Luxury travel is all about convenience, elegance, and enjoying the journey as much as the destination. One thing that can be a problem, however – for those who are used to being able to have a puff from time to time – is the ban on smoking.

This is particularly true on long trips, where nicotine cravings can be difficult to cope with. But there’s a modern solution to this problem: nicotine pouches. They are really convenient to use since they are completely smokeless and very discreet.

Smoke-Free Alternatives in Air Travel

Around the world, traditional smoking habits are increasingly being replaced by smokeless options. Nicotine pouches have taken their place in this space, as they offer a cleaner, more refined alternative that complements a high-end lifestyle.

For those who often travel by air, for business or to a luxurious leisure destination, this is a popular alternative to satisfy nicotine cravings. No smoke, no lingering smell, just practicality.

Traveling with Nicotine Pouches: What You Need to Know

Travel requires preparation, and when it comes to nicotine pouches, knowing the rules can save you from unexpected delays. Most airlines allow this type of product in hand luggage as well as in checked baggage, but you need to think about how you pack them. Keep them in their original packaging for easy identification at security checks.

While the Transportation Security Administration (TSA) generally permits nicotine pouches, remember that airlines may have their own restrictions. Verify the rules of your airline to avoid surprises. A little planning ensures a smooth journey and keeps your travel as stress-free as possible.

Long-Term Travel and Storing

One of the many advantages of nicotine pouches is their long shelf life when stored in their original, unopened packaging. As they’re designed to last at room temperature, they’re perfect for short or long-term travel. However, if you are planning to stay abroad for a very long time, there are a few key points to bear in mind.

Firstly, always check the expiration date on the packaging before departure to ensure that the pouches will retain their quality throughout your stay. Secondly, find out about import regulations in your destination country. Transporting large quantities may raise questions about personal use or commercial intent.

Check the Regulations at Your Destination

When traveling abroad with nicotine pouches, it’s not enough to pack smart – you also need to understand local laws and customs. While many destinations welcome smokeless alternatives, regulations on nicotine products can vary considerably.

Some countries impose strict limits on use in public places, while others may even classify nicotine pouches as controlled substances. To stay on the right side of the law, check in advance the rules in force in your destination country and adapt to them.

Cultural norms also play an important role. In some regions, the visible use of a nicotine product may be frowned upon, even if it is technically legal. If you’re careful to be discreet and respectful, however, you should be able to enjoy your habit while avoiding unnecessary attention.

A Smoke-Free Stay: Nicotine Pouches and Luxury Hotels

Luxury hotels are usually defined by their impeccable ambiance. Strict smoke-free policies are a hallmark of these high-end spaces, aiming at ensuring fresh air and a serene atmosphere for all guests. Nicotine pouches align well with this ethos, as they are discreet and odor-free.

Gone are the days when you had to seek out smoking areas or leave your suite to indulge in a cigarette. However, with convenience comes responsibility. Used nicotine pouches should always be disposed of thoughtfully to preserve the pristine environment for which luxury hotels are renowned.

Carelessly discarded pouches detract from the elegance of common areas and irritate other guests. Whether in your suite or in the common areas, proper disposal allows you to remain discreet and respectful, contributing to the luxury experience these establishments strive to maintain.

For more on the latest in travel and lifestyle reads, click here.

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Following a partnership with Navico Group, Saxdor has become the first boatbuilder outside the US to use the Fathom® e-power system, an integrated lithium-ion auxiliary power-management solution “that sets a new standard in onboard energy efficiency”. The Finnish builder has debuted the technology on its flagship 400 GTC, among six Saxdor models on display at Boot Dusseldorf.

At the heart of the system is a generator function integrated into a special version of the yacht’s 400hp Mercury V10 outboards that allows the engines to act as generators, whether the boat is stationary or underway.

