Luxury Lifestyle

In the heart of Malaysia’s coveted “Island Jewel of Southeast Asia” sits St. Regis Langkawi. Positioned on the island’s tranquil southeast tip and surrounded by centuries-old rainforest, this 5-star luxury property is located in UNESCO’s first Southeast Asia Geopark, renowned for its 99-island archipelago. The luxury resort sits on Langkawi’s largest natural lagoon, framed by a 600-metre stretch of white sand beach and the emerald green waters of the Andaman Sea. With dramatic seascapes, tropical greenery, distinct over-water villas and world-class amenities, The St. Regis Langkawi offers a one-of-a-kind holiday escape. At the helm is general manager Derek Gomez, who clues LUXUO in on how the St. Regis Langkawi provides its own brand of luxury hospitality through personalised butler service, sustainable dining, and curated guest experiences.

Among the many world-class amenities are exquisite dining across six signature restaurants and bars, unwind at the St. Regis Spa, or relax beside the infinity pool — all framed by the natural drama of Langkawi’s rainforest coastline. Its renowned over-water villas feature direct beach access and panoramic sunset views, while its interiors pair classical detailing with bold accent hues and imaginative paintings by esteemed local artists. The resort’s exquisite rooms offer expansive, unobstructed views of the sea or the neighbouring rainforest from spacious terraces.

Tell us about the history and specific DNA of the St. Regis Hotel & Resort brand.

The St. Regis legacy began in 1904 when John Jacob Astor IV opened the first St. Regis in New York City — a hotel designed to reflect the grace and grandeur of a Gilded Age mansion. Since then, the brand has become synonymous with timeless elegance, anticipatory service, and refined sophistication. Every St. Regis property is rooted in this storied heritage, yet artfully reimagined to reflect its local culture. From our signature rituals like Champagne sabrage to the bespoke St. Regis Butler Service, the brand DNA is anchored in a world of uncompromising luxury and impeccable attention to detail.

The St. Regis Langkawi is located in UNESCO’s first Southeast Asia Geopark, renowned for its 99-island archipelago. Tell us more about this unique location.

Langkawi is truly nature’s masterpiece. Cradled by the emerald waters of the Andaman Sea, this enchanting island offers a rare harmony of ancient rainforests, soaring limestone cliffs, and pristine turquoise bays. As part of Southeast Asia’s first UNESCO Global Geopark, the island is home to 550-million-year-old geological wonders, vibrant ecosystems, and a deep-rooted cultural legacy. The St. Regis Langkawi is gracefully positioned on the tranquil southern tip of the main island — just a scenic 30-minute drive from Langkawi International Airport — offering a secluded beachfront sanctuary where panoramic sunset views and immersive natural beauty create an atmosphere both intimate and transcendent.

Tell us about the different rooms, suites, and over-water villas which can be booked at the St. Regis Langkawi.

Designed by G.A Design with architecture by the renowned firm Gensler, The St. Regis Langkawi blends classical elegance with contemporary sophistication. The resort offers 85 exquisitely appointed rooms and suites, along with four private over-water villas, each thoughtfully designed to reflect refined island living. Bold accent hues and imaginative works by local artists bring a distinct sense of place to every room, while bespoke furnishings, plush bedding, and sweeping views — of either the rainforest or the Andaman Sea — create an atmosphere of understated luxury. From romantic escapes to family retreats, each accommodation seamlessly merges modern comfort with the island’s natural beauty. The Sunset Royal Villa, perched over water with a private infinity pool and dedicated butler, offers the pinnacle of privacy and indulgence.

As a General Manager, what is the first thing you notice when you enter a hotel, and which details do you pay particular attention to?

The atmosphere speaks first. I immediately sense the energy of the space — how welcoming it feels, how seamless the flow is, and whether the team is genuinely connecting with our guests. I pay close attention to lighting, scent, and sound, but above all, it’s the quality of the service interactions that sets the tone. A warm, confident greeting at the door, a discreet adjustment made without being asked — those are the true markers of luxury hospitality.

How do you maintain consistent service standards at the property?

Consistency comes from a deep-rooted culture of excellence. We invest heavily in training and mentorship, ensuring that each associate understands not only what to do, but why it matters. We operate on the principle of anticipatory service — delivering not just what is expected, but what is unspoken. Daily briefings, regular audits, and real-time feedback loops allow us to maintain our high standards while continually refining the guest experience.

Tell us more about the St. Regis Butler Service, a cornerstone of the St. Regis brand.

The St. Regis Butler Service is truly unparalleled — it’s the hallmark of personalized luxury. Every guest, regardless of room category, is assigned a dedicated butler, available 24/7. From unpacking luggage and pressing garments to orchestrating bespoke experiences, our butlers are both intuitive and discreet. They are not only service providers, but thoughtful curators of each guest’s stay, ensuring every detail is flawlessly executed.

What can visitors to the St. Regis Langkawi expect in terms of dining experiences?

The St. Regis Langkawi offers six distinct dining and bar venues, each designed to delight the senses. The signature over-water restaurant, Kayuputi, designed by Bill Bensley, serves Asian-inspired haute cuisine in a striking space adorned with antiques and architectural treasures. L’Orangerie presents modern French cuisine with Asian influences, framed by views of the Andaman Sea.

For lighter fare, The Gourmand Deli offers artisanal pastries and refreshing herbal iced teas. In the evening, guests can enjoy signature cocktails at The St. Regis Bar, including the locally inspired Lang Mary, or savor rare vintages at The Decanter. The Drawing Room provides a plush, elegant setting for intimate gatherings. Each venue reflects the resort’s dedication to culinary excellence and sense of place.

How important is sustainability in your culinary approach and how will you reflect this across the hotel’s dining venues?

Sustainability is both a responsibility and an inspiration. We work closely with local farmers and fishermen to source fresh, seasonal ingredients, reducing our carbon footprint while supporting the community. We minimise food waste through smart planning and composting initiatives, and we’re actively exploring more plant-forward menu options across our dining venues. Sustainability isn’t just about what’s on the plate — it’s about creating a conscious, transparent culinary journey.

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Tell us about your favourite cocktails at the St. Regis Langkawi Bar.

First, of course, the Lang Mary — our signature take on the Bloody Mary. Bold, spicy, and infused with local flavours like pandan and tamarind, it captures the spirit of Langkawi in a single sip. Second, the Pengat Pisang Cenang — our most recent sustainable creation. This inventive cocktail features Chivas 18 infused with banana peels and pandan, a house-made brown syrup, and a float of coconut cream — all thoughtfully repurposed from our kitchen to reduce waste while enhancing flavour.

Tell us more about the spa & wellness facilities at the St. Regis Langkawi.

At The St. Regis Langkawi, wellness is an integral part of the guest experience. Our spa blends ancient techniques with modern therapies, using tropical botanicals and tailored treatments to restore balance. Two standout rituals include Where Oceans Meet, inspired by Indonesian beauty traditions, and Urutan Malaysia, a traditional full-body massage rooted in local heritage. Guests can also enjoy facials, manicures, and pedicures — all delivered with the care and attention to detail that define St. Regis.

What makes a hotel stay an unforgettable experience?

It’s the emotional resonance. Guests may forget the thread count of their sheets, but they will always remember how they felt — the warm welcome, the surprise gesture, the quiet moment of awe. An unforgettable stay is one where every detail, seen and unseen, converges to make the guest feel truly known, valued, and inspired.

St. Regis Langkawi is part of the Marriott Bonvoy network. What kind of value does this bring to the property?

Being part of the Marriott Bonvoy portfolio connects us to a global community of discerning travelers. It brings both reach and recognition, while allowing us to uphold the unique character of our resort. The loyalty program also enables us to reward our repeat guests meaningfully — offering elevated experiences, exclusive access, and personalised service that grows deeper with every visit.

How do you see the hospitality industry evolving in the next few years?

Luxury is evolving from being product-driven to experience-led. Tomorrow’s traveler seeks authenticity, personalisation, and meaningful connections. Sustainability, wellness and technology will continue to shape the guest journey — but never at the expense of the human touch. At The St. Regis Langkawi, we’re embracing this future by combining timeless traditions with thoughtful innovation — ensuring our guests always feel at home in a world that is constantly changing.

