Orazio Luciano | Always a Thimble in the Pocket

Style & Iconic Details

Orazio Luciano has been making high quality formal and casual garments for the elegant man since early 90’s.

Refined classicism and a touch of technical virtuosity are keynotes of the brand, inspired by Neapolitan tailoring, the founders create their models on contemporary modern lines with the objective to form garments worn with unrestricted ease, the Neapolitan flair is always there, present in each suit, in each jacket, in each cote and in each detail.

In Orazio Luciano's workshop the cutters turn gorgeous fabrics into bespoke pieces, made to measure and ready to wear collections, attention to detail, perfection of cut and typical soft Neapolitan construction are the true heritage of the company.

From the earliest days the brand has dared to experiment different techniques and push the traditional style boundaries with subtle details like an aggressive mappina, hand stitched buttonholes and a particularly notable effortless fit, Orazio Luciano likes to wear his elegance lightly while pushing the traditional wardrobe codes to make his own style statement.

Orazio Luciano offers today's well-dressed man the best expression of modern tailoring. Its Ready-to-Wear collection conceived from hand-made craftsmanship, high quality fabrics and a modern touch has been recognized and praised by many prestigious sartorial retailers.

The Orazio Luciano famous fit offers an unrivaled freedom of movement, which refines the body figure.

Details like hand sewn buttonholes, dropped notch height, slightly broadened lapel and other stylistic devices perfectly symbolize the spirit of Orazio Luciano, a true Men's tailoring company.

ORAZIO LUCIANO LA VERA SARTORIA NAPOLETANA

Countless diligent tailors, who are responsible for the incomparable fit and character of every suitjacket, pair of trousers or shirt, work with all their blood, sweat and tears for many hours of hard manual work for the perfect sartorial pieces.

But which philosophy and, above all, which group of people is behind these industrious tailors and behind these individual manufactories?

In order to provide you with valuable insights into the sartorial world, we will address these questions within the new section "Behind The Brand".

In our first article, we are talking about no other than Orazio Luciano.

The success story dates back to the year 1992. After his long-standing work as the first cutter at Kiton, Orazio Luciano, whose brand is named after him, decided to set up his own business. Up until now, the manufactory of Orazio Luciano is situated in the area of San Giovanni a Teduccio, in the southwestern part of Naples, just a few meters from the Gulf of Naples.

THE ORAZIO LUCIANO PHILOSOPHY

The full name "Orazio Luciano - La Vera Sartoria Napoletana" translates as "The Real Neapolitan Tailoring". So it is self-evident that the suits and jackets always have to fit perfectly.

It is an honest product which scores with a wonderful fit as well as extreme softness and lightness. Like other well-known manufactures, Orazio Luciano also relies on the classic Neapolitan art of tailoring.

These include:

A soft construction of the jacket

  • The typical shirt shoulders, better known as "Spalla Camicia", which are significantly elaborated by Orazio Luciano

  • The Neapolitan breast pocket, better known as "Barchetta"

  • The wider lapel

  • The hand-sewn buttonholes

Due to the high-cut armholes and the extremely easy processing without padding, a feeling of lightness is created from the very first moment. The high armhole and the soft shoulder construction let the suit fit perfectly - an effect that you will feel right at the first try!

Tailoring

At Orazio Luciano we favor a soft constructed, masculine cut garment, with a shaped waist and typical Neapolitan mappina shoulder. We aim to create a silhouette that is well balanced and in perfect proportion. Our Made To Measure service perfectly bridges the gap between bespoke and ready-to-wear and offers the client an efficient solution to have a suit made to his own specifications.

The client would need to fit our master garments at the hands of one of our tailoring advisors and discusses and chooses the style of suit and the fabric and particular buttons and lining that he would like. This is a time-conscious and effective service that doesn't compromise on quality. We cut our clothes to create a harmonious and flattering line, naturally revealing something of the character of its owner. Every customer has their own pattern, meticulously hand cut to his individual measurements and figure, refined through the fitting process.

For a new customer this process will take approximately three to four months to complete and will usually involve four fittings. Once a pattern has been created all subsequent clothes can be completed more rapidly, each garment is cut and fitted under the control of Head Cutter Orazio Luciano.

https://www.orazioluciano.com





Vanda Fine Clothing | EST. 2011

Meticulous construction, timeless design & tasteful fabrics.

Vanda Fine Clothing was founded in August 2011, with the mission of creating traditionally handcrafted menswear of exceptional quality.

With our humble beginnings selling hand-rolled pocket squares made on our bedroom floors, we have expanded our product line to include handsewn neckties, as well as self-tie bow ties.

Our small team of four staff handcrafts every single product, one piece at a time in our own workshop in Singapore. This artisanal approach ensures that every product is truly unique - something that mass-production settings can never emulate, whether in terms of quality or character.

In 2013, we began developing our own pocket square designs with a strong cultural identity. The Chinese zodiac series, Singapore Floral Coin series and most recently, the Simply Shiok Food series all seek to make the global perspective of Singapore relevant to people all over the world. In a market traditionally dominated by European designs, we endeavour to show the world that Asian designs can be no less interesting or beautiful.

We hope you enjoy wearing our products as much as we enjoy making them.

Our Team.

Gerald Shen graduated with degrees in finance and economics, but could not resist pursuing his passion in quality menswear. With his avid interest in classic menswear and eye for good design, Gerald is in charge of curating our product collections. When not sewing, he can most often be found in the kitch. Diana Chan has always had an interest in hand sewing and an eye for detail. Through Vanda Fine Clothing, she is able to create finely sewn mens accessories that satisfy even the geekiest of menswear aficionados. Diana enjoys learning new things, and is currently pursuing the disciplined art of ballet and the intricacies of the Japanese language. Diana and Gerald met in 2004, and got happily married in 2013!

Neckties, Bow Ties, Pocket Squares,

The best way to determine your ideal tie length would be to put on your favourite tie, and tie your usual knot such that the front tip of the tie falls around the middle of your belt buckle.

If the rear end of the tie ends up +/- 1″ to 2″  (a matter of preference) the length is just right, and you can simply measure that tie from tip to tip and let us know. If it ends up a little shorter or longer than is ideal, just add or subtract your desired amount from the length of this tie. Please bear in mind that all ties tend to stretch around 1″  (0.5-1″  more for unlined grenadine ties) or so after being worn a few times, so please take into account this stretch when specifying your length.

If measuring an existing tie is not an option, we would suggest 57″  length for an average sized gentleman (5’8″  or 173cm) who wears trousers of average rise and ties a four-in-hand knot.

For tie widths, we suggest a classic width of 3 1/2″  (8.9cm) for average size gentlemen, as it is nicely proportionate to most mens’ figures. Slimmer gentlemen may be better off with a narrower width.

If you require a size that is not listed in the dropdown options, or require additional assistance in selecting your size, we would be glad to assist you if you write to us at info@vandafineclothing.com. Our bow ties can be adjusted by sliders to fit a range of neck sizes – the regular fits neck sizes from 14″ to 19” , while the small fits neck sizes from 9″ to 14″ .

We offer two styles of bow ties, the batwing which is a more timeless style, or the diamond point which is a touch more modern. Our pocket squares are offered in only one size, except for White Linen and The Ultimate White Square, which are offered in two variants. In general, fabrics which are slightly more bulky are made smaller, and vice versa, in order to ensure minimal bulging in the breast pocket.

Made by Hand, Top Quality Materials.

All our products are individually cut by hand, one piece at a time and not in stacks, to ensure precision. We use sharp scissors, and not complicated machinery to cut fabrics.

Our pocket squares are completely cut and sewn by hand. Other than the joining of the blade and the tail with a sewing machine, every part of our neckties are made by hand as well.

This includes hand sewing the continuous slip stitch that joins the tie, the bar tacks that secures the ends, as well as the hand rolling of edges to finish the fabric ends. We use the very best materials and trimmings for every part of our products. This includes the finest speciality woven silks from Vanners and handprinted silks from Adamley in the UK, grenadines from Fermo Fossati and Seteria Bianchi in Italy, as well as traditionally woven silks from Kyoto, Japan.

Trimmings are not overlooked either – we have specially sourced 100% natural finished wool interlining from Italy for incomparable lightness and bounce, and 100% silk thread from Japan or Germany for durability and beauty.

Occasionally when we chance upon some quality deadstock fabric, these will end up as limited pieces of neckties or pocket squares.

https://vandafineclothing.com



Herdmar | New flatware

Herdmar’s innovation distinguished by the German Design Council

Herdmar's new flatware, produced with Portuguese natural cork injected by the handles, was recently nominee as an Excellent Product Design from the prestigious committee of the German Design Award.

