By Angela Chong*

“ICARUS. The Legend of Mietek Kosz” is a Polish drama film based on true events related to the life of Mietek Kosz, a pianist genius who lost his sight at the age of 12.

The film begins with Mietek Kosz’s appearance on the stage making his way to the piano with faltering steps, all the while aware of the audience murmuring about his seemingly drunken state. When finally seated in front of the piano, he puts his fingers forcefully on it, hitting the hard cover instead, thus initiating a roar of laughter among the audience. He remains motionless for the next few moments of silence, his head hanging low in shame, while flashbacks from his childhood appear, alternating with closeups of the puzzled audience. Suddenly his fingers start dancing feverishly on the piano keys and the audience become gradually so much intoxicated by his performance that it ends with their standing ovation.      

This is a scene skillfully crafted by Maciej Pieprzyca, the director, to impress the audience with the sightless jazz pianist’s genius. It is then followed by selected episodes depicting the most influential moments in his life and career. In fact, as the story unfolds, the audience find Mietek still haunted occasionally by his childhood trauma particularly in times of adversity. There is the repeated scene of a door closing. It was the door of the convent in Laski, where his mother had left him in the care of the sisters. The damage thus caused is still felt, particularly when he is left behind, first by his assistant and then his singer partner, with whom he has cherished vain hope for a blessed future. His loneliness and desperate need for acceptance has led to alcoholism, which worsens amidst his career frustration.

Personally, I am much impressed by the parts played by the few characters in Mietek‘s struggles to fame in the jazz world. There is, for example, a touching scene in which Mietek is carried to his bed in his assistant’s arms like a baby. In fact, Mietek owes much to the latter’s help and caring concern on his path to success in the prestigious Montreux Jazz Festival. The female vocalist, too, has somehow contributed to his increased fame and popularity before the end of their partnership. Not to be neglected is the consultant, who claims to have discovered his hidden potential long before the others. And, regrettably, Mietek could have led a happy and contented life with Marta, the woman he had met in the bar.

The success of the film is much attributed to the excellent acting skills of Dawid Ogrodnik, the leading actor. He plays the piano with such brilliance that we see the actual Mietek in him. Even a non-pianist like myself is captivated by his superb performance, the result of months of stringent practice. And he has also spent time with the blind people learning to imitate their facial expressions and gestures. This is real professionalism, which has made the story more engaging and more convincing.

On the whole, the film tells a sad and yet beautiful story, which is probably why the Chinse name “只有悲傷才是美麗的” was chosen. Though not exactly a tear jerker, it leaves the audience sighing over its tragic ending while at the same time initiating serious thinking about the lasting impact of the early childhood years.

*The author is an amateur film critic in Macau

With a heritage that dates back nearly 200 years, the house of The Macallan is a bastion of character whilst always keeping an eye in the future.

The story we’re about to tell, takes us all the way to the charming, lush-green Scottish Highlands. The Macallan Distillery, one of the first to be officially licensed in Scotland, stands on Easter Elchies Estate in the county of Moray, North-East Scotland. Stunning fields of all shades of green go as far as the eye can see, nestled above the river Spey, encompassing a total of 485 acres of land

To tell the history of The Macallan one needs to first explain the importance of the land the Estate stands on. The proud country of Scotland carries tradition beautifully and both producing and drinking Whisky are arguably one of the country’s best known customs.

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Tales as old as time

If we go as far as the 1700s we will learn about how drovers in the highlands, on their way to the markets in the south, would often stop at the many farmers’ houses along their way. Here, they would probably exchange pleasant words, explain the hardships of selling their cattle in the market, perhaps a tip or two about farming and taking care of livestock.

In keeping with Highland tradition, it is quite possible that the farmer would then offer their tiered guests a parting glass of locally distilled ‘aqua vitae’ or ‘usquebaugh’ in Scottish Gaelic to keep them warm on the road.

We will then fast-forward 100 or and something years to 1824. The date that one would be carved on every single bottle of The Macallan whisky, would mark the year Alexander Reid would officially found his distillery.

The MAGHELLAN

The original name of the area was “Maghellan”, taken from the Gaelic word “magh”, meaning fertile ground and “Ellan”, from the Monk St.Fillan – who held a close association with the church that stood in the grounds of The Macallan Estate until 1400. The farmers had a long and rich traction of making whisky on their Speyside farms in the area for centuries.

What makes The Macallan unique is the house’s dedication to uncompromising quality whilst an ability to keep innovating. Quality and character are two words that well describe a brand that has managed to survive 200 years and remain a favorite of connoisseurs. The secret it seems rest on the house’s 6 pillars.

Pillars of Quality:

Spiritual Home

A house is sometimes more than bricks and windows, it can represent soul and spirit. Such is the case with the brand’s  Spiritual Home, Easter Elchies House. A fine example of a Highland manor house it was built in 1700 from locally quarried sandstone for Captain John Grant.

“Curiously Small Stills”

Stills, or pot stills are a type of distillation apparatus, usually made of copper as is the case of hose in The Macallan distillery. Although the smallest in the Speyside, don’t let size full you. It is their different size and shape that lends the spirit maximum contact with the copper. In turn, this helps concentrate the ‘new make’ spirit and provide the rich, fruity, full-bodied flavours characteristic we know and appreciate. There are 24 of these spirit stills, crafted from copper, each holding an initial ‘charge’ of 3,900 litres.

Finest Cut

To ensure only the very best comes out of their distillery, only the finest quality spirit from our stills is selected. This allows the best single malt whisky is crafted. The small portion, or ‘cut’ is incredibly selective and one of the finest in the industry. It is primarily responsible for the full-bodied richness of The Macallan new make spirit. This clear colourless spirit is selected at just under 70% alcohol by volume. The unique and flavourful amber liquid you see in your fine crystal glass, starts with this ‘new make’ spirit.

Exceptional Oak

To speak about The Macallan is to speak about some of the most unique casks in the industry. The last stage of whisky-making is also one of the Estate’s signatures. Sourced mostly in distant and warmer Spain, these oak casks are crafted to the brand’s specifications and account for up to 80% of the final aromas and flavours of The Macallan. Quality comes at a price, and The Macallan confirms they spend more per cask than any other distillery in sourcing, crafting, seasoning and caring for their casks!

Natural Colour

What we can all agree with is that The Macallan is unmistakable for its unique colours! A unique skill and mastery is required to produce such beautiful all-natural shades. What influences the different lines is the interaction of the ‘new make’ spirit with the oak of the maturation casks delivers the rich and natural diversity of colour throughout the range, from light oak through to darkest mahogany.

Peerless Spirit

Last but not least, what really takes to make incomparable quality is true passion and dedication. Mastery of anything can’t be achieved without real spirit and that is why the brand chose it as the last of the six pillars: the human element that makes the combination of everything else possible!

The Real Deal

Tasting any of the many lines and ages of The Macallan is all the prove you will need to understand that great taste and unpairing quality takes history.

From the  beautiful and rich grounds on which it stands today, to the history of a country and the ingenuity of its founder, every single sip of The Macallan was nearly two centuries in the making.

Enjoy your journey of The Macallan, pls visit here.

Savouring a glass of your favorite single malt can be a meticulous ritual. Every single detail counts, from when you take the bottle at your hand to read the label to pouring the amber-coloured liquid into a heavy glass. Some of us look forward to appreciating the swirl of the liquid, to being mesmerised by the legs flowing down the glass wall, before one enjoys chewing the whisky on the palate. Whichever way you prefer, what counts above all else is the golden drop tipple inside it, that particular sensation will prove to worth the while for something rare as a glass of The Macallan Double Cask 30 Years.

The Macallan has long been a favourite amongst connoisseurs and novices alike because it brings out the adamant to choosing the best casks with the drive to innovating without losing its quality identity. Certainly not an easy feat in a world obsessed with newness. The respect to heritage by The Macallan however is something whisky lovers are well attached to and expect something unexpected will come out of it. One of the latest expression that lives up with this expectation is the introduction of the Double Cask 30 Years Old in what marks an important release to  the existing “Double Cask” range 12, 15, and 18 Years Old.

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The Best of Both Worlds

The Macallan Double Cask 12 Years Old was the first of the range to emerge in 2016 and was the start of a new journey of the senses, a daring move that merges  the best casks selected from both  the old and the new worlds.

The secret was deceivingly simple, to create a unique combination of American and European oak sherry seasoned casks. The result surpassed expectations. Together, the two different oaks were able to concoct a perfectly balanced single malt Scotch whisky with a distinctively rich character, punctuated with a contemporary soft sweetness.

The curation of this single malt is a beauty in itself. The story that takes its first steps in the unique, lush scenery of the Spanish forests in Galicia, Cantabria and Asturias, where the European Oak is sourced  and takes several challenging paths before a cask is completely matured with Sherry and set in Scotland.  The other side of the  journey would take us to the far away forests of Ohio, Missouri and Kentucky in the United States where the New Oak is taken from, brought to Spain and seasoned with Sherry before it is set in Scotland, alongside the European casks.  

At The Macallan Estate on Speyside  each type of the cask is filled with new-make spirit— fresh from the still as the first stage of whisky making. Following years of cask slumber, The Macallan’s Whisky Making Team apply their skill and expertise judiciously to select the best spirit from both the American and European oak sherry seasoned casks to create Double Cask.

The Real Taste

The result couldn’t have been more elegant with the sherry seasoned American oak imparting delicate flavours of fresh fruits and vanilla, while the European oak delivers the subtle and unmistakable spice and dried fruits of classic Macallan.  A perfect partnership. So, as you pour that drink into your glass, take a minute to remember, a sip of The Macallan Double Cask took thousands of miles to happen.

The new Double Cask demonstrates The Macallan’s determined adherence to only the best, and  continuously trying to surpass itself, to create peerless single malts. With 30 Years in its maturation The Macallan Double Cask 30 Years Old shows exceptional depth and complexity, by imparting aromas of fresh honeycomb, sweet toffee, red apple, fig and vanilla pod. Notes of cinnamon, ginger, Madagascan vanilla, dried fruits and oak flavours can be found on the plate, while the finish delivers sweet oak, soft spice and toffee.  A magical experience if ever there was one.

Curious for more? Click here.

Whether you are pouring The Macallan into a heavy crystal glass or having it served to you at your favourite bar— picture dark woods, comfortable leather seats, maybe a fireplace?— one thing is for sure, you’re in for an experience that will surpass whatever your surroundings are offering you. The truth of the matter is, not all whisky is created equally and every bottle of The Macallan carries within it the flavours of the highlands and centuries of tradition.

Chocolate Magic

The Scottish house, established in 1824, has gained its place across all the high-shelves of the world’s renown bars and it did so by honouring tradition whilst never shying away from innovation.  What better way to prove creativity than by launching the daring The Macallan Harmony Collection Rich Cacao, a limited edition whisky in an innovative new series that will bring together two decadent desires: single malts and rich chocolate.

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As with everything The Macallan, quality and attention to detail are keys. Creating such a unique product, a new limited annual release series, required The Macallan Whisky Maker,  Polly Logan to travel all the way to Girona, Spain. Here, she was able to truly immerse herself in everything chocolate, exploring the chocolate-making process and uncovering the distinctive flavour profiles that lend chocolate its almost magical allure.

The Dream Team

Creating a new luxurious product requires passion, research and the perfect partnership. That was exactly what Polly found, in the collaboration with world-renowned pastry chef, Jordi Roca, the youngest of the acclaimed Roca brothers of El Celler de Can Roca, a unique three Michelin star restaurant that has made history. Her journey took her to Jordi’s acclaimed chocolate factory, Casa Cacao also in Girona and she had the opportunity of meeting master chocolatier, Damian Allsop.

It was all this accumulated knowledge and profound understanding of what cocoa can represent, that would lead Polly to get the inspiration she needed to create The Macallan Harmony Collection Rich Cacao. The next step, was to search for the right sherry seasoned oak casks maturing at The Macallan Estate in a quest to identify rare, indulgent chocolate notes.

Once the perfect and harmonious combination of European and American oak casks were found, the rest was magic, The Macallan magic. This powerful combination resulted in an exceptionally rich single malt whisky characterised by a deep, dark chocolate profile, which pairs perfectly with the richest chocolate for a luxurious sensorial experience. The best of both worlds, old and new joined to create a true explosion.

A Gift of Nature

Both cocoa beans and malt are nature’s gifts to mankind. From those two natural ingredients a world of possibilities can be created, be it delightfully rich chocolate or a unique glass of single malt whisky. Nothing would be possible if mother nature hadn’t been generous with her offerings. It is also true that both of these natural ingredients have been used for millennia in a number of occasions and rituals. The different peoples of South America, venerated the coca beans for their magical abilities. The exotic fruit from which the bean is extracted had a long, long history before it was arrived in the West and was transformed into edible chocolate as we now know it.

It was therefore no accident that The Macallan decided to create the package of this unique beverage with a sustainable approach, a homage to Nature and everything she so generously provides. The company who has been consciously reducing waste, decided to encase  The Macallan Harmony Collection Rich Cacao in a beautiful, fully recyclable and biodegradable presentation box. Using natural by-products in the chocolate-making process, the box also honours its origin and inspiration, it is crafted without compromise using discarded husks from cacao pods. Simply said, it is the perfect marriage between The Macallan’s renowned craftsmanship and the contemporary packaging techniques aimed at minimising waste.

Should you want to learn more, we would recommend a visit to The Macallan’s dedicated website. It is not every day that we find such a symbiotic relationship of two magical ingredients, two different histories and two different traditions, all so very rich and profound.

Thousands of spectators visited the latest groundbreaking exhibition “海洋LA MER” (French for “the sea”) that has delivered a multimedia feast with a cause.  The art exhibition concluded last month at City of Dreams’ iconic Dancing Water Theater and was part of the “Art Macao: Macao International Art Biennale 2021” initiative. It also included a journey through the senses, with limited-edition afternoon tea set and creative molecular cocktails.

To create a multimedia extravaganza is just in the company’s DNA, something that Frederic Winckler, Executive Vice President, Chief Creative & Brand Officer of Melco Resorts & Entertainment reiterates by stating that “Melco is always pushing boundaries, from architecture, entertainment shows, online initiatives, to name a few.  This is something we love, embrace and obsess with.” He even goes on to promise that “There will be more to come”.  However, what made “海洋LA MER” special was its twist. The exhibition aimed to foment an interest in the betterment of the environment as well as the sustainability cause.

The sea is a theme close to the city as Winckler reminds us, being a peninsula, Macau is surrounded by water and its preservation is key. But there was also another major element to “海洋 LA MER”, “we would like to add a sustainability angle into it, pollution, plastic, these are issues everywhere.  Drawing the attention on protecting the ocean through showcasing its beauty and how fragile it really is”, he adds.