For more information on St. Regis Langkawi, head to the website here.

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Malaysia’s economy recorded a stronger growth of 5.1 percent last year (2023: 3.6 percent), supported by continued expansion in domestic demand and a recovery in exports, according to Bank Negara Malaysia (BNM). This uptick is driven by stronger household spending, reflecting favourable labour market conditions, policy measures to support households, and a solid household financial position.

According to the Department of Statistics Malaysia, the country’s economy is expected to remain robust this year, driven by a thriving labour market, increased exports in the electrical and electronics (E&E) sector, and the implementation of key investment initiatives.

“With resilient consumer demand, strategic investments, and international networks, Malaysia is on the right track for positive economic prospects in 2025, despite external market uncertainties,” the report stated.

Read More: Malaysian Property Outlook For 2025

Sectors Powering Malaysia’s Growth

Malaysia’s economic advancement is supported by four major pillars, namely services, manufacturing, palm oil, and oil and gas (O&G), which together drive national output, job creation, and industrial innovation. These sectors have consistently served as prime movers of GDP expansion, employment creation, and technological innovation, consolidating the country’s reputation for stability and adaptability.

The services sector recorded total revenue of RM2.4 trillion in 2024, a 6.3 percent increase from RM2.3 trillion in 2023. This growth was largely driven by the continued recovery of tourism-related industries, supported by the arrival of 25 million international tourists and an increase in domestic travel activity.

The wholesale and retail trade, food and beverage, and accommodation segments remained the main contributors to this sector, buoyed by sustained consumer demand and rising tourism activity. As Malaysia moves forward, the services sector remains a key pillar of economic growth, supported by strong consumer spending, digital transformation, and increased investment in infrastructure and technology.

Ongoing efforts in tourism development, digital innovation, and business expansion will be crucial in maintaining the sector’s positive momentum and strengthening Malaysia’s position as a regional economic hub.

Meanwhile,  the manufacturing sector continues to play a pivotal role in Malaysia’s economy, with contributions spanning chemicals, automotive, and the electrical and electronics (E&E) subsector. The sector’s total sales value reached RM1.9 trillion in 2024, marking a 4.6 percent increase from 2023. That same year, the number of employees grew by 1.0 percent (2023: 1.7 percent) to 2.40 million, while wages and salaries increased by 1.5 percent (2023: 3.5 percent) to RM99.3 billion.

With nearly 30 automotive manufacturers and over 600 component producers, Malaysia’s automotive industry is one of the largest in Asia. It contributes approximately RM40 billion to GDP each year, with Proton and Perodua being the leading domestic brands.

Moreover, the chemical subsector is projected to contribute RM40 billion to GDP by the end of this decade, bolstered by improved industry integration, global competitiveness, and sustainable production, as noted by Investment, Trade and Industry Minister Tengku Datuk Seri Zafrul Abdul Aziz.

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At the same time, the E&E industry serves as the backbone of Malaysia’s manufacturing sector. The sector is expected to contribute RM120 billion to GDP and RM495 billion in export revenue by 2025, positioning Malaysia as a key player in Southeast Asia’s E&E market.

Read More: HARTA Space Celebrates Malaysia’s Timeless Traditions With “The Grace of East” Exhibition

Palm oil remains a major contributor to Malaysia’s economy and global trade. Last year, Malaysia was the world’s second-largest exporter of oils and fats, having exported 16.9 million tonnes of palm oil, accounting for 17.2 percent of global oil and fat exports. The nation’s palm oil export revenue totalled RM109.33 billion in 2024, marking a 15.1 percent increase from 2023.

As one of the country’s key agricultural commodities, palm oil continues to support rural economies and smallholder livelihoods, while positioning Malaysia as a global leader in sustainable palm oil production. The industry is also increasingly aligning with international sustainability benchmarks to maintain its competitiveness in the global market.

Finally, Malaysia’s O&G sector has remained a cornerstone of national economic strength for over a century, beginning with the first oil discovery in Miri in 1910. Petronas, the country’s national oil company, leads the industry, collaborating with global energy giants such as ExxonMobil, Hess Corporation, PTT Exploration and Production Public Co Ltd, and EnQuest.

In 2024, Malaysia’s crude oil and condensate production totalled 181.6 million barrels, while natural gas production reached 2,948.8 billion cubic feet, according to the Petroleum and Natural Gas Mining Statistics for Q4 2024. The O&G sector contributes approximately RM300 billion to the national economy and has remained resilient despite fluctuations in global oil prices.

This industry plays a vital role not only in national economic growth but also in state-level development, especially in Sarawak, Sabah, Terengganu, and Johor, where Petronas’ investments in local vendor training and infrastructure have significantly benefited communities.

A Unified National Vision

Fundamentally, Malaysia’s trajectory of inclusive development hinges on collaboration between federal and state governments, ensuring that each region shares in the nation’s prosperity. While oil is primarily extracted offshore in select states, even non-producing states benefit from national revenues. For instance, Penang and Selangor harness their strengths in manufacturing, while Sabah, Sarawak, and Johor serve as the largest palm oil producers.

This interdependent framework, in which natural wealth and industrial competencies are holistically channelled towards collective advancement, has laid the foundation for the country’s economic resilience. Additionally, national policies supporting infrastructure, education and digital innovation continue to elevate Malaysia’s competitiveness and attractiveness to foreign investors.

From palm oil plantations to high-tech E&E factories, from financial services to energy production, each industry contributes to Malaysia’s long-term economic growth. As the economy advances, ongoing policy reforms and strategic investments must continue addressing both current economic challenges and emerging global trends, ensuring that Malaysia remains a strong, diversified, and forward-looking economy.

Read More: 8 Malaysian Beauty Brands Creating Local and Global Buzz

By fortifying its foundational pillars and reinforcing regional collaboration, Malaysia signals its readiness to navigate shifts in global demand, climate challenges, and technological advancements, securing its place as a dynamic, broad-based economy focused on shared prosperity for all Malaysians.

This article was written by Hidayath Hisham, journalist for The Malaysian Reserve

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After the success of its first residential tower in Miami, the French fashion and lifestyle entity Elle is bringing its iconic aesthetic to the Middle East. In a partnership with Anax Developments and under a licensing agreement with Lagardère News, Elle is set to launch a new branded residential project valued at AED 450 million (approximately USD 122.5 million) on Dubai Islands — one of the city’s most ambitious waterfront masterplans.

Announced at an official signing ceremony, the strategic partnership was formalised by Satish Sanpal, Chairman of Anax Holding, and François Coruzzi, CEO of Elle International Licenses. The collaboration marks Elle’s entry into the UAE market, where it aims to bring its signature mix of individuality, sophistication and Parisian flair to a new audience.

Read More: ELLE Launches Its First-Ever Residential Tower in Miami

The project, Elle Residences Dubai Islands, will be designed by The One Atelier — a global design studio recognised for its work with luxury brands such as Dolce & Gabbana, Karl Lagerfeld and Fendi Casa. Co-creative direction will also be led by Arquinaut, the firm behind the original Elle Residences concept, overseeing both the architecture and interiors to ensure a cohesive, brand-aligned vision.

By partnering with Anax Developments (a local developer known for its precision, design-forward projects and deep market expertise), Elle ensures that the project is attuned to the cultural expectations and tastes of the region. Together, the two companies aim to create a property that embodies Elle’s global lifestyle brand while offering residents a thoughtfully designed home rooted in the dynamic luxury ecosystem of Dubai.

Set against the backdrop of the Persian Gulf, Elle Residences will offer residents panoramic sea views, striking contemporary architecture, and access to a lifestyle grounded in wellness, creativity, and comfort. The development will feature a wide range of modern apartments with innovative layouts, as well as expansive amenities including a gym, infinity pool, children’s play areas, landscaped gardens, and concierge services.

Speaking about the launch, Satish Sanpal said: “We’re thrilled to bring Elle’s iconic lifestyle to Dubai through our partnership for Elle Residences on Dubai Islands. Dubai, a city synonymous with innovation, design and global appeal, is the perfect setting for this bold new venture. This project will be a defining expression of purposeful, joyful living that reflects the essence of Elle.”