After a research and development process carried out over the past two years, this cutlery was finally presented last February in their usual participation at the international fair of Frankfurt - Ambiente starting to be placed after June ‘18.

The product can still receive in August 2018, by the same distinct design committee with a Special Mention, Winner or Gold Award which could spotlight even more the flatware itself and Herdmar in its international ‘19 appearances.

The centenary Portuguese company collects with this their second nomination to this prestigious contest, exactly in the same category as they got in 2015 with the model Malmö, designed by Miguel Soeiro.

Herdmar’s flatware Lizz won the Gold Prize at the European Product Design Award 2018

Lizz, the last creative project developed by the Portuguese designer Miguel Peixoto, launched in 2017 by Herdmar, was recently awarded with the highest level of distinction (Gold Award) in the category Home Interior Products – Tableware on the European Design Award contest.

One year after its launch, and already with commercial success proofed, the Portuguese brand thus adds another significant distinction in the area of design with international impact.

The European Product Design Award ™ annually receives thousands of applications for international product projects from different areas and judging the selection mainly on an the evaluation of the way the design promotes the improvement of the daily use of the products, valuing the practical and globalized creations.

The awards ceremony is scheduled for September 26thm in a ceremony that will take place at the ADAM - Brussels Design Museum, where all the winning products will be also exhibited.

Malmö

"Suddenly, with a simple twist, a conventional flatware becomes a new dining experience..." The pure shape of Malmö results from a creative process taken in hand by a promising and renowned Portuguese designer. Made of 18/10 stainless steel, the forms are reminiscent of Santiago Calatrava's contorted Malmö Tower and stands out by its fluid but yet sophisticated lines, which brings to any table an edgy and modern trait that easily fitting in either formal or informal environments.


Joseph Cheaney & Sons

CHEANEY HERITAGE - MADE IN ENGLAND SINCE 1886

Joseph Cheaney established the company in 1886, and in 1896, along with his brother Arthur, they moved to the site which the factory occupies today.

During the first 80 years of business, the factory made shoes exclusively for some of the finest retailers around the world, branded to their individual company requirements. 

Joseph Humphrey Cheaney, the founder’s grandson who worked for the company for 51 years, realised that the company’s future lay in building up its own Cheaney brand for its home and export markets. In 1964, determined to see the legacy built up by the family continue, the decision was taken to sell the business to Church’s English Shoes. The Cheaney brand then became available to retailers all over the world, backed by a comprehensive instock service from the Desborough factory.

In 1966 Cheaney won the Queen's Award to Industry and in 2016, the Queen’s Award for Enterprise in International Trade.

In 2009 Jonathan and William Church bought the company. Their family has been making fine shoes for five generations and they are fully committed to producing the finest footwear entirely made in England.

The image shows Cheaney's Northamptonshire factory circa 1900 (same factory as today)

JOSEPH CHEANEY

Joseph Cheaney was a prominent local character, being a local councillor and also had involvement in the Church. He was interested in the welfare of local children, and it appears that he used to keep them supplied with oranges.

At the beginning of the 20th century, Harold Cheaney joined his father and brother in the business, which led to the company name changing to J. Cheaney & Sons in 1903. It became a limited company in 1920, with a paid up share capital of £40,000, which was substantial for the time.

There are a couple of amusing anecdotes concerning the independent nature of the workforce in the early part of the 20th century. Desborough shoemakers took a lively interest in the local hunt and requested permission to go and watch the spectacle. This was refused, but the workforce went anyway, thus finishing production for the day! On another occasion, a sales representative for a last manufacturer came to demonstrate a more efficient way of handling lasts (the three dimensional form on which shoes are made). The workforce took exception to having their working practices criticised and promptly threw the salesman in the local duck pond, thus incurring each of them a £5 fine for their trouble! At that time Cheaney had a 54 hour working week spread over five and a half days.

CHEANEY RECEIVES A QUEEN'S AWARD FOR ENTERPRISE IN INTERNATIONAL TRADE

Cheaney is honoured to announce that it has been awarded a Queen’s Award for Enterprise for International Trade for 2016 on the day of the Queen’s 90th birthday.

The Queen’s Awards for Enterprise are the UK’s most prestigious business awards, given only to companies or individuals who are outstanding in their field.

This is the third time Cheaney has been awarded this honour the previous times being in 1966 and 1971, we are delighted to be back. We would like to extend a big thank you to all our employees, customers and suppliers without all of whom we could not have achieved this.





D. R. HARRIS | CHEMISTS AND PERFUMERS, ESTABLISHED 1790

About Us | Tradition

The story begins just before 1790 at No. 11 St. James's Street where Harris's Apothecary set up shop. Over the next fifty years the family established a reputation selling Lavender Water, Classic Cologne and English Flower perfumes to this fashionable quarter of London.

One of the proprietors, Henry Harris, was a surgeon, while Daniel Rotely (D. R.) was an early Pharmaceutical Chemist.

For over two centuries this family business in the centre of men's Clubland has served the gentry and the court of St. James's and in 1938 was awarded the warrant as chemists to her Majesty The Queen, later the Queen Mother which was held until her death in 2002. In 2002 we were also appointed as Chemists to His Royal Highness the Prince of Wales, an honour that was added to in 2012 when we had the Royal Warrant for Her Majesty the Queen bestowed upon us.

Today we continue to offer outstanding levels of service at our traditional Chemists' shop at 29 St. James's Street which includes much of the original furniture. We continue to adapt with the times, however, and our fine selection of soaps, shaving creams and soaps, aftershaves and colognes, skincare products and much more, continue to appeal to all those who appreciate quality and distinction the world over.

MOISTURE CREAM

The importance of moisturising is not to be underestimated. Whether to extend the life of a tan in the summer or to keep the ravages of a cold British winter at arms length it is a year-round necessity. Using a good moisturiser on a regular basis not only makes the skin look better and more youthful, but can also make it feel much better.

D. R. Harris Moisture Cream is unscented, rich enough to provide nourishment, but not so heavy as to be greasy or sit on the skin. The Parabens-free formula is a favourite of both men and women. It can be used for the hands, face, and other problem areas and is ideal as an alternative to Aftershave Milk or balm for gentlemen to use post-shave, particularly in winter months. 

Available in 50ml, 100ml and 200ml pots

SHAVING BRUSHES - THE DEFINITIVE GUIDE

We firmly believe that introducing a shaving brush into your daily shaving routine is one of the easiest ways to exponentially increase your enjoyment of a daily necessity. It is probably fair to say that in the world of grooming and beauty products, differences in performance will always be fairly marginal. However, a good shaving brush, in conjunction with high quality soap or cream, produces a product that is really in a different category from foams and gels. Not only in the quality of the lather, but also in terms of smell. 

A shaving brush will give you a better shave and better skin. By using a brush you raise the bristles on your face meaning that the razor can get closer and give you a better shave. Using a brush also exfoliates the skin, keeping it healthier, but also clearing away grease and dirt which would otherwise clog a razor. Also, by using a brush you are spending more time with the hot water and soap on the stubble which softens it meaning a closer shave and less irritation. By using a high quality cream or soap you are also helping reduce irritation as the glide and cushion is far superior to a foam. The high glycerin content of D. R. Harris Creams and Soaps is also very soothing to even the most sensitive of skin types.

At D. R. Harris, all of our brushes are made using Badger Bristle. Badger has been the Bristle of choice for hundreds of years due to its specific properties which make it ideal for creating a lather. Badger Bristle is soft so it won't aggravate the skin and also retains water much better than other types of bristle. Both of these qualities are essential for creating a good lather.

There are different grades of Badger Bristle and these are categorised by the area of the badger from which they come. The highest quality and most desirable grade is Silver Tip which comes from the neck. Silver Tip comes from the neck area and is the softest and lightest in colour. Our 'E' range of brushes (below) use Silver Tip bristle and are our best performers. As well as an extremely high quality bristle they are also densely packed which helps with water-retention and longevity. 





A brief overview of D. R. Harris, London's oldest pharmacy and producers of a wide range of shaving and skincare products, aftershaves and colognes since 1790.

Epur | The Michelin-Starred Chef's New Lisbon Venture.

