Автор: karymsakov_qq4zn395

A new class of owners are taking over storied brands. A new class of owners are taking over storied brands.

The limited-edition Type 3 merges Benoît Mintiens’s oil-filled display with Newson’s sculptural design language—resetting expectations for contemporary horology. The limited-edition Type 3 merges Benoît Mintiens’s oil-filled display with Newson’s sculptural design language—resetting expectations for contemporary horology.

The Scotch whisky brand has added the latest instalment to its rarest collection. 

Amid all the whispers that Scotch’s recent glory days might be waning, The Glenlivet has defiantly reaffirmed its dominance. At the recent Distillers One of One auction, naysayers went quiet when the hammer went down on £650,000 (approx. $866,700) for The Glenlivet Spira 60 Year Old – some £540,000 over its top estimate.

In the wake of this unpredicted boon, the Scotch brand has revealed the second edition of its Eternal Collection: a 56-year-old Scotch whisky, released in collaboration with design studio Fredrikson Stallard. The concept is confusing at first glance but, in essence, the Glenlivet Eternal series comes with two releases. First, a one-of-one bottling featuring a slighter rarer liquid and an elaborate bespoke sculpture by a chosen artist, which goes up for auction.

Next, a still rare but less exclusive liquid of the same age statement, sold alongside a notably smaller sculpture by the same artist behind the one-of-one. Still following? This version goes on general sale, limited to just 60 editions. While more attainable than the one-of-one, it still commands a premium, hovering around the $50k mark.

The one-of-one edition of the 56 year old sold at auction for £75,000 (approx. $100,000) with Sotheby’s at the end of November. The 60 bottles that make up the second part of this release are on sale now for €52,500 (approx. $61,100).

[See also: The Best Wine & Spirits Gifts for the Holidays]

While many of the recent sculptural accompaniments to premium whiskies have verged into the abstract, Fredrikson Stallard’s take is refreshingly straightforward and is simply inspired by landscapes encountered during a visit to The Glenlivet’s Speyside home. 

Golden branches point out from beside the 24-karat-gold capped bottle, inspired by the heather that coats the Scottish Highlands. The entire piece sits on a miniature brass-plated cairn, representing the stacks of rocks that dot the nation’s hills. “The scorched heather branches emerging from ancient rock symbolise both nature’s enduring strength and the delicate, complex beauty that time and terroir create,” says Patrik Fredrikson of Fredrikson Stallard.

And then, the liquid itself. Bar the record-breaking Distillers One of One 60 year old, the 56 year old marks The Glenlivet distillery’s oldest release. Finished for three years in a bespoke Spanish sherry cask – seasoned with Oloroso, Pedro Ximenez, and Palo Cortado – the whisky is oaky, but with plenty of fruited sweetness.

At a tasting in London, I’m sat next to The Glenlivet’s cask master Kevin Balmforth who confesses that crafting a ‘Christmassy’ whisky was never the plan. Yet conveniently,  the latest release delivers exactly that: a spirit with hints of gentle spice, toffee and a lick of alcohol-soaked raisins.

theglenlivet.com

Over 190 people joined the billionaire club around the world in 2025. Over 190 people joined the billionaire club around the world in 2025.

Legendary automotive builder Meyers Manx has entered the apparel space, 60 years after its founding. Legendary automotive builder Meyers Manx has entered the apparel space, 60 years after its founding.

Speaking at House of Robb Miami, founder Andrew Levitas explained how sustainability shaped every aspect of the spirit’s design.  Speaking at House of Robb Miami, founder Andrew Levitas explained how sustainability shaped every aspect of the spirit’s design. 

The color of nothingness says everything about where design is heading. 

The Pantone Color Institute has long positioned itself as an arbiter of taste and trend forecasting, commanding attention from designers, marketers, and luxury brands alike.

Each carefully curated annual color release captures the emotional and cultural zeitgeist of its moment. From there, the influence ripples outward, shaping design, fashion, and consumer culture on a global scale.

Cloud Dancer, the chosen shade for the year ahead, is one that’s defiantly quiet. A clean, diffused white with none of the clinical chill of gallery walls, nor the creamy warmth of linen. It sits somewhere in-between, embodying what Pantone describes as “a conscious state of simplification.” Boldly, it’s the first time white has ever been chosen.

Its presence in the coveted Color of the Year slot is a subtle admission that maximalism, in all its joyful excess, has finally run its course. For years, it has been the unruly child of the interior design world: loud, unfiltered, and gleefully chaotic. It has marched across homes in dizzying prints and cacophonous color clashes, layering rooms so thickly with personality they were left with little space to breathe.

It has been weaponised in advertising, UX, and particularly on social media, a hyper-connective space where the algorithm rewards spectacle and overstimulation. In many ways, maximalism has mirrored the chaotic pulse of modern life. And like modern life, it has reached a point of fatigue.

See more: The Must-See Moments From Milan Design Week 2025

By contrast, Pantone’s new shade is refreshingly minimalist. “A billowy white imbued with a feeling of serenity,” a “refuge of visual cleanliness” that encourages wellbeing and lightness, it captures a gently shifting cultural pivot – a growing desire for clarity and calm in a world that feels relentlessly loud.