Constance Benqué, CEO of Elle International and Lagardère News, added: “Elle’s legacy of innovation continues to define our journey. Blending timeless French flair with Dubai’s bold energy, this second residential venture is a natural evolution. It invites residents to experience an elevated lifestyle infused with joie de vivre.”

Michele Galli, CEO of The One Atelier, described the design process as a unique opportunity to translate Elle’s Parisian sensibility through the lens of Dubai’s vibrant lifestyle. “With Elle Residences Dubai Islands, we’re working closely with the brand to create something that resonates emotionally and culturally with a global audience,” he said.

Positioned in the fast-growing Dubai Islands community, the development promises strong ROI potential and long-term value for both homebuyers and investors. It offers freehold property ownership to all nationalities and easy access to Sheikh Zayed Road and major city hubs. Whether seeking a serene coastal home or a high-performing investment, Elle Residences delivers a curated lifestyle experience that captures the spirit of fashion and elevated living.

Images courtesy of keltandcorealty.com.

For further information, email elle@heart-media.com

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Having led the Global Order Book for 24m-plus superyacht orders for 25 successive years, how does the Azimut-Benetti Group currently stand financially?

We have a good portfolio of orders and a strong backlog of about EUR 2 billion. The global market is not as good as it was a few years ago, but there’s still a lot of action. The global landscape is evolving rapidly, and we are closely monitoring how developments such as tariff policies in the US may influence the market.

We had great results from the last US shows in Fort Lauderdale, Miami and Palm Beach, and my concern is not on the strong affinity that American owners continue to show for our brand and products but on the whole market in case clients adopt a ‘wait-and-see’ attitude. Once again, our strategic choice to ensure a balanced presence across all key markets has proven to be a forward-looking decision.

How are Azimut designs evolving with Alberto Mancini, who now handles the exteriors of four of the brand’s series?

Alberto was the right person to succeed Stefano Righini and provide continuity for the Fly (flybridge), S (sportbridge) and Grande (superyacht) models. He’s also doing the new Seadeck Series. His latest designs include the Grande 44M, which will be Azimut’s new flagship. Alberto has a gifted touch and the ability to interpret different styles with solutions driven by pure creativity.

Mancini’s recent designs include Azimut’s upcoming Grande 30M, with the first hull sold to Hong Kong by Marine Italia. How is the Asia market developing?

We have a great distribution network across Asia, so we’re quite satisfied, but we’re also convinced there’s still untapped potential to be unlocked. The Asia market has been quiet for a while, and this may well be the right moment to further strengthen our presence in the region.

This is especially relevant considering that we’ve recently sold several Grande superyachts into Southeast Asia, Hong Kong, mainland China and Japan. We had a Grande 32M delivered to Vietnam earlier this year, we’ve sold a couple of other Grande superyachts to China, so superyacht sales are encouraging but the flybridge models have slowed down a little.

So, Azimut-Benetti is making a conscious effort to step up activity in Asia?

In the past three decades, I’ve travelled many times to Asia including right across China. My first trip to Asia with Azimut was in 1996, with the Sales Director at the time, and we visited Hong Kong, Singapore and Malaysia.

The potential in Asia is high, but the challenge lies in finding a way to unlock its full promise, no easy task in such a vast region that encompasses a wide range of cultures and includes a lot of very different markets, from China to Singapore, which right now is growing faster than Hong Kong.

There are also exciting new markets like Vietnam. Our investment in Asia is driven by the goal of further energising the market, tapping into regions that are growing as yachting destinations and embracing a new generation of young owners.

Are you surprised by the traction in Asia for the new Magellano models?

We’ve sold a couple of Magellano 30M, which again shows the demand for the larger models in Asia.

Have the new Seadeck 6 and 7 motoryachts that debuted in 2024 achieved what you hoped?

With the Seadeck Series, the idea was to truly create something that stands apart from what’s available on the market in terms of lifestyle, design and technology, by offering a compelling counterpart to flybridge or sportbridge models.

This is the reason why the Seadeck 7 (71ft 2in LOA) includes the first helm-to-propeller hybrid-electric package by Volvo Penta, which is unique. This system was included on hull one and is still being developed by Volvo Penta.

It has been a big investment, but we believe in the Seadeck design and the results in the market have been better than we expected. The Seadeck 6 had a great reaction. We were worried that the size (56ft 7in LOA) was maybe too small for this kind of boat, but it proved that it wasn’t. The Seadeck 9 (84ft) is the next model in the Series and could debut at the 2026 Cannes Yachting Festival.

Designed for a slow pace of life at sea, the Seadeck concept appeared to be a change in direction for Azimut. Has it helped attract new clients?

This is a good point. The idea with Seadeck was to build something different. However, the new models are not only satisfying our clients but also attracting different kinds of customers who would never otherwise have been interested in Azimut. We had some external clients who saw the Seadeck and said they liked it but had never previously approached us.

Some of the Seadeck models have been bought as a second boat – like a day boat or family boat – by owners of megayachts. Sales have mainly focused on Europe so far, as the models are only starting to enter new markets around the world.

The Seadeck 6 appeared in America late last year and the Seadeck 7 had its US debut at this year’s Palm Beach show in March. The Seadeck 7 then had its Asia-Pacific premiere at the Singapore Yachting Festival this April. I look forward to seeing the reaction in these markets as these boats are attracting a new kind of client.

What has been the reaction when people have first boarded the Seadeck models?

The first feeling is that it’s not a conventional boat. People realise that you use the side balconies from a different perspective. It’s like having the external area of an express boat but without comprising the interior space and volume.

When you go boating these days, people are less formal. Everybody is more relaxed on board, so we wanted to transfer this attitude to the Seadeck. Even if you compare the lobbies of hotels, they’re now much relaxed compared to 20 years ago and more like a lounge. We’re trying to match this attitude that people are looking for now. You don’t need a formal area in this type of boat.

Why did Azimut choose to work with Matteo Thun and Antonio Rodriguez on the Seadeck interiors?

We were looking for somebody who understood the meaning of the boat, what we were looking to do. We invested a lot in the hybrid system, reducing the consumption, and the materials used in the boat, so when we looked for interior designers who could match this philosophy, we thought about Thun and Rodriguez because they’ve had a long-standing approach to sustainability. The selection of materials in the décor is in line with this philosophy.

We did our research and Azimut has enjoyed collaborating with designers who haven’t worked in yachting before, to differentiate ourselves. This was also the case when we had Achille Salvagni design interiors for so many years. This is our attitude, otherwise you’re always limited by the perimeter of yacht designers.

What led Azimut to work for the first time with m2atelier (Marco Bonelli and Marijana Radovic), on the Grande 30M?

They’re nice, they’re professional, and we like how they design the interior as a functional tool for the owner. Sometimes you have an interior designer who wants to create a showroom, which is nice to look at but not so user-friendly, but m2atelier focuses on how owners and guests use a boat. They’re more pragmatic, which I like.

The Grande 30M includes the Deck2Deck Terrace and Infinity Skydeck features, which were introduced on the Grande 26M and ‘semi-walkaround’ Grande 36M respectively. Can you also outline the Grande 30M’s propulsion technology?

We’re including the pod system. Azimut wanted a pod system that could be used across series production of bigger boats and not just on custom superyachts. On the Grande 26M [which debuted in 2022], we introduced the new Pod 4600 propulsion system in partnership with ZF.

On the Grande 30M, we begin our new partnership with Rolls-Royce and are integrating MTU diesel engines with integrated MTU propulsion systems as part of its ‘From Bridge to Propeller’ strategy. The new Grande models will be equipped with MTU’s Series 2000 engines, ZF pod drives and MTU’s NautIQ Master integrated platform management system. It’s much more efficient to work with one supplier who can manage the entire propulsion system.

Earlier this year, Benetti stated it had 10 hybrid superyachts under construction and that seven of the 13 orders for B.Yond superyachts included hybrid technology. Is demand for eco-friendly technology growing?

Yes. Basically, about 50 per cent of B.Yond orders are for hybrid. We also have orders for much bigger boats, from about 60-67m. Benetti can offer hybrid systems for almost all its models and can sometimes even do full electric.