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From the World, With Love

The exhibition itself showcased everything from art installations, to a thematic film festival as well as activities that varied from underwater photography sessions to Flow Body Mindfulness sessions!

French Ange Leccia, who started as a cinematographer and initiated his artistic research as an artist in residence at the French Academy in Rome, showcased the immense power of the ocean. In his video, Leccia proved how waves are a powerful force of nature, a testament to the never-ending rhythm of the sea.

Sound is perhaps one sense that better connects us with the ocean. Of all sensorial experiences, that of the symphony of the waves, the marine animals, the way the wind touches water, is the most immersive one. Thomas Roussel managed to capture this essence in an innovative work. The French conductor composed and recorded a score with an orchestra, and the musical segments from which interact with live sounds of the Pacific Ocean through the use of Artificial Intelligence, the combination is then remastered into a continuous symphony. To give this work a visual dimension, a collective of artists has joined hands to create visual illustrations from digital recordings of 35,000 marine species moving around the planet.

From Japan, Makoto Azuma, a talented floral artist, joined a Japanese research team during their ocean sea bed exploration and sent a bouquet of flowers to 1000M deep, a unique voyage documented in a video and 10 pictures.

The already well-known artist Franco Dragone— the mastermind behind the House of Dancing Water— explored once more the playful entertainment with a grand Baroque theater experience: a dramatic choreography of the Dancing Water Theater machine sans performers! His creation was showcased as an official kick-off performance of the exhibition to the public, promoting the importance of protecting the oceans to an even wider group of audiences.

The Importance of Films

On the other hand, the “LA MER” Film Festival, curated to every member of the family. From Disney classics such as The Little Mermaid and 20,000 Leagues under the Sea, to unique documentaries like Chasing Coral, in which a team of divers, photographers and scientists set out on a thrilling ocean adventure to discover the underwater mystery, the series aimed to raise awareness regarding protecting and safeguarding the oceans through the prism of art. Artists from different fields such as contemporary art, dance, music, cinema, literature shared their unique view in order to showcase the unique creative power of the oceans.  The festival allowed the public to view all-time favorites and latest movies on the silver screen from a brand-new angle, by laying on the inflatable sofas provided on the stage of the Dancing Water Theater! 

As Winckler reminds us, “Sustainability is something you want to start early, it is completely about education, training and showing people how they can see things without pollution and how the earth may become.” He added that “When we created the LA MER Film Festival with videos created around the theme of ocean every Saturday night, it was a mixture of cartoons showcasing the beauty of the ocean and documentaries reflecting the reality of what is happening to such a vital life resource”.

Learning with the Ocean

To be alive is to constantly experience and learn new skills. That is why such a holistic event  could not have been complete without a series of Flow Body Mindfulness classes that drew inspiration from the sea.  Led by the Head of Performer Wellness from The House of Dancing Water, the classes featured  music composed by Thomas Roussel. This guided session was a unique opportunity to unwind from the busyness of everyday life and allow participants to clear their minds and focus on their health and wellness.

A Feast for the Senses

A cultural experience could not have been complete without a voyage of flavours and taste! That is why the talented team in Melco has put together an incredible sea voyage. It was a great opportunity for some of those great Instagrammable snapshots of the La Mer Afternoon Tea Set specially designed by Morpheus Lounge’s pastry team. Not only are the sandwiches and snacks in this ocean-themed tea set beautifully mimic sea elements, some items are also made of sustainable seafood, ensuring the company’s promise to protect the ocean. The tea set has been so popular that it will stay on the menu for a little while longer until end of this month.

值此银冬，「澳门银河」推出秉承“养生补能量，胜券尽在握” 美食哲学而重磅打造的一份养生能量补给菜单，于即日起至2020年2月8日为宾客献上结合健康饮食与中医养生之道的美味盛宴。

冬季时节万物休养生息，根据中医理论，冬天最佳养生之道必从滋阴补阳开始，以补充身体所需能量。 

「澳门银河」餐饮团队邀请本地资深中医养生专家蒋永兴医师，伙拍星级名厨涂志祥大厨强强联手倾情打造营养满格的能量补给菜单。

中医养生文化提倡通过食补食疗来补充能量，蒋永兴医师认为：“能量补给膳食能强身健体， 事半功倍。许多中药药材可以入馔，烹制成美味佳肴，这一次我与涂大厨紧密合作，将药材与相应食材和烹调技巧糅合，打造出这份保健功效满满的能量补给菜单，让宾客在尽情享受美馔的滋补后，时刻保持精力充沛和健康活力。”

宾客可亲临福临门享用六或八道佳肴的套餐菜单，也可以在百乐潮州酒​​楼、巧面馆和鹿港小镇等餐厅单点菜单中的养生菜品。 每道菜都由蔡医师精心设计，力臻完美。 他表示，用膳后，食客会感觉到一股热流从背部往上流动，这意味着这些养生菜肴确实有助补充精力元气。

能量补给养生菜单主推一道双枣洋参陈年花雕醉鸡，以黑红双枣、人参搭配黄酒醉鸡， 补气活血 。气（即隐形能量）是我们的生命动力，藏于人体不同部位。其数量固定不变，无法更替。当气或能量弱而人们无视身体的疲劳迹象时，人体便开始动用体内存藏的“气”。如果这种情况经常发生， 身体就会耗气而让人感到精疲力尽。

另一道出彩菜品是雪菊花番茄辽参煮鲍鱼，有清肝明目之功效。此外，生蚝补男女气血，令肌肤细嫩，茴香姜蒜烧日本珍珠蚝用烤蚝佐以姜蒜及茴香，健胃行气。

主菜包括当归鲜淮山慢煮羊小腿，当归与山药搭配羊腿一起慢炖，由当归、生姜、羊肉三味药组成，助元阳，集温中散寒之功，通四肢关节。其中羊肉性温而不燥，升阳补肾、补血益气， 尤其能疏通下肢气血 。

全新能量补给菜单还包括一款奢华甜品：姜汁燕窝撞奶。燕窝疏肝理胃，配上牛奶则可收秋冬季节滋润肌肤之效。

Galaxy Macau has unveiled a menu under the motto “Fuel Up for Success” to help guests boost their energy levels

The season of winter is a time for slowing down and hibernation. According to Traditional Chinese Medical theory, the winter months are the perfect time to recharge your batteries and to start storing up the body’s vital energy reserves. 

The talented culinary team at Galaxy Macau invited the region’s famous Traditional Chinese Medicine (TCM) practitioner, DrCheong Weng Heng, to create a highly nutritious menu with master chef Simon Tho.

Dietary supplementation is an important way to increase energy in TCM: “An energy boosting diet can do wonders to revitalise the body and mind,” said Dr. Cheong. “Many traditional Chinese medicinal ingredients can be used as components to prepare nourishing dishes. Chef Tho and I worked closely to combine medicinal ingredients with culinary techniques and infuse a variety of wellness benefits into the menu, enabling guests to feel energised and rejuvenated with those wholesome dishes.”

Diners can choose from a 6– or 8-course set menu at Fook Lam Moon, or à la carte at Pak Loh Chiu Chow Restaurant, The Noodle Kitchen and Lugang Café. Each dish was perfectly designed by the doctor after much consideration. According to him, guests would feel the heat flow from the back, which means the dishes really help to recharge your bodies.

This energy-boosting menu features chilled drunken chicken with American ginseng and chicken essence jelly, to boost circulation and “Qi”.  “Qi” or energy is our life force and comes from several different sources. The inherited “Qi” is fixed in quantity and cannot be replaced. When it runs low and people ignore signs of tiredness, they start to draw on the inherited “Qi”. If this happens too often, it diminishes and people begin to feel exhausted. 

Another highlight is the stewed abalone and Japanese sea cucumber with snow chrysanthemum and tomato, which can “clear heat” in the liver and improve vision. Oysters are known to be beneficial to blood circulation and for the skin, and are also used here, in a dish of grilled Japanese pearl oyster with cumin, ginger and garlic.

The main course includes slow-cooked lamb shank with Chinese yam and Angelica Sinensis, which brings out the golden trio of lamb, ginger and angelica that can invigorate “Yang” and prevent stiff joints in cold weather. Lamb is the best ingredient to eat in winter – it is warm in nature, it invigorates yang, especially kidney to benefit the “Qi” and warm blood circulation, particularly in the lower part of the body to improve circulation and stop.

The menu also includes a luxurious dessert of milk and ginger custard with bird’s nest. Bird’s nest is good for stomach and liver, and together with milk, helps moisturising skin in the dry season.

In the 21st century, many who are living in an urban environment rarely get in touch with nature and are constantly exposed to chemicals. When it comes to beauty products, one often believes that effectiveness always implies that a cream or lotion has to have some man-made active ingredients in it, but the truth is, elements from nature can take better care of our skin.

By Irene Sam

According to Kavita Khosa, Founder of Purearth, a skincare brand that only uses the purest of ingredients to nurture the skin from the Indian Himalayan Region, wild herbs and oils can get rid of numerous epidermal issues and have powerful antioxidative and restorative properties. Together with the wisdom of Ayurveda, ancient Indian methods of healing is also incorporated into formulations of Purearth’s products.

Developed 3,000 years ago in India, Ayurvedic medicine is one of the oldest holistic healing systems. It is based on the idea that every human being is unique, and therefore we all have different body types. Vata, Pitta, and Kapha are the three main categories or “doshas” of body types. Purearth’s products are diverse and can be selected according to personal skin needs.

“Ever since I was little, I was very much in tune with nature. I would observe trees. I was always inclined to use natural remedies and prefer a holistic lifestyle. When I grew up, there were no supermarkets in India… no shampoo or conditioner, nothing. So my grandmother would make a clay paste, put it all over my body, and then go fetch buckets of hot water for me to take bath. Neem leaves were put into the bath water, and I can still remember how I felt cool and cleaned. My skin was amazing after the treatment, and it smelled so good,” she recalls.

The skin clay Khosa’s grandmother used on her was made of sandalwood powder, oil, clay, and milk. Inspired by the indulgent and sensuous way of living during her childhood, she created a skincare line that draws from time-honoured indigenous

knowledge, prescribing recipes, treatments, and modalities that stimulate circulation and eliminate toxins, restoring balance and vitality to the system.

A journey of the senses

Enjoying Purearth’s products is a journey of the senses. From the elegant glass bottles that the ingredients are housed in to the sumptuous texture of the oils and creams, everything melts onto the skin and leaves a beautiful, healthy sheen. Hand harvested from Himalayan glacier-fed terrains and mineral-rich, uncontaminated forest soil, the artisanal element is intentional and powerful. Supercritically extracted Himalayan wild seabuckthorn and rosehip seed oils offer ultimate purity and potency for beauty and wellness that radiates from the inside out.

Precious plant oils are steam distilled at source in the enchanting Kullu and Kashmir valleys. And one of the ingredients that enchants both the mind and body would be the Himalayan bitter apricot oil that can be used on body, face, and hair. Delightfully indulgent and light, it is cold pressed in a traditional wooden vat ‘ghani’ at source and has been known as a sacred remedy among generations of indigenous Himalayan women.

Khosa has united her passion for wellness, Ayurveda and her commitment to

improving the quality of life for women in India through her creation of Purearth.

A former Wall Street firm lawyer and director at Deutsche Bank, Khosa felt a deep desire to reconnect with her native land of India. She shed her corporate avatar to embark on a voyage through the Himalayas, where she spent years conducting extensive research on the ecological environment, engaging with NGOs, CBOs, women’s microcredit, and self-help groups in some of the most remote villages.

“I wish I had became an Ayurvedic doctor early on, but I did law and was not encouraged to study. I moved to Hong Kong, and got married, and carried on with my life. I enjoyed the intellectual stimulation of negotiating contracts, doing deals and transactions, but that was not emotionally satisfying. So in 2000, I quit being a lawyer because I just wanted to go back to my roots and give back to the community,” she explains.

An Ayurvedic practioner for over 20 years, she holds a diploma in Ayurveda and is a certified formulator in advanced organic cosmetic science. A yoga teacher and Vedanta student, she established Sachananda Yoga Shala, a non-profit yoga school before founding Purearth in 2014. “I established a yoga institution back in the days when nobody knew what yoga was. Even today I would run into my old students. Some of them have even opened their own studios,” she indicates.

Regularly invited to speak globally at forums, including at the Hong Kong University, Himalayan Echoes Arts and Literary Festival and Arab Luxury Conference, Khosa was nominated for her work by the Women of Hope Foundation and is a lifelong member of the Federation of Women Lawyers, Hong Kong. An active campaigner for women’s rights, she was also involved in filming Slave Brides, an award-winning TV documentary. An intrinsic desire for social change resulted in the founding of Purearth, a social initiative that supports income generation programs in the Himalayan belt from Kashmir to Kumaon. Each Purearth creation makes the user a co-creator, supporting fair trade, income generation for marginalized producers, and reducing gender inequality.

With a loyal following that includes Hollywood A-listers, celebrity MUAs, designers, and authors, the brand has now established a global presence at 20 luxury retailers, wellness resorts, and platforms in a short span of time. In the near future, Khosa says she is coming up with a book that teaches women and men how to make their own skin remedies and makeup. “In my book, I have written about the history of kajal, a type of eyeliner that was mentioned in ancient texts, as well as how to make one’s own with ghee and other natural elements. I am also coming up with new formulations constantly just to try out. It will all be very exciting,” she reveals.