WHERE TO FIND
There is a complicated answer as to the meaning behind the name of Vincent Farges’ long-awaited Lisbon debut, to do with the law of universal gravitation, but the simpler version is that it is derived from the French verb épurer, which means to declutter, to refine or to pu- rify. And that suits just fine, for the dishes that rolled out when I ate there last week were clean and lean, with every ingredient justified and flavours immaculate. I can count the years since I first discovered Vincent Farges’ cooking by how old my young-
est two children are. We were on holiday in Sintra and, upon asking where the nearest decent restaurant was, we were directed to a seafood place on the coast. We were disappointed but, learning that a Michelin-starred restaurant was next door, we returned to try that. It was mem- orable, to the extent that while my husband was soaring on another plane with the somme- lier, I was opening colouring books and trying to occupy the children. All the same, I can still recall the perfection of the seabass, served with iodine foam. Roll on a decade or so and my visit to Epur, high on a hill in Lisbon’s Chiado district, was unencumbered by children. Vincent Farges says of his menu: “At 40 you know yourself; you know what your culinary identity is,” and he proves the point with confident dish after confi- dent dish. The menu is highly minimalist and divided into “moments”, from which guests can choose anything from four to eight dishes (from €90 for four) – there are three starters (“water, greens, fields”), three mains (“sea, terroir, tradition”) and three desserts (“chocolate, orchard, vintage”). Relying on what is available at market, these change from day to day.

The Design and Menu

The tables are situated in an austere, clean-lined space with dishes served on Limoges por- celain. The kitchen (formerly a Bulthaup showroom and supremely spare even by restau- rant-kitchen standards) was also partially on view from the moment we walked through the door, though clever design meant it never dominated. Farges began with his suppliers and worked from there – he spent a year travelling around Portugal, ensuring he selected from producers who shared his passion. The resulting menu “is a cuisine that adapts to existing products and not the other way around,” he says. The wine list includes only Portuguese wines and wine pairing is offered from €40.
On the day we visited, I had rhubarb and green curry from the “fields”, lamb, fennel and pearl barley from the “terroir” and an essay in “chocolate”’ in the form of a chocolate, chartreuse and juniper cream glacée. The standout dish was from the sea – a rockfish fricassé, which Farges paid tribute to with a stirfry of chanterelles, broad beans, marrow and clams in a well-bal- anced sauce. This, perhaps, is what I had waited all those years for, to immerse myself without distraction in the two or three flavours on a plate combined in a way that only Vincent Farges can.

Scandinavian atmosphere

If you enter the restaurant you already look into the kitchen entirely made of Bulthaup parts but especially made for a chef to use. If you pass the kitchen you enter a small area where you can wait to be seated or drink a glass of Portuguese wine. Then you enter the restaurant which consists of three different rooms and has a Scandinavian, minimalistic atmosphere created by Desenhabitado. Chairs by Carl Hansen & Son combined with Portugese influences like the original tiles. Also pay attention to the structure in the ceiling designed by architects Guedes Cruz Arquitectos: it reflects the Portuguese azulejos (tiles) on the walls. Because the sky of Lisbon is known for the magical lights, you can expect the restaurant to look different every part of the day.

Pureness

Epur stands for pureness. To strip down all the noise and concentrate on the senses. The smell of the wood, the view of the city, the minimalistic table setting. “We don’t provide the napkins on the tables already, we present them as it’s the first dish. If you receive the soft napkin you let it go through your hands and feel it instead of just grab it and put it on your lap.” Same goes for the food: of course he works with the seasons, you can expect fish and meat dishes, he works with local producers, but he also likes to present typical Portuguese family recipes in a different way. He smiles if he tells me about the vintage dessert people who grew up in Portugal will remember for the taste, but can’t really bring home as he prepares it slightly different.



Yannick Nézet-Séguin | Conductor

BIOGRAPHY

Beginning September 2018, Yannick Nézet-Séguin becomes the third Music Director of the Metropolitan Opera, New York. Music Director of the Phadelphia Orchestra since 2012 and the Orchestre Métropolitain of Montreal since 2000, he becomes Honorary Conductor of the Rotterdam Philharnonic Orchestra of whom he has been Music Director from 2008 to 2018. He is also Honorary Member of the Chamber Orchestra of Europe.

Yannick has worked with many leading European ensembles and enjoys close collaborations with the Berliner Philharmoniker, Wiener Philharmoniker, Bayerischer Rundfunk Sinfonieorchester and Chamber Orchestra of Europe; between 2008 and 2014 he was also Principal Guest Conductor of London Philharmonic Orchestra. He has appeared three times at the BBC Proms and at many European festivals, among them Edinburgh, Lucerne, Salzburg and Grafenegg (Vienna). North American summer appearances include New York’s Mostly Mozart Festival, Lanaudiere, Vail and Saratoga. With the Philadelphia Orchestra, he goes regulaly to Carnegie Hall. He also conducts master classes, notably at two of the most renowned institutions, the Curtis Institute of Philadelphia and the Julliard School of New York. 

Europe and Asia

2013/14 marked the start of his three-year term as Artist-in-Residence at Konzerthaus Dortmund which featured The Philadelphia Orchestra, London Philharmonic, Chamber Orchestra of Europe, Rotterdam Philharmonic, Bayerischer Rundfunk, Berliner Philhamoniker, Wiener Philharmoniker and chamber concerts. 

He conducts regularly The Philadelphia Orchestra, the Rotterdam Philharmonic Orchestra and The Chamber Orchestra of Europe on Asian and European tours. In November 2017, he has led the Orchestre Métropolitain of Montreal in its very first European tour. 

Yannick is equally comfortable in the pit and on the concert podium. After doing his first opera conducting experiences for the Opéra de Montréal from 2000 to 2004, in L'Incoronazione di Poppea, Le Barbier de Séville, Cosi fan tutte, Pelléas et Mélisande et L'Elisir d'amore, he returned once in a while for Wozzeck, Madame Butterfly, Salomé and Elektra. He made his Salzburg Festival opera debut in 2008 with a new production of Roméo et Juliette, returning in 2010 and 2011 for Don Giovanni. In the 2009/10 season, he made his Metropolitan Opera debut with their new production of Carmen; since then, he has returned each season to conduct Don Carlo, Faust, La Traviata, Rusalka, Otello, Der fliegende Hollander, Parsifal and Elektra before he was named Music Director beginning with the season 2018-2019. He has conducted for Teatro alla Scala, Royal Opera House, Covent Garden, Netherlands Opera and Vienna State Opera; in 2011, he began the cycle of Mozart's seven mature operas for Festspielhaus Baden-Baden, all recorded live by Deutsche Grammophon.

The maestro

Deutsche Grammophon is delighted to announce that Yannick Nézet-Séguin, Music Director of The Philadelphia Orchestra, incoming Music Director of the Metropolitan Opera and Artistic Director and Principal Conductor of the Orchestre Métropolitain de Montréal, has signed an exclusive contract with the yellow label. The Montreal-born conductor, hailed by the Financial Times as the “greatest generator of energy on the international podium”, will record a broad range of symphonic and operatic repertoire as part of his work as Music Director of The Philadelphia Orchestra, the Metropolitan Opera of New York and the Orchestre Métropolitain de Montréal, and as an Honorary Member of the Chamber Orchestra of Europe (COE). The contract signing was announced in Hamburg on 30 May 2018, during his nine-city tour of Europe and Israel with The Philadelphia Orchestra. Maestro Nézet-Séguin’s DG projects will include complete cycles of Rachmaninov’s symphonies and piano concertos, with soloist Daniil Trifonov and The Philadelphia Orchestra; the next opera in his acclaimed Mozart series, Die Zauberflöte, to be recorded with the COE and an outstanding cast this summer at the Baden-Baden Festspielhaus; Russian bass Ildar Abdrazakov’s first album of solo arias, with the Orchestre Métropolitain de Montréal; Mahler’s Symphony No.8 and a continuation of the Stravinsky ballet cycle – plans include Petrushka and The Firebird – with The Philadelphia Orchestra; and Mozart’s Piano Concerto in D minor K466 with Seong-Jin Cho and the COE. He also intends to record with the Metropolitan Opera forces – an exciting prospect, given the rave reviews received by his first DG recording with the Met: the best-selling Carmen, starring Elīna Garanča and Roberto Alagna.

Codecasa | Yachts

OUR HISTORY.

Codecasa Shipyards, established in Viareggio back in 1825 by the shipwright Giovanni Battista Codecasa, are an absolutely prominent reality in the luxury yachting industry and are known all over the world as builders of steel and light alloy motoryachts, ranging from 30 to 70 meters LOA.

Still run by the founder’s heirs, nowadays the Codecasa Shipyards Group is able to offer a wide range of Yachts, featured by top quality, technologic innovation, reliability, design and comfort.

In the last ten years the Codecasa Shipyards Group increased its offer and a new range of speed yachts, totally built in alluminium alloy with yachts ranging from 35 to 50 meters LOA, was added to the traditional displacement Yachts in steel and aluminium alloy.

Codecasa Shipyards, thanks to their highly qualified in-house technical staff and the co-operation of well-known and expert naval designers specialized in the field, are able to offer totally custom Yachts, tailor-made for the Clients who ordered them.

