SUCCESS

If it seems that Vietnam is still a blank spot on the map of Southeast Asia and surrounded by a somewhat mysterious dogma that yachting in the country is not possible or available, think again. There are about 200 registered yachts under the Vietnam flag and in the last 10 years, dozens of foreign-flagged yachts and superyachts have visited.

In addition, a large fleet of vessels offers day trips and mini cruises. Although not classified as yachts but as passenger or tourist boats, their purpose comes close to the definition of yachting.

The Ministry of Transport of Vietnam is rolling out a five-year ‘Yacht Management Project’ for yachting to become a signature tourism service by 2030. The objective of this pilot scheme, coordinated by the Vietnamese Maritime Administration, is to expand cooperation with international brands to supply and provide yachts and yachting services, with a focus on encouraging the private sector. Below are some of the key needs being officially examined, to help make this happen.

DEFINITIONS

The first step is to set the definition for yachts and yachting in the National Maritime Code. When I needed to register one of the first sailboats in Vietnam for my new charter business in 2009, a Corsair 750 Sprint trimaran, they asked what the purpose of this boat was going to be.

“Just to sail around Nha Trang Bay for fun,” was my answer. That appeared to be a problem, as “fun” was not on the list of possible purposes. As fishing or transporting cargo were not part of our operation plan, we settled on a passenger boat.

ESTABLISHING ZONES

The long coastline offers many benefits for the Vietnamese economy, but it also makes Vietnam vulnerable, so the navy, coastguard and immigration authority want to control territorial waters. Establishing zones for yachting activities will create clarity for all involved and make it easier to focus on developing yachting services and facilities.

I took a delegation of governmental and military officials on a survey trip to define the area in which I was allowed to sail. It was enjoyable – we did this on one of the Coast Guard patrol boats – but also a bit funny as we cruised to waypoints in the middle of the sea to confirm there were no objections to sail there.

MOORING AREAS

When I was project manager of Ana Marina, located in Nha Trang and the country’s first marina, there were no clear rules and regulations for marina design and construction. So, it was developed in accordance with international standards and that made it easier to get the required permits, although it took a long time.

It helped to put marina development on the radar of the authorities, with the result that berthing and mooring will also become regulated, which is expected to offer more opportunities rather than restrictions.

Building marinas and infrastructure for yachting is necessary for further realising its potential. The reason I became Area Director for Marinetek in Southeast Asia is to help build strong, safe and durable marinas.

REGULATORY FRAMEWORK

For yachts under the Vietnam flag, as well as those under foreign flags, operating requirements will contribute to the professionalisation of yachting operations and increase the standards and quality of services.

For our charter fleet, we bought a 36ft catamaran in Hong Kong in 2010 and sailed it to Vietnam under a Hong Kong flag. When we arrived in Vietnam and registered the boat there, I could no longer skipper so I often joined as a passenger to watch my Vietnamese captain operate the boat.

Luckily, we had a good team of smart young guys and girls who became capable sailors in a relatively short time, as we chartered over 300 days a year.

RESPONSIBLE YACHTING

This will probably become some sort of Code of Conduct for yacht owners, crew and passengers that is a helpful tool in a country where yachting does not have the same historical background as somewhere in Europe. It should lead to a safe, clean and pleasant environment, where everyone can enjoy yachting at its best in a unique yachting destination in Asia.

It has taken 15 years for this breakthrough in the development of yachting in Vietnam to finally happen after years of pioneering and challenging entrepreneurship in this sector.

Over the last few years, several professional yacht dealers and brokers have been established, more and bigger boats are being sold, more crew are being trained, and more mooring and berthing facilities are being built. Having a long-term vision for success makes a sustainable foundation for Vietnam to paint its contours on the map.

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RUURD VAN PUTTEN

Moving from the Netherlands to Vietnam in 2007, Van Putten has over 30 years of yachting and marina industry experience. A pioneer and entrepreneur in this emerging market, he founded the country’s first yacht sales, charter and management company and consultancy to provide expertise for marinas, yacht clubs and management. In 2021, he became Southeast Asia Area Director for Marinetek, a marina and floating solutions specialist.

This article was first seen on YachtStyle.com.

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From Paris to Provence, France’s most respected institutions are proving there’s far more to the country’s cultural canon than the Louvre. As 2025 unfolds, major museums and foundations across France are staging blockbuster exhibitions, immersive experiences and thoughtful retrospectives that span movements, centuries and continents. While the Louvre may be the most visited (largely due to the popularity of Leonardo da Vinci’s Mona Lisa, it is by no means the only venue shaping global discourse in art, history and design).