Our hybrid systems are proven. It’s much easier to include a hybrid system on the bigger yachts than it is on the smaller ones because of the size of the batteries. Whenever you have 40m, 50m or 60m-plus yachts, it’s easy to have a hybrid system because it’s just a question of having the space for a battery pack on board. It’s much more of a challenge on smaller boats when there’s less space compared to the size of battery pack needed.

What has been the response to HVOlution, the biofuel that Azimut successfully debuted on the first Magellano 60 in 2023?

This was simply the first model we used bio-fuel in, but we propose and can use HVO on all our models. All our tests were done with HVO and today we have fully transitioned from traditional fossil fuels to HVO biofuel – specifically HVOlution by Eni Live, which can reduce GHG emissions by up to 90 per cent – for sea trials, technical transfers and final refuelling prior to delivery to owners.

HVOlution has a different density to diesel but all our new engines can be operated with biofuel. You can even mix them. However, currently we can only provide HVOlution in Italy. If we could make this available everywhere, it would be an easy solution to reducing emissions, but not the least expensive, as distribution costs depend on taxes and restrictions country by country.

Azimut says over half of its models are Low Emission Yachts, which it defines as those with 20-30 per cent fewer emissions than the market average. How do you achieve this?

Whenever we do a new product, we decide on the level of consumption of the boat. We then achieve the target with the choice of engines or propulsion system, the amount of carbon-fibre used to reduce weight, and the shape of the hull, or a combination.

In 2023, to help the market, we commissioned Lloyd’s Register to develop a carbon-emission index for sub-24m yachts, like the SEA Index rating available for 24m-plus yachts. We’ve adopted this since last year, so each Azimut yacht has an official rating from Lloyd’s Register, although this system has not been used by other shipyards.

This kind of rating is on almost all products today, from houses to electrical appliances, but not in this industry. We decided to do it in the hope that others would follow, but I think the only way it will happen is if the clients start to ask for it or demand it. And this could increasingly happen if there’s a financial incentive for the purchase of more environmentally friendly products, as with cars.xx

Since Saudi Arabia’s Public Investment Fund (PIF) acquired a 33 per cent of Azimut-Benetti Group in 2023, has it played an active role?

They have proven to be the perfect investor. They wanted to understand the industry and help the Group develop new businesses in Middle East. The Middle East is growing, and to have a partner like this, with local presence, is a strategic move. We will be more and more present in the future.

Finally, could you tell us what the late Paolo Vitelli meant to you, having worked under him for almost three decades since you joined Azimut in 1996?

Joining the sales team at Azimut was my first job in the yachting industry, and my last interview before I was hired was with him. When I started, Azimut was a relatively small company, and it grew by about 25 per cent each year into the 2000s.

Being a sales person, he always wanted to be present in the market. He travelled a lot, and I often travelled with him and others. He was able to travel to Asia, complete a deal and fly back to Italy on the same day – he was unstoppable. He was very charming, very intuitive, able to understand any situation immediately, and always knew exactly what was happening in any negotiations.

Working for him was always challenging as he was never 100 per cent satisfied. He challenged me from the beginning, even in my [job] interview. He knew he was always looking at the glass as half-empty. Everything was “good-bad” – that was a typical phrase of his.

He always pushed his stakeholders to raise the bar and go beyond their limits. He was a driven innovator, working every day and night. It is this spirit that has made Azimut-Benetti the world’s leading Group in the yachting industry.

Photos By Azimut-Benetti Group

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This article was first seen on YachtStyle.com

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Bangkok gets a new luxury hotel every so often. Most arrive with fanfare—“world’s best” status, statement-making rooftops, splashy openings. By contrast, the return of Dusit Thani Bangkok last September was strikingly understated. Everyone knew the rebuild was underway, but when it reopened, it did so with restraint. Then again, the Dusit Thani didn’t need cymbals or a PR parade.

When it first opened in 1970, the hotel made history as Bangkok’s tallest building, its golden spire lording over Lumphini Park. What piqued my interest were the stories from guests who had stayed in the 1980s, speaking of it with fondness, like a long-lost friend. I had to see André Fu’s latest work in Bangkok for myself.

Read More: Bangkok’s Luxury Revolution

The lobby is the first thing you notice. It’s tall, composed — grand but quiet. At its centre, a six-pointed lotus-leaf ceiling from the original building has been recreated in brushed gold. A jade-green marble bar sits beneath, low and anchoring. Grey-veined stone floors and bronze lattice screens subtly divide the space. Two hand-painted pillars salvaged from the old Benjarong restaurant stand near the entrance, largely unadorned. No wall art, just texture: oak, silk, polished plaster. Other elements from the original hotel were carefully stored and reintegrated where they made sense. Even the koi had been relocated to Dusit Thani Hua Hin until the rebuild was complete.

Rooms start at 50 square metres, with four-metre-wide windows overlooking Lumphini Park, Bangkok’s answer to Central Park. The view is framed by a wall-to-wall daybed upholstered in slate grey. Sliding teak panels separate the bed from the bath. A palette of celadon, sand and brass bathes the room in warm, neutral tones. An oak desk is built into the wall; wardrobe handles are stitched in leather. It feels more like a tailored apartment than a hotel room.

Food and beverage has been completely overhauled. The Cannubi is Umberto Bombana’s first restaurant in Southeast Asia. Known as the king of white truffles, Bombana is chef-owner of 8½ Otto e Mezzo in Hong Kong — still the only Italian restaurant outside Italy to hold three Michelin stars. For months leading up to its opening, Bangkok’s society and food scene buzzed. I was lucky to get a table.

In Bangkok, executive chef Andrea Susto leads the kitchen. The burrata was creamy and paired beautifully with sweet basil and San Marzano tomatoes. The tagliatelle with slow-cooked ragù Bolognese was rich but not heavy, the al dente pasta drenched in a wine-laced sauce. I finished every bite. From the 350-label wine list, the sommelier selected a Barolo — firm, earthy, with the perfect touch of acidity.

Read More: Dior Gold House Bangkok Weaves Thai Craftsmanship with Parisian Style

The drinks programme is equally polished. Martini Bar delivers the classics, Spire Rooftop Bar offers panoramic views, and 1970 Bar on the 39th floor serves serious cocktails developed with the team behind Vesper, one of Bangkok’s top cocktail bars. My 1970 Martini was served tableside: cold, clean, and fuss-free.

In its past life, many loyalists would visit Dusit Thani Bangkok for one dish: the slow-braised beef rib in green curry. While it’s no longer served at the hotel, you’ll find it a five-minute walk away. Benjarong, the hotel’s former signature Thai restaurant, now occupies a colonial house across the lawn. I had to try it. The beef fell from the bone at the touch of my fork; the gravy was fragrant with basil and fresh herbs — exactly as my dining companion, a local, remembered it. But these days, Benjarong no longer holds the spotlight alone. It has a worthy contender within the hotel’s walls: Pavilion, led by chef Rosarin Sriprathum, is also building a following with its refined take on regional Thai cuisine.

Bangkok’s hotel landscape grows more crowded each year, with recent openings from Ritz-Carlton and Aman making bold statements and setting new standards. But Dusit Thani Bangkok remains in a league of its own. With decades of history and a deep sense of place, it draws locals and long-time guests who value tradition, consistency and polished service.

That is the grand dame’s quiet power. No fanfare — just hospitality done right. The kind that remembers to relocate its koi.

For more information, visit the website here. 

This article was first seen on Grazia Singapore

For more on the latest in property and hotel reads, click here.

The post The Renowned Dusit Thani Bangkok Is Back — Here’s What’s New appeared first on LUXUO.

The Summary

Sonny Hayes (played by Brad Pitt) was Formula 1’s most promising driver until a track accident nearly ended his career and his life. Thirty years later, Hayes is asked to bring the struggling APXGP F1 team to the winner’s circle. Driving alongside the team’s hotshot rookie, Joshua Pearce (Damson Idris), Hayes will learn that the road to glory and redemption isn’t something you can do alone, only with a team effort.

Here Are The Spoilers

What We Like:

As a layperson who watches (tolerates) whenever the Formula One World Championship rolls into Singapore, racing, on the surface, seem to be about getting from the start to finish in the fastest time possible. Thus, there is an expectation that when it comes to auto-racing films and that is there isn’t much nuance to it. Once the race is over, I’ve lost interest in it.