Every Codecasa Yacht is unique. Modern, classic or minimalist, the interior furniture of every Yacht is carefully designed and built to meet with the Buyer’s personal demands and requests, always assuring those high quality and technical standards, Codecasa Shipyards are worldwide known for.

From their establishment onwards, still run by the Codecasa family, the Codecasa Shipyards have seen a constant evolution and expansion. Born as a small workshop building sailboats, they became a worldwide renown Shipyard, specialized in the construction of luxury motoryachts. Codecasa Shipyards Group is today made up of the following Companies:

1825 Giovanni Battista Codecasa (born in 1803) begins working as shipwright in Viareggio

  • 1902 Giovan Battista Codecasa, called Tistino (born in 1875) continues his family tradition and together with his father Antonio establishes his own Shipyard for the building of sailing boats. In a State property of 1.258 square meters, located eastward of Darsena Lucca in Viareggio, granted to the Codecasa family, the Shipyard “Antonio Codecasa e Figli” is built.

  • 1946 with more than 50 sailing ships at his credit, in addition to fishing boats, gunboats, barges and any other kind of boats, Giovan Battista Codecasa retires from the business and leaves the family company, located in the Darsena Toscana, to his two sons, Ugo and Sandro.

  • 1973 Fulvio Codecasa succeeds to his father Ugo in the Shipyard management,  still producing working boats and starting building luxury motoryarchts.

  • 1977 Building of the new Cantieri Navali Ugo Codecasa S.p.A. in the Nuova Darsena of Viareggio

  • 1982 Conversion of the old Codecasa Shipyards in the Darsena Toscana into the Codecasa Due joint stock company.

  • 1987 Building of the new Codecasa Tre S.p.A. Shipyards in the Nuova Darsena of Viareggio.

  • 2011 Partial move of the production into the new site in the Darsena dei Navicelli in Pisa.

PROFILE.

Codecasa products are totally custom and are realized thanks to a direct relationship between the Client and the Codecasa family. The Client’s demands and satisfaction are at the basis of the great care that the Codecasa Family devotes to every single detail of the project.
Mr. Fulvio Codecasa, who is at the helm of the Company since 40 years, is supported in the management of the Shipyard by his daughters Fulvia and Elena and their husbands, Ennio Buonomo and Fabio Lofrese.
Completely engrossed in the reality of its yards, Fulvio Codecasa follows up all the construction stages of his yachts together with his family: from the general lines up to the particulars, from the project to the finishes. He is the most demanding Client and the most difficult to please.
His many and highly qualified workers, who know and share the great passion and commitment he devotes to his job, follow him with regard and respect.
Codecasa Shipyards have a remarkable client portfolio, and many famous and internationally known people, entrepreneurs, financiers and fashion designers, have chosen and go on choosing Codecasa Shipyards for their new constructions, as they know that they can rely on the skill and professionalism of a company which has about two centuries of life and experience in shipbuilding.

CODECASADUE S.P.A.

The CodecasaDue s.p.a. shipyard builds steel/aluminium or entirely aluminium motoryachts, up to 35m (115′) of LOA and it is located in Darsena Toscana, one of the most ancient Viareggio harbour docks. It extends itself over an area of 6500 square meters, 3500 of which are under permanent cover. This shipyard also offers facilities and equipment able to repair and refit motoryachts and sailing boats, up to 40m of LOA. It is also builder of the “All Weather” rescue boats for the Italian Coast Guard.




Roche Bobois |

1950 A FAMILY HISTORY 

Roche bobois is the story of two families, the Roches and the Chouchans, not predestined to meet. In 1950, Jacques Roche purchased the old Alexandre Dumas theater on rue de Lyon and built two stores. His sons, Philippe and François, joined the company and together established the company's development strategy. They began to distribute the very best contemporary furniture, which was heavily inspired by Bauhaus designers, such as Minvielle, Steiner and Airbourne, and equally inspired by renowned designers such as Pierre Paulin and Marc Berthier. At this time, the Chouchans were selling furniture in Paris on Boulevard Sébastopol at "Au Beau Bois" (which later became Bobois).

VALUES

Each Roche Bobois piece has its own unique personality, combining the talent, boldness and inventiveness of a designer, with your own style and creativity. Whether you prefer a subtle customization or a thorough one, we offer a choice of shapes, colors, leathers, woods and finishes that make each furniture piece unique, exclusive and truly Designed for You.

Roche Bobois furniture is also sustainable, exclusively manufactured in Europe, and respectful of materials and of the environment. We strive to improve every day, always looking for ways to reduce our environmental impact. On this website, you will find a blend of creativity, customization and responsibility: the unique values that define Roche Bobois and our collections.

This is what we do: bring together inspiration, know-how and people. Art and life. To make a piece of furniture means to create an “art de vivre”

1971: HANS HOPFER IMAGINES THE MAH JONG

Painter, sculptor, designer... Hans Hopfer designed sofas that are, for many, the indisputable “signature” of Roche Bobois’ collections. 

In the 1970s, Hopfer’s innovative and informal approach to comfort had a profound infl uence on the way people furnished and arranged their living space. 

In 1971, he created the Mah Jong, a sofa based on the total freedom of function and form. Starting with three basic elements that can be combined or stacked, the Mah Jong allows limitless options of composition. 

It can be an armchair, sofa, lounge chair or bed; a space in which to rest, to play or to lounge. It encourages experimentation and breaks the rules of formal living, reflecting the nonconformist era in which it was born. 

Avant-garde when first created, iconic today, and “dressed” by Missoni Home and Jean Paul Gaultier, this “free form” modular seating is the reference point for fully modular and creative design.

THE MAH JONG AND FASHION HOUSES

To ‘dress’ the Mah Jong modular sofa, Kenzo Takada took inspiration from ancient kimonos used in the Noh Theatre, re-interpreting their patterns and colours to create fine and sophisticated harmonies symbolising the 3 times of the day: Asa (morning), Hiru (midday), Yoru (evening). Missoni Home is Italian fashion at its most elegant and exuberant expression.
Their iconic chevron stripes, refined fabrics, floral and graphic patterns give the Mah Jong a fresh new look. The French fashion designer has placed his creative stamp on the Mah Jong, “dressing” the design in both his iconic striped sailor-style costume and tattooing the poetic and graphic motifs of his Haute Couture fashion. His creativity, elegance and sophistication break the rules of traditional style.


BREITLING

Léon Breitling Focused on Chronographs.

Léon Breitling focused on chronographs, which were increasingly in demand at the time for industrial, military, and scientific applications as well as for athletic organizations. In 1889, Léon Breitling was granted a patent for a simplified model, which distinguished itself from its competitors through its sleek design, uncomplicated manufacturing process, and straightforward maintenance. Awards followed, establishing the company's reputation and prompting a move to a new factory in La Chaux-de-Fonds in 1892. L. Breitling, Montbrillant Watch Manufacturing soon had 60 employees focused on making precise, innovative timepieces. In 1893, the company patented a movement with an astonishing power reserve of eight days. In 1896, Breitling reached a major milestone: a chronograph that was accurate to two-fifths of a second. A model with a pulsograph, which featured a logarithmic scale ideal for measuring a patient's pulse rate, was highly esteemed by physicians. Within a decade, the company had sold more than 100,000 chronographs and stopwatches.

SQUADONAMISSION

Breitling celebrates the collective spirit of squads united in pursuit of their mission. Fuelled by camaraderie and driven by purpose, we accomplish more together than we could alone. Over the coming months we will feature a series of exceptional squads made up of leading figures from the worlds of aviation, exploration, cinema, and sport. One of Breitling’s earliest and most enduring mottos was “Instruments for Professionals” and the words are as relevant today as ever. The watches in the Professional Collection are equipped with features that make them perfect partners for every adventurer. Breitling’s first TransOcean was launched in 1958 and was the perfect accessory for international travelers. With clean lines and a refined aesthetic, the TransOcean is the perfect blend of fine craftsmanship and technical excellence.

SUPEROCEAN II 44

Equipped with a sturdy 44 mm-diameter case in satin-brushed steel, the Superocean II 44 dive watch is renowned for its exceptional water resistance to depths of 1,000 m (3,300 ft), and its ultra-legible black or blue dial bearing oversized numerals and hands enhanced with a luminescent coating. A security valve serves to equalize the differences in pressure between the interior and exterior of the case. It houses an officially chronometer-certified self-winding caliber for exceptional performance and accuracy. A classic amongst dive watches

The close connection between Breitling and the oceans is mirrored in the logo of the Swiss manufacturer - the anchor with the winged B-initial. Breitling’s breakthrough in the field of diving watches took place as early as 1957 when the company launched a watch waterproof to 200 metres.