When paired, the engines can produce up to 12kW of power, delivering it directly to the 48-volt Mastervolt lithium batteries for efficient recharging. By combining digital controls, intelligent load management and advanced monitoring capabilities, the Fathom® system produces power for all onboard appliances, while eliminating the noise, vibration and fumes of traditional generators.

Daniel Scharf, Saxdor’s Chief Product Officer, said: “The Fathom® e-power system is a game-changer for onboard power management. For boat owners, this means nearly ‘unlimited’ power for high-demand systems such as air-conditioning and stabilisers, offering an advanced alternative to traditional diesel generators.

“By debuting this innovation on the Saxdor 400 GTC and expanding it to models equipped with V10-400 engines, we’re redefining energy efficiency and onboard comfort, reflecting our brand’s vision for modern boating.”

John Bennett, Navico Group’s VP and General Manager, Power Systems, added: “Saxdor is a valued customer, and we are thrilled about our collaboration to deliver a revolutionary power solution to the 400 GTC.

“Our 20 years of experience with lithium batteries, combined with our expertise in integrating our comprehensive product portfolio, have allowed us to develop a premium power system that will significantly enhance how Saxdor customers manage and monitor their power consumption, ensuring a more enjoyable and seamless experience on the water.”

As well as the enclosed 400 GTC, Saxdor’s display at Boot includes the open 270 GTO, 320 GTO and 400 GTO models.

The line-up is completed by the Germany debuts of the 340 GTWA – Saxdor’s first wheelhouse walkaround – and the renewed 320 GTC. A world premiere at the 2024 Cannes Yachting Festival, the 340 GTWA is the first model in Saxdor’s new 340 line and includes large side terraces, an impressive feature considering its overall length of 35ft 4in and beam of 10ft 2in.

An upgrade of the model that debuted in 2021, the renewed 320 GTC features “a range of enhancements that take its design and functionality to the next level”, according to Saxdor. The enclosed yacht includes a reimagined aft layout featuring a new sofa and updated table design, as well as upgraded upholstery in the wheelhouse. DCH Marine represents Saxdor across Asia-Pacific.

saxdoryachts.com
dch-marine.com

This article was first seen on YachtStyle.Co

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Meet Kristian Haagen, self-described “middle-aged watch collector” and author of eight watch books, a man with 156,000 followers keen to know his latest watch-related thoughts. “I came late to being an influencer and, really, being one wasn’t anything I thought I should be proud of. My privilege is that I get to talk only about watches, which is a very niche product”. In fact, it is all a bit odd, he says: “You buy a watch and talk about it, and other people buy the same watch. That’s strange.”

Haagen may find the whole thing amusing and bemusing but the rising relevance of social media and, more specifically, its particular enthusiasts for different subjects – the so-called influencers of Facebook, YouTube, Instagram, and TikTok (each platform seemingly replacing the former) – is challenging the way marketing is done across many lifestyle-oriented industries. While that might sound like it has little or nothing to do with watches, the evidence suggests otherwise.

“In fact, Instagram has changed everything about the way watches are marketed,” Haagen contends. “If the cool gang on social media says a watch has to be 34mm, or whatever, that’s the way the market moves. And I’m influenced by that as well. Suddenly I feel uncool in a larger watch.”

Impressive Reach

Daniel Wellington is an oft-cited test case in the role of influencers in the watch world: the company’s founder Filip Tysander built his entire brand off the back of Instagram when it launched in 2010 – reaching out to multiple influencers, before they were even called such, and offering them free products and trackable promo codes to share, then repurposing their content in his brand’s advertising campaigns. Within three years, he was selling US$228m of watches.

Sure, with its relatively cheap production costs, Daniel Wellington could afford to give watches away. But it was some kind of lesson learned. Small wonder that much bigger brands the likes of TAG Heuer, Hublot, Audemars Piguet and IWC now, years later, collaborate with influencers on TikTok, with IWC being the first luxury watch brand to host a live stream event on the channel last year.