From the surreal installations of Ernesto Neto to the vivid works of David Hockney and the fashion-forward brilliance of Azzedine Alaïa and Thierry Mugler, this year’s line-up highlights the diversity and ambition of France’s art scene.

Grand Palais Éphémère, Paris

Reopened in 2024 after an ambitious four-year restoration, the Grand Palais in Paris stands as a reimagined cultural landmark. Originally built for the 1900 Exposition Universelle, the monument is renowned for its soaring glass roof and Beaux-Arts architecture. Today, it re-emerges as a dynamic public space, hosting world-class exhibitions, performances, and interdisciplinary events at the intersection of art, science and culture.

Address: 75008 Paris, France

Noteworthy Exhibition:

Niki de Saint Phalle, Jean Tinguely, Pontus Hulten

This landmark exhibition explores the dynamic creative relationship between artists Niki de Saint Phalle and Jean Tinguely, as seen through the visionary lens of curator and museum pioneer Pontus Hulten. More than a retrospective, the showcase captures the revolutionary spirit of a legendary artistic partnership, one grounded in rebellion and collaboration.

As one of the most celebrated couples in contemporary art, Saint Phalle and Tinguely pushed the boundaries of artistic expression with kinetic sculptures, large-scale installations and participatory works that challenged traditional museum formats. The exhibition also pays tribute to Hulten — the first director of the Centre Pompidou’s Musée National d’Art Moderne — who championed their work throughout his career.

Featuring key pieces from the Centre Pompidou’s collection alongside major international loans, the show reconstructs seminal moments such as the iconic Nana cathedral (1966) and Le Crocrodrome de Zig & Puce (1977). Curated by Sophie Duplaix and co-produced by the Centre Pompidou and the GrandPalaisRmn, the exhibition offers a playfully profound journey through the intersections of art and activism.

Click here to find out more.

Fondation Louis Vuitton, Paris

Opened in 2014 in Paris’ Bois de Boulogne and designed by Frank Gehry, the Fondation Louis Vuitton is a cultural institution dedicated to contemporary and modern art. Backed by the LVMH Group, the Fondation curates major retrospective showcases, cutting-edge exhibitions and interdisciplinary commissions across its 11 galleries. With a mission to support artistic dialogue and cultural exchange, it has become one of Europe’s most influential private art foundations.

Location: 8, Avenue du Mahatma GandhiBois de Boulogne, 75116 Paris

Noteworthy Ongoing Exhibition:

David Hockney 25

Held from 9 April to 31 August 2025, the exhibition spans over 70 years of David Hockney’s prolific output. This landmark retrospective is the largest ever dedicated to the artist — with over 400 works curated across 11 rooms. Personally overseen by Hockney himself, the exhibition traces his evolution from early British portraits to iconic Californian pool scenes and the sweeping landscapes of Yorkshire and Normandy.

Highlights include immersive digital works created on iPads, large-scale installations, rare self-portraits and a vibrant new series painted in London in 2023–2024. A section on Hockney’s opera set designs and his art-historical influences — from Van Gogh to Fra Angelico — showcases the breadth of his interdisciplinary curiosity.

Head to the official website for more information.

Château La Coste – Le Puy-Sainte-Réparade (near Aix-en-Provence)

Just 20 minutes from Aix-en-Provence, Château La Coste is a remarkable 200-hectare estate that combines contemporary art, architecture and winemaking. Set amidst vineyards that date back to the Romans, the estate is dotted with cypresses, stone pines, olive trees and oaks — a quintessential Provençal landscape. Among its most striking features is the final architectural project by Oscar Niemeyer: a sleek pavilion nestled among Vermentino vines. The structure houses a 380m² exhibition space and a 140m² cylindrical auditorium, with Niemeyer’s signature curved lines and glazed façades that allow the surrounding vineyard to visually “spill” into the building. A shallow reflecting pool at the entrance plays with light and shadow, echoing the estate’s quiet dialogue between nature and design.

Location: 2750 Route De La Cride, 13610 Le Puy-Sainte-Réparade, France

Noteworthy Exhibition:

Jean Pigozzi – Autoportrait, 11 July – 7 September 2025

This summer, Château La Coste unveils Autoportrait, a solo exhibition dedicated to Franco-Italian photographer Jean Pigozzi — a singular voice in contemporary visual culture. Spanning over sixty years of creative exploration, the exhibition presents a selection of Pigozzi’s self-portraits alongside — for the first time — original contact sheets from his archive.