Prior to 1957, the year marking the birth of the Superocean, Breitling was mainly sought out for its aviator watches, e.g. the Chronomat and the Navitimer. Since the creation of the Superocean, Breitling has been able to assert itself against powerful competitors of the watch industry with its reliable and robust diving watches.

Today, the Superocean is the star of the Breitling diving watch family, Aeromarine, which is distinguished for its unique, functional timepieces. Available in a broad range of colours, sizes, and designs, the Breitling Superocean collection caters to all tastes. Amongst a series of new watches and second-hand models, admirers of elegance and sophistication will surely find the right wristwatch with the Breitling Superocean.

Discover the depths of the ocean

The latest Superocean is stylish, powerful, and versatile. Breitling livened up the simple yet elegant design of the Superocean with chic colour accents. Clients have the choice between five different models: Superocean 42, Superocean 44, Superocean Chronograph II, Superocean Chronograph M2000, and Superocean Chronograph Steelfish. Admirers of simple watch dials will enjoy the Superocean 42 (Ref. A1736402), a considerably smaller Breitling model with a 42-millimetre-case. The watch face is comprised of characteristic hour numerals and is framed with a ratcheted bezel that is available in five different colours.

The watch face of the slightly larger Superocean 44 (Ref. A1739102), also offers a clear and simple design. The tasteful appearance does not do the phenomenal performance of the diving watch justice: the Superocean 44 is waterproof to 2,000 metres and is equipped with a helium escape valve, ensuring the watch’s endurance in the diving chamber after a dive.

Well-versed Breitling-collectors are often interested in earlier versions of the Superocean, e.g. the 42-millimetre-big Superocean (Ref. A17360), the Superocean Professional (Ref. A17045 or Ref. A17345), or the 41,5-millimetre-big Superocean (Ref. A17040 or Ref. A17340). The original versions differ greatly from today’s Superocean while impressing nonetheless with their robustness and strength. Today, these watches cannot be found new, but the second-hand market offers many interesting options for used Breitling wristwatches.







Riccardo Chailly

ABOUT

Riccardo Chailly, who was born in 1953 in Milan, studied at the Conservatories of Perugia, Rome, and Milan and at the Accademia Musicale Chigiana, beginning his career as an assistant to Claudio Abbado at La Scala in Milan. Chailly was appointed Music Director of the Berlin Radio Symphony Orchestra in 1980, and in 1988 he moved to the same position with the Royal Concertgebouw Orchestra Amsterdam, which he helmed for sixteen years. From 2005 to 2016, Riccardo Chailly served as head of the Leipzig Gewandhaus Orchestra; starting in 2015, he became Music Director of La Scala in Milan, and since the summer of 2016 he has held the position of Music Director of the Lucerne Festival Orchestra. Chailly regularly conducts such leading European orchestras as the Berlin and Vienna Philharmonics, the Bavarian Radio Symphony Orchestra, the London Symphony Orchestra, and the Orchestre de Paris. In the United States, he has worked with the New York Philharmonic, the Cleveland and Philadelphia Orchestras, and the Chicago Symphony Orchestra. As an opera conductor – in addition to his performances at La Scala – he has appeared at the Metropolitan Opera in New York, the Royal Opera House in London, Zurich Opera, the Bavarian and Vienna Staatsoper companies, Chicago Lyric Opera, and San Francisco Opera. Riccardo Chailly has received many prizes for his more than 150 CDs, including two Echo Klassik Awards (in 2012 and 2015); Gramophone magazine chose his account of the Brahms symphonies as Recording of the Year in 2014. Riccardo Chailly is a Grand’Ufficiale della Repubblica Italiana, Cavaliere di Gran Croce, and a Knight in the Order of the Netherlands Lion. In 1996 he was made an Honorary Member of the Royal Academy of Music in London, and in France he has been an Officier de l’Ordre des Arts et des Lettres since 2011.

Director of the Lucerne Festival Orchestra

n 2015, it was announced that Riccardo Chailly would become music director of the Lucerne Festival Orchestra, succeeding Claudio Abbado, who had died the previous year and had very much created the hand-picked ensemble in his own musical image, conducting it every summer for the last decade of his life. Chailly took up his post in 2016, with Mahler’s majestic Eighth Symphony, not only in tribute to Abbado, whose assistant he had been at La Scala, Milan in the 1970s, but also to round off the cycle of Mahler symphonies that his predecessor had been assembling with the orchestra, year by year. Last summer, though, he began to put his own stamp on the LFO’s activities, taking its repertoire in distinctly different directions with concerts of Strauss and Stravinsky, and of the two composers he conducts on this DVD, Mendelssohn and Tchaikovsky.

The Orchestra

The idea for a unique festival orchestra of international standing in Lucerne goes back to Arturo Toscanini, who in 1938 convened acclaimed virtuosos of the time into an elite ensemble with the legendary “Concert de Gala.” It was 65 years later that the conductor Claudio Abbado and Festival Executive and Artistic Director Michael Haefliger established a connection to this moment of the Festival’s birth and founded the LUCERNE FESTIVAL ORCHESTRA, which made its public debut in August 2003. With Riccardo Chailly, this unique orchestra once again has an Italian music director. The idea of friendship and freedom forms the leitmotiv for this ensemble, whose ideal is a chamber music-like spirit of cooperation. Many stars of the classical music scene have played in the LUCERNE FESTIVAL ORCHESTRA over the years: members of the Alban Berg, Hagen, and Leipzig String Quartets; the violinist Kolja Blacher; the violists Wolfram Christ and Antoine Tamestit; the cellists Jens Peter Maintz, Natalia Gutman, and Julian Steckel; the flutists Jacques Zoon and Emmanuel Pahud; the clarinetists Sabine Meyer and Alessandro Carbonare; the oboists Lucas Macías Navarro and Albrecht Mayer; the horn players Alessio Allegrini and Ivo Gass; the trumpeter Reinhold Friedrich; the trombonist Jörgen van Rijen; the timpanist Raymond Curfs; and the list goes on and on … and every summer still more new names come along.

Puiforcat | Classic Masterpieces

ICONIC PIECES.

Thanks to the expertise of its craftsmen, Puiforcat is not only able to reproduce classic masterpieces from Louis-Victor Puiforcat’s silverwork collection, now preserved at the Louvre, and to draw inspiration from the Art déco sketches of Jean Puiforcat, but also to work with today’s designers to create contemporary pieces that will become tomorrow’s classics. Among all these collections, some iconic creations really personify Puiforcat’s style, in the precision of their designs and the refinement of the techniques they require.

Puiforcat Orfèvre-Sommelier.

The House of Puiforcat has a knack for organizing remarkable encounters. To tackle the art of enjoying wine, the Maison brought together Lombardy native Enrico Bernardo, 2004 “World's Best Sommelier,” and London-based designer Michael Anastassiades, champion of minimalist elegance. Together, they rose to a formidable challenge: how were they to combine two substances that do not make for an ideal combination, metal, and wine? Simple: by separating them! The partners thus imagined a chalice that would sit on a silver-plated metal base. What about the stem? It was simply eliminated. The relationship between the taster and the receptacle, the interaction between the nectar and the palate thus became more natural and sensual. 
In addition to this unprecedented glass, the different pieces making up the Puiforcat Orfèvre-Sommelier collection strive to meet every need of wine lovers: decanter, champagne bucket, wine bucket, and bottle holder, all with a mirror finish on the inner surface to reflect the image of the bottle. Not to mention the water beaker, which transforms the act of drinking into an aesthetic experience.

COLLECTIONS.

For nearly two centuries, Puiforcat has dressed the finest tables and served as the silversmith of choice for connoisseurs and collectors of exceptional objects. Collection by collection, Puiforcat lays the groundwork for a silversmith art of living. Beyond its unrivaled expertise in the art of tableware, the house reinvents gastronomy at every step, from preparation to setting and on to the time of tasting. And aspires to honor its century-old experience in all types of art de Vivre, whether linked to the decorative arts or the “bel-usage”. In the past, porcelain plates were bordered and cup handles were encased in a metallic armature. Thus reinforced, porcelain tableware better withstood the trials and tribulations of travel and arrived undamaged. As a loving nod to this elegant custom, the Cercle d'Orfèvre collection also blends the fragile delicacy of white porcelain with the sturdy nobility of sterling silver.  
A pattern to inscribe on the porcelain, a message to engrave on the metal, a gilded finish and more: every piece in the collection is customizable upon request. 

Jacaranda.

The Jacaranda line, a set of bar accessories and decorative pieces, stands out for its atypical finishings: the pieces are hammered by the craftsmen in the Puiforcat workshop to create a rough yet delicate surface that plays with the light. And for an even more sophisticated look, the champagne buckets, round trays and candle holders, fashioned in silver-plated metal, feature elegant rosewood bases. A blend of noble materials in the purest tradition of the House of Puiforcat. 
The pieces making up the Jacaranda line are available upon request in a 24-carat gold immersion for an exceptionally refined golden finish. 