21世纪的生活，让大多数城市人都很少接触大自然，而且一直受到化学制品的影响。说到美容产品，人们通常会认为一支乳霜或乳液的功效始终取决于其人造的活性成分，然而，真相是，来自大自然的元素其实能更好地护理我们的肌肤。

文：Irene Sam

护肤品牌Purearth仅只取材于印度喜马拉雅山脉，用最纯净的成分滋养肌肤。Purearth的创始人Kavita Khosa表示，野生的草药和植物油能解决许多皮肤问题，并且有强大的抗氧化性和修复性。Purearth的产品也蕴含阿育吠陀医学的智慧，在配方中融入古印度的疗法。

阿育吠陀医学诞生于3,000年前的印度，是最古老的整全疗愈系统之一。该系统认为每个人均是独一无二，因此我们都有着不同的身体类型。风型(Vata)、火型(Pitta)和土型(Kapha)是主要的三种体型，也分别指代着体内的三大生命能量(doshas)。Purearth有各种各样的产品，可以根据每个人的皮肤所需进行选择。

 “从我小时候起，我就与大自然紧密连接。我会静静地观察树。我也一直倾向于使用自然疗法，而且偏爱整全的生活方式。当我长大后，那时印度还没有超市……没有洗发水和护发素，什么都没有。所以我的祖母会制作一种泥膏并将它涂满我全身，然后用几桶热水来给我洗澡。洗澡水中会放入苦楝叶，到现在我还能记起当时那种清爽和干净的感觉。每次这样洗完澡，我的皮肤都非常棒，而且还很香。”Khosa回忆说。

Khosa祖母涂在她身上的泥膏由檀香粉、植物油、粘土和牛奶制成。Khosa的童年就是在如此受到大自然宠溺和愉悦的环境中长大。受此启发，她运用当地的古老智慧创造出一个护肤品系列，专门选取能促进血液循环和清除毒素的配方、疗法和对治模式，能够恢复皮肤系统的平衡与活力。

感官之旅

享受Purearth的产品就像踏上一场感官之旅。从典雅的玻璃瓶容器到植物油和乳霜的奢华质感，一切细节融化在肌肤上，留下美丽、健康的光泽。产品成分是在喜马拉雅山脉的冰川地形上和富含矿物质的无污染林土上进行手工采摘、提炼而得，强大的匠人精神可见一斑。在极端苛刻的环境中采得的喜马拉雅山野生沙棘和玫瑰果籽油拥有极致的纯净和效力，让肌肤从内到外都散发出美丽和健康。

珍贵的植物油在风景迷人的库鲁和克什米尔山谷采摘并就地用蒸气蒸馏而得。喜马拉雅山脉的苦杏油是能深入滋养身心的产品成分之一，能够用在身体、脸部和头发上。这种苦杏油直接在采收地用传统木桶（称为“ghani”）冷压而成，是在喜马拉雅山脉当地妇女中代代相传的圣品，使用后肌肤会感觉非常舒适和轻盈。

Khosa通过创造Purearth品牌，不仅切合了自己对健康和阿育吠陀的热情，也实现了自己致力于改善印度妇女生活品质的诺言。

Khosa曾经是华尔街的企业律师，也是德意志银行的董事，但她一直有着强烈的愿望想重新与自己的印度故乡建立联系。她卸下自己在企业领域的身份，踏上喜马拉雅山的旅程，并在那里历时多年对当地的生态环境进行大量研究，并联系各个非政府组织、社区组织、妇女小额信贷机构以及当地最偏僻的一些村庄的自助团体。

“一开始我希望自己能成为一名阿育吠陀医生，但我做了律师，而且没人支持我学医。我移居到香港，结了婚，然后继续生活。我享受在合同谈判和做交易过程中的智性刺激，但却没有精神上的满足感。所以在2000年，我辞去律师职务，因为我只想回到我的家乡并回馈当地社区。” Khosa解释说。

如今，Khosa持有阿育吠陀文凭，并已作为阿育吠陀医师执业超过20年，同时也是先进的有机化妆品科学领域的获认证配方师。Khosa还是一名瑜伽老师和吠檀多学员，创立了一家非营利性的瑜伽学校“Sachananda Yoga Shala”，后来才在2014年成立了Purearth。“我成立瑜伽学校的时候还没有人知道瑜伽是什么。即使在今天，我还会偶尔遇上我以前的学生，他们中的一些人甚至已开办了自己的工作室。”Khosa指出。

Khosa经常会被邀请到全球不同的论坛发言，包括香港大学、喜马拉雅山回声艺术与文学节(Himalayan Echoes Arts and Literary Festival)以及阿拉伯奢华大会(Arab Luxury Conference)等，并因她的工作而获得女性希望基金会(Women of Hope Foundation)的提名，同时也是香港女律师协会的终身会员。她也活跃于争取女性权利的各种活动中，曾参与拍摄获奖电视纪录片——《奴隶新娘》(Slave Brides)。Khosa一直希望推动社会变化，因此成立了Purearth，透过这项社会倡议来支持从克什米尔到库毛恩的喜马拉雅山脉地区的创收计划。Purearth创造的每一款产品，都会让使用者成为共同创造者，支持公平贸易，为边缘生产者创收，同时减少性别不平等情况。

在很短时间内，Purearth的产品已遍布全球20个奢华零售商店铺，同时于健康主题度假村和各大平台发售，忠实顾客不乏好莱坞一线巨星、明星化妆师、设计师和作家。在不远的将来，Khosa说她会出版一本书，教女性和男性如何制作自己的护肤品和化妆品。“在我的书中，我已经写了关于‘kajal’的历史，这是一种在古老典籍中提及的眼线液，也写了如何利用印度酥油和其他天然材料制作这种眼线液。我也不断研究新配方，进行着各种各样的新尝试，这让我非常兴奋。” Khosa透露说。

上环是香港的一个热闹地区，独特的精品店和餐厅林立于古雅的空间中。在荷李活道，路人都会留意到Tate Dining Room＆Bar的入口，因为其柔和的色彩散发出丝丝温柔优雅气息。Tate餐厅于2012年开业，是一家高级餐厅，提供法中Fusion融合美食，并以所谓的“可食用的故事”呈现，大玩烹饪表现主义。

文：Irene Sam

这家餐厅由一直秉承创新精神的厨师兼老板刘韵棋(Vicky Lau)创立， 最初在中上环苏豪区心脏地带开业，后于2016年搬到荷李活道。作为毫无争议的创新法中Fusion高级餐膳女厨神，刘韵棋继续发挥她以前担任平面设计师时练就的视觉艺术造诣。她餐厅随季节而变化的品尝菜单中充分体现出其与生俱来的创造力，她打造的每道菜都能唤起人们的情感，并通过有趣的口味口感搭配去激发食客的想象力。

在设计领域担任创意总监多年后，刘大厨灵感突现，决定转而探索另一创意范畴(她终生倾情美食)，远赴曼谷蓝带国际学院磨炼厨艺，获得了蓝带厨艺大文凭。在久负盛名的厨艺学校毕业后，她毅然放弃设计，正式展开烹饪事业，在香港最受好评的其中一家米其林星级餐厅开始工作。

在获得了宝贵的第一手经验之后，她将自己的设计与美食天赋相结合，把愿景变为现实，创立Tate Dining Room & Bar，邀请客人分享和体验她对厨艺的热情。她凭自己的烹饪技巧和艺术才华为餐厅在2013年摘得了第一颗米其林星，并在随后数年成功保持此星级地位。 2015年，她被《世界50家最佳餐厅》评选为“亚洲最佳女厨师”。同年，她还被评选为凯歌香槟亚洲最佳女厨师。

Tate餐厅才华横溢的团队不仅用最新鲜、最生动的食材制作菜肴，而且极度关注质量和每一个细节，提供有益健康的美味佳肴给宾客。在一个既吸引雅士又让冒险者喜爱的舒适而亲密的环境中，餐厅经理François Ferrand 为我们介绍菜单，开启一段美食旅程。

Tate在各种尺寸和形状的中式古餐瓷上呈现菜式，以有趣方式诠释烹饪表现主义来刺激嗅觉、味觉、触觉和视觉 。但餐厅也运用当代瓷器来呈献这种真正的视觉盛宴。强调美食的诗意美学，每道菜都被视为对某一特定成分的一曲“颂歌”。

前三道菜以响螺、墨鱼和鲷鱼为主角。一个美丽的海藻果冻，配以花椰菜泥和响螺，上面覆盖着一层以可食用小花朵点缀的奥塞特拉鱼子酱。与产自日本滋贺县的松之司純米吟釀樂搭配，更巧妙地突显这道美食的鲜甜和花香元素。墨鱼面配中国酱和油封蛋黄，将墨鱼浓浓的鲜味与蛋黄的丰富质感完美融合。用黑豆荷兰酱调味的鲷鱼煎煮得很完美，鱼的香脆外皮闪耀着清新的橙色调。

味蕾之旅继续，暖扇贝搭配陈年金橘格勒诺布尔风格酱汁，让人沉迷。这道菜证明了主厨刘韵棋善于将中国食材及法国烹饪技术巧妙融汇的精湛技艺 。来自中国宁夏嘉地酒园的 “嘉地陈年” 霞多丽红葡萄酒与这道作品构成完美搭配。美酒均衡的酸度挑逗起味觉，成熟芒果、黄桃和多汁杏子的香气充盈口腔， 接下来，搭配红萝卜、腐乳酱和菠萝的小龙虾，色彩鲜艳夺目，与同样绚丽的手工彩印古董餐瓷成为绝配。

“这种生动而大胆热情的菜肴最好与卢瓦尔河谷出产的乐盼普伊-富美干白葡萄酒搭配，因为这款酒的芒果和百香果香气与小龙虾及其酱汁极为匹配，” 精于葡萄酒搭配的François Ferrand推介说。 在主菜中，Iberico Pork Pluma西班牙伊比利黑毛豬背肉配上烤肉汁和时令蔬菜，可最大程度地带出肉的原始风味，也增强了口感。Pluma是取自肩部和脊部中间的那块肉，因形状和大小与羽毛相似而称为Pluma，羽毛状切肉在西班牙很普遍。

伴普耳茶冰淇淋的栗子西米soufflé梳乎厘也是一款东西融合甜品。蓬松胀起的云状酥皮包裹柔软的雪梨造型，底部是栗子碎。深谙美食之道的食客可以将冰冻普洱茶冰淇淋放进梳乎厘里，那么这个冰冰的乳脂状球体便可慢慢融化成浓稠的液体，层叠于上部，让人惬意品尝。

但是，“栗子颂”并非这顿晚餐的最后一道甜美珍味。为了在晚餐结束时给顾客一个惊喜，刘大厨以迷你甜点车来宠溺食客：一口入口的甜点以车舱状盛盒呈现上桌。里面盛有枣参巧克力，金鱼和扇状棒棒糖。

在不断变化和竞争激烈的美食世界中，刘韵棋以女厨师之姿脱颖而出，因为显而易见，她的所有作品都表达出女性审美情趣。从玫瑰色灯泡到粉红色沙发，再到宽敞的卫生间，餐厅内的每个细节都在在体现出她极致优雅地享受生活的的种种方式。餐厅里， 羽毛随意地放在Dom Pérignon香槟旁，流露出富有品味的奢华气息。宾客甚至被要求把手机放在餐桌下的指定空间内，以便与挚爱亲朋共度珍贵时光。确实，到Tate Dining Room＆Bar用膳，就是探索、体验刘韵棋其人的生活方式。

Sheung Wan is a buzzing district in Hong Kong where unique boutiques and restaurants present themselves in quaint spaces. On Hollywood Road, it is impossible to miss the entrance to Tate Dining Room & Bar, as its pastel colours exude an air of soft elegance. Established in 2012, Tate is a fine-dining restaurant serving an eclectic mix of French and Chinese cuisine presented in what they call “Edible Stories,” an exploration into culinary expressionism.

By Irene Sam

Founded by chef and owner Vicky Lau, who has always been a creative spirit, the restaurant first opened in the heart of Soho, then moved to a new home on Hollywood Road in 2016. The undisputed queen of innovative French–Chinese fine dining in Hong Kong, Lau takes pride in her talent for visual artistry from her previous life as a graphic designer. Her innate creativity is evident in the seasonally evolving tasting menu, with each course designed to evoke emotions and stir the imagination with an intriguing play on flavours and textures.

Having worked as a creative director in the realm of design for a number of years, she was inspired to tap into an extra dimension to her creative vision — her lifelong passion for food — and enrolled at Le Cordon Bleu to obtain her Grand Diplôme. Following her stint at the prestigious cooking school, chef Lau officially made her maverick move from design to embark on her culinary career and was working at one of the most acclaimed Michelin-starred restaurants in Hong Kong.

After gaining invaluable first-hand experience, she brought her vision to life by combining the best of her instincts and talents in design and food into a space where guests are invited to share and experience her passion, at Tate Dining Room & Bar. Her culinary skill and artistic talent earned the restaurant’s first Michelin star in 2013, successfully maintaining its star in the years that followed. In 2015, she was named Asia’s Best Female Chef by The World’s 50 Best Restaurants. During the same year, she was also named Veuve Clicquot Asia’s Best Female Chef.

The talented team at Tate creates dishes with not only the freshest and the most vibrant ingredients possible, but also the utmost attention to quality and every intricate detail, serving up wholesome yet tantalising dishes. In a comfortable and intimate atmosphere that appeals as much to the sophisticated as it does to the adventurous, restaurant manager François Ferrand starts the gastronomic journey by introducing the menu.

A quirky take on culinary expressionism to stimulate the sense of smell, taste, touch and sight is characterised by presenting some dishes on antique Chinese porcelain of various sizes and shapes. But modern contemporary china is also incorporated into the visual feast. Highlighting the poetic essence of gastronomy, each course is considered to be an “ode” to a specific ingredient.

Conch, cuttlefish, and Kinmedai mark the beginning of the first three courses. A beautiful seaweed jelly with cauliflower purée and conch is covered with a layer of Ossetra caviar decorated with tiny edible flowers. Paired with Matsunotsuka Junmai Ginjo Raku from Japan’s Shiga Prefecture, sweet and floral elements of the dish are delicately enhanced. Cuttlefish noodles with Chinoise Sauce and egg confit combine the vibrant umami flavour of the sea with the rich texture of egg yolk. The Kinmedai with black bean hollandaise sauce is cooked to perfection, with the fish’s crispy scales exuberating a fresh, orange hue.

The indulgence continues with warm sea scallop with aged kumquat Grenobloise-style sauce exemplifying chef Lau’s savoir–faire in merging Chinese ingredients with French culinary know-how. Jade Vineyard’s “Jade Vintage,” a chardonnay from Ningxia, China, is perfectly paired with this creation. Aromas of ripe mango, yellow peaches and juicy apricots fill the mouth as the liquid seduces the palate with a balanced acidity. Next up, the langoustine with carrot, red bean curd sauce and pineapple lends its bright colour to hand-printed antique porcelain with a matching tint.

“This vivid and bold dish is best enjoyed with the Lebrun Pouilly-Fume Sauvignon Blanc from the Loire Valley, as its mango and passion fruit notes pair well with the langoustine and its sauce,” says François Ferrand, who is an expert on wine pairing.For the main course, the Iberico pork pluma with jus and seasonal vegetables on the side offers the meat’s original taste and textures at their best. The shoulder flank steaks are nicknamed pluma in Spain, as the plume-shaped cut is popular in the country.

Chestnut and Sago soufflé with Pu-erh ice cream is again a melange of east and west. Soft, pearl-like structures are embedded into a fluffy, cloud-like sensation. Laying low at the bottom are intricately diced chestnuts. Discerning diners are encouraged to put the cold Pu-erh ice cream into the soufflé, so the icy and creamy spheroid can slowly melt into a thick liquid that layers on top.