But this renewed embrace of white doesn’t signal a retreat into absence. In the realm of interiors, stripping back color doesn’t mean stripping back character. In fact, it creates a space for everything else to become more intentional, with texture, materials, and light carrying new weight. It demands designers think intentionally and choose pieces that genuinely earn their place in the composition of a space, rather than fade into the background.

Pantone’s color has already caught the attention of forward-thinking brands: the Mandarin Oriental, for example, will reimagine it across 10 unique experiences, ranging from oxygenating spa treatments and sky-high stays, giving guests an immersive opportunity to “see, feel, taste, and touch this enchanting color.” Likewise, Joybird has embraced the trend, introducing it as a color option across 300 modern furniture designs and curated selection of accessories.

What was long dismissed as sterile or unimaginative becomes something else entirely in 2026: a canvas for renewal and reinvention. A color most welcomed for the new year ahead.

From olives and citrus to pickled onions and chillies, the right addition can transform any martini into a masterpiece. 

A martini-with-a-twist is sophisticated and pure – zesty, dazzling, on-point. A martini-with-an-olive is more naughty and salty – it has a bit more mystique (olive advocates also regard themselves as intellectually superior to twist-ers, though they’re too polite to say it).

For the record, I like my martini with an olive and a twist, which shocks people no end. They look at me, outraged, as if I’m trying to have my cake and eat it. I’ve seen bartenders blanche, as if what what I’ve ordered may actually be illegal.

Ideally, I like three olives (nocellara, please, with the stone left in), plus a few more on the side. And then a twist spritzed and discarded, so the drink is scented but the glass is not too crowded. This way, you get a martini that does everything, from the most delicate top notes all the way down to the most savory umami.

Simply changing the variety of citrus is enough to re-frame a martini completely. I love the Vodka-tini at The Dover, in Mayfair, which comes with an out-sized orange twist that makes the cocktail very slightly sweeter and dangerously drinkable.

A Gibson, of course, is garnished with pickled onions, which provide a bit more tang. The famously bibulous writer Ernest Hemingway liked his silverskin onions frozen to 5°F (he also liked thinly-sliced onion on his martini, which I wouldn’t recommend). The onion-spiked Gibson was particularly fashionable in the 1950s and ‘60s, when it was often served on the rocks. I like a martini with ice, though you need to drink up, quick, before it gets too dilute.

There also seems to be a micro-trend at the moment for pickled onions steeped in beetroot juice so they look like cocktail cherries – which is fun and very easy to do, if you want to try it at home.

Pickled chillies also seem to be in vogue right now. At the London Carbone, the picante Pepe Martini is garnished with a trio of tiny red DeLallo Pepper Drops, which look very cute. Hawksmoor’s new St Pancras Martini Bar also does an excellent Steakhouse Martini (Grey Goose vodka, green peppercorns, olive brine and a splash of Chardonnay) topped with a green olive and a long guindilla pickled chilli, skewered together so they look like a Spanish gilda.

While researching my book, The Martini, I tried many variations on the garnish theme – blackberries, cherry tomatoes, lychees, shiso, and cypress leaves. I drilled down into the virtues of twist-discarded versus twist-left-in (the latter produces in a martini that’s more intensely zesty and slightly bitter). And re-created a Futurist Martini garnished with an anchovy and a communion wafer.

I tried atom bomb creator J Robert Oppenheimer’s perfect serve, which comes in a glass with a lime juice and honey ‘rim,’ and the Argentinian answer to a martini, the clarito, which sees the coupe wiped with lemon and dipped in sugar. (I have to say, though, I find all that stickiness decidedly un-martini.)

The other aspect of the garnish to consider is the cocktail pick. You may decide you don’t want one – which is absolutely fine – but I rather like having something to fiddle with. Martinis suit minimal – my go-to set are stainless steel, quite plain, but thrillingly sharp. But I also have a set of vintage picks a friend gave me which are topped with miniature bottles of Noilly Prat, Byrrh and Bols Advocaat (you can see a similar example here), which I absolutely treasure.

And there is definitely a time and a place for a cocktail pick that’s a little kitsch – at the neo-dive Best Intentions in Chicago, I recently had a martini topped with a giant stuffed olive speared on a plastic sword.

But be warned: picks can be hazardous, as the novelist Sherwood Anderson discovered to his cost. He inadvertently swallowed one while drinking a martini in 1941, resulting in a fatal case of peritonitis. It puts a rather different spin on the phrase: ‘I’m dying for a martini’.

Nicolas Puech says his around six million shares in the luxury brand have gone missing. Nicolas Puech says his around six million shares in the luxury brand have gone missing.

The 15,000-square-foot Upper East Side townhouse spans six floors with six bedrooms, 11 bathrooms, two elevators, and three kitchens. The 15,000-square-foot Upper East Side townhouse spans six floors with six bedrooms, 11 bathrooms, two elevators, and three kitchens.