Certainly, the reach of influencers – notably those with the leverage of genuine subject knowledge and a personal rapport with engaged followers – can impress. When Robert-Jan Broer, founder of Fratello Watches, created the hashtag ‘speedytuesday’ on Facebook back in 2012, in celebration of Omega’s Speedmaster, it would go on to spawn an entire movement of fans, as well as events held around the globe and two limited-edition watches, one of which was produced in 2,012 units and sold out in four hours. The hashtag has since been used on Instagram more than 400,000 times. Its impact is still felt today, arguably.

Conservative Resistance

“It really took off like crazy,” says Broer. “But, importantly, it was all very genuine, just a community of like-minded Speedmaster enthusiasts and an idea that ran away with itself. Of course, Fratello was approached by other reputable brands after to do the same thing but [the proposals] felt made up and didn’t make sense to me, whereas I’ve collected Speedmasters for 20 years.”

And yet, for many at the higher end of the watch business – especially maybe those self-consciously positioning themselves as makers of ‘luxury products’ – there would appear to remain a deeply embedded reluctance to dip more than a toe into the influencer world. That may simply be down them being, as Haagen puts it, part of “the most conservative business in the world, selling a product that nobody needs.”

But Juerg Hostettler, influencer and founder of Brandfluence, a brand agency that has worked with the likes of Fortis, as well as Sony and Mercedes, is nonetheless surprised by just how little watch content there is put out by influencers, at least relative to other subjects. Some brands, he reckons, are still comfortable targeting an older demographic and see no reason to get into bed with influencers. Others he wonders “perhaps just don’t understand [the influencer world] yet. That encourages them to think they don’t need it.”

Fast Food Not Fine Dining

That reluctance may stem from a mismatch between what many watch brands deem to be central to their public image – their savoir-faire, their history, their complex micro-mechanics, all of which might require longer and deeper forms of media to cover well, and which the earlier watch blogs and forums did so well, sometimes to a scholarly extent; and what the dominant social media thrives on – lower-quality content, but snappier, instant-impact, quickly replaced, shareable and above all accessible coverage with an exponentially larger reach. Fast food as opposed to fine-dining, maybe.

“It’s why what [watch influencers] thrive on is a love of shape, not of complications,” argues Haagen. “One reason Cartier is doing so well now is that its products are all about shapes. It’s that simple.” Of course, as Haagen himself notes, that is only one reason so those of you who might be foaming at the mouth, given the overwhelming preference for round watches noted by, well everyone, should consider a muscle relaxant at this point.

Moving on, the nature of social media is maybe also why, given the algorithms at work, it skews towards the same kind of watch content. Even the same kind of watches, suggesting a trend – for steel sports watches, for example – or a spike in the desirability of a certain model has come up organically when actually it has been generated through data mining.

Desensitised and Devalued

“There’s a huge issue here. While influencers have been good for building communities around what are, after all, a very specialist interest I think [the influencer ecosystem] has driven demand for certain models,” argues Justin Hast, Youtuber, regular IWC collaborator and publisher of ‘The Watch Annual’. “This distorts our view of a watch – you see one everywhere on social media, a (Patek Philippe) Nautilus, for example, but how often do you actually see anyone wearing one (in real life)? I think we become desensitised to models we see too much, which devalues them in some way I think”.

But there is also a tonal disparity: high-end watch brands are, on the whole, sober and often somewhat pompous. Instagram, and especially the new frontier of TikTok, often takes a more irreverent, humorous, playful, ironic and sometimes anarchic point of view. Check out the Horological Dictionary, for example; one recent, and relatively tame, post on Jaeger-LeCoultre introduces it as “a rare and exciting glimpse into the world’s most respected and least pronounceable watchmaker.”