But “Ode to chestnut” is not the ultimate finale of the meal. To surprise her diners at the very end of dinner, chef Lau spoils them with a mignardises trolley, where the bite-sized desserts are presented in a cabinet-like structure. Inside, chocolates are filled with date and ginseng, and lollipops are shaped into goldfish and fans.

In the ever-changing and highly competitive world of gastronomy, being a female chef makes Lau stand out, as a play on femininity is evidently displayed in all her creations. Every little detail in the interior, from the rosy light bulbs to the blush-toned sofas and spacious bathroom, expresses her approach to enjoying life with utmost elegance. In a dining room where feathers are placed in a laissez-faire manner next to bottles of Dom Pérignon champagne, extravagance is expressed tastefully. Guests are even challenged to put their phones aside, in designated spaces available under the tables, to cherish moments with their loved ones. Indeed, a visit to Tate Dining Room & Bar is an exploration into Vicky Lau’s way of living.

2020年是中国农历鼠年，鼠年在每十二年一个轮回的十二生肖中是起始之年。

随着中国市场对奢侈品牌越发重要，越来越多大牌竭力施展浑身解数迎接农历新年的到来。 鼠年将在2020年1月25日开启，到2021年2月12日结束。为了吸引中国顾客的目光，各大奢侈品牌均推出特别版鼠年新品贺岁。

Chopard萧邦以经典风格、精美造工和精湛技艺而闻名，品牌为农历新年推出的新品正正拥有这些品质 。为造就L.U.C XP鼠年蒔绘腕表，Chopard萧邦特别採用日本传统蒔绘工艺，将生漆和金粉融合，打造表盘。表盘上所呈现的场景，是一只金鼠站在象征丰收富足的玉米穗上，对面则是一颗柿子，这种采摘于冬季的水果象征福寿绵长。金鼠对面还有一束鲜花，采用了生肖鼠年的幸运色：蓝色、金色和绿色三种色彩。

全球限量88枚，L.U.C XP鼠年蒔绘腕表的表盘由Chopard萧邦和其忠实合作伙伴山田平安堂（Yamada Heinado）联合打造，由日本漆艺大师以日本传统莳绘工艺悉心创造。这是瑞士手表珠宝品牌Chopard萧邦恪守本真，致敬珍稀技艺和手工艺传统的又一杰作。 

腕表以18K玫瑰金材质打造，搭配L.U.C 96.17-L自动上链机芯，厚度仅3.3毫米， 动力储存达65小时。

瑞士腕表品牌Blancpain宝珀推出制表杰作——中华年历腕表，将历史悠久的中国传统农历与标准公历完美结合，迎接即将到来的2020农历新年。

标准日历以太阳日为基本单位，中国传统农历采用阴阳历制，是以月运周期（29.53059 天）为基本单位的太阳历法。一个农历年包含12个农历月（354.36707 天），比一个阳历年（365.24237 天）约少11天。因此，每隔2-3年农历中便会出现一个闰月，以符合四季更迭的循环周期，这也导致了中国农历新年日期不定。此外，农历更加复杂之处在于，它采用的不是一天24小时、每小时60分钟的计时方法，而是一天12个时辰（每时辰等于2小时）的时间划分方式。这12个时辰以十二地支的名称顺序命名，与十二生肖一一对应。

中华年历腕表搭载宝珀3638自动上链机芯，更配备安全调校保护装置，防止佩戴者在时间禁区内可能产生的误操作，此外，防磁硅游丝为精准走时更添保障。腕表采用45毫米直径铂金表壳，表冠及摆陀上分别嵌有一颗圆形切割红宝石。

奢侈旅行箱品牌Rimowa日默瓦释出全新 Attaché 金色公文箱，祝读者朋友鼠年璀璨、财运亨通。

这款优雅的公文箱将复古格调与现代极简设计融于一身，对品牌的经典标志款式做出了重新诠释。公文箱用料专业独到，通体纯金色，表面光滑精致，边角圆润，凹槽清晰鲜明。 配有金属密码锁，锁和把手也都采用金色，完美完成整个箱的纯金色单色演绎，惊艳又有气场。金色是鼠年的幸运色，在中国文化中千百年来都是富贵与财富的象征。限量版Attaché 金色公文箱售价为澳门币 14,150元，在澳门银河和澳门一号广场的Rimowa专卖店有售。此外，品牌还发布了一系列贴纸， 上有古钱币和现代风格2020农历新年主题图案。

小红包是女士们的农历新年必备标配。法国时尚大牌LV路易威登呈献了许多采用农历新年标志色红色的重要配饰，例如 Dauphine 中号手袋。全新的Dauphine Lugano小牛皮中号手袋 是LV路易威登Cruise 2020系列的经典款。手袋的光滑皮革尽显优雅，更结合了精致和标志性细节，例如带有银色guilloche锁状纹饰效果的金色LV 圆形标识封扣。有多种背携方式任人选择，这款LV手袋是件超时尚的日常配饰。

Versace 范思哲也推出了一系列限量版特别配饰——Virtus系列——来迎接农历新年，新品只在亚太地区有售。这个独特系列包括以热情洋溢的红色打造的Virtus零钱包，以及精巧的Virtus顶部提手手提袋。手袋有红色和黑色供选择。两款新品皆采用柔软牛皮革制作，并配有古风五金配饰。其中，顶部提手手袋配备可拆卸可调节肩带，提供两种背携方式。而长方形零钱包配有由珠宝启发的精美链条包，可以肩背斜挂。这两款产品的中央均饰有Barocco字母V，点缀晶莹剔透的水晶，设计别出心裁。

为迎接2020鼠年的到来，ETRO与华纳兄弟合作推出萌萌的新年特别系列，该系列以知名卡通片Tom & Jerry中的Jerry一角为设计灵感，包含中性时装和配饰，整个系列轻松有趣。闻名天下的俏皮老鼠Jerry点缀T恤、运动衫、衬衫、围巾以及以ETRO特有的佩斯里花纹帆布制作的多款包包、配饰和小皮具，令农历新年变得更活泼可人。

老鼠最喜欢的食物是什么? 芝士！Longchamp珑骧与中国极具影响力的时尚博主Mr. Bags包先生联合推出一个鼠年特别限定款系列——Le Pliage饺子包系列！系列全新演绎品牌标志性的手袋款，例如Le Pliage Cuir 和 迷你版Nano Pliage，饰以金黄色芝士，生动趣味，是深色系冬衣的最佳搭配，背上立马成为元气满满女孩。这个独一无二的限量版系列只在澳门银河Longchamp专卖店有售。

Here comes 2020, Year of the Rat, the first of the 12-year cycle of animals in the Chinese zodiac.

With China’s growing importance to luxury brands, more and more are making devoted efforts for the Lunar New Year. The Year of the Rat will begin on January 25 2020 and end on February 12 2021. To attract the attention of Chinese consumers, luxury brands have released special-edition Year of the Rat products.

Chopard is celebrated for classic styles, fine finishes and technical mastery – attributes that describe its offering for the Lunar New Year. For its L.U.C XP Urushi Year of the Rat, the brand combines the Japanese art of Urushi and lacquer with gold dust to create the dial. The scene depicts a golden rat, standing on an ear of corn – a symbol of abundance – and in front of a khaki, a fruit that is picked in winter and represents longevity. It is facing a bouquet of flowers in the three lucky colours of its zodiac sign: blue, gold and green.

Limited to only 88 pieces, the dials were a collaboration between Chopard and its loyal partner company, Yamada Heinado, where the grand master of Urushi exercises his craft. This is one of the many demonstrations of the Swiss maison’s deep-felt attachment to celebrating rare skills and artistic crafts.

The watch is crafted in 18-carat rose gold and powered by L.U.C 96.17-L calibre, which is just 3.3mm thick, and has a comfortable 65-hour power reserve.

Swiss watch brand Blancpain is celebrating the Lunar New Year with a new watch from its Traditional Chinese Calendar collection. This masterpiece features a Chinese calendar as well as the date based on the Gregorian calendar.

The Gregorian calendar is based on the solar day, while the lunisolar Chinese calendar

is based on the lunar cycle, composed of 29,53059 days. A year of 12 lunar months is about 11 days shorter than a solar year. In order to maintain consistency with the seasonal cycle, a leap month is added to the Chinese calendar every two to three years. This distinctive feature is the reason behind the variability of the Chinese New Year date. But the complexity of this calendar does not stop there, since it uses a system of subdividing the day into 12 double hours, thus replacing the 24 hours composed of 60 minutes each featured in the Gregorian calendar. Each of these double hours is named, in successive order, after one of the twelve earthly branches and represented by one of the animals of the Chinese zodiac.

Driven by a self-winding 3638 movement, the watch is secured against inappropriate manipulation of the functions and equipped with a silicon balance-spring. This exceptional movement is housed in a 45mm platinum case featuring a crown and oscillating weight adorned with a cabochon-cut ruby.  

Luxury luggage brand Rimowa wish our readers a glamourous and prosperous New Year with their new RIMOWA Attaché Gold.

This elegant suitcase retains the hallmarks of its vintage predecessor while embracing modern, minimalist design. Expert handling of the material can be seen in the smooth polished surface, rounded edges and sharply defined grooves. A metallic combination lock and handle completes the monochrome presentation, casting the case in a striking, solid gold colour. An auspicious shade for the upcoming year, and gold is a long-standing symbol of wealth and prosperity in Chinese culture. Priced at MOP 14,150, the limited-edition suitcase is available at Rimowa stores at Galaxy Macau and One Central Macau. Moreover, the brand has also launched an array of stickers that feature ancient coins and contemporary expressions of the 2020 theme.

A little red bag is a must-have item in Chinese tradition during Chinese New Year. French fashion house Louis Vuitton has presented key accessories, such as the Dauphine MM bag, in the celebration’s trademark colour – red. The new Dauphine Lugano MM is the staple of the Louis Vuitton Cruise 2020 collection. The elegance of smooth leather is combined with refined signature details like a gold LV circle lock with silver guilloche trim. Offering an array of carry options, it makes for an ultra-fashionable everyday bag.

Versace is also welcoming the Chinese New Year with a special limited-edition range of accessories from the house’s Virtus line, which is exclusively available in the Asia-Pacific region. The exclusive collection features a chain wallet in vibrant red and a small top-handle shoulder bag  available in both red and black. The designs are crafted from supple leather in a quilted finish and are embellished with antique gold-tone hardware. The small top-handle is enhanced by a detachable shoulder strap for dual functionality, while the rectangular wallet can be suspended from a delicate jewellery-inspired chain. Both styles are adorned with the signature Barocco V, s updated with clear crystals.

ETRO has launched an adorable capsule collection especially for the Chinese New Year. The brand collaborated with Warner Bros to realease a collection of unisex fashion and accessories, which reinterprets the symbolism of Jerry, from the Tom & Jerry cartoon, in a fun and cheerful way. This famous mouse can be found on T-shirts, sweatshirts, shirts, foulards and a selection of bags, accessories and small leather goods crafted in the iconic Paisley canvas.

What is the favourite food of rats? Cheese! Longchamp worked with famous Chinese blogger Mr. Bag to create a special collection titled Le Pliage. The signature bags, such as Le Pliage Cuir and the mini bag Nano Pliage, are decorated with yellow cheese, which is perfect for the dark winter outfits. This unique, limited-edition collection is exclusively available at the brand’s Galaxy Macau store.

迪拉·维利是意大利商界最响当当的人物之一，尤以其高雅的品味和君子风格而闻名遐迩。他是时尚界著名奢侈品牌Tod’s托德斯的创始人，也是这个标榜“意大利制造”的品牌和意大利的坚定支持者。他认为自己的成功在很大程度上都要归功于祖国意大利

文：César Brigante

迭戈·迪拉·维利（Diego Della Valle）是意大利最杰出的商界人物之一。万贯家财令他自然跻身于意大利最富有和最有影响力的人物之列。他与弟弟安德烈一样，兴趣广泛，从金融到时尚等各个领域都有涉猎，并持有Bialetti、Piaggio、RCS、Mediobanca和Marcolin等公司的股份。他也曾担任过一些意大利顶级公司的董事会成员；但如今只保留了在路威酩轩（LVMH）奢侈品集团董事会的职务，也依旧是该公司的股东。

兄弟二人还是ACF佛罗伦萨足球俱乐部（ACF Fiorentina football club）的老板，2002年，他们挽救了即将破产的该俱乐部，并于2019年夏天以1600万欧元左右的价格将其出售。

迭戈·迪拉·维利以其高雅的品味著称。1998年，他在一场佳士得拍卖会上买下了J.F.肯尼迪的游艇“马林号”，游艇虽然不算豪华，但其意义非同一般。作为法拉利总裁卢卡·克劳德洛·迪·蒙特泽莫罗（Luca Cordero di Montezemolo）多年的好友，他对法拉利的痴情也是人尽皆知。迪拉·维利见多识广，经常往来于自己位于亚得里亚海附近的家和米兰的办公室及全球各地其他他喜欢或拥有房子的地方——例如迈阿密、纽约、巴黎和卡普里岛。

光这种神仙般的生活就着实让人艳羡，更令人羡忌的是他还拥有意大利最大、业务遍布全球的配饰和时装出口帝国托德斯集团（ Tod’s SpA ，除了Tod’s托德斯外，还包括Hogan、Fay和Roger Vivier等品牌）的部分股权。但托德斯集团其实和其他意大利家族企业一样，开始时并不起眼。

虽然从最传统的意义上说，迭戈·迪拉·维利算不上是白手起家，因为他曾在博洛尼亚进修，后来又继承了一个发展良好的家族企业，但他确实为其商业帝国的发展立下过汗马功劳 。

迭戈·迪拉·维利1953年出生于意大利中部亚得里亚海海岸附近的Casette D ‘ Ete，并在那里度过了童年和青少年。他的祖父菲利普（Filippo）是位忠厚老实的鞋匠，每天在家里做鞋到很晚，第二天去当地的集市上卖掉。

二战以后，意大利迎来了艰难却又充满希望的时期，菲利普的儿子多里诺（Dorino）继承了他的手艺，把家中一切都投入到一家小鞋厂上。父母的工厂成为了小迭戈的第二个家。不用上学时，他就在厂里做些简单工作，为收入微薄的家庭贡献自己的力量。60年代起，多里诺的大胆和付出逐渐有了回报，厂里的订单大幅增加。其主要客户来自大西洋彼岸的美国，其中相当大一部分是大型百货商店，如 Saks Fifth Avenue萨克斯第五大道百货商店和顶级商场Bergdorf Goodman波道夫·古德曼。