Eschewing perfection in favour of introspection, Pigozzi’s work offers an unfiltered look at themes of identity, time and self-representation in a world increasingly shaped by digital imagery. Long before the advent of social media, his lens turned inward with wit, candour and a keen sense of cultural observation. Presented in the Old Wine Storehouse, Autoportrait offers a rare glimpse into the personal and artistic evolution of a photographer who has consistently captured — and questioned — the act of seeing oneself.

Click here to find out more

Azzedine Alaïa Foundation

Housed in the late designer’s historic Marais residence and studio, the Fondation Azzedine Alaïa preserves and presents the rich creative legacy of one of fashion’s most revered couturiers. Beyond Alaïa’s own creations, the foundation showcases rotating exhibitions drawing from his vast personal collection of art, design and photography. The space also includes a fashion-focused bookshop and a café, echoing the designer’s famed hospitality. With over 35,000 archived pieces and partnerships with cultural institutions and fashion schools, the foundation champions education and multidisciplinary dialogue at the heart of Paris.

Location: 18 rue de la Verrerie – 75004 Paris

Noteworthy Exhibition:

Azzedine Alaïa, Thierry Mugler Exhibition

An artistic dialogue between two visionary designers, Azzedine Alaïa and Thierry Mugler celebrates the sculptural and audacious fashion that defined their era. Curated by Olivier Saillard, the exhibition traces the creative affinities between Alaïa and Mugler throughout the 1980s and 1990s — decades that saw their work reshape silhouettes and redefine the boundaries of haute couture and ready-to-wear. Through a curated selection of renowned pieces, the exhibition explores their mutual obsession with the body, volume and materials — merging architectural precision with a radical sense of sensuality. The exhibition offers insight into how these two design legends left a lasting impact on the fashion industry and continue to inspire new generations of fashion creatives.

Click here for more information.

Fondation Maeght – Saint-Paul-de-Vence (French Riviera)

A pioneering cultural institution on the French Riviera, the Fondation Maeght was founded in 1964 by art dealers Aimé and Marguerite Maeght with the support of artists like Georges Braque, Joan Miró and Alberto Giacometti. Designed by Catalan architect Josep Lluís Sert, the site fuses modernist architecture with Mediterranean landscape in a blend of art, nature and light. Set amid sculpture gardens and mosaics by Chagall, Calder and Miró, the Fondation houses one of Europe’s most significant collections of 20th-century modern and contemporary art. It was France’s first private foundation for the arts and remains a vital hub for exhibitions, performances and artist residencies. Just 25 km from Nice, it continues to be a landmark for cultural innovation and creative exchange. The sculpture garden and permanent collection are a must-see for art lovers along the Riviera.

Location: 623, Chemin des Gardettes, 06570 Saint-Paul de Vence, France

Ongoing Exhibition:

André Ostier

Fondation Maeght presents a tribute to André Ostier (1906–1994), the discreet yet pivotal photographer who captured the inner world of 20th-century art. Featuring 32 silver gelatin prints, the exhibition highlights Ostier’s deep personal connections with major artists of his time — including Giacometti, Miró, Braque and Calder — many of whom were closely tied to the Maeght family and their gallery.

Ostier’s lens reveals a rare intimacy that includes artists at work, private studio moments and the vibrant creative life surrounding the Maeghts. Revered for his elegant, quiet style, Ostier was also a trusted friend to cultural figures like Christian Dior, Leonor Fini and Marc Chagall. As Pierre Bergé once described him, he was “distant, discreet and precise.” The exhibition — made possible through the Association des Amis d’André Ostier — is a poetic visual record of mid-century artistic circles.

Click here to find out more.

Bassins des Lumières, Bordeaux

Housed within a vast former WWII submarine base, Bassins des Lumières is the world’s largest digital art center. Its four immense 110 m-long, 12 m-deep concrete basins serve as reflective canvases for large-scale immersive exhibitions, featuring 90 projectors and 80 speakers across 12,000 m of surface. Culturespaces has reimagined this industrial monument into a cutting-edge cultural landmark, where projections envelop walls, ceilings and water in synchronised visuals and sound. Visitors explore via elevated walkways, fully immersed in a sensory environment where art history and high-tech innovation collide. Alongside its main digital showcases, the site includes “Le Cube” (220 m², 8 m high) for contemporary immersive art and “La Citerne” (155 m²) linking content to source museums. All year long, the center hosts rotating programs featuring both historic masters and digital creations.