Not with F1, though. Directed by Joseph Kosinski, whose last high-octane flick was Top Gun: Maverick, F1 manages to hold your attention and your butt at the very edge of the seat. Even off track, it can still keep you invested.

The race sequences are gripping thanks to the use of miniaturised IMAX cameras affixed to real race cars during the Grand Prix weekends. How the camera swivels as the cars screech on the corners and your sights are kept so close to the action that I swear I could smell burning rubber (a wasted opportunity to revisit the Smell-O-Vision tech).

Aside from the heart-stopping skirmishes on the track, there are strategies applied to the races that you would never have thought of. Who knew there was a method to Hayes’ method when he evoked the safety cars to limit the speeds of competing vehicles thus allowing his teammate, Pearce to catch up to the faster opponents?

Pitt nails Hayes’ bravado on the track and laid‑back charisma. While he has chemistry with Kerry Condon’s Kate McKenna, the APXGP technical director, it is Pitt’s interaction with Idris and Javier Bardem (who plays Ruben Cervantes, the APXGP team owner and Hayes’ friend and former Lotus teammate) that really sells it for me.

In most of the movie, whenever you see Pitt and Idris’ characters in the same scene, you can’t help but feel crowded out by the two men’s egos. It’s a classic case of old school versus the modern ways of endorsement deals and media savvy. With Bardem, the relationship is a counter to Idris’ unfettered youth as Bardem and Pitt quickly fall into the familiar gait of an old friendship.

What We Didn’t Like:

It’s a tad formulaic and it lags — just a little — at certain scenes… which is disappointing given how intense the racing scenes were. And Simone Ashley was cast in an undisclosed role in the movie. After filming, it was discovered that her scenes had been excised from the final cut. We have no idea what her role was in the film, but she would have been a welcome addition to the cast.

What to Look Out For:

Given that this is set in the real world of F1 racing, keep your eye out on the other drivers like Sergio Pérez, Max Verstappen and seven-time World Drivers’ Champion Lewis Hamilton (who also produced F1), among others.

F1 is now out in theatres.

This article was first seen on Esquire Singapore.

For more on the latest in art and culture reads, click here.

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Set against the backdrop of Tampa Bay’s sweeping skyline, 6526 Surfside Boulevard stands as one of Apollo Beach’s most distinctive waterfront estates. Purposefully designed for multi-generational living and high-end entertaining, this expansive custom residence offers over 12,700 square feet of living space and an additional 3,000 square feet of climate-controlled storage. From the moment you arrive, the gated entry, oversized paver driveway, and lush tropical landscaping set the tone.

Engineered for longevity, the hurricane-rated property is constructed at more than 12 feet of elevation level with a stem wall and solid block construction, offering both resilience and peace of mind. Smart features such as energy-efficient insulation, noise-reducing hurricane-rated windows and doors, fire-rated doors and a solar design ensure the home is future-proofed without compromising on comfort. With a full house solar system, a backup generator, Tesla solar shingles and a self-contained server, your home stays powered and connected during any weather event

A private dock with direct access to Tampa Bay offers effortless opportunities for boating, paddleboarding or fishing — often with dolphins and manatees making a peaceful appearance right in your backyard. Inside, the home opens up to unobstructed water views, with full retractable corner sliders on both levels framing sunrises over Tampa and sunsets toward St. Petersburg.

The interiors are designed to evolve with lifestyle needs. Seven full-sized bedrooms and eight bathrooms are complemented by flexible-use spaces that can function as media rooms, in-law suites, home offices or guest lounges.

A gourmet kitchen anchors the main floor, complete with gas cooktops, double ovens, butler’s pantry, wine fridge, subzero fridge and freezer and expansive island. A formal dining area with a built-in wine wall offers an elegant focal point for entertaining guests.

The primary suite, located on the main level, offers direct bay views, access to the pool and spa area alongside a serene private retreat complete with a sitting area and spa-style bath. Features include a jetted tub, multi-stream rain shower, dual vanities with integrated smart screens, and a walk-in wardrobe with centre island and a dedicated dressing area.

Two further bedrooms on the same level also feature ensuite bathrooms, while upstairs, additional bedrooms enjoy modern styling and access to wraparound balconies fitted with glass railings and dramatic transparent floor panels that overlook the outdoor living space below.

Adding to the home’s rare offering is a fully furnished interior curated with high-end Bentley Home pieces. The residence also includes Tesla charging stations, garage space for up to ten vehicles with a built-in workshop and storage area, and a private home theatre outfitted with recliner seating for ten, full surround sound, and a projection system. A wet bar and upper-level lounge provide additional space for entertaining, while laundry facilities are conveniently located on both floors.

The outdoor kitchen is designed for entertaining, complete with a retractable TV, gas grill, and custom lighting, seamlessly integrating indoor luxury with the refinement of an open-air sanctuary. Multiple balconies offer unobstructed views across Tampa Bay, adding to the property’s immersive connection with its surroundings.

Located within a close-knit waterfront enclave just minutes from beaches, schools, dining and commuter routes, 6526 Surfside Boulevard is more than a luxury residence. 6526 Surfside Boulevard offers a rare opportunity to own a Florida lifestyle property that is built to meet the evolving demands of luxury property owners. For those seeking a singular home in the Tampa area, this landmark estate offers an unmatched blend of size, sophistication and coastal serenity.

Located at 6526 Surfside Boulevard, this expansive estate features 7 bedrooms, 8 bathrooms, over 12,700 square feet of living space, more than 3,000 square feet of storage, a private dock, and direct access to Tampa Bay.

This custom home, completed in 2025 by Bistro Builders, is proudly presented by Shawna Calvert, Realtor® with Align Right Realty South Shore.

Explore more of the property here:

Watch the YouTube Short for a quick glimpse or view the Full YouTube Tour for a complete virtual walkthrough.

Take the 3D Tour on Zillow to explore the layout at your own pace.

For more real estate, home and interior reads, click here.

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What comes to mind when one thinks of rum? Caribbean pirate folklore, piña coladas by the beach or perhaps just a simple mixer for cocktails. Zacapa Rum breaks all the clichés. With the Singapore and Southeast Asian market in mind, Guatemala can feel like a rather elusive region — far less familiar to consumers than the storied whisky regions of Scotland or the vineyards of France. Its spirits are not nearly as celebrated here, making Zacapa’s rise in the luxury segment all the more compelling.

Against the spectacular backdrop of volcanic landscapes and dense cloud forests, LUXUO traced the story of Zacapa — a rum born from the “land of eternal spring” and nurtured at 2,300 metres above sea level. What was discovered was more than just a distillery; it was a testament to connoisseurship, where the craft of rum-making intertwines with Guatemalan culture — from the harvesting of sugarcane to the intricate, handwoven “petate” bands that adorn each bottle. LUXUO delves into an immersive exploration of one of the world’s most celebrated rums.

From Sugarcane to Spirit

Zacapa rum was born in the highlands of Guatemala, a region known for its rich volcanic soil and diverse climate — both crucial to producing exceptional sugarcane. The town of Zacapa, founded in 1876, lends its name to this premium rum. In fact, Zacapa Rum was founded in 1976 to commemorate the centennial of its namesake town. Unlike most rums distilled from molasses, Zacapa uses “virgin sugarcane honey” — the first press of sugarcane juice — which yields a rounder, more luxurious sweetness. This process starts with carefully selected sugarcane, grown at varying altitudes to capture the unique characteristics of each terroir.

One of the secrets to Zacapa’s complexity is its unique Solera ageing system, inspired by the method traditionally used for Spanish sherry. The rum is aged in a series of barrels previously used for American whiskey, Oloroso sherry and Pedro Ximénez wine, each contributing distinct notes to the final blend. This ageing takes place in the cool Guatemalan highlands, 2,300 metres above sea level (in a facility poetically named the “House Above the Clouds”) — where the cooler temperatures slow the ageing process, allowing the rum to develop deeper, more nuanced flavours. As master blender Lorena Vasquez explains, the foundation of Zacapa’s distinct profile lies in this very terroir. This terroir — known as andosol — is incredibly rare, “making up only about two percent of the planet’s surface,” she notes. This unique soil composition gives their sugarcane a distinctive flavour that forms the backbone of Zacapa’s rums, setting them apart from competitors.