生意越做越大，家里的日子也越过越舒心，家中长子迭戈也有机会接受高等教育。年轻的迭戈就是这样来到博洛尼亚的，他自己说，他的学生时代平静而简单，但他并不是仅仅埋头读书。所以，不久后迭戈就回到了家里，继续投身于家族生意。他首先进入市场营销部工作，充分发挥自己学到的相关知识。

营销工作令他开始定期前往美国出差，因为除了公司最大的客户已经在美国外，那里还有巨大的客户增长潜力。结果也不出所料，在日益发展的时装业中逐渐占据一席之地的新晋设计师们也开始给他们下订单。

美国的所见所闻与他家乡的截然不同，给他的事业和人生都产生了重要影响 。美国人做生意实实在在，且乐于接纳好主意，这也极大影响了他的从商理念，他后来在Tod’s托德斯贯彻“打造优雅”的品牌理念也归功于此。托德斯将他的意大利特色和令他着迷的美式舒适休闲融汇一体。

上世纪70年代末，在一次前往美国的旅途中，他买了一双意大利乐福鞋。他意识到，尽管从商业的角度这种鞋很受欢迎，但其质量和外观仍有许多不足之处。这款鞋的舒适性非常符合美国人的喜好，因为它混合了上世纪50年代美国学院风乐福鞋和意大利本土产乐福鞋的特征。乐福鞋在意大利也取得了出人意料的成功：它很受赛车手的欢迎，因为他们觉得普通休闲鞋既不舒服，抓地感也不好。适合驾驶穿的乐福鞋开始在赛车手们间流行起来，很快从跑道上蔓延开来，成为意大利人dolce vita甜蜜生活的象征。

回到意大利后，迭戈把鞋带到了工厂，在那里，工匠们经过仔细观察，制作出了一款更精致的版本，新款鞋子更符合市场消费者品味，可谓休闲必备鞋款。

这款新鞋就是声名卓著的豆豆鞋（gommino），至少现在是这样，刚推出时它只不过是市场上既有产品的改进版本。鞋面采用了极其柔软的优质小牛皮，鞋底上有133个小橡胶钉，纯手工塑形，非常舒适柔软，完全贴合在脚上，完全符合要求苛刻的高端市场需求，也正是迭戈心心念念想要打入的市场。至于销售，迭戈也早就有了主意。

他已一直在留意著名的菲亚特汽车的老板吉亚尼·阿涅利（Gianni Agnelli)）有好一段时间。吉亚尼·阿涅利有只脚在车祸中受过伤，并留下终身后遗症，因此这位前卫大胆、风度翩翩的意式风格偶像在很多隆重的场合里经常不守常规穿着乐福鞋出席。

经朋友卢卡·克劳德洛·迪·蒙特泽莫罗（Luca Cordero di Montezemolo）介绍，迭戈曾与阿涅利在菲亚特共事，迭戈把豆豆鞋作为礼物送给阿涅利，后者也欣然接受。这双鞋很快得到了阿涅利的青睐，从此，无论是在办公室、沙龙活动以及在尤文图斯的看台上（自1923年起，阿涅利家族就成了尤文图斯俱乐部的东家）和所有相关照片中，都能看到他脚穿豆豆鞋的身影，可以说，迪拉·维利借助自己的卓越营销技巧，给豆豆鞋缔造了一次次巡回展示的机会。那段时间，这种非凡的营销手法会反复运用在富豪和好莱坞明星身上，为豆豆鞋带来强大的曝光率，令它成为人人渴望的鞋子。

随着业务发展的需要，20世纪70年代末，Tod’s品牌成立。Tod’s最初名为J. P. Tod，象征着迪拉·维利对新世界及其简单实用主义的欣赏。据说，这个名字是从一本电话簿中随便选出来的，尽管迪拉·维利没有证实这种说法，但他更愿意强调，无论在哪里看到这个名字，都是既好念又好记的。事实上，他巧妙的营销策略和这个虚构的名字，让所有人都好奇这个 J. P. Tod 到底是谁，是谁制作出了人人梦寐以求的、五颜六色的乐福鞋。

豆豆鞋的成功为迭戈带来了更多的责任。1980年代，迭戈不再只是一名单纯的营销总监，而是开始负责帮助公司规划愿景策略。J. P. Tod自我定位为“意大利制造”的奢侈品品牌之际， 一些大型奢侈品集团在上世纪90年代末也同时诞生，奢侈品市场的面貌也彻底改观，凭借其公认的敏锐商业触觉，迭戈也成功成为赶潮儿。

20世纪末，品牌名称进一步简化成Tod’s托德斯，大约在同一时间，公司搬到建于1998年，位于Casette d’Ete的全新总部。新总部由迭戈的妻子、建筑师芭芭拉·皮斯蒂利（Barbara Pistilli）设计，采用了模块化风格，是意大利第一个为员工提供幼儿日托和健身设施的公司。

2000年，迭戈接任Tod’s S.p.A.集团总裁职位，同年，该集团在米兰证券交易所上市，现已跻身皮革配件业的领军企业之列。

迭戈·迪拉·维利的座右铭是”尊严、责任和乐趣（Dignita, Dovere and Fun）”，他认为一名企业家有责任把自己创造的部分财富回馈给培养他成长的社会。

他提倡及维护手工艺制作 “意大利制造”的声誉， 并毕生奉献于这项事业，他一直对自己的祖国怀着深深的感激之情：托德斯的所有产品全都是意大利制造，而且大部分产品，尤其是豆豆鞋的制作，都是由经验丰富的工匠手工完成，一双鞋子彻底完成要进行100多个步骤，用到35片皮革。

“我热爱自己的祖国，对“意大利制造”的支持是我前行的动力，因此无论何时何地，只要能为意大利的形象、名誉和文化作出贡献，我都会不余遗力进行支持，对我而言这么做是一项伟大的荣誉和光荣的责任，”近期在接受一本著名美国杂志采访时，他骄傲地说道。

迭戈是慈善家和赞助人。他为米兰的斯卡拉歌剧院（ La Scala）等文化机构捐款，是斯卡拉歌剧院的创始人之一，但他对意大利文化的最卓越贡献是他在2011年出巨资修复著名的罗马斗兽场（ Colosseum）。他的慷慨资助将令他和品牌名称永远铭刻在这一历史遗迹上。

2010年，当罗马市长Gianni Alemanno邀请他为罗马斗兽场的修复项目捐款时，迭戈的回答让市长瞠目结舌。迭戈说只有市长答应由他提供修复工程的全部资金，他才会捐款。由于慈善事业在意大利并非主流传统，有些人（主要是政客）对他的这一举动持怀疑态度。事实上，迭戈再一次显示了自己的先锋式影响力，其他意大利奢侈品公司也纷纷效仿他的善举，为修复特莱维喷泉（ Trevi Fountain ，芬迪）和西班牙阶梯（ Spanish Steps ，宝格丽）等古迹做出贡献。

尽管66岁的迭戈早已功成名就，但他依旧马不停蹄。他常到世界各地积极参与公司的事务，尤其是Tod’s托德斯的业务，但他最重要的家仍是自己的出生地，这里距离他的工厂只有5分钟距离。虽然欣赏生活中的美好事物，但他却力行俭朴，无论是饮食习惯还是自年轻时就去同一间咖啡馆的习惯都没有变过。

正如他几年前所说的那样，他更喜欢“品质”这个词，而不是“奢华”，因为当奢华过度时，就容易成了俗气。“我们必须找到一个平衡点。”

Known for his class and style, Della Valle is one of the most charismatic names in Italian business. Creator of the iconic gomminos at the root of Tod’s, one of the most important luxury brands in the field of fashion, he is a staunch supporter of the ‘Made in Italy’ brand and of his country, to which, he admits, he owes much of his success

By César Brigante

Diego Della Valle is one of the most prominent figures in the Italian business world. Owner of a vast fortune that places him among the richest and most influential men in the Transalpine country, he, along with his brother Andrea, has interests in very diverse areas, ranging from finance to fashion, with stakes in companies such as Bialetti, Piaggio, RCS, Mediobanca and Marcolin. In the past, he has sat on the board of directors of some of Italy’s most important companies; although today he only retains his place in the luxury emporium LVMH, of which he remains a shareholder.

Together, the brothers also owned ACF Fiorentina football club, which they rescued from bankruptcy in 2002 and sold it in the summer of 2019 for around €16 million.

Diego Della Valle is known for his refined taste. In 1998, he bought the modest but symbolic Marlin, a yacht owned by J.F. Kennedy at a Christie’s auction, later joined by the sumptuous 194-foot Altair III. A good friend of Ferrari’s president of many years, Luca Cordero di Montezemolo, his passion for Ferraris is no secret either. A man of the world, he travels between his home, near the Adriatic, and the offices in Milan or anywhere else in the world where he has interests or houses – Miami, New York, Paris and Capri.

It’s a sophisticated life, impressive at every level, but even more so if you take into account that what is today his global empire, part of the largest Italian accessories and fashion export group, Tod’s SpA (which comprises Tod’s itself as well as brands like Hogan, Fay and Roger Vivier), like other Italian family businesses, had a relatively humble start.

Though not a self-made man in the most classic sense, because he studied in Bologna and benefited from a thriving family business that would later be left to him, the businessman deserves all the credit in the evolution of what is now his empire.

Diego Della Valle was born in 1953 in Casette D´Ete in central Italy, near the Adriatic coast, where he spent his childhood and adolescence. His grandfather, Filippo, was a modest artisan who made shoes at home, working late hours to sell them the next day at local fairs.

After World War II, in difficult but hopeful times, his son Dorino followed in his footsteps by risking everything in a small shoe factory. His parents’ workplace was a second home for little Diego who, when not in school, contributed to the fragile family economy by performing the simplest tasks. From the ‘60s onward, Dorino’s audacity began to bear fruit. Orders increased considerably. The main customers were across the Atlantic in the US, and a substantial part of production went to large department stores, such as Saks Fifth Avenue and Bergdorf Goodman.

The business kept growing and placed the family in a more comfortable position, making it possible to provide the eldest son with a higher education. This is how young Diego went to Bologna, where, as he says, he led a quiet student life where books were not always the focus of his attention. And so, shortly after, Diego went back home to pursue the family business. He made the most of what he learned in his course in the marketing department, where he first started.

This is how he began to travel regularly to the US, where the company’s largest customers were already, but where the potential for growth was enormous. The results could not have been better. Orders began to come in from new designers who were gaining ground in the growing fashion industry.

More than material effects, the reality he encountered in the US, which was very different from the one in which he grew up, marked him indelibly. The practicality with which business was done and the receptive way in which good ideas were accepted influenced his business perspective. It also greatly contributed to the concept of elegance that he would come to adopt at Tod’s – the intersection of his Italian identity with the American comfort and informality that fascinated him so much.

It was on one of these trips to the US in the late 1970s that, when buying Italian loafers, he realised that, despite their good commercial acceptance, their quality and appearance left much to be desired. The shoe, much to the Americans’ liking for its comfort, a cross between the 1950s American preppy loafers and indigenous loafers, gained an unexpected practical sense in Italy: it was adapted by racing drivers for whom casual shoes were uncomfortable and had poor grip. The driving-shoe became popular on the feet of sports idols, but it quickly spilled over from the racetracks to become a symbol of the Italian dolce vita.

Back in Italy with the specimen in hand, Diego took it to the factory where it was carefully scrutinised by his artisans to create a more refined version, more to the taste of the market that had adopted it as a must in their leisure time.

The result was the celebrated gommino, at least today, because at the time it was just an improved version of an existing product on the market. An extremely soft, high-quality calfskin and a sole with 133 small rubber studs, which was manually shaped, resulted in a highly comfortable moccasin, a true foot glove, able to meet the sophisticated and demanding market that the young director intended to reach. All that was left was to sell it, and Diego had an idea.

For some time, he had been eyeing Gianni Agnelli, the famous industrial owner of Fiat and a bold icon of Italian style who often wore loafers in the most unusual situations and against all conventions, apparently due to a car accident that left him with a foot injury for the rest of his life.

Through his friend Luca Cordero di Montezemolo, who worked with Agnelli at Fiat, Diego brought him the gommino as a gift, which the elegant industrialist happily accepted. The moccasin passed the demanding test. From then on, the industrialist began to be seen and photographed in the offices, salons and the stands of Juventus, rooting for the team that the family has owned since 1923, with the gomminos on his feet, an exhibition that Della Valle took advantage of with the skill of a true marketeer. The unusual marketing move for that time would be repeated time and again with jet set figures and Hollywood actors, giving them exposure and making them an object of desire.

The brand itself, resulting from the need to evolve the business, was created in the late 1970s. The Tod’s designation, initially J. P. Tod, reflects Della Valle’s admiration for the New World and its simplicity and practicality. Legend has it that the name was randomly picked from a phone book, although the entrepreneur does not confirm it, preferring to emphasise how easily it can be said and memorised, regardless of the market in which it is found. The fact is that with his clever marketing manoeuvres and a made-up name, he made everyone wonder who this J. P. Tod was, who had produced those colourful loafers everyone wanted.

The success brought added responsibilities to Diego who, in the 1980s, moved from being a  mere marketing director to helping design the company’s visionary strategy. Its positioning as a luxury ‘Made in Italy’ brand accompanied the birth of the large luxury conglomerates at the end of the decade that came to radically change the face of the market, a movement that the entrepreneur was able to keep up with thanks to his recognised acumen.

In the twilight of the 20th century, the approach was simplified further by making the brand name just Tod’s, at around the same time as the company was moving to new headquarters in Casette d’Ete in the Marche region, built in 1998. Designed by his wife, architect Barbara Pistilli, the new facilities were modular, the first in Italy to have daycare and gym facilities for employees.

In 2000, Diego took over the presidency of the Tod’s S.p.A. group, which entered the Milan Stock Exchange that same year, already in the leading position as a producer of leather accessories.

With the motto “Dignità, Dovere and Fun”, Diego Della Valle believes that a businessman has the duty of returning part of his wealth to the society in which he grew up.

A great champion of craftsmanship and of the Made in Italy name, the cause of a lifetime, he has always emphasised his enormous gratitude to the country where he was born: at Tod’s, all products are exclusively made in Italy and much of the work, particularly the production of gomminos, is done by hand by experienced artisans, in a thorough process comprising more than 100 steps and using 35 cuts of leather.

“I love my country and I am driven by the support of ‘Made in Italy’, therefore any time I have or I had in the past to contribute to the support of Italy’s image, credibility and its culture, it has been both a great honour and a duty for me,” he recently said, proudly, in an interview with a famous American magazine.