Location: Imp. Brown de Colstoun, 33300 Bordeaux, France

Ongoing Exhibitions:

“The Little Prince“

Step into the dreamlike world of The Little Prince in this immersive audio-visual experience at Bordeaux’s Bassins des Lumières. Set within the vast chambers of a former submarine base, the exhibition brings Antoine de Saint-Exupéry’s beloved tale to life through animated watercolours, ambient music and poetic narration. Visitors journey through glowing deserts, asteroid B612 and encounters with the fox and the snake, all rendered in bursts of colour and stardust. The result is a deeply emotional and sensory exploration of this timeless fable — ideal for families, solo travellers or anyone seeking a moment of wonder.

Click here to explore the latest exhibitions.

Palais de Tokyo

The Palais de Tokyo is Europe’s largest centre for contemporary creation — a bold, ever-evolving space dedicated to the art of today. Situated in Paris, it stands as a laboratory for emerging voices, avant-garde experiments and cross-disciplinary practices. Effervescent and audacious, the Palais is depicted as “a living, breathing platform” where artists are invited to create and respond to the world in real time and engage with a public “hungry for the unexpected”.

Since opening in 2002, it has embraced an ever-changing programme of bold, non-permanent exhibitions — from large-scale installations to cutting-edge video and performance art. With no permanent collection, the space constantly reinvents itself, making room for emerging and established voices alike. Its unique layout allows for site-specific works that play with scale, light and architecture. The venue also draws a stylish, eclectic crowd thanks to its buzzing restaurants, late-night events and panoramic views of the Eiffel Tower. Highlights include a standout concept store and cultural spaces like Yoyo nightclub and the fashion-forward restaurants Monsieur Bleu and Bambini.

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Location: 13 Av. du Président Wilson, 75116 Paris, France

Ongoing Exhibitions:

Chambre des échos: Elia David, Your Canine Portraitist

In playful response to Disco, Vivian Suter’s exhibition is named after her dog. The Palais de Tokyo invites painter and professional canine portraitist Elia David into the Chambre des échos. Echoing the commissioned portrait traditions of 19th-century artists, David turns his craft into both economic necessity and artistic statement — offering finely rendered pet portraits that explore the emotional bonds between animals and their owners. These works challenge the divide between so-called “high art” and sentimental commissions. His temporary studio doubles as a promotional showcase and participatory space, inviting visitors to collaborate on custom portraits of their dogs — and yes, cats, rabbits and even gerbils too.

Set in a free-access, community-driven space within the Palais, the exhibition playfully examines artistic labour, intimacy and the cultural legitimacy of everyday subjects.

Click here to explore more of the latest exhibitions.

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Cinematic Comeback

After nearly two decades, the beloved 2006 comedy-drama The Devil Wears Prada is set to return with a sequel in 2026. Disney is currently developing the follow-up movie, with original screenwriter Aline Brosh McKenna and director David Frankel on board. The first film followed aspiring journalist Andrea “Andy” Sachs — played by Anne Hathaway — who unexpectedly lands a job at the fictional luxury fashion magazine Runway. Despite her lack of industry knowledge, Andy chooses to endure the relentless demands of editor-in-chief Miranda Priestly (Meryl Streep) and her sharp-tongued assistant Emily Charlton (Emily Blunt). As Andy transforms — in both style and commitment — the job begins to take a toll on her personal life.

The original Devil Wears Prada film was adapted from Lauren Weisberger’s bestselling novel, which was widely believed to draw from her real-life experiences working under Anna Wintour at Vogue. However, the book faced sharp criticism from within the fashion industry — Vogue editor Kate Betts notably wrote in The New York Times in April 2003, “Andrea is just as much a snob as the snobs she is thrown in with.” The novel was seen by many as a thinly veiled portrayal of Weisberger herself as Andrea “Andy” Sachs, and Anna Wintour as the formidable Miranda Priestly. Despite its critics, the film was a box office triumph, grossing USD 326 million worldwide and securing its legacy as a cultural classic — one that resonated far beyond fashion circles.

Beyond the sartorial standouts, the film resonated for its portrayal of self-image, professional sacrifice and the tension between ambition and authenticity — striking a cultural chord with audiences across a range of professional backgrounds.

The Sequel

The sequel will not follow the follow-up novel, which was said to pick up ten years after Andy Sachs’ original foray into the fashion world, with the launch of a luxury bridal magazine alongside Emily Charlton. Instead, the film’s sequel is set to take a fresh direction around editor-in-chief Miranda Priestly as she grapples with her role in a rapidly changing media industry and the decline of traditional print publishing. 

Fuelled by its enduring popularity, the long-awaited sequel will see the return of several beloved characters to the silver screen. Meryl Streep reprises her Oscar-nominated role as Miranda Priestly, the formidable editor-in-chief of Runway magazine, complete with the sharp wit and steely expressions that became hallmarks of the character.