Restaurant | Henrique Leis.

Restaurant Henrique Leis – Michelin Star in the Heart of the Algarve.

Brazilian-born Henrique Leis first received his Michelin star in 2000, seven years after realizing his dream of opening his own restaurant in Loulé in the Algarve. Prior to this, Chef Leis cooked alongside such celebrity chefs as Paul Bocuse, Pierre Troisgros, Guy Savoy, Pierre Gagnaire, and Gaston Lenotre. His commitment and dedication in the kitchen underscore his vision, creativity, and attention to detail, continuously ensuring the Michelin star honor year-after-year. A beautifully restored home is ideal for dining al fresco in the summer, where diners are surrounded by colorful flower boxes and shaded by umbrellas. In winter, the fireplace, rich ruby-red velvet chairs and the added personal touch of Henrique Lei’s own paintings exhibited on the natural stone walls provides a welcome and comfortable ambiance. This is the perfect setting for the mastery of Chef Leis who embraces French cuisine enhanced by flavors of his South American homeland.

The Menu. The Wine.

Any wine connoisseur will be envious of the restaurant’s wine room, with its dark mahogany shelves filled with the best Portuguese wines and international brands. Allow the sommelier to enhance your dining experience, by pairing wine selections with the tasting or a-la-carte menu.

The “Whole Table Only” Tasting menu consists of

■ Egg ‘a la Coque’ with Smoked Caviar
■ Sea Scallops and Truffle Ravioli
■ Lobster from Algarvian Coast with Risotto-Gel
■ Guinea Fowl Supreme Stuffed with Foie Gras
■ Chocolate Delights

Welcome.

After having gone through all sectors of the restoration it was in the kitchen that he found his true calling. He started with a culinary consultant Margarida Nogueira, for whom he has deep gratitude because it was the first to offer him, in 1982, the opportunity to work as a chef in his restaurant "Bem Feito" in Rio. Since then he had the opportunity to work with the best European chefs such as Paul Bocuse, Pierre Troisgros, Guy Savoy, Pierre Gagnaire, and Gaston Lenotre. He passed through Italy, Germany and other countries, but it was in Portugal, in the Algarve, the place where he performed his dream of opening his own restaurant in 1993. In 2000 he was awarded the maximum consecration for a chef, getting a star in the Michelin guide. Since then, it has maintained the excellence of its cuisine, markedly personal and with deep French roots, ensuring Michelin star for 15 consecutive years until the present day. We highlight the vibrant colors, his vision, creativity and extraordinary accuracy in his kitchen. Closely cosmopolitan, heartfelt, contemporary and without nostalgia, looking to exercise his freedom without forgetting the basic values much as respect for the product, whether noble or less noble. A kitchen that celebrates the elegance and importance of details.

Riva boatyard | Italy

Building on a legend.

The Riva boatyard was established in 1842 on Lake Iseo, in Sarnico-Italy. It was a sudden and devastating storm - which irreversibly damaged the boats of the local fishermen, who were left shocked and powerless - that persuaded a young shipbuilder and craftsman who had just moved from Laglio, near Como, to perform a true miracle and repair most of the crafts, thus winning the trust of the locals. This was the beginning of the legend of Riva and that of a man, Pietro Riva, who - immediately after moving to Sarnico - became the master of his own destiny. This was the place where the first boats signed by Riva were launched and immediately stood out for their unmatched style and personality. Riva rapidly gained great respect and recognition; the boatyard flourished also thanks to the far-sightedness of Ernesto Riva, who had succeeded his father Pietro and introduced internal combustion engines on Riva boats.

Riva today.

On 1 May 2000, the Ferretti Group took over the Riva boatyard, which could thus go back to flying the Italian flag. The Group had a strong will to relaunch Riva products and the brand by focusing on quality, design, and uniqueness. Riva celebrated the turn of the millennium with the largest rally of period boats in history: more than one hundred yachts, representing all Riva models, paraded on Lake Iseo on 10 September 2000, led by the Aquarama carrying onboard Carlo Riva and Norberto Ferretti, bonded by friendship and mutual esteem. 

Design, materials and absolute quality.

Craftsmanship, unmatchable quality, innovative but always functional design, has always been Riva's hallmark. With a painstaking care of structural details, every boat, from 27 to 115 feet, is given a precise personality linked to its name. Riva is, more than ever, a refined, elegant and timeless beauty on the water, featuring state of the art design and performance. All of Riva's unique characteristics are due to a strong bond between design and tradition. None of its recent accomplishments would have been possible without the knowledge and experience of those individuals who have passed their talents in building boats from generation to generation. Today, Riva’s models stand out for their clean and essential lines, very elegant and original, for their exclusive design and unique style. This perfect blend of elegance and innovation sets the benchmark in the history of international boating design. The spirit of Pietro Riva, the young boat builder, still lives on. Riva is still building boats nobody else possibly could. Officina Italiana Design is the design studio to which the unmistakable style of Riva yachts has been exclusively entrusted, for both the interiors and exteriors, marking new stages in the history of international nautical design. 

Lifestyle | The Riva yachts: 27 to 164 feet of seduction.

Of rare beauty and refinement, Riva yachts have always been a synonym for elegance, and simple luxury. What really stands out in all Riva yachts, open, flybridge and coupé, are the interiors. Expression of Italian artisan skill thanks to some of the most sought-after furnishings currently available on the market, Riva yachts are refined floating dwellings. The furnishings are a collection of styles, all the accessories, draw from the very best of Italian artisan traditions. The unique comfort these yachts offer seduce even the most demanding of owners. “Tan in the shade” thanks to a sundeck awning in perforated, technological TNT material which allows for ventilation, whilst sipping a cool glass of champagne, stored in a special quick chill fridge, or own a pair of exclusive, personalized water-skis. These are some of the elements which make Riva an immediately recognizable luxury brand.

ROM Boats

About Us.

ROM Boats is a recent company born of a passion of its founder for recreational craft and the premise of producing models with limited series.

A ROM client has every right to have a unique boat, different from many others. The marketing and after-sales model is one of the distinguishing points of ROM. The relationship with our clients is always made between the factory and the final customer, which allows us to hear directly from them about their wants and needs and to make customization a true reality. On the other hand, all support, where and if necessary, is guaranteed by us anywhere in Europe.

For us it is absolutely essential to be able to respond to the client's functional and practical needs, not neglecting the aesthetic aspect of the boat. We combine innovative technologies with traditional and old craftsmanship, drawing on the vast experience of workers in a sector that was once very strong in Portugal and which needs urgent revitalization so that the little know-how that still exists can be recovered. With this concern in mind, we installed our shipyard in Aveiro, a city with a great tradition in boat construction, recruiting people deprived to exercise their vocation and to apply the knowledge that still dominates. We also guarantee the transfer of this know-how to the new generations so that they will last in time and we will be able to reinvigorate this sector.

Something Unique.

ROM boats are characterized by elegant and modern lines, unique and innovative design, topped by luxury finishes with exquisite materials not normally seen on boats. We combine innovative technologies (in the manufacture of molds and fiberglass) to traditional and old-fashioned craftsmanship (hand-made carpentry and upholstery).

Main Specs. Specifications Overall.

Length Overall: 7,8 m Weight: 2.812 kg

Engine

250-450 HPCrew: 10 pax

Engines.

  • Volvo Penta D4-300/DPS Diesel (2x220HP)
  • Volvo Penta D4-300 (1x300HP) Diesel + Gear Box
  • Volvo Penta V6-DPH (280HP or 350HP) Gasoline
  • Mercruiser 4.3L (250HP or 350HP)
  • Mercruiser Diesel 3.0L TDI (260HP)

Water System.

  • Water heater

Cabin Area and Electronic.

  • Cleat covers 
  • Cockpit cover
  • Leather seats and cockpit finishing
  • Personalized towels and engraving seats
  • Surround bose audio system
  • LED floor lighting
  • LED underwater lights

 

    FRATELLI PIACENZA S.P.A.

    COMPANY

    The right balance between innovation and tradition, harmony with the environment and recognition of the value of human beings has made the Fratelli Piacenza wool mills an example of the excellence of Made in Italy at international level.
    From top-quality fleeces to fabrics destined to be applied in haute couture or transformed into an article of clothing to wear, every single phase of the transformation is carried out with the greatest sensitivity. Our raw materials first have to face a long, adventurous journey: once they have arrived in the wool mill, they could tell many a story about their places of origin, but their real story is still waiting to be written. After undergoing the process of textile transformation and quality control at every stage in the proceedings, their original noble quality is intensified in fabrics of exceptional value.