Philanthropist and patron, he contributes to cultural institutions such as the La Scala opera house in Milan, of whose foundation he is a member, but his greatest contribution to Italian culture was the large donation to the restoration of the famous Colosseum in Rome in 2011. The donation will forever stamp his name and the brand he founded on this important historical monument.

When the mayor of Rome, Gianni Alemanno, invited him to contribute a fraction of the value of the restoration work in 2010, he was speechless when Diego replied that he would only participate if he was allowed to finance the entire work. As Italy didn’t have major philanthropic traditions, the gesture was viewed by some (politicians mainly) with suspicion. The fact is that, once again, the businessman showed himself to be at the forefront, eventually having a copycat effect on other Italian luxury companies that contributed to the restoration of monuments such as the Trevi Fountain (Fendi) and the Spanish Steps (Bulgari), among others.

Despite his 66 years and huge success, Diego doesn’t stop. He travels around the world and actively participates in the lives of his companies, particularly Tod’s, but his main home is still in his birthplace, just five minutes from the factory. Appreciative of the finer things in life, however, he doesn’t turn up his nose at simplicity, both in terms of food and in the habit of going to the same cafes as in his youth.

As he said a few years ago, he prefers the word quality over luxury, because, when excessive, it easily slips into the tacky. “We have to strike a balance.”

As Mahatma Gandhi said: “Your beliefs become your thoughts. Your thoughts become your words. Your words become your actions. Your actions become your habits. Your habits become your values. Your values become your destiny.”

By Irene Sam

In the modern world, human beings are constantly confronted by changes in society and their personal life. Lack of methods and skills to deal with afflictive emotions can often cause insomnia and anxiety, which are becoming common issues among city dwellers. Determined to assist individuals in regaining a sense of balance and wellbeing, Dr Buathon Thienarrom — one of the leading experts of alternative medicines in Asia — combines her expertise in psychology, Tibetan and Taoist medicine to create tailor-made effective treatments for the distressed.

Early in her career as a nurse, Dr Buathon realised the power of the mind is intrinsic in healing the human body. Curious to learn more about thoughts and human interactions, she chose to pursuit a degree in Counselling Psychology before taking a three-month course studying Taoism, which outlined how energy is involved in physical and mental wellbeing.

“Through my work, I meet people from different countries, and I realised that the social culture and beliefs we live under bring us various illness. To explore further, I studied the sociology of health, which focuses on social conditions that cause ailments,” she explains.  “I also did in-depth studies of alternative medicine to understand the interconnection of body and mind, visiting Buddhist masters in Thailand as well as Tibetan Buddhist masters. I tried to understand how we could tame our mind to overcome mental conditions that cause issues. With an emphasis on Buddhist philosophy, I studied Tibetan medicine for three years, focusing on health and spirituality.” 

For Dr Buathon, Tibetan medicine provides a deeper understanding of emotional states that influence the body constitution or body elements. She then merges ancient Eastern wisdom with Western psychology to further strengthen the understanding of behavioural science. Finally, a comprehension of Taoism makes energetic physical practice and precise physical observation possible.

After years of training and with all her valuable knowledge, Dr Buathon developed her own method of massage healing named ZenNaTai, conceptually based on aligning the energy of thinking, feeling and awareness. “When the brain is busy thinking, we totally switch off the feeling in our heart and awareness in the gut, or abdomen. ZenNaTai aims to slow down thoughts, allowing the body to fall into a rhythm of relaxation, deep breathing and hopefully reaching a state of zero thoughts. The treatment’s essence is reaching a mental state that guides the entire body to deeper relaxation, allowing “chi,” or life force energy, to flow. From there, we also work on the chest to promote deep breathing to release sadness stored in the lungs and emotional tension in the abdomen and to recharge physical energy,” she adds.

Through her extensive studies in various fields of wellbeing, Dr Buathon believes that the mind is the master, and it is the key that drives our physical body to move forward for any activity. Once the mind is thinking positively, it will keep on uplifting the vibration of mental and physical energy as a force to overcome illnesses, generating a better inner energy flow.

“Some of us may get stuck on negative thoughts that lower our energy levels. If one is not able to redirect the mind to positive thoughts or transform the mind, they will require professional advice. As human beings, once we find something that provides hope or satisfaction, we are able to increase our energy and strive for greater achievements,” she points out.

Dr Buathon’s background in psychology is very helpful in identifying someone’s mind condition and emotional state. Trying to “locate” the mind and work with it requires a tool, and breathing is the best choice available. Oftentimes, Dr Buathon also uses essential oils to calm down the patient so that they can concentrate on connecting the body and mind. Another interesting tool is a set of singing bowls that produce sounds and waves.

“The quality of the seven full–moon, singing metal bowls provides a deep vibration from the metals that make the water tide pulse within us. Our body is 70% water and the vibrations help to calm the mind or slow brain waves, facilitating the pre-meditation state. In a meditative state, it is easy to let go and rest the busy mind. The vibration also stimulates circulation and lymphatic flow. Muscles relax and release damp heat out of the body and, at the end, sedimentation toxin flows out from our circulation as heat is generated and released. You will feel lighter and as the mind pacifies, it is able to fully relax. For advanced mind practice, you can use the vibrations of the bowl to transform the mind and elevate mental energy closer to your mental purpose,” she says.

According to traditional Chinese medicine, the presence of tension or blockage means that one’s “chi” is stagnant. Dr Buathon recommends a simple technique of inhalation, slowly enhancing internal energy to flow to the blockage area. One can imagine the body as a balloon, as inhalation fills it with air. Through several rounds of inhalation and exhalation, the body releases tension and becomes replenished with energy.

To further transform the mind of her students, Dr Buathon often leads groups to healing retreats in the Himalayas. In May of 2020, she will host a Bhutan Sacred Retreat, which will be taking place in the Bhutanese town of Bumthang. It offers an excellent opportunity for individuals to connect to a spiritual path.

“Bhutan is known as the happiest country in the world, with a carbon–negative ecotherapy ideology. From my previous two visits to the country, I managed to connect with pure nature for a spiritually awakening experience. The energetic field of Bumthang enables one to connect with the true self whilst absorbing the indigenous practice of Tibetan Buddhism. It will raise vibration within a being,” she concludes.

圣雄甘地曾说：“你的信念会变成你的思想。你的思想会变成你的言语。你的言语会变成你的行为。你的行为会变成你的习惯。你的习惯会变成你的价值观。你的价值观会变成你的命运。”

文：Irene Sam

在现代世界，人们不断面临着社会和个人生活的变化。如果缺乏方法和技巧去应对烦恼，通常就会导致失眠和焦虑——这在城市人当中越来越常见。为了帮助人们重拾平衡和安乐，Buathon Thienarrom博士结合她在心理学、藏医和道医方面的专长，为苦恼的人创造并定制出有效的疗法。Buathon博士是亚洲顶级的替代性疗法专家。

在早期从事护士工作时，Buathon博士就发现心的力量本身就具有疗愈人体的效果。她好奇地想了解思维与人体的互动关系，于是修读了辅导心理学学位，随后也学习了三个月的道家课程，从中了解到能量是如何影响身心健康的。

Buathon博士解释说：“在工作期间，我会遇到各个国家的人，从中我发现我们所处的社会文化和信念会为我们带来各种疾病。为了进一步探索，我进修了卫生社会学，主要研究导致疾病的社会状况。我也深入研究了替代性疗法，想借此了解身与心之间的联系，也遍访过泰国和西藏的佛家大师。我努力了解人如何可以将心驯服，从而应对有问题的精神情况。出于对佛法的探求，我也花费三年时间学习藏医，专注于健康和灵性方面。”

对Buathon博士而言，学习藏医让她更深入地理解到情绪状态是如何影响身体的构造或元素的。后来，她结合东方的古老智慧与西方心理学，进一步加强了对行为科学的理解。最终在领悟道家学说之后，Buathon博士开始尝试身体的能量练习以及对身体进行精准的观察。

经过多年的训练，Buathon博士运用她所有宝贵的知识，研发出自己的按摩疗愈法，并取名为“ZenNaTai”，意为校准思维、感受和觉知的能量。“当大脑忙于思考时，我们就完全关闭了内心的感受和腹部的觉知。ZenNaTai旨在让思维放慢下来，允许身体进入放松和深呼吸的节奏，以求达到‘无念’的状态。此疗法的精髓在于达到一种精神状态，能够引导全身更深入地放松，从而让生命力能量，即‘气’，流动起来。达到这种状态后，我们也会按摩胸部以促进深呼吸，从而释放出储存在肺部的悲伤感和腹部的情绪紧张感，同时也能恢复体力。”Buathon博士补充说。

Buathon博士经过在各种健康领域的大量研究后，她认为心识才是主宰者，它在很大程度上决定着我们人体如何进行各种活动。当心识在正面地思考时，它会持续提升着精神能量和身体能量的震频，从而成为一种疗愈疾病的力量，并让内在能量流动的更好。

 “我们有时候可能会陷入负面思维，这些思维会降低我们的能量水平。当我们无法将心识重新引导到正面思维或进行转化时，就要寻求专业协助。对人类而言，当我们找到能提供希望或满足感的事物时，我们就能提升我们的能量并去争取更大的成就。”Buathon博士指出。

Buathon博士在心理学上的造诣，也非常有助于她识别人们的心识状况和情绪状态。要对心识进行“定位”并与其合作，就需要一些工具，而呼吸就是最好的工具。很多时候，Buathon博士也会利用精油来让客人平静下来，从而能够专注于身体与心识之连接。此外还有一种有趣的工具，就是一系列的颂钵，能够产生声音和波动。

“由金属制作的七个为一套的满月颂钵能够发出金属的深入震动，让我们体内的水潮跳动起来。人体含有70%的水份，而颂钵发出的震动有助于让心识平静下来，即让脑波放缓，从而加快进入冥想的准备状态。在冥想状态下，人们会更容易停止不断的思考，从而达到休息的目的。颂钵的震动还能促进血液循环和淋巴流动。肌肉也会得到放松，并将湿热排出体外。最终，沉积的毒素会从我们的血液循环中流出，因为热已经产生并被排出。你会感觉更轻盈，而随着心识平静下来，它便能够完全地放松。在高级的心识练习中，你可以利用颂钵的震动来转化心识以及将精神能量提升到更接近于你想获得的精神状态。”Buathon博士说。

传统中医认为，若身体某些部位存在紧张或堵塞，这意味着“气”的郁结。Buathon博士建议可以做一个简单的吸气练习，慢慢地将内在能量增强并流到堵塞的区域。我们可以想象身体是一个气球，随着吸气，气球逐渐充满气体。经过几轮的吸气和呼气，身体便释放了紧张感，同时被能量填满。

为了进一步转化学员的心识，Buathon博士经常带领学员在喜马拉雅山脉举办疗愈营。2020年5月，Buathon博士会在不丹的布姆唐镇(Bumthang)举办一次“不丹神圣营”。对于想踏上灵性之路的人们，这将是个极好的机会。

“不丹被誉为全球幸福感最高的国家，具有负碳生态疗法的理念。在过去两次到访不丹的过程中，我设法与纯净的大自然相感应，以求获得灵性的觉醒。布姆唐镇的能量场能让人与真我连接，同时人们也能学到本地藏传佛教的功法。这将会提升一个人的震频。” Buathon博士总结说。

世上有两种汽车，迈凯轮和其他汽车，然后又有了埃尔瓦。即使对迈凯轮而言，埃尔瓦也是个美丽的奇迹。

文：Guilherme Marques

迈凯轮-埃尔瓦（McLaren Elva）是英国跑车制造商迈凯轮汽车公司推出的最新终极系列（Ultimate Series）跑车。终极系列是迈凯轮公司推出的最无与伦比和震撼人心的车型，系列已有车型包括P1、塞纳（Senna）和Speedtail跑车。

现在，迈凯轮更加别出心裁推出了埃尔瓦（Elva），品牌首辆开放式座舱公路跑车。埃尔瓦仅限量生产399台，势必成为迈凯轮史上的全新里程碑。埃尔瓦的研发是为了祝贺1960年代布鲁斯·迈凯轮（Bruce McLaren）设计的M1A和三款 Elva M1A车型。当时，它们基本上算是７代迈凯轮赛车的“客户”版本。

迈凯轮汽车首席执行官迈克·弗莱维特（Mike Flewitt）始终认为：“迈凯轮继续推动超级跑车和混动汽车的发展极限，追求为客户提供无与伦比的卓越驾驶体验。迈凯轮-埃尔瓦正是这种开拓精神的缩影。埃尔瓦及其后续产品在许多方面都体现了当代迈凯轮跑车的先驱精神——超轻型中置发动机汽车，具有顶级驾驶和动态性能。新款迈凯轮终极系列跑车埃尔瓦是迈凯轮历久弥新之作，是一款独一无二的现代汽车，在驾驶员、汽车和各种元素之间实现了终极联接，在道路或赛道上提供了 极致的全新驾驶乐趣。”　

在超跑市场上，迈凯轮一直都是业界先锋。品牌充分利用自己丰富辉煌的历史，在不到十年的时间里，凭借其款款出类拔萃的车型跻身跑车界的顶级梯队。自从MP4-12C于2011年作为迈凯轮汽车公司的首个量产车型问世以来，阿尔瓦无疑是最令人震撼的车型。

埃尔瓦是一辆极限双座跑车，底盘和车身都采用定制的碳纤维材料。该车没有挡风玻璃、没有车门，更没有车顶，实用功能完全不在这辆车的考虑范围内。无论是在道路上还是赛道上，埃尔瓦的唯一目标就是为驾驶者提供绝无仅有的驾驶乐趣。

同其他迈凯轮跑车一样，埃尔瓦配备了一台4.0升的双涡轮增压V8发动机，提供高达815马力的动力和800牛米的扭矩。发动机的平面曲轴、干式油底壳润滑和轻型连接凸轮轴、杆和活塞，可减轻动力总成的质量。动力通过七速无缝变速箱传递至后轮，并与起步控制功能配合使用，性能令人叹为观止：从静止状态（0-62mph）至每小时 100 公里的速度行驶不到三秒钟，而迈凯轮-埃尔瓦比迈凯轮塞纳更快，仅用 6.7 秒就可达到 200 公里/小时（0-124 英里/小时）。

埃尔瓦的输出功率之所以更为强大是因为迈凯轮对排气系统进行了优化，采用轻量材料制成，如钛和铬镍铁合金。迈凯轮史上第一次，排气饰面采用3D打印技术打印，因为唯有通过这种方式才能实现工程师设计的独特形状。

埃尔瓦底盘设计也是为了最大程度地提升驾驶乐趣而非单纯的提高车速。“迈凯轮-埃尔瓦是真正的终极跑车；它纯粹是为了驾驶的乐趣而存在，它通过汽车、驾驶员和各个元素之间的终极联系来缔造令人着迷的沉浸式驾驶体验。埃尔瓦是我们制造的最轻量公路车，它的敏捷性和凶猛速度令人难以置信，其 815PS 双涡轮增压 V8 发动机可提供令人叹为观止的性能。” 迈凯伦终极系列汽车线总监安迪·帕尔默（Andy Palmer）表示。

显然，除了性能以为，埃尔瓦的造型并不像是一辆汽车，而更像是一艘刚刚着陆的宇宙飞船。没有人会看着它去思量它能跑多快，或它在弯道上的表现如何；每个人，无一例外，都会被它的外形所震撼。埃尔瓦就是为这个外形而生。汽车市场都清楚迈凯轮会制造超跑汽车；但没人能想到迈凯轮可以如此大胆。埃尔瓦既惊艳又独具匠心，但这也表明，迈凯轮竟然对自己如此有信心，大胆到把自己的想法施展到这样的项目上。

 客户可以根据自定用途对埃尔瓦进行个性化定制选择。迈凯轮打造了一系列的装饰，用于装饰驾驶舱，而且毫不夸张的说，在即将生产的399辆埃尔瓦中，不会有完全相同的车。标配中并不包含音响系统，但客户可以指定定制音响系统，半热熔轮胎、超轻型轮毂和升降系统也是如此。如果你在城里驾驶没有挡风玻璃的车就需要戴头盔（在某些国家这是强制措施），因此升降系统是必要的。终极定制服务则由迈凯轮定制服务部McLaren Special Operations负责，只要您想到的他们都可以做得到。　

在英国，埃尔瓦标价1,425,000英镑，是史上售价最高的迈凯轮车型。这也不足为奇，因为它的确是品牌最独具匠心、不同凡响的杰作。

There are cars, then there are McLarens, then there is the Elva. Even for such a company, this is a new kind of amazing.