Collectors will sneer at this, noting that Jaeger-LeCoultre is just as difficult to know how to pronounce as A. Lange & Söhne, Ulysse Nardin, or Vacheron Constantin. Or how about Bvlgari, which insists on this specific spelling? Even Tissot and Hublot, with two-syllable names, can be challenging for the English-speaking world, and we have not even addressed how watch brand names are presented in Chinese. On that note about Hublot though…

“The influencer world is the Wild West,
and the train going there has already departed”

Losing Control

Some social media accounts allow you to see a twenty-something flipping watches in a train station carpark or horological savant Nico Vanderhost’s latest entertaining takedown of celebrity watch collections. And this kind of thing reaches millions. But that loss of control of the narrative is something a deeply conservative industry has, to date, rarely been at ease with.

“The problem is that [many of the top brands] are stuck in this idea of a very polished, perfect world,” says Maxime Couturier, co-founder of brand marketing agency Apresdemain. It has worked with the likes of the Fondation Haute Horlogerie and Girard-Perregaux, and last year launched ‘Heist Out’, an underground, dissident watch magazine. “(Influencers) can be an amazing tool to grow interest in watches, and to connect collectors, but (the industry) needs to get beyond its image as always being an expensive-looking guy in a Patek. It needs to break those long-established codes, as the fashion industry has managed to do”.

“What [many major watch industry brands] think [is happening] doesn’t correspond to what’s actually happening online,” adds his business partner Lorenzo Maillard. “They have this idea that if you put a watch next to a tracksuit then viewers won’t get that their product is 100 percent luxury anymore. It’s crazy to me how brands have constrained themselves. It’s not as though consumers are asking for this exclusivity, this luxury lifestyle image.”

Breaking Free

Some, perhaps, are taking the hint. Cartier’s own Instagram account, which it launched in 2022, for example, has a decidedly less polished feel relative to its normally high-gloss marketing. It affords Cartier a different kind of cool – more Tiong Bahru, less Orchard Road.

Certainly, while social media has had a powerful impact on the way second-hand watches are bought and sold, on the fostering of the vintage market, and of meet-ups by watch-loving community groups, arguably it is influencers who will have the greater impact in changing how watches are perceived, and, some say, for the better.

Influencers argue, as they might, that breaking free of these constraints can only be a good thing for the watch industry, ripping watch appreciation out of the confines of haughty sales staff, beige boutiques and manufactured exclusivity, and making it much more diverse, more everyday, more fun and much more appealing to demographics the industry has been tardy to embrace: younger, fashion-conscious people, and women, such as those focused on by Instagram influencer Brynn Waller under the name of Dimepiece. This is precisely the demographic more likely to follow influencers of course.

“I do think that maybe the whole influencer
thing has gone too far – Don Cochrane, Vertex”

Beyond The Old Boys Club

“What’s really shifting, importantly, as a result of influencers is that [an interest in watches] is becoming more open as a hobby – it’s not just an old boys network talking about luxury Swiss watches,” argues Lydia Winters, who only discovered her passion for watches five years ago and now shares her watch photography with her many Instagram followers and ‘This Watch Life’ podcast. She argues that influencers especially have become a gateway to watches for a younger audience that – depending on the study you read – is in serious danger of losing all interest in watches.

“There are some people who still get excited about the more traditional technical aspects [of a watch]. But there are more and more influencers now reaching out to the even younger TikTok generation and saying, for example, that a watch can be Quartz, and that that’s ok,” she adds. “They’re reaching out with an enthusiasm for watch design, or with stories about why they chose the watch they have. With an industry that has been far too serious for too long, they’re making watches joyful and whimsical again”.

While that might sound shockingly naïve, it is still informative and speaks to certain undeniable truths, although perhaps not the ones openly stated there. After all, influencers have proven key to the profile of independent watchmakers and the watch micro brands sector – those without the budgets to buy pages in glossy magazines, or to sign a contract with a Hollywood star, but often with the kind of visually arresting or unusual products for which the likes of Instagram is ideal. “I don’t think the whole micro-brand thing would have happened without them providing the necessary exposure,” says Lewis Heath, founder of AnOrdain and Paulin.

