderball» exudes classic style.

The Grammy-nominated star worked with architect Paul McClean to create a massive Hollywood Hills manse with over-the-top amenities. The Grammy-nominated star worked with architect Paul McClean to create a massive Hollywood Hills manse with over-the-top amenities.

These are the jewelry experts to entrust with turning old treasures into modern wearables. 

A new cut, setting, or design vision can breathe fresh life into pieces that have passed through generations. In this guide, we spotlight the masterful specialists worthy of your trust for jewelry remodeling. 

Brent Neale, New York

Brent Neale has a talent for infusing warmth, whimsy and wearability into serious stones. When a client brought in her late mother’s four-carat yellow-diamond ring, Neale reimagined it as a wildflower pendant, surrounded by white bezel-set diamonds. She takes the formality out of prong-set designs by cradling stones in gold bezels.

“Bezels make stones less fragile and less fussy,” says Neale, who, as a mother of three, understands the need for sturdy jewelry you can live in. She often encourages clients to reset diamonds alongside colored gemstones, like the unexpected pairing of a square-shaped diamond with a round blue sapphire. “The beautiful thing about redesigning diamond jewelry,” she says, “is that you can always change it again. Jewelry should evolve with you.”

brentneale.com

Sarah Ysabel Narici, New York

Sarah Ysabel Narici thrives on a creative challenge. Rather than sticking to one aesthetic, the British-Italian jeweler, now based in NYC with her brand DYNE, lets each piece evolve around her clients’ heirloom diamonds.

“I want to understand their world, tap into the stone’s sentiment and use their inspiration to get me excited,” she says. She’s known for unconventional settings, intricate details, and concealed engravings, like the tiny butterflies etched inside a newly transformed ring.

dyne.com

Ming Lampson, London

When a client brought Ming Lampson a seven-carat diamond pendant, she thought it was such a gorgeous white stone that it needed a bold casing to show it off. She proposed a striking, deep-green enamel setting. “It felt modern and brave,” she says.

Lampson doesn’t impose a signature style on her clients’ pieces. Instead, she studies each stone and lets it guide her. “I take it out of its setting, reflect on it, and think, ‘How can I enhance this?’” Her designs balance boldness with intimacy, and above all, “they must spark joy.”

mingjewellery.com

Dries Criel, Antwerp

“People come to me when they want something bold, graphic, with a pop of color,” says Belgian designer Dries Criel. He uses his design language of sculpted and textured yellow-gold pieces with geometric enamel patterns in new ways for bespoke commissions.

Most often, clients want him to remake their traditional solitaire engagement rings into striking, modern designs. One example: He recast a prong-set stone in a sculpted sandblasted gold ring with a vivid blue enamel pattern. “It’s powerful, but not flashy,” he says.

driescriel.com

See more: The Most Impressive Jewelry Gifts for Her

Jessica McCormack, London and New York

Jessica McCormack is becoming the definitive name for modern diamond designs with an enviously easy aesthetic. McCormack herself embodies laid-back luxury: she often wears a uniform of crisp blouses and faded denim with statement jewels, like a spectacular eight-carat diamond pendant swinging on a long gold chain — proof that serious diamonds don’t need to be formal or fussy.

She recently turned a Victorian-era diamond floral brooch into her signature Gypset earrings and pendant (Georgian-style button-back diamonds) and transformed a client’s post-divorce prong-set diamond into a bold, high-polish gold cocktail ring. “I only make things I would wear myself,” she says.

jessicamccormack.com

The wave will officially hit in 2030. The wave will officially hit in 2030.

Bourbon hunters take note—the Fall 2025 edition of Old Fitzgerald Bottled-in-Bond has arrived. Bourbon hunters take note—the Fall 2025 edition of Old Fitzgerald Bottled-in-Bond has arrived.

The hillside compound in the Hollywood Hills, on the market for the first time in 80 years at $2.5 million, is where the celebrated artists created thousands of unique pieces. The hillside compound in the Hollywood Hills, on the market for the first time in 80 years at $2.5 million, is where the celebrated artists created thousands of unique pieces.

Niki Lauda owned this 1980 BMW M1, which is one of just 399 road-going M1s built. Niki Lauda owned this 1980 BMW M1, which is one of just 399 road-going M1s built.