Each rum is aged through a curated sequence of casks — from ex-American whiskey barrels to Oloroso and Pedro Ximénez sherry casks. For the XO, this journey culminates in French Cognac barrels, while the Edición Negra finishes in double-charred wood, amplifying its bold, smoky character. When the barrel is charred, the intense heat causes the wood to crack, creating a network of tiny fissures on the inside. These cracks are more than just a surface effect, but they also expose the deeper, porous layers of the oak — allowing the rum to penetrate further into the wood. This is the moment in which the spirit can interact with the wood’s natural sugars, tannins and complex organic compounds, absorbing the unique flavours that define its character. In this sense, the charring process is not just about creating a smokey profile; it is about unlocking the “soul of the wood”, creating a more intimate exchange between spirit and barrel.

However, creating a world-class rum is more than just mastering the science of fermentation and ageing — it is also about storytelling. As Vasquez points out, one of the biggest challenges for Zacapa is simply awareness. “Many people around the world still don’t know where Guatemala is, let alone that it produces one of the world’s finest rums,” she explains. This also presents a unique opportunity. For Zacapa, each bottle is not just a spirit, but a cultural ambassador — carrying the flavours and history of Guatemala to a global audience.

When asked how she would introduce Zacapa to someone trying it for the first time, Vasquez describes it as “incredibly approachable and friendly, yet deeply complex.” It is a spirit that reveals itself slowly, with each sip unlocking new layers of flavour. “It’s almost like having a conversation with the spirit itself — each sip revealing something new,” she adds, capturing the essence of what makes Zacapa a favourite among connoisseurs.

The Art of Rum Tasting and Appreciation

Upon arrival in Guatemala City, the adventure began at the historic Hotel Museo Casa Santo Domingo of the charming colonial enclave of Antigua Guatemala. Nestled within ancient stone walls and surrounded by lush gardens, this five-star boutique hotel offered an immersive introduction to Guatemalan culture and artistry, setting the stage for the days ahead. The following morning, the experience took a deeper turn with a participation in a masterclass on Zacapa’s rum-making process. Here, LUXUO had the rare opportunity to craft personalised blends, gaining a firsthand appreciation for the intricate balance of flavours that defines the beloved spirit. This was followed by an intimate tasting at Clio’s, which highlighted the depth and diversity of Zacapa’s portfolio, revealing the artistry behind each bottle.

When tasting Zacapa, it is important to appreciate the layers of flavour that emerge over time. Start by swirling the glass gently to release the aromas — one will notice hints of caramel, vanilla, cocoa, dried fruit and toasted nuts. The first sip introduces a rich, complex taste with notes of spice, oak and dark chocolate, balanced by a long, smooth finish. To fully appreciate the spirit, try pairing it with dark chocolate, dried fruits or even a touch of truffle — combinations that complement the rum’s depth and character.

Zacapa’s flagship expressions — particularly the Zacapa XO — unfold on the palate like a slow-burning symphony. It begins with a velvety layer of toasted toffee, honeycomb and dried apricot. As the spirit lingers, deeper notes of roasted hazelnuts and cinnamon bark emerge, interlaced with a trace of charred oak. As the molasses softens and evolves, a final movement of dark cacao, orange zest and the faintest whisper of tobacco leaf leaves a lasting impression. Interestingly, some Zacapa rums also exhibit an umami quality, a savoury note often found in foods like truffles, soy sauce or aged cheeses. This adds a surprising depth, making it a fascinating choice for experimental pairings.

While Zacapa is crafted to be savoured neat, its layered complexity also lends itself beautifully to a range of mixology. The rich notes of toffee, dried fruits and spice bring depth to spirit-forward cocktails like an Old Fashioned or a Manhattan, where Zacapa XO’s dark chocolate, orange zest and tobacco undertones echo the warmth of bitters and citrus peels. In fruit-driven cocktails, such as a Mai Tai or a rum-based Negroni twist, the dried apricot, honeycomb and molasses in Zacapa No. 23 complement tropical ingredients like pineapple, lime, or passionfruit, adding a balanced, velvety finish. Even in dessert-inspired drinks, the rum’s caramel, cocoa and subtle smoky notes enhance pairings with coffee liqueur, fig syrup or spiced infusions. Whether neat, on the rocks, or shaken into a cocktail, Zacapa’s unique flavour profile allows for a dynamic drinking experience.

Bringing Guatemalan Craft to the World

LUXUO journeyed above the clouds for a cultural immersion at Finca El Tempixque, exploring the intricate world of Guatemalan coffee and rare orchids. As the day drew to a close, LUXUO connected with the women artisans responsible for weaving the iconic petate bands that adorn each Zacapa bottle, offering a poignant reminder of the human stories behind the brand. The trip culminated in the immersive “Sip of Wonder dinner”, a sensory celebration of Zacapa’s charm and a lasting appreciation for the rich cultural tapestry of Guatemala. From the volcanic soils of Guatemala to the artful hands behind its weaving traditions, LUXUO delves into the story of Zacapa Rum and how the brand stands as a testament to true alcohol connoisseurship.

Zacapa is also on a mission to redefine what rum can be in the global luxury market. Vasquez is quick to challenge the misconception that rum is just for cocktails or casual occasions. “Many people still think of rum as just a base for cocktails or a party drink, but Zacapa is crafted to be sipped and savoured, much like a fine whisky or cognac,” she says. By highlighting exactly what goes into each bottle and the process behind it, Zacapa is shifting perceptions — positioning itself as a spirit that stands alongside the finest aged liquors in the world.

While Zacapa’s roots run deep in Guatemala, the brand has set its sights on global recognition, particularly in the luxury markets of Asia. “Asia is a key focus for Zacapa’s growth, as the region has a vibrant, evolving luxury market,” Vasquez explains. “People here appreciate luxury and the art of celebration. They want the best of everything, including fine spirits and Zacapa fits into that narrative perfectly,” she says. With Asia emerging as a critical growth market for the brand, Zacapa is well-positioned to resonate with discerning luxury spirit consumers who seek to align their preferences with a brand that has both artisanal heritage and provenance.

As the brand looks to the future, Vasquez envisions a world where Zacapa continues to lead in premium rum, not just in terms of flavour but also in its cultural impact. “I hope Zacapa continues to lead the way in premium rum, not just in terms of flavour, but in how we engage with our communities and contribute to sustainability,” she says. “We want to be part of a meaningful global conversation — one that celebrates the artistry of rum-making”.

Master Blender Lorena Vásquez, the visionary and expert behind Ron Zacapa

Zacapa continues to expand its reach beyond the Guatemalan highlands while remaining deeply committed to its roots. For Vasquez, this means more than just creating a premium spirit but also about sharing a piece of Guatemala with the world. “Zacapa isn’t just about the past — it is about honouring tradition while pushing boundaries,” she reflects. “From the harvest to the bottle, every element reflects our commitment to the culture of Guatemala. We see our rum as a symbol of the country’s spirit and resilience”.

As Zacapa continues to push the boundaries of rum-making, it remains deeply rooted in the culture and traditions of Guatemala, while positioning itself as a leader in the premium spirits market.

For more information on where to purchase, head to the official website: zacaparum.com or visit Zacapa’s social media here.

For more on the latest in alcohol and luxury spirits stories, click here.

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On 23 May 2025, Hermès unveiled its latest artist windows at the Liat Towers boutique. “Three Columns” is conceived by Seoul-based artist Jimin Chae, whose works blur the lines between fantasy and reality through two-dimensional landscape paintings featuring disparate and often curious elements. You’d see a traffic cone seemingly floating mid-air in one, and animals positioned as though they’ve chanced upon a strange scene in others.

While Chae’s works look incredibly crisp and almost print-like, they’re actually painted by hand — as we discovered through an art workshop led by the artist himself. The fact alone makes him the perfect collaborator in line with Hermès’ working theme for the year, Drawn to Craft.

We chat with Chae to find out more about his artistic process, how he approached his second collaboration with Hermès, and if the inclusion of horses and the use of a distinct Hermès orange was him manifesting the opportunity to work with the Maison one day.