Independence is Power

So, are the more mainstream brands just moving too slowly? Some 15 years ago, digital watch platforms were shunned; now some are brands in their own right, and watch brands are keen on collaborating. But there remains a troubling sense… Yes, the more rough-and-tumble, quick-change world of social media and its influencers is a train that the watch brands need to board but it also has a destination they are not sure about. It may be reading between the lines, but of five major names in watches approached for comment about their attitude to influencers for this article, five found reasons not to comment.

Perhaps they are right to keep their cards close to their chest. As it is often described, the world of influencers is a ‘Wild West’ right now. And that influencer train? It may have already departed. Yes, influencers have arguably pushed brands to new levels of accountability for the quality of their products. They can act as an independent press, ridiculing your new watch while print media – dependent on advertising spent – reliably toe the line; this is not to say influencers of the sort cited here cannot be bought, but the watch collector with a sizeable following often cannot. “The collector community can be visceral and will come down on a brand very heavily if it thinks it’s doing something wrong,” as Hast notes. That is not something luxury brands are used to – even the old frontier of the collectors’ forum did not have the same reach. Its influence was limited, in other words.

On the other hand, as Broer notes, the influencer ecosystem, and its appeal to watch brands, seems to be bifurcating between influencers who are, as he puts it, “watch people, who have an emotional connection to the products”, and the growing army of “professional influencers” who are ready to push any product, watches included, often without revealing the deal that lies behind their enthusiasm; the ones, as Hast jokes, who seem to spend a lot of their time with their tops off standing by swimming pools.

Inconclusive Results

“There are those watch enthusiasts, but most influencers seem willing to [promote] just about anything. I stopped looking at social media about three years ago because I was getting too annoyed at all the things that weren’t accurate or were just made up,” says Paulin’s Heath, who is not yet convinced that influencers have much real commercial affect, not least because he suspects nowhere near as many people with the disposable income to buy a good watch are on social media as regularly as is often suggested.

“We had a lot of people on Instagram talking about how great our watches were and that didn’t seem to actually sell anything. Then we got a product review [on an online magazine] and sold 20 that weekend,” he notes.

If once influencers proposed a fresh alternative to traditional advertising and sponsorship, with its unabashed but dated kind of self-promotion, influencers already can look similarly tainted. This means both those who take the money and, unfortunately, those that do not. Clearly, regular users of unregulated social media are increasingly savvy to the financial dynamic that underpins many influencers’ relationships with watch companies: that they are paid, one way or another, to post positive comments or reviews.

Hardening Doubts

Kristian Haagen concedes that he has at times been pressured by watch brands, which shall remain nameless, to make changes to his posts or to push some aspect they were more keen to promote. His honest response? “I’m a softy on that,” he laughs. “There have been heated moments but I’d rather we all stayed good friends. Maybe they think I did something wrong? So I’ll change it. We have to remember here that we’re just talking about watches, not saving the world. And I think that the public isn’t stupid, thankfully – people know that influencers are another marketing channel and we shouldn’t forget that.”

Indeed, that is the way Don Cochrane, founder of Vertex, tends to think about it. As a small brand, it has a small marketing budget. He does not court influencers but, on rare occasions, he has given away a watch and, he says, it feels much the same as buying an ad in a publication.

“But I do think that maybe the whole influencer thing has already gone too far,” he says. “It’s reached saturation point, so it’s hard to get above all the chatter,” he says. “If we were to use an influencer it would be hard to know who that person would be, because it’s about finding people with real traction with their audience, and for us that may not be as simple as connoisseur watch collectors. I think my doubts about influencers will only harden.”

Finding The Right Fit

“There’s already a weariness about the relationship between brand and influencers setting in. My kids, 14 and 18, are very much fed up with posts that have obviously been paid for and don’t seem a good fit,” agrees Hostettler. “Social media and many influencers on it remain a great way to research watches or to find out more about one you might already be thinking about buying. But for me it’s not a good place from which to take recommendations, especially those you haven’t asked for. That’s rightly causing suspicion”.