By Guilherme Marques

The McLaren Elva is the latest model in the Ultimate Series of cars, the most exclusive, most spectacular models built by the British manufacturer, where already sit the P1, the Senna and the Speedtail.

Now, McLaren have shown an even more outlandish proposal, called the Elva, their first open-cockpit road car. Built in very limited numbers – only 399 units – the Elva is set to be a landmark car in the history of McLaren. It was developed to celebrate the M1A and the three Elva M1A designed by Bruce McLaren in the Sixties, which were basically customer versions of the Group 7 McLaren competition cars.

Mike Flewitt, CEO of McLAren Automotive, is adamant in his view of what a McLaren should be: “McLaren continues to push the boundaries of supercar and hypercar development in pursuit of outstanding and unparalleled driving experiences for our customers and the McLaren Elva epitomises that pioneering spirit. The McLaren-Elva M1A [Mk1] and its successors are in many ways the true spiritual forerunners of today’s McLarens – superlight, mid-engined cars with the highest levels of performance and dynamic excellence. It’s fitting that the new McLaren Ultimate Series roadster – a uniquely modern car that delivers the ultimate connection between driver, car and the elements and with that new heights of driving pleasure on road or track – acknowledges our rich heritage with the Elva name.”

McLaren have been shaking the waters in the supercar market, making use of a name with a rich and glorious history and applying it to a catalogue of cars that in under a decade’s time reached the upper echelons of their segment. The Elva is arguably the most incredible model since the MP4-12C met the light of day in 2011 and introduced McLaren Automotive as a series production car constructor.

The Elva is n extreme two-seater with a bespoke carbon-fibre chassis and body. It boasts no windscreen, no doors and no roof. Practical considerations were simply not taken into consideration in this car’s briefing. It is all about driving pleasure and the heightening of every emotion behind the wheel, either on the road or on the track.

The Elva, much like every other McLaren, comes with a 4.0-litre, twin-turbocharged V8, in a barely believable tune of 815 horse power and 800 Nm of torque. It features a flat-plane crankshaft, dry-sump lubrication and lightweight connecting camshafts, rods and pistons that reduce mass in the powertrain. Power is directed to the rear wheels through a seven-speed seamless-shift gearbox, and working in conjunction with a launch control function, the performance is breathtaking: 100km/h from a standstill is reached in less than three seconds, while the McLaren Elva is quicker than the McLaren Senna to 200km/h at just 6.7 seconds.

The increased power output comes from an optimized exhaust system built out of lightweight materials, such as titanium and Inconel. In a first for McLaren, the exhaust was developed using 3D printing technology, the only possible way to achieve the shape desired by the engineers.

In terms of chassis, it is tuned to maximize the driving experience and not to achieve lap times. From Andy Palmer, the Elva’s Production Line Director: “The McLaren Elva is a true Ultimate roadster; it exists purely for the pleasure of driving, to deliver an enthralling and immersive experience born from the ultimate connection between the car, the driver and the elements. The lightest road car we’ve ever built at McLaren Automotive, the Elva is incredibly agile and ferociously fast, its 815PS twin-turbocharged V8 engine providing breathtaking performance.”

Obviously, beyond any performance considerations, the Elva looks like a spaceship that has just landed, not so much a car. No one will look at an Elva and think how fast it is or how well it goes around a corner; everyone, no exceptions, will go speechless at the way it looks. The Elva exists so it can look like it does. The market already knew McLaren could build super fast cars; what we didn’t know was that they could risk something like this. The appearance of the Elva is as striking as it is unique – but it is also a testament to a company that is so sure of itself that it can expand itself to a project of this nature.

Customers can personalise their vehicles according to its intended use. McLaren have created a series of trims dedicated to an open-cockpit car and realistically, from the 399 that will be produced, it is possible that no two are alike. There is no audio system as standard, although it can be specified, along with semi-slick tyres, super lightweight wheels and a lift system if you are planning on driving into town in a car with no windscreen and with a helmet on (mandatory on some countries). Extreme customization is taken up by McLaren Special Operations, where options are as big as the imagination.

In England, the Elva is priced at £1,425,000, making it the most expensive McLaren Automotive ever made. That makes sense, because it is also the most incredible, otherworldly idea they have ever had.

发现Max Mara泰迪熊系列多款独特产品

寒冬让人在穿衣上易趋单调俗套。然而，冬天却让您有十足的理由或借口去抢购一件泰迪熊大衣。此外，本季的必备单品既时尚又舒适，让在阴冷的清晨不得不钻出温暖被窝这事也显得轻而易举了……

泰迪熊大衣源于2013年的Max Mara时装秀。这款大衣有着塌肩设计，舒适的口袋， 采用羊驼毛和马海毛混纺面料，犹如我们放在床脚的可爱动物变身为大衣版本。虽然版型低调朴实，泰迪熊大衣却显示出自己的独特不凡: 自从在2013年时装秀上发布以来，它就成了备受追捧的热卖单品 。

现在，时尚潮人可以在「澳门银河」Max Mara TEDDYMANIA限定店买到这款标志性的泰迪熊大衣Teddy Coat 。限定店里满是大小不一、多彩缤纷的小熊，排排坐在输送带上， 萌萌滴！ 千万别错过与巨型泰迪熊Max The Teddy合照的机会——这是来限定店的至尊礼遇!

更令人兴奋的是，您可以在限定店中找到一系列独到产品。其中一款瞩目明星产品是2020早春Resort系列金色泰迪熊大衣，以闪闪发光的混金属纱线Lurex制成。利用Max Mara开发的独一无二的工艺打造，Lurex面料不仅柔软轻薄，而且在聚光灯下闪闪发光，质感格外华美迷人。

快闪店发售的其他澳门限量版产品还包括两款秋冬系列的泰迪熊Teddy Bear经典大衣: 经典米色纯羊绒泰迪熊大衣和黑色混金属纱线泰迪熊大衣 。经典米色大衣以柔软的羊绒与高级蚕丝打造出无与伦比的纹理效果，双排扣设计更散发永恒久远的魅力。黑色混金属纱线大衣则凭低调优雅和自然时尚的风格，使穿着者看上去极致冷艳迷人。

此外，限定店还推出了一系列泰迪熊饰品，包括 

Teddy毛绒围巾、Teddy毛绒手套、Teddy毛绒耳罩、Teddy毛绒腰包、Teddy小熊锁匙扣等等， 让人爱不释手。

Discover a variety of exclusive pieces from the Max Mara collection

It can be so easy to fall into a wardrobe rut as temperatures drop.  However, the positive side of that is that you can fully justify snapping up a teddy coat. Plus, this season’s must–have is equal parts chic and cosy, making leaving your duvet behind on a chilly grey morning that more appealing….

The origin of the teddy coat trend goes back to the 2013 MaxMara runway. With its dropped shoulders, cosy pockets and blend of alpaca and mohair, it is the outerwear version of that cute animal we keep at the foot of the bed. With an unassuming deign, it has also proved to be that rarity: it became a retailing monster since being introduced at the 2013 fashion show.

Now, fashionistas can get this iconic teddy coat at the TEDDYMANIA pop-up store at Galaxy Macau. The pop-up is filled with charming Max Mara Teddies, seated on conveyor belts in varying sizes and in an amazingly colourful palette. Don’t miss out on the exclusive photo opportunity with the giant Max The Teddy – the highpoint of the factory!

Even more exciting, an array of exclusive items can be found at the pop-up. One of the highlights is a gold version from SS2020 Resort Collection, made of glittering lurex. Coupled with the one-of-a-kind process developed by Max Mara, this mixed metal yarn is not only soft and light, but also dazzles under the spotlight, which gives an extra glamorous touch.

Other Macau limited–edition items at the pop-up also include two fall/winter styles of Teddy Bear icon coats, in cashmere classic beige as well as lurex black. In a sumptuous cashmere silk blend, the classic beige statement coat has an unrivalled texture, while its double-breasted fastening design provides a timeless appeal. The black lurex version elevates one’s ultimate evening look with understated elegance and effortless chic.

Moreover, the pop-up introduces a large range of teddy bear accessories, including teddy bear scarves, gloves, earmuffs, belt bags and keychains.

A. Lange＆Söhne朗格推出Odysseus腕表，开启品牌历史新篇

文：Cátia Matos

A. Lange＆Söhne朗格新近发布Odysseus腕表，这是品牌的首枚精钢表。Odysseus尤为重要，其发布标志着品牌第六个系列的诞生，因为它为著名的德国钟表制造商朗格增添新概念。Odysseus腕表拥有运动型外观，又不失品牌的优雅精髓，特别适合活力好动的高级表迷。

Odysseus表径40.5mm，厚度11.5mm，配备不锈钢表带。其亮点包括朗格的传统制表工艺元素，全都以最原始方式重新演绎。腕表表采用深蓝色表盘，表盘为多层设计，呈不同的表面，并且指针比品牌其他款式更大更显眼。

全新Odysseus使用L155.1 DATOMATIC型机芯。朗格特别为它研发了这款机芯，其中心摆轮沿同一方向摆动，以铂金制成。腕表动力储备 50 小时，自动上链机芯以手工装饰和组装，设有大视窗星期和日期显示。旋入式表冠， 防水深度120米。

还值得一提的是，Odysseus腕表的抗震摆轮配四颗平衡螺丝。带扣是安全的，带有精密调节机构。表扣处还有可拉出或推入表链的微调装置，无需打开扣子即可微调表链长短，十分贴心。

A. Lange and Söhne presents the Odysseus model and kicks off a new chapter in the history of the manufacturer

By Cátia Matos

A. Lange & Söhne recently presented Odysseus, the first of its watches made from stainless steel. This model, which marks the birth of the brand’s sixth collection, is particularly important because it adds a new concept to the prominent German brand. With a sporty look without losing the elegance that defines the brand, it is especially suited to fine watch lovers with a very active lifestyle.

Both the case, with a 40.5mm diameter and 11.5mm thick, and the strap are made of stainless steel. Highlights include the watchmaker’s traditional elements, which are reinterpreted here in a very original way. The watch presents a dark blue dial with various levels, each with different surface finishes, and the hands are more prominent than in the brand’s other models.

This model also introduces the new calibre, the L155. 1 DATOMATIC, developed by the manufacturer specifically for the Odysseus, is defined by its central rotor which winds in one direction, with a centrifugal mass made of platinum. With a 50-hour power reserve, the automatic movement, decorated and assembled by hand, features oversized day and date windows. The Odysseus also has a screw-down crown and is waterproof to 120m.

Also worthy of mention is the shock-resistant balance with four poising crews. The buckle is safety-deployant, with a precision adjustment mechanism.