Firstly, thank you for the very insightful workshop. You seem very comfortable teaching, and as I understand, you also do teach at an art school. Was teaching art something that you thought you’d do? How did that come about?

JIMIN CHAE (JC): I have been teaching students at art academies since my early twenties. For art majors, it was one of the most accessible part-time jobs that allowed us to make use of our skills, and I naturally began this work upon the recommendation of my mentor. Over time, I eventually came to teach at Yewon School, a middle school specialised in the arts. Now, I approach this role with a strong sense of responsibility, aiming to instil the right mindset and attitude in students who are just beginning to pursue the arts as their chosen field.

“Three Columns” by Jimin Chae deliberately blurs the lines between fantasy and reality.
(HERMÈS)

How did you come to develop your art style?

JC: In my late twenties, after graduating from university and beginning my journey as an artist, I remember striving to express the visual tension and coexistence of “flatness” and “spatiality” within a single canvas. In the process of constructing an imaginary space born from the artist’s imagination on the materially flat, white surface of the canvas, I neither chose one attribute over the other nor sought to create visual confusion. Instead, I aimed to let the two qualities coexist in an ambiguous relationship within the same frame. This pursuit of the vague boundary between two coexisting elements has become central to my artistic approach.

In my more recent work, I have extended this exploration beyond flatness and space to include the ambiguous boundaries between reality and unreality, nature and artificiality.

Your work involves creating a scene out of disparate elements, almost like a collage, and you paint them at times referencing images that you took yourself. What goes behind conceptualising each work? Is there a specific idea before you even begin putting the elements together?

JC: My work often begins by constructing incomplete or imperfect structures within an indeterminate space that resembles a natural field. In this process, I use simple 3D software to control light, shadow, and vanishing points, composing a highly calculated and artificially drafted scene. Within this scene, I incorporate objects, figures, and animals—mostly drawn from photographs I’ve taken myself—arranging them in a way that appears harmonious yet subtly unnatural, adding a sense of ambiguous relationships to the composition.

Only after going through these work-planning processes, I move on to painting. As you might sense from this description, for me, composition is not an emotional process — it is a highly rational one that focuses on the formal qualities of the subject. More specifically, I construct the image based on visual elements such as shape, color, directionality, and movement.

The colours that you use are often vivid and rich — they’re very rarely moody or even sombre. Why is that?

JC: As mentioned, the process of composition in my work involves very little emotional input. To be honest, choosing colours is still more difficult for me than working with form. However, when the colours appear vivid and rich, it is usually because I am using them intentionally—to emphasise the presence of certain structures or objects placed within the scene. Even now, I rarely feel complete confidence when it comes to colour; in fact, it remains an experimental aspect of my practice.

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A post shared by Jimin Chae (@jiminchae1121)

You first worked with Hermès for the Maison’s windows in Shanghai in 2023. But even before that, you’ve utilised the Hermès orange (and horses too) in quite a number of your previous works. Is there a reason why you gravitate towards that shade of orange?

JC: In the early stages of my practice, the sky served as a key motif through which I explored the tension and coexistence between flatness and spatiality. As a result, many of my early works—and even some recent ones—feature the sky or flat images symbolizing the sky, making blue tones, especially sky blue, dominant in my palette. Over time, as I began to reflect more on the use of diverse colors, I looked for a tone that would contrast with the blue hues I frequently used. That led me to orange. To this day, sky blue and orange remain the colours I feel most confident using in my work.

Before discussing horses, it’s more important to explain why I started painting animals in the first place. In my previous paintings, the use of human figures was quite cold and rational. Within the constructed scenes, the figures would face in different directions, never meeting the viewer’s gaze—instead, they turned away or had their faces obscured. This was a deliberate device to prevent any one figure from being perceived as the “main character.” The characters were removed, leaving only their gestures behind.

However, I began to feel that this approach was making the already cool and distant atmosphere of the painting feel even more detached from the viewer. That’s when I first began painting wild animals such as mallards, horses, and reindeer. In my works, animals face the viewer and seem to acknowledge their presence. Compared to human figures, animals are inherently more emotional subjects. This, of course, is another example of the work attitude of pursuing the “ambiguous boundary” I mentioned earlier.

(HERMÈS)

“Three Columns” is your latest work for Hermès. What have you learnt from the first collaboration that you’ve perhaps put into practice for this particular installation?

JC: To put it simply, I approached the given space at the Liat Tower with the mindset: “Let the flatness remain even flatter, and the three-dimensional even more spatial.” This attempt to create a more active and extreme visual contrast stemmed from what I learned during my first collaboration in Shanghai. Ultimately, it all comes down to the same question I’ve always grappled with in my painting practice: how can the themes I constantly explore on a flat surface be translated and visualized within a real, physical space?

You’ve mentioned that a lot of the elements in “Three Columns” represent how Hermès continues to challenge tradition with modernity. What was the conceptualisation process like for “Three Columns”?

JC: I remember that when I was first approached for the collaboration, I was given a presentation on how the brand reinterprets and utilizes its traditions in a contemporary context. What left a particularly strong impression on me was the story of how Robert Dumas found inspiration in an anchor chain he came across by the seaside—an observation that eventually led to the design of Chaîne d’ancre. What struck me even more was how this single motif has undergone countless reinterpretations and variations over the past 80 years, continuing to be reinvented in diverse materials and forms. This ability to recognize design value in something seemingly trivial, to create from it, and to keep that legacy alive through constant modern reinterpretation—that, to me, defines the identity of this brand.

I don’t usually approach the canvas with a grand narrative or predetermined meaning. My initial idea was simple: to sketch out the cube-like space of the Liat Tower’s windows in my sketchbook, and loosely draw within it while staying true to the theme Drawn to Craft. I drew three diagonal lines falling across the space, which became the “Three Columns”. These slanted lines eventually took the form of classical Greek columns — not as an intentional symbol or mythological reference, but rather as a way to introduce a formal tension into the space.

However, as the work progressed, these columns began to take on new meanings. They started to suggest a flow of time—a structure that hints at tradition, the present, and the future as possibility. The objects arranged around the columns both reference the brand’s heritage and contribute to a subtly fantastical atmosphere, blurring the boundary between reality and imagination.

Modern imaginings built upon the solid structure of tradition—that, to me, reflects the creative spirit that Hermès consistently pursues. “Three Columns” is my personal interpretation and expression of that philosophy.

There’s a lot of play between reality and fantasy in “Three Columns” and I think it echoes a lot about how fashion and luxury are viewed as well. What is perhaps an exciting part about working with a luxury maison like Hermès?

JC: That’s an interesting point. If a luxury brand like Hermès seeks to collaborate with a contemporary artist like myself, it’s likely because they expect me to approach the empty space of the window in the same way I approach a blank canvas—through the lens of my own process and perspective.

While fashion brands and contemporary artists may not be far apart within the broad realm of “art,” their fundamental purposes are quite different. Fashion, at its core, is built upon functionality and beauty for the wearer. Art, on the other hand, often leans toward leaving room for ambiguity—for emotions and thoughts that resist immediate interpretation. That’s why I find the tension and subtle dissonance that arise when these two worlds—with such different directionalities—come together so fascinating. 

You seem very open to others’ creative ideas and artistry. But how do you handle criticisms of your own work? 

JC: Exactly. Even within the worlds I create on canvas, I rarely construct a specific narrative—instead, I leave space for the viewer’s imagination to unfold. My pursuit of ambiguous boundaries may, to some, seem like an evasive or passive stance. I understand that such an approach could be open to criticism, and I remain receptive to those perspectives with humility. However, despite that openness, I hold a strong conviction and a certain stubbornness when it comes to the methods and attitudes I’ve developed over many years of evolving practice.

What do you hope people will feel or think about when they see “Three Columns”?

JC: Like all of my previous works, this piece was meant not to convey a specific narrative, but to remain an open space filled with diverse meanings shaped by the viewer’s interpretation and experience. I hope that when people encounter “Three Columns”, they each bring their own stories to mind, pausing for a moment to reflect or feel emotions. I don’t believe that a clear, definitive answer from the artist is necessary in this process. On the contrary, I hope the work becomes a place where multiple interpretations and responses coexist, allowing each person to discover their own unique meaning within it.