That means that those watch brands now warming to the idea of tapping influencers need to tread carefully. Justin Hast puts up a spirited defence of the right kind of relationship, one with that ‘good fit’. “Of course, the right collaboration between a big brand and an enthusiast who loves the brand, with whom it’s had a long relationship and whom the audience trusts makes perfect commercial sense,” he says, “just as to simply chase an influencer because they have big numbers doesn’t.”

“What I think we’re actually seeing now is a big shake-up, a shift away from platforms that haven’t honoured their audience with truly passionate and authoritative content,” he adds. “The influencers that resonate are those that bring people into the conversation. That can only be a good thing for both sides.”

This article first appeared in WOW’s Legacy Issue #75

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Hollywood has long been an industry that not only celebrated but fixated on an idealised image of youth, beauty, and glamour — qualities that were overwhelmingly expected from its female leading ladies. Historically, the industry’s actresses face an unspoken expiration date on their careers, with their value often tied to their appearance rather than their talent. There are but a handful of Meryl Streeps in the world, fortunate enough to have roles written for every stage of their lives — a rarity for most actresses. There has been a gradual effort from women in the industry to fight against this stigma, but 2025’s red carpet season may just be the most optimistic turn of the tides yet. 

The recent Golden Globes award season was a triumph for women over 45, with actresses like Demi Moore, Zoe Saldaña, and Fernanda Torres, taking home prizes for their work. Other highlights included nominations for Pamela Anderson’s The Last Showgirl, and Angelina Jolie’s portrayal of opera singer Maria Callas in the biopic Maria. The 2025 Oscar nominations seem to be following suit — though to a lesser degree — with Moore, Saldaña, and Torres being nominated once again. The long-overdue recognition of these actresses marks a much-needed change in the entertainment industry and how it values women and their contributions over time.

A Renaissance of Underrepresented Women

From this year’s red carpet season, two trends are especially prevalent: recognition for women who do not/no longer fit the traditional standard of youth, beauty, and femininity; and a larger spotlight for women of diverse racial and cultural backgrounds. In other words, the latest success for women at the Golden Globes and Oscars nominations represents a significant shift for marginalised or underrepresented women in Hollywood. 

First described by French philosopher Simone de Beauvoir, the concept of the underrepresented woman suggests that women are always seen as the “second sex” in relation to men — the idea that women are not equal or a counterpart, but simply the “other.” In Hollywood, this manifests itself in the type of roles women are offered, the type of opportunities they have within the industry, and how they are portrayed on screen. Older women, in particular, are oftentimes relegated to a supporting role, portraying characters like wives or grandmothers.  

READ MORE: Charlize Theron on Femininity, Peter Lindbergh and Fighting the Good Fight

2025 has flipped this frame of thinking on its head. Demi Moore’s win at the Golden Globes for Best Actress in The Substance was a high point for the industry. Ironically, the body horror film is a critique of Hollywood’s treatment of older women, in which Moore plays a fading celebrity who struggles to cling on to her youth, and therefore, relevance in the industry. In the acceptance speech for her win, Moore said, “I’ve been doing this a long time, over 45 years, and this is the first time I’ve ever won anything.” It was a moment of vindication for the increasing acceptance of women over a certain age, challenging ageist norms in Hollywood. Moore reinforced the message at the end of her speech: “In those moments where we don’t think we’re smart enough or pretty enough or skinny enough… I had a woman say to me, ‘Just know that you will never be enough, but you can know the value of your worth if you just put down the measuring stick.’”