Anne Hathaway is also set to return as Andy Sachs, despite previously expressing doubts about a sequel in a 2024 interview. She reflected on how the digital age has reshaped fashion and media, remarking, “It would just be very different.” The original 2006 film captured a pre-digital era when print magazines still reigned supreme, before the industry’s full pivot to digital platforms. “Maybe me, Stanley, Emily, Meryl, Dave Frankel, Patricia Field… we should just all do something else together. That’d be fun,” she mused.

Emily Blunt — who played Andy’s sharp-tongued colleague Emily Charlton — coyly teased her involvement when asked about production timing, offering only the word “July.” Meanwhile, Stanley Tucci — beloved for his portrayal of Nigel Kipling, Andy’s onscreen mentor and stylistic guide — has not yet confirmed his return, though fan excitement around his potential appearance remains high.

The Rumoured Plot

While official plot details remain under wraps, early reports suggest the sequel will explore Miranda Priestly’s struggle amid the decline of traditional magazine publishing. Meryl Streep’s character is said to face off against Emily Charlton — played by Emily Blunt — who has ascended to a powerful role at a luxury advertising firm, reversing the hierarchical dynamic that once defined their relationship.

Whether the sequel can replicate the original film’s cultural impact remains uncertain. The 2006 release, though exaggerated for effect, cleverly reinforced — and at times skewered — prevailing stereotypes of the fashion industry, offering a sharply satirical yet recognisable glimpse into its cutthroat work culture.

In contrast, the sequel appears poised to lean more heavily into fictional narrative, potentially moving away from the grounded realism that gave the original its resonance. Much speculation surrounds how audiences will respond to the rumoured shift in power between Miranda and Emily. While such a development could reflect a natural evolution in character arcs, it may not deliver the same compelling tension that defined the original. After all, much of the first film’s enduring appeal hinged on Streep’s commanding performance as Miranda — the titular “devil” — whose icy authority anchored the story. Elevating Emily to the top could risk diluting that dynamic, leaving audiences to wonder whether the magic can strike twice.

Read More: Chanel Helps To Bring Singapore Filmmaker Eric Khoo’s ‘Spirit World’ To Life

Fashion insiders — particularly those in media and publishing — will certainly be intrigued to see how the sequel navigates the evolving relationship between editorial and brand advertising. One of the most prominent scenes from the original film — in which Miranda Priestly effortlessly deconstructs the significance of two seemingly identical belts while Andy laughs in naïveté — remains a masterclass in asserting authority and industry insight. It also underscores Miranda’s ability to command the room at will, a reflection of the editorial powerhouses that once defined the pre-digital media era.

Miranda’s portrayal of an editor-in-chief in 2006 reflected an era when editors exercised full creative control — curating fashion pages and editorial shoots based largely on personal vision and directional taste. In contrast, today’s landscape is increasingly dictated by brand influence, with commercial partners often holding the final say over what makes it to print — and what ends up shelved.

This shift mirrors broader changes in the industry. Notably, Anna Wintour recently announced her departure as editor-in-chief of Vogue US after 37 years, choosing instead to focus on her role as chief content officer across Condé Nast. Her transition underscores how the editor-in-chief position — once the highest creative authority — has evolved into a more complex, corporate-facing role shaped by brand strategy and cross-platform priorities.

The Real-Life Links

Though the sequel is not officially tied to real-world events, its storyline arrives at a fitting moment — particularly as Vogue’s longtime editor-in-chief Anna Wintour steps aside after 37 years. Wintour’s shift to focus solely on her role as chief content officer across Condé Nast underscores how dramatically the fashion media landscape has evolved — and how the once all-powerful editor-in-chief has become more of a “corporate steward” than “creative gatekeeper”.

Wintour has long personified the editorial authority that Miranda Priestly — The Devil Wears Prada’s fictional editor-in-chief — so thoroughly represented. Her legacy marks the end of an era when magazine editors held unrivalled influence — curating fashion, shaping trends and controlling cultural access from behind closed doors.

By contrast, the modern industry is driven by digital ecosystems and influencer culture — where social media, not magazine mastheads, defines the front row. In 2006, brands looked to editors like Wintour to validate collections and steer public taste. Today, that power has diffused, with content creators and online platforms reshaping the rules of influence.

As anticipation builds for the upcoming sequel, it is hard to ignore how these real-world shifts mirror the film’s potential themes. If The Devil Wears Prada once captured the old guard’s control, its sequel may well reflect the new world where prestige and visibility are increasingly negotiated in the digital domain.

Check out the teaser below:

The Devil Wears Prada 2 is set to be screened by May 2026.

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

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