    TRADITION AND INNOVATION

    the feeling is an attitude. Paying attention to listening to human diversity, embracing it to discover that every individual is an added value who contributes to the firm’s human and productive growth. The glue that holds tradition and innovation together is sensitivity. It guides the way towards new discoveries, enabling potential to be discerned and embraced to design the future. Piacenza and nature live in a vital symbiosis that goes further than a mere contemplation of nature’s beauty. It’s a sense of belonging, of experiencing nature actively and accepting its challenges. This is intimately related to fine-tuning the sensory capacities that come into play throughout the production process, to achieve fabrics that are sensitively touching.

    Exclusivity and luxury: our cup of tea since 1733

    Piacenza Cashmere is delighted to present at the 27th edition of Milano Unica between 10-12th July, the new 2019/2020 FW collection.

    Traditional and innovative fabrics will be presented to satisfy everyone’s style but also to let you inspire for your newest creation.

    From sustainable and traceable wool in several patterns and colors to a contemporary Mouliné improved by high twist & united melange yarns for your bespoke suits.

    Three-dimensionality is a brand new characteristic for dedicated jackets’ fabrics: the finest brushed cashmere from the Alashan region together with other noble fibers will give you back a scratched effect blazer where tradition and innovation find their balance.

    Finally, to keep you even warmer during for the cold season, our double-faced fabrics have been developed for an informal, casual look for your daily routine. Do you want to make it more business style?

    Let you inspire by our full collection and find your perfect fit at our stand!

    We’ll invite you to book an appointment or pop by our booth EO6, Pavillon 20.

    ANTOINE DUFILHO | GALLERY.

    The MB&F M.A.D.Gallery proudly presents ‘Sequential’, a fleet of seductive automobiles by French artist Antoine Dufilho.

    After studying architecture and medicine, Antoine Dufilho’s passion for art and automobiles led him to an enterprising new career in sculpture. He is surrounded by a close family filled with diverse and creative talents such as architecture, painting, and sculpting. His father is a surgeon and his great uncle is Jacques Dufilho, a famous French comedian, and producer. “During my childhood, the summers at my grandfather's house were largely devoted to making sculptures from clay harvested from the dread of his farm,” remembers Dufilho. It is not surprising Dufilho eventually found his knack in art.

    Adoration for Automobiles.

    In the same way his adoration for automobiles stems from family, “I come from a family of car lovers, starting with my grandfather and my great- uncle, an owner of a Bugatti Grand Prix, who passed on their love of automobiles to my father, a collector himself, he naturally transmitted the same passion to me,”

    Dufilho created his first work, a rendition of the Bugatti Grand Prix, for his father’s birthday, in turn, opening many doors in the world of art and sculpture to him. Today his work can be found at the Petersen Automotive Museum in Los Angeles. Dufilho approaches it all in modesty, “My goal is not to work on a single subject, especially since I am still in the process of experimenting and discovering what can exist and be done.” His biggest challenge is in front of him, an ambitious project to construct a Bugatti Atlantic with aluminum plates to the exact size as the original.

    SEQUENTIAL.

    Sequential is an avant-garde exhibit of eight automotive works by the talented French sculptor Antoine Dufilho. In this collection, Dufilho merges his passion for cars with principles from his studies in medicine and architecture, creating modern sculptures accentuating the classic curves of coveted automobiles. As avid car aficionados at the MB&F M.A.D.Gallery, we invite fellow enthusiasts to take a spin through the Sequential exhibit to discover the allure of this intricate automotive art. Dufilho selects the crème de la crème of icon models when it comes to cars for the Sequential exhibit. The collection includes an enviable line-up of eight famed automobiles, from a Ferrari 250 GTO and Bugatti Atlantic to a Mercedes W196 Streamliner, scaled- down and transformed into impressive artistic renditions. “This sequenced representation provides a kinetic effect as the observer views the piece from different perspectives causing the sensation of a static object in movement. The dynamic effect is accentuated by alternating symmetries and asymmetries proving the feel of acceleration or deceleration,” explains Dufilho. Perhaps one of the most important models in the history of Bugatti, sold from March 1934 to May 1940, is the Bugatti Type 57S Atlantic. Dufilho constructs a sexy silhouette of the iconic automobile with polished finished stainless steel plates and bronze wheels, parked on a polished aluminum base. The sculpture measures approximately 76 cm in length and 20 cm tall with a width of 33 cm and is limited to ten pieces in addition to two artist editions.

    PRODUCTION PROCESS.

    During his medical studies, he was drawn to anatomy and the complex structures that are essentially hidden by skin while his architectural education taught him technical skills, introduced him to the history of art, and a new way of thinking. “Combining these two schools of thought has allowed me to develop a new structural approach, including the framework (skeleton) that can be hidden by a "skin" an enhancement, forming an aesthetic and dynamic meshing that strengthens the architectural intentions,” as Dufilho describes. Working completely out of his workshop, constructed with shipping containers and situated in the Northern part of France in a town named Quesnoy-sur-Deule, Dufilho manually builds each masterpiece by hand. Over time the studio has grown into a playground for his artistic inventions and is equipped with all the necessary machinery from an assortment of belt sanders with a sanding cabin and industrial polisher to a painting booth, manual lathe, industrial hand the milling machine and every type of the welding machine imaginable. Using local resources, Dufilho incorporates materials such as metals, wood, resin, and paint from vendors within a 30 km radius of his studio for his projects. The only work he subcontracts is the laser cutting of the metal plates and the remaining artisanship is completed by the talented hands of the artist himself. Dufilho shares, “The material that I use the most is metal because it is an element that allows me a freedom to add or subtract, unlike wood. Metal also has the advantage of being eternal, unlike composite materials.” He continues, “Wood remains the most pleasant material to work with and brings interesting natural colors and designs while it is also still present in automobiles today.”

    https://www.madgallery.net/geneva/en/creators/antoine-dufilho-sequential

    THE REEF | RESORTS AND SPA.

    All-Inclusive Resorts on Mexico’s Riviera Maya.

    Get more out of your getaway at The Reef Resorts. Our sun-splashed oceanfront hotels on the Riviera Maya make it easy with all-inclusive rates and unbeatable special offers. Budget-friendly and so beautiful, The Reef Playacar and The Reef Coco Beach are all about family fun and sweet memories. Come on, rewrite the vacation rules with us!

    Explore Mexico's Riviera Maya.

    Located in the heart of the Riviera Maya just 45 minutes south of Cancun, The Reef Playacar and The Reef Coco Beach are oceanfront all-inclusive resorts situated on the white sand beaches of Playa del Carmen, a charming coastal town known for its crystal-clear turquoise waters and relaxed, low-key vibe. The Reef Playacar is located in the nearby gated community of Playacar, while the Reef Coco Beach is just a short walk from the famous 5th Avenue and the ferry to Cozumel Island.

    Make It Magical.

    Destination weddings and dream weddings don’t have to be mutually exclusive. At The Reef Resorts, we’ll make your day memorable and stay within your budget with affordable packages complete with flowers, decorations, sparkling wine and wedding cake.

    One of Mexico's most acclaimed tourist destinations, the Riviera Maya is located on the shimmering Caribbean coastline in the state of Quintana Roo on the eastern portion of the Yucatán Peninsula. Once known as the Cancun–Tulum Corridor, the Riviera Maya is famous for its oceanfront resorts, restaurants, and beautiful white sand beaches. Among the destination's most popular attractions are the Mesoamerican Barrier Reef System (aka the Belize Barrier Reef), archeological sites such as Chichen Itza and Coba, and the eco-theme parks of Xcaret and Xel-Ha.

    Nearby Attractions.

    ISLA MUJERES

    Just across the Bahia de Mujeres (Bay of Women) from the mainland, this beautiful little island offers a laid-back refuge from the frantic beat of Cancun. Its clear water, abundant marine life, colorful reefs, and caves make it one of the prettiest reefs to snorkel in the Mexican Caribbean.

    PUERTO MORELOS

    Halfway between the bustling cities of Cancún and Playa del Carmen, Puerto Morelos has retained its atmosphere of a charming Mexican fishing village, with long stretches of sandy white beaches and serene setting. Snorkel just offshore and see a wonderland of stony corals and sea life.

    CANCUN

    A vibrant tourist mecca, Cancun offers non-stop beachfront action with 14 miles of pristine white beaches, breathtaking turquoise waters and an energetic nightlife. Considered the gateway to the Mayan world and the Mexican Caribbean, no visit to the Yucatan Peninsula is complete without the Cancun experience.