Similarly, Zoe Saldaña’s first win at the Golden Globes for Best Supporting Actress for Emilia Pérez, was another important milestone for women who were beyond their twenties and early thirties. It also highlighted Hollywood’s expanding view of Latinx and Afro-Latina identities, by offering more nuanced roles for women of colour. The movement is not new, though it has picked up in more recent years. A year prior, Lily Gladstone was the first Native American to win a Golden Globe for best actress for her work in Killers of the Flower Moon. In 2022, Michelle Yeoh made headlines by becoming the first Asian to win the Academy Award for Best Actress for Everything Everywhere All At Once. In Saldaña’s winner interview with the Golden Globes, the actress said she used her own experiences to help portray her character of Rita Mora Castro. “I’ve never felt stronger to be that vulnerable and to disclose so much of myself,” Saldaña said, “I reconnected with my identity by doing a film in my Spanish language… that really felt like coming home.” 

Meanwhile, Fernanda Torres made history by becoming the first Brazilian to win Best Actress in a Motion Picture — Drama. Her portrayal of activist Eunice Paiva in I’m Still Here was described by Deadline as a “performance that should catapult her into the awards race.” Her win represents a broader trend where non-English language films and international voices are receiving more attention. The recognition for foreign films has only been increasing during awards season since the South Korean film Parasite took home the Oscar for Best Picture in 2020. Most endearingly, Torres’ award comes full circle for women in international cinema, as she dedicated her Golden Globe win to her mother, Fernanda Montenegro — the only other Brazilian to be nominated for the category 25 years ago. “This is proof that art can endure through life,” Torres said during her acceptance speech.

Together, these milestones suggest a shift away from the “othering” of women who do not fit the traditional Hollywood mold, ushering in a more inclusive era where diverse, complex female stories are becoming more of a norm.

READ MORE: The New Wave of Female Thai Celebrities Leading the Luxury Fashion Industry

Characters, Not Stereotypes

The current landscape of the awards season is not only significant because it acknowledges women’s talents beyond their so-called “prime”, but is also indicative of the kinds of stories being told. Moore, Saldaña, and Torres won for roles that speak to their lived experiences. In doing so, they show a full spectrum of what it means to be a woman in today’s world, whether vulnerable and flawed or powerful and capable. 

Acclaim within the awards circuit has also allowed actresses to experience personal career comebacks. One of the most triumphant stories is Pamela Anderson, who has been trying to reinvent her “sex symbol” image since appearing on Baywatch. In the 2020s, she saw success with her Broadway debut in Chicago, the documentary Pamela, A Love Story, and most recently, nominations for The Last Showgirl, where she plays an aging Las Vegas dancer. Of the role, Anderson told NPR that she resonated with her character, Shelly Gardner. “If I had any other life, I couldn’t have played Shelly as I did,” she said. “I had this amazing, wild, messy life and that gave me a lot to pull from when I was playing this character. … I feel like my pockets are full of experience.” 

Anderson’s return to prominence is mirrored by other actresses who have also reclaimed their narratives, including Angelina Jolie who — after a brief hiatus from Hollywood —  appears as the titular character in Maria. In the film, Maria Callas, renowned for her vocal talent, beauty, and influence on opera, grapples with the loss of her once-celebrated voice. Jolie — who is also no stranger to the pressures of Hollywood — has openly acknowledged the similarities between her own experiences and Callas’ journey. Speaking to The Hollywood Reporter, she described how she identified with Callas’ story: “…the way I related to her was probably the part of her that’s extremely soft and doesn’t have room in the world to be as soft as she truly was — as emotionally open as she truly was… I share her vulnerability more than anything.”

Hollywood Ahead

Above all, this year’s red carpet season has showcased a new sense of agency for women in Hollywood, with control over both their careers and their on-screen personas. While these success stories should be celebrated, they are still anomalies within the industry’s history. A 2025 study by the University of Southern California’s Annenberg Inclusion Initiative found that women behind the camera were still a minority in 2024. The report states that “progress has stalled for women directors” with only 13.4 percent of the top 100 films in 2024 being directed by women. Of course, this is still an increase from the 2000s and 2010s, when numbers went as low as 1.9 percent of female directors. 