What are you working on next?

JC: Recently, including my last two collaborations, I have been expanding my practice into installation work. However, I hold a critical view of myself in that I haven’t yet found a compelling reason why the concerns I explored in flat painting must necessarily continue in spatial form. Because of this, it could be said that my installation works thus far have been driven more by the “will” to attempt than by a clearly defined “reason.” Although I don’t yet have a concrete plan for a specific project, I intend to first deeply reflect on the necessity for my paintings to evolve into installations, seeking a meaningful justification for this transition.

Jimin Chae‘s artist windows, “Three Columns”, are on view now until 20 August 2025 at the Hermès Liat Towers boutique. This interview has been edited for length and clarity.

This article was first seen on Esquire Singapore.

For more on the latest in art and culture reads, click here.

The post Jimin Chae Interprets the Hermès Window with “Three Columns” appeared first on LUXUO.

10-Word Review

A testimony of life under brutal occupation and Palestinian resilience.

The Skinny

Basel Adra is a young Palestinian activist and filmmaker who has, for as long as he can remember, been taught to film the atrocities committed against him, his family, and his land. Following in the footsteps of his father — an activist who has led protests against the Israeli occupation since his 20s—No Other Land is Basel’s attempt at picking up the baton passed down from his father, an inheritance not through ceremony, but necessity.

He documents life in Masafer Yatta, a village that has, in recent years, been swallowed whole by the Israeli military and turned into a training ground. It means it is now illegal for Palestinians to live there. Illegal to rebuild a wall or a roof. Illegal to exist — even if their ancestral roots in the area stretch back to the 1830s.

Alongside Basel is Yuval Abraham, an Israeli journalist with whom he develops a strange, special bond. Yuval wants to help the Palestinians, and he is sincere in his intentions. But sincerity is a fragile thing in the face of rifles and bulldozers. He is inevitably met with hesitation and doubt in Basel’s community. Together, they film the slow erasure of a people — houses reduced to rubble, families scattered like dust.

This was life in Palestine before 7 October.

Here Be Spoilers…

What we like:

The heart of the film lies in the way Basel and Yuval move around each other. It’s tempting to watch this and claim, “Look, an Israeli and a Palestinian can be friends. Peace can work.” But that’s too easy. No Other Land doesn’t offer easy answers. What shines here is that Yuval doesn’t represent Israel nor Palestine. He stands as a witness that, in turn, stands for the rest of us—the rest of the world.

Their conversations are frequent, but they often fall short. There are many blank spaces, many questions, and very few answers. There’s this scene: they’re in a car, and Yuval expresses disappointment that one of his articles hasn’t gained much traction online. Basel chuckles in response, but not cruelly. He gently ribs his friend for his impatience and his desire to effect change immediately. It’s a war they’ve been fighting for decades, and change takes time, he reminds.

That gnaw between urgency and helplessness is familiar. How do you find the strength to stay calm when your blood is buzzing? How do you stay patient when children are being murdered by the hour? When an entire people are being erased daily?

There is also an invisible wall that stands between them—no one points to it or names it, but it’s there. Yuval visits often, sits with Basel’s family, shares meals and helps film the documentary. We’re led to believe that he spends a significant amount of time at Masafer Yatta. He gets to pretend momentarily that he is one of them, witnessing the brutality inflicted upon Basel’s people—that is, until he decides to go home.  

The first time Yuval says he’s leaving, Basel nods. The second time, Basel says nothing. That day, he’d just witnessed another fresh demolition and barely escaped a brutal attack by the Israeli military. And now Yuval reminds him, without meaning to, of the freedom he has that Basel does not.

But can we really blame him? Yuval, I mean. Because don’t we do the same? We show up for Palestinians when we have the mental bandwidth to do so. Donate when we feel generous. We care when we choose to, and step away when it’s too much. In this way, Yuval becomes a mirror to us. It’s uncomfortable and he knows it. But in knowing it, he does the only thing he can: which is to leave. Basel returns to his lonesome. This time, he is truly alone — and we feel it.

Again and again, we see homes collapse like a house of cards, as if their walls hadn’t once witnessed the pain, laughter, and dreams of a family. As the walls fall, we hear screaming, begging, and clenched fists instead. When the soldiers leave, the dust settles, and the villagers are left to pick up the pieces of what’s left.

Basel and Yuval are vulnerable with one another. We watch the crew interview a mother whose son had just been paralysed by a bullet while defending the family’s generators. Then we’re thrown back into the dust once again. The soldiers return, and another demolition occurs. A few days later, it’s settlers instead, evicting Palestinians with AR-15s slung across their shoulders.

It’s draining, and painfully so, to witness the villagers suffer over and over again. But that’s the point of the film—it’s not meant to entertain or move the viewers through a neat arc. It’s an authentic documentation of life under occupation. It’s meant to trap you in the loop and make you feel how endless it all is. The film’s 95-minute runtime feels double that. You’re forced to live inside it, whether you like it or not.

A mother stares out from the mouth of a cave at the land before her. A black balloon drifts towards the clear sky. A boy stands on the rubble that was someone’s home. Here and there, No Other Land gives us moments to breathe with extraordinary shots. But they’re not hopeful, it’s just what the truth looks like.

From a filmmaking perspective, it’s use of first-person perspective is vital—not only because it draws the audience emotionally closer to the events of the documentary—the helplessness, the frustration, the suffering—but because it is the only authentic way to portray life under occupation.

The camera often lowers to the children and locks us into their viewpoint of the demolition of Masafer Yatta. Through their eyes, we get the sense that the formative memories they are currently experiencing mirror those Basel described from his own childhood.

In this sense, the children become a bridge between the what-will-be to the past, serving as proof of the suffering Palestinians have endured for decades. It goes back to Basel’s father, his father before him, and so forth.

But it is not just trauma that is inherited—it’s the sense of duty that bleeds from father to son. In the early 2000s, Basel’s parents managed to build a school in the village against all odds. Later, they secured a visit from Tony Blair, which prevented the school from being marked for demolition for years.

It’s things like this that cause Basel to fear the weight of this responsibility—both his father’s activist stamina and his own obligation to continue telling the story of his community’s erasure. He fears bringing a child into a world that so deeply detests his existence.

And yet, years later, at the Oscars, we watch him stand tall, accepting the award for Best Documentary. And during that speech, we learn Basel has a daughter now. Two months old.

It’s this, right here, that makes No Other Land so gripping and hollowing. It exists beyond the silver screen. The lives of those we see on screen are unfolding as we speak. Against every fear and doubt, Basel managed to succeed in sharing his story at the biggest stage. He’s even brought life into a world that tried to erase him. Basel—and the film, by extension—embodies the enduring spirit of the Palestinians.

But exposure comes with a cost. Hamdan Ballal, the film’s co-director—the man who stood behind Basel and Yuval during their Oscar acceptance speech—was attacked the same month by 15 Israeli settlers armed with knives, batons, and a rifle. He was assaulted on his own doorstep, sustaining injuries to his head and stomach, before being forcibly detained by Israeli forces.

It took a global campaign, initiated by his fellow co-directors of No Other Land, to secure his release. By the time he was freed, his shirt was soaked in blood and he could hardly walk. But the attack wasn’t just an attack on Ballal, it was an assault on creative freedom and the integrity of artistic expression. Knowing this gives the film another weight. You watch, knowing these people risked everything to make it.

Then there’s the issue of the film’s distribution. Even after winning an Oscar, the documentary is still unable to secure major distribution in the United States. Even in Singapore, where distribution rights remain unclear, screening was hard to find. I watched it in an industrial area—courtesy of The Arts and Civil Space — in a room no bigger than a classroom. A projector screen was rolled down. Ninety people sat shoulder to shoulder. In that moment, the simple act of watching No Other Land felt like a form of resistance.

What we didn’t like:

The IOF.

What to look out for:

Remind yourself—if you ever get the chance to watch it—that this is not history. This is the present. Now. This is happening. As you sit comfortably—whether in a cinema, at home, or in a crowded room of an industrial building—the people on screen are still living what you’re only watching, if not worse.

And they’ll be living it long after you leave.

No Other Land is now streaming online.

This article was first seen on Esquire Singapore.

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