    AKUMAL

    Akumal means “Place of the Turtle, and is a famous snorkeling spot, where visitors can swim with endangered green sea turtles, who visit the shallow bay to feed on seagrass. To the north, find the curved beach of Half Moon Bay, while the warm waters of the Yal-Ku Lagoon teem with marine life.

    PLAYA DEL CARMEN 5TH AVENUE

    One of the most famous Playa del Carmen attractions a 5th avenue or Quintaas the locals call it, where the city’s shopping, dining, and nightlife is centered. Abuzz with blocks of shops, cafes, bars, and restaurants, 5th avenue is the place to enjoy great shopping, food, music and plenty of people-watching.

    TULUM

    The most picturesque and best preserved archaeological site in the Riviera Maya, Tulum is the only Mayan ruin to have been built overlooking the ocean. Apart from powder-soft beaches and crystal clear blue waters, Tulum also boasts excellent cave and cavern diving and fun cenotes to swim in.

    Maat | Museum of Art, Architecture and Technology.

    LOCATED IN LISBON, PORTUGAL.

    Museum of Art, Architecture, and Technology, which opened its doors to the public on 5 October. Presenting itself as a new cultural center in the city of Lisbon, the MAAT represents an ambition to host national and international exhibitions with contributions by contemporary artists, architects, and thinkers.

    A space for debate, critical thinking, and international dialogue, which offers an intense and diverse programme conceived for all audiences and ages.

    The MAAT also represents the EDP group’s intent to help revitalize the riverfront of Belém’s historic district. Designed by the prestigious British architecture firm Amanda Levete Architects – whose curriculum includes distinctions such as the RIBA Stirling Prize -, the project involves approximately 3 thousand square meters of exhibitive space plus 7 thousand square meters of public space. The new building rises on the riverfront with an architectural narrative that is sensitive to the city’s cultural heritage and future, offering, among other features, a pedestrian roof that offers a privileged view of Lisbon and the Tagus, and which immediately became an iconic location.

    With this proposal, the EDP Foundation has created a unique space in the city: a campus measuring 38 thousand square meters where the new building, with its cosmopolitan design, coexists with the iconic Tejo Power Station, connected through a landscape project designed by Lebanese architect Vladimir Djurovic.

    BRITISH ARCHITECTURE STUDIO AMANDA LEVETE ARCHITECTS.

    The building for the Museum of Art, Architecture, and Technology was designed by British architecture studio Amanda Levete Architects (AL_A).

    Boasting over seven thousand square meters of new public space, AL_A’s building makes use of the area’s natural features, incorporating an architectural narrative that is in keeping with both the cultural heritage and future of the city.

     

    The pedestrian route on the riverfront now includes the roof of the new building, creating an undulating movement which merges with the surrounding landscape. In this way, the pedestrian roof, which also has a garden area, becomes both a crucial element of the local route and a public space with a privileged view of the city and the river.

    The vast south facade is the building’s most iconic feature and it works as a large reflector interacting with the light coming from the river. The angle and position of the tiles were planned in order to create specific luminous effects according to the time of the day and year. The north facade, built in glass, includes a system with different levels of transparency which can be adapted to the different uses of the space.

     

    Inside, the building holds four exhibition spaces across three thousand square meters: the Oval Gallery, the Main Gallery, the Video Room and the Project Room.

    The Oval Gallery is the first exhibition area which the public comes across. It consists of 800 square meters of both exhibition space and walk-around area which takes visitors to the other exhibition rooms in the building. This vast walking route is shaped along a curve which allows the visitor to walk around the inside of the building and through the special projects being hosted in that area.

    The Main Gallery is around one thousand square meters and is located on the bottom floor of the building. It’s a versatile space which, depending on the programme, might be kept as a single space or divided into multiple rooms.

    The Project and Video Rooms are two spaces used to present film or video projects, installations, etc.

    We understood EDP’s vision for Lisbon, and our project is based on the local context, creating physical and conceptual connections with the riverfront which are echoed in the heart of the city. – Amanda Levete

    AL_A is an award-winning architecture and design studio, founded in 2009 by Amanda Levete, an architect who was awarded the RIBA Stirling Prize, and by Ho Yin Ng, Alice Dietsch and Maximiliano Arrocet.

    SECOND NATURE AT THE KREEGER MUSEUM IN WASHINGTON.

    Within the remit of the celebrations around Portugal in the USA Month, EDP Foundation has been invited to present the exhibition Second Nature: Portuguese Contemporary Art from the EDP Foundation Art Collection at The Kreeger Museum, in Washington. This is the first collective exhibition of Portuguese contemporary art presented in the United States.

    The 38 works selected by curators Pedro Gadanho and Luísa Especial come from the original set in the exhibition Second Nature, presented at MAAT in June 2016. Nineteen renowned Portuguese artists are represented, including Alberto Carneiro, Gabriela Albergaria, Julião Sarmento, Vasco Araújo, Alexandre Estrela or Fernando Calhau. The exhibition’s theme focusses on a multifaceted testimony about the inseparability between man and the natural world.

    The exhibition is organized according to affinities found between the different works. Examples of some of these multiple points of contact and some of the artists whose works establish those connections are: the inclusion of the body in the natural context, through experience and its recording (Alberto Carneiro, Pedro Vaz); the garden as a critical device, where cultural codes are questioned and where personal and collective experiences are included (Vasco Araújo, Gabriela Albergaria); the tension between the natural and technological spheres (Alexandre Estrela), and the impact of the latter in the former, within a fictional setting (Miguel Soares).

    Second Nature: Portuguese Contemporary Art from the EDP Foundation Art Collection will be exhibited at The Kreeger Museum from 4 June to 31 July.

    https://www.ala.uk.com/projects/maat/

    José Maria da Fonseca | Family of Wines. Wines of Family.

    SUSTAINABILITY. QUALITY AND ENVIRONMENT.

    Founded in 1834, José Maria da Fonseca leads the way in the field of table wine and Setúbal Moscatel production and sales. Its brands can be found worldwide and exports currently account for about 80% of annual sales volume. 

    A Key part part of the company’s strategy throughout its history has been environmental concern. This has been translated into the use of best practices in the treatment of vines and better management, preservation and conservation of natural resources. In turn, this has led to a new set of practices reflected in the community of which it is a part, thus enabling a supportive coexistence of the needs of all those involved.

    BALANCED, ENVIRONMENTAL AND PIONEERING VITICULTURE.

    The environmental concern also extends to the vineyards, where, since the early 90s, the company has been developing and applying viticulture in contact and focused on the preservation of natural resources. Integrated protection practices are followed in all vineyards and extended to grape suppliers. 

    Viticulture constantly strives towards a balance between the use of technology and concern with the environment. José Maria da Fonseca pioneered drip irrigation, which it implemented in 1993, and which is now standard practice in national viticulture. Also, from the 1980s it started not mobilizing the soil, maintaining a vegetation cover that retains moisture, benefiting life and plant and animal biodiversity, which in turn implies a reduced need for water in the vineyards. The soils are fertilized with the stems of the grapes in the rows of vines, also incorporating organic matter from the pruning.

    Agricultural research for new and better plants has been a practice over the past few decades and José Maria da Fonseca has collaborated with leading experts and with national and international research centers in the area of Enology and Viticulture.

    SETUBAL PENINSULA.

    This is where José Maria da Fonseca’s largest vineyard area is located. There are various sites, each offering different climatic conditions, exposure to sunlight and type of terrain, which facilitates a range of technical options that will maximize the qualitative potential of each wine.

    ALAMBRE 40 YEARS.

    D.O.C. MOSCATEL DE SETÚBAL

    Setúbal Moscatel is a dessert wine produced in Portugal on the Setúbal Peninsula,a region south of Lisbon which was recognised as a D.O.C. in 1907. Some years ago, Jose Maria da Fonseca decided to brand its Moscatel as Alambre.

    Alambre was the name of the estate where José Maria da Fonseca first planted vines of the Moscatel grape variety, and also refers to the wine’s amber color.

    The Setúbal Península has unique conditions to produce fortified wines from the Moscatel grape. The climate is influenced by the Tagus and Sado Rivers and the Serra da Arrábida hill range. It has Mediterranean characteristics with hot, dry days and humid nights at the end of summer. Winters are cold but not too rainy.

    TOURS.

    When you visit the house where José Maria da Fonseca was founded in 1834, you’ll get to know the essence of a Wine Family with almost 200 years of history, where the values passed down from generation to generation are kept alive while allowing the company to project itself into the 21st century.

    You can also enjoy an unparalleled wine and gastronomic tasting experience and find out about the history, flavors and essence of the wine produced here for almost two centuries.

    The José Maria da Fonseca Wine Tourism was distinguished in the 2013 W Awards (awarded by the wine critic Aníbal Coutinho) as Best Wine Tourism without Accommodation for 2012.