696 one-cent coins collectively realized $16.76 million at Stack’s Bowers Galleries on December 11. 696 one-cent coins collectively realized $16.76 million at Stack’s Bowers Galleries on December 11.

In Milan, fashion is defined by opposites – Anna Murphy, Fashion Director at The Times, delves into the city’s sartorial identity. 

No need to ask what would be on the Versace side of said coin – that’ll be the signature Medusa head. Indeed, what we should be talking about when it comes to this most full-throttle of brands is not a mere coin but a medallion, another of its house codes. Donatella, who headed up the label after her brother Gianni’s death in 1997 until March of this year, and who is rumoured to be re-engaging now that Prada is in charge, is the personification of its more is more aesthetic.

Then there’s Miuccia Prada, or Mrs Prada, as she is known in the business. Mrs Prada couldn’t, as that rather formal nomenclature suggests, be more different. A personal style reference point for me, as for so many others, she channels a look that I would characterise as edgy but chic librarian. 

If that sounds like a contradiction in terms, well, that’s because this is what Mrs Prada – and her brand – is so brilliant at, and what makes everything she does (and wears) feel so contemporary. There’s even an Instagram account called @miucciafinale which details what she wears at her catwalk shows. 

When I interviewed her once she was sporting a button up shirt, vintage diamond and aquamarine chandelier earrings and a brilliantly weird wooden-beaded pencil skirt that presented like one of those oldfangled car seat covers. She looked beyond. 

What an alliance. The two most high-profile women in Italian fashion. Though, to be clear, it’s not that Prada will seek to turn Versace into another version of itself. What would be the business point of that? Indeed, one of the posited theories for the sudden departure of the Versace’s recently appointed creative director Dario Vitale after just one highly praised catwalk collection was that his vision aligned too closely with – and thus might potentially have cannibalised – what Prada is currently channelling with great commercial success at its sister brand, Miu Miu. 

Ah yes. And where, incidentally, did Vitale work before Versace? Why, Miu Miu. Might Prada also have been punishing the designer’s lack of loyalty in jumping ship before they commandeered his new one for themselves? If true, this would also be more than a little Italian of them. Omertà, and all that.

One of the things I love about visiting Milan, which I am lucky enough to do several times a year, is how you see the city’s distinct fashion personae played out on the streets. There isn’t any other place in the world where you can bear witness to such a diversity of on-brand sartorial identities. Take Paris as a comparison. Chanel and Dior Woman are different, certainly, but not as different as Prada and Versace Woman. In my home city of London, as one more point of reference, we tend to mix up brands to forge something that’s particular to us.

Milan’s greatest fashion chronicler is the American photographer Scott Schuman, who founded his blog The Sartorialist 20 years ago, and now lives in the city. His new book The Sartoralist: Milano (£60, Taschen) brings together the best of his work, and the best of Milanese wardrobes, from the old lady in head-to-toe leopard print [page 36] to the cat in a gold Prada collar [page 13].

Many of the city’s style luminaries feature on its pages (including Mrs Prada herself) but it’s the anonymous – and often gloriously garbed – fashion-plates-come-to-life which enchant me the most, just as they do when I visit. Who is that 60-something woman in the wraparound gold shades? And who is that cyclist brave enough (or foolish enough) to sally forth in baby-blue stilettos and a polka-dot mini skirt?

There is a playfulness to Milanese fashion, in its love of print and ornamentation especially, and there is also an agelessness. More than any other city I know it’s where you see older women – and even more notably, men – embracing Style with a capital S. 

Tailoring isn’t dead here, to wit Lapo Elkaan in a sand suit giving George Clooney a run for his money. But experimentation is alive and kicking too. See-through plastic raincoat plus silver platform sandals anyone? Not girls in pearls, but boys?

Milan is small, as Schuman points out, just 1.4 million inhabitants, which means “its sheer density of fashion alone makes it the most stylish city in the world”. I have always been struck by the degree to which it feels both parochial and international at the same time. In this it reminds me of two other one-horse towns, Washington and Los Angeles. 

Schuman calls Milan “the Hollywood of style. It seems everyone in the city is only a link or two away from someone in the style-based business.” And everyone is only a step or two away from someone looking incredible.