The 2025 awards season demonstrates that audiences are ready for complex, multi-layered roles for women of all ages. If stories that centred on underrepresented women can continue to achieve critical and financial success, they have the potential to reshape the tropes that Hollywood considers commercially viable, challenging its long-standing obsession with youth and beauty. Hopefully, the growing momentum and success stories of underrepresented women will trickle down to those working behind the camera as well. A study by San Diego State University found that more women were entering roles as cinematographers, writers, and producers in 2024. Angelina Jolie — on top of starring in Maria — directed her seventh film, Without Blood in the same year, adding to a growing shift for actresses stepping into production roles. Moreover, standouts like Greta Gerwig’s Barbie only prove that women-led film projects can be critically and commercially successful. Hollywood may be awakening to the potential of underrepresented women, but the true test will come when it starts offering more opportunities for women to shape stories, not just star in them.

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Fauré Le Page Opens in Malaysia

To mark the opening of Fauré Le Page’s first boutique in Suria KLCC, Malaysia, creative director Augustin de Buffévent delves into the brand’s rich legacy, design philosophy, and the art of seduction that lies at its heart.

Congratulations on the opening of Fauré Le Page’s first boutique in Kuala Lumpur! What inspired the decision to bring the brand to the Malaysian market?

It felt like a natural choice. Everything starts with passion, and I absolutely adore Kuala Lumpur. The city is a beautiful cultural melting pot, brimming with inspiration. I’ve been here before and fell in love with its energy — and of course, the food! It’s some of the best in the world.

Our brand motto, Armes pour Séduire (Armed for Seduction), embodies the idea that love is a battle. In a multicultural city like Kuala Lumpur, this philosophy resonates deeply. Moreover, Malaysians are known for their sophisticated tastes, which align perfectly with our brand values.

What’s the story behind Fauré Le Page’s unique design aesthetic?

Every luxury brand has its own story, but ours is truly exceptional. Fauré Le Page started as a luxury gunsmith, crafting weapons for aristocrats, kings, and emperors across Europe. Marie Antoinette herself was a client, as she was an avid hunter.

In addition to weapons, the brand created leather goods to carry them — lightweight, durable bags for ammunition and personal items. Over time, we chose to leave weapon-making behind and focus solely on bags, reimagining them as “weapons of seduction.”

Our iconic scale motif reflects this heritage. It resembles armour, symbolising strength, protection, and allure. Every detail — such as shoulder straps inspired by military uniforms or clasps resembling revolver barrels — pays homage to our history while adding a fashionable, modern twist.

Looking back at the brand’s legacy, is there a story that holds special meaning for you?

There are so many! However, one of the most striking is Fauré Le Page’s role in the French Revolution. The Le Page family supplied weapons to the revolutionaries — a pivotal moment in history. It’s incredible to feel connected to such a significant event, especially as the French Revolution led to the Declaration of the Rights of Man and Citizens. To have been part of this epic chapter in history is deeply meaningful.

What’s your approach to designing and launching Fauré Le Page items?

We don’t follow the fast pace of fashion. As a small, exclusive maison, we take our time to perfect each product. Every item undergoes rigorous durability tests. For example, our canvas printing process requires precise levels of humidity and pressure — it’s almost like an art form.

We launch products when they’re ready, not according to seasonal schedules. This reflects our philosophy: love takes time. Each piece is crafted with care and exclusivity, making it more than just an item. And of course, the art of seduction always involves an element of surprise.

How would you describe the new boutique?

Our boutique is designed to feel like a home — an inviting, intimate space that reflects the values of our family business. We worked with Jean Gatineau, a talented French architect, to create an atmosphere that combines the charm of a Parisian apartment with playful, unexpected touches.

For instance, there’s a daisy-shaped table where customers can “test their love.” This isn’t just a shopping space; it’s an experience that invites you to immerse yourself in our world of history, craftsmanship, and romance.

This article was first seen on Elle Malaysia and translated from Bahasa Malaysia to English.

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