在澳门的创意和艺术圈子里，张可是个熟悉的名字。她年轻、有才华、成熟且聪慧，如今穿梭在澳门与北京之间，在国际著名导师的指导下攻读博士学位——她的其中一位导师是徐冰，中国当代艺术家、中央美术学院副院长。

文：Irene Sam

张可生于1991年，目前也是澳门大学的艺术讲师，并且是获得杰出亚洲艺术奖(Sovereign Asian Art Prize)提名的最年轻澳门艺术家。张可毕业于中央美术学院实验艺术学院，在作画的同时也制作手工书。“我自小就想成为一名画家，而全赖父母全力支持我，我才能将绘画作为终身从事的职业。”她坦承说。

她的首次个人展——《纯真百科》，是她作为女性的生活呈现，以及反映出她如何理解艺术中的性主题以及艺术家们在私人空间时的内在自我。张可认为，经典画作中的裸体就是与肉欲有关。作为一名艺术家，她不仅对此不否认，还特意创作解放肉欲的影像，而不是让人规避这个主题。由于性常常让人联想到色情或猥亵，我们的社会一般都对性避而不谈；然而，事实是，人类从小时候就已对自己的身体充满好奇。

在她眼中，《纯真百科》展出的每件作品犹如百科全书中的每一个条目，充斥着她对性的各种天马行空的想象。至于纯真与否，就由观众自行判断。这次首展，许多展品都表现着性的愉悦和兴奋，以书本形式呈现，配有精致的绘画和细致的装饰，有着经典的风格，而不可否认的是，她通过这个大胆的主题非常清晰地表达了自己想要表达的东西。

“创作个人首展并向全世界展示，就像完全暴露自己。对我而言这是一项很个人的经历，至于观众能否与展览产生联系则留待他们自行判断了。作为女性，我经历了人生的一些阶段，并想在自己准备好且具备足够的胆量时，能够勇敢地说出自己的故事。”张可解释说。

张可是一名艺术家，但她首先是一个人，这点对她而言很重要。她在2019年有了第二个展览，其中探索了她与父亲之间有意识和无意识的关系。“我爸爸一直希望生个男孩，结果我却是个女孩。所以他决定将我当成男孩来抚养。有些事情我想和他交流，但不是通过言语。因此，《与父书》这个展览是我的沟通工具。”她指出。

如果《纯真百科》是极富装饰性的，那《与父书》的特色就是用直线条勾画出犹如画框的图形。画框对称且井然有序，并带有详尽的规格，这些画框通常出现在古老、庄严的祭坛画中，这些作品一般是放在教堂前面，描绘着圣母玛利亚或耶稣的故事。透过展示三幅充满神圣感的祭坛画形式作品，《与父书》表达出她渴望被理解的心情。“我爸爸不是那种会展露自己情感的人，所以在展览结束之后，从他身上不会观察到什么。他看完展览后可能会产生一些情感，但如果真的如此，他也只会藏在心里。”张可如此猜测。

尽管艺术创作才是张可的主业，她仍感觉很幸运能在澳门大学获得稳定的教职工作，因为这让她有固定收入。“我一直都很重视我在大学的工作，而且我越来越觉得这项工作意义非凡。从某种角度看，我执教艺术欣赏课，意味着我正在塑造社会，像是为日后盛放的花朵提供恰当的土壤。作为艺术家，我很进取，在我人生的各个阶段我都将会创作不同类型的艺术，这些艺术品会成为我人生的足迹，而教学对我来说同样重要，因为这会影响下一代人。”

“在现代社会，学习艺术不一定会让人获得一套生存技能。作为一名教育者，我非常开心能分享我对美术的想法与见解，但许多学生可能无法理解一些细微之处。我只希望通过教学，让学生对艺术产生兴趣并开始与艺术世界建立联系。”张可说。

无论是教学还是艺术创作，张可都认为自己是一名女性艺术家和导师，但她认为，女性不需要在艺术领域拥有优势，也无须区别看待男女艺术家。张可认为：“在过去，人们想到女性艺术家时就会联想到弗里达·卡罗之类，因为那时人们认为女性艺术家都有着很强的个性，但随着时间推移，女性艺术家不再是“稀有品种”，而且她们对艺术有着独特的见解。”

在下一个展览，张可准备以艺术作品匹配诗词。对于言语表达和视觉表达，张可同样喜欢，而她渴望将她在阅读诗词时产生的想象入画，以大型画作的形式表达出来。“每当我读诗，相关形象就会立即浮现脑海。我喜欢情诗，因为情诗饱含强烈的情感，深受感动之余我渴望把它们画出来，并想分享这种感受。”

“这次我会选用大型布面进行绘画，因为我想引起观众的注意。视觉效果需要非常强烈震撼，以便引人注目，然后才能吸引观者去接近作品及尝试去理解作品。这是一项挑战，因为只有知识的人才能理解作品，但如果有恰当的技巧，像看视觉效果般艺术也可以只欣赏表面。”张可说。

In Macau’s creative and artistic community, Kay Zhang is a familiar name. Young, talented, sophisticated and intelligent, she spends her time between Macau and Beijing, working on a doctorate degree under world famous mentors – among them is contemporary Chinese artist and vice-president of the Central Academy of Fine Arts, Xu Bing.

By Irene Sam

Born in 1991, Zheng is also an Art Professor at the University of Macau, and the youngest Macao artist nominated by Sovereign Asian Art Prize. Graduated from the Experimental School of Arts at the China Central Academy of Fine Art, Kay is a painter and book-maker. “Ever since I was a child, I knew I wanted to become a painter, but the pursuit of it as a lifelong profession came because I had the full support of my parents”, she admits.

Her first solo exhibition, “Innocencepedia”, is manifestation of her life as a woman and how she perceives sexuality in art and artists’ inner self in private domains. To Zhang, nudity in classical paintings is linked to carnal desire. An artist who does not deny this notion, she deliberately creates images to liberalize desire rather than deterring someone from the subject matter. Our society shies away from talking about sex, as it is often associated with pornography or obscenity. Yet, it is a fact that humans are curious about their own body even at a young age.

Considering her works as the elements of an encyclopedia in “Innocencepedia”, she exposes her own imagination and fantasy about sex, but it is up to the viewer of her work to determine whether they are innocent or not. Sexual pleasures and excitements are present in many articles of her first exhibition. While the work, presented in a book format, looks stylistically classical, with its exquisite drawings and detailed embellishment, the clarity of what Zhang is trying to express through the audacious theme is undeniable.

“Creating my first exhibition and showing it to the world is like exposing my whole being, it is a very personal experience to me, but it is up to the audience to see whether they could relate to it. As a woman, I go through stages in my life and I want to be brave enough to tell my story when I am ready and audacious enough to do so”, she explains.

For Zhang, it is important to be understood as an artist as well as a human being.  She had a second exhibition in 2019, which explored her conscious and unconscious relationship with her father. “My father always wanted to have a boy, but I turned out to be a girl, and he decided to raise me as a boy when I was growing up. There are things I would like to communicate to him, but not with words. Therefore, ‘Daddy Exhibition’ serves as a communicative tool for me”, she indicates.

If “Innocencepedia” was highly decorative, “Daddy Exhibition” was characterized by straight lines that mimic a frame. Symmetrical and orderly frames with detailed specifications are usually associated with old religious solemn altarpieces. Usually, these are placed in front of a church depicting stories of the Virgin Mary or Jesus. Eagerness to be understood is conveyed through three works drawn in the form of an altarpiece which exudes sacredness. “My father is not someone who reveals his emotions, so there was not much to observe from him after the exhibition had ended. He might have some emotions, but if he does he keeps them to himself”, she assumes.

While artistic creation is her main vocation, Zhang feels fortunate to have a stable teaching job at the University of Macau which provides her with an income. “I have always taken my teaching position at the university seriously, but I’m finding it increasingly more and more meaningful. In a way, through teaching art appreciation, I am shaping the society. It is like providing the right soil for flowers to grow in the future. As an artist, I am ambitious, and during various moments of my life I am going to make different types of art. These artworks will become traces of my life, but teaching is just as important to me, if not more, because it will affect the next generation.”

“In our modern society, learning about art does not necessarily mean that one would acquire a certain set of survival skills. As an educator, I am very happy to share my thoughts and interpretations about fine arts, but many students might not be able to understand the nuances. It is only my hope that through lectures they will become curious and start to connect themselves with the artistic world”, she says.

From education to art, Zhang considers herself a female artist and professor, but does not believe that women should have an edge or be considered in a different way than men. “When one thought of female artists in the past, a name like Frida Kahlo would pop up because female artists were seen as women with a strong personality, but as time goes on, female artists are not rare anymore, and they have their unique approach to art”, she believes.

In her next exhibition, Zhang will pair artwork with poetry. A lover of verbal as well as of visual expression, she feels the urge to communicate her imaginative ideas acquired from reading poetry into artworks that can be appreciated through a large canvas format. “When I read a poem, an image immediately comes into the mind. I like love poems because there are strong emotions behind them. Through emotions I feel the desire to paint and I want to share this feeling.”

“I chose to paint on large canvases this time, because I want to grab the audiences’ attention. The visuals should be strong enough to attract stares and glances before anyone starts to approach the art pieces and try to understand them. This is a challenge because interpreting a work requires someone with knowledge, but if one has the right skills, art could be appreciated on the superficial level just as a visual effect as well”, she comments.

著名制鞋大师塞尔吉奥·罗西的儿子吉安维托·罗西向《精华》杂志讲述了自己同名品牌的发展历程和自己一生与鞋为伍的故事

文：Cátia Matos

大约13年前，吉安维托·罗西（Gianvito Rossi）创立了自己的同名品牌。尽管不能确切记得自己是从什么时候开始设计鞋子的，但他的确是在鞋子的包围中长大。 “它们一直是我生活中的一部分，”他微笑着说。

在接受《精华》杂志采访时，吉安维托表示，他是在自己的父亲——著名的鞋履设计师塞尔吉奥·罗西（Sergio Rossi）身上受到启发要承继这项事业。

“我充满热忱地为父亲工作了很长时间。我热爱有关鞋履世界的一切。当父亲卖掉公司后，我第一次意识到，我身边再也没有鞋子了。当我们整个一生都和某样东西朝夕相处时，我们很难明白它对我们有多么重要，以及它意味着什么。只有当我们不再拥有它时，我们才会意识到这一点。那个时候，我才意识到，鞋子就是我的生命，是我真正想做的事业。”

49岁的他就此决定开启自己的鞋履事业。他很清楚父亲塞尔吉奥·罗西“在全世界是独一无二的，他的水平无人能及，”但吉安维托打算“尽全力追随父亲的脚步。”

他认为自己与父亲最相似的地方在于对品质的精益求精，这是他在所有工作中都恪守的承诺。 “我希望能忠于自己喜欢和相信的东西……我们一定要思考做好一件事的最佳方式；如何改善作品并提升品质。由于手工制品使用的是天然皮革，所以有很多限制。每年，每季，我们不会把任何事视为理所当然。无论是人，还是原材料的品质都在不断变化。没有什么是永恒不变的。”

吉安维托·罗西品牌推出的第一个系列是2007春夏系列，系列彰显了他自创业伊始一直以来的主要目标：强烈个性、当代视野和简单风格。这样的定位为品牌的迅速成功奠定了一半的基础，但如今，品牌专注于打造集优雅、舒适于一身的鞋履。“这就有很多要做的工作。鞋履的轻便是品质的重要一环。当我们看着这些选择，想着把优雅与舒适融为一体时，要考虑的是5,000样东西。虽然要做的事很多，但主要还是集中在鞋子的设计方面。它必须从开始构思时就要考虑到。”

使用PVC材料，也让吉安维托·罗西的作品与众不同。“我想强调轻便的理念。打造更轻便、元素极简的鞋子，PVC似乎是个不错的选择。从美学角度来讲，PVC鞋让脚看起来更修长，更显优雅，因为它没有经过深加工，但同时它廓形分明而规则。PVC很好的展示了少即是多这个理念。” 

这算不算是让人一眼识别出吉安维托·罗西鞋履的显著特色吗？ “事实上，我不希望自己的鞋子能被消费者一眼就认出来是我的设计。鞋子是服饰配件，其使命是让我们感觉良好。这是我设计鞋子时的目的。为此，线条必须更简单，也要多塑造廓形。”

正是基于此，他的品牌才在如此短的时间内就取得了成功。 “我的客户发现了专为他们制作的鞋子，他们不是因为品牌原因选择它，而是因为我的鞋子使他们更加自信。”

格温妮丝·帕特洛（Gwyneth Paltrow）、黛安·克鲁格（Diane Kruger）、妮可·基德曼（Nicole Kidman）和查理兹·塞隆（Charlize Theron）等国际知名影星都是品牌的粉丝。 “看到她们穿我的鞋子时，我非常高兴。 这让我感到格外自豪。”

尽管他承认设计男鞋让他没有那么多的创作自由，但在2017年，他还是冒险推出了首个男鞋系列。“我想打造一个奢侈、现代又能令人耳目一新的男鞋系列……我们仍处于初期开发过程中。我敲定了产品系列，现在我们正在发展壮大。”

至于本季的全新女鞋系列，吉安维托选择以红色和动物印花作为主要元素。 “这个系列采用了各类皮革、动物主题的图案和多种色彩，其中我着重突显了红色，红色一向是柔美女性气质的重要元素。 我认为每个女人都该拥有至少一双红色鞋子。”

吉安维托·罗西的专卖店遍布米兰、罗马、巴黎、蒙特卡洛、伦敦、纽约、迈阿密、加利福尼亚、香港、东京和汉城等各地重要城市，他希望在未来几年内开设更多精品店，尤其是在美国。

至于本季的全新女鞋系列，吉安维托选择以红色和动物印花作为主要元素。 “这个系列采用了各类皮革、动物主题的图案和多种色彩，其中我着重突显了红色，红色一向是柔美女性气质的代表元素。 我认为每个女人都该拥有至少一双红色鞋子。”

当他需要年轻一代的主意时，他会征求自己的孩子索非亚（Sofia）和尼古拉（Nicola）的意见，因为“在设计时能听取他人的意见很重要。”他希望自己的品牌也能在儿女手中继持续发展。“我女儿现在已经开始进入公司工作了，我儿子已经和我一起工作了一段时间了。”

至于品牌未来的发展重心，他表示会和现在一样：“我最大的愿望就是客户过得开心。”

Son of the famous Sergio Rossi, Gianvito Rossi spoke to Essential about his brand’s journey and a lifetime surrounded by shoes

By: Cátia Matos

It was around 13 years ago that he founded his namesake brand. Although he doesn’t remember the exact moment when shoes began to be the object of his work, Gianvito Rossi grew up surrounded by them. “They have always been part of my life,” he says, smiling.

It was in his father, the famous shoe designer Sergio Rossi, that the Italian saw the inspiration to continue the legacy, as he tells us in a interview with Essential. 

“I worked with my father passionately for a long time. I really loved this whole world. When my father sold the company, for the first time I no longer had shoes around me. When we’re surrounded by something our entire lives, it is very hard to understand how important it is to us and what it really means. And we only realise it when we no longer have it. I understood then that that was my life and what I really wanted to do.”

And so, at the age of 49, he made the decision to work with shoes. He is certain that Sergio Rossi “is unique in the world and his level is not even attainable”, but he is trying “to follow in his footsteps as best I can”. 

He believes that the closest resemblance to his father lies in his commitment to quality, a commitment he follows religiously in all his work. “I want to stay true to what I like and what I believe (…) We always have to think about the best way we can do something; how can we improve the work and its quality. As a handcrafted product using natural leathers, there are many limitations. Every year, every season, we can take nothing for granted. Both the people and the quality of the materials are always changing. Nothing is permanent.”

The first collection launched by the brand, for Spring/Summer 2007, revealed the creator’s primary goals from the very beginning: to have a strong identity, a contemporary vision and a simple aesthetic. These qualities turned out to be halfway to almost immediate success, but now, all attention falls on the prominent, successful combination of elegance and comfort. “There has to be a lot of work. The portability of the shoe is part of its quality. When we look at the options and we want to combine both, there are 5,000 things that have to be combined. There is a lot of work, but it mainly has to do with the design of the shoe. It has to start from the beginning, from conception.”

It is also in the use of PVC that Gianvito Rossi makes the difference. “I wanted to emphasise the concept of lightness. The idea of ​​creating a lighter shoe, minimalist in elements, and the PVC seemed to be a good option. Aesthetically, it makes the foot look longer, reflects elegance because it is undressed, but at the same time its shape is very clear and regular. It’s a good way to show a little more without being too much.”

And is that the signature when it comes to identifying a Gianvito Rossi shoe? “The truth is, I don’t want my shoes to be immediately recognised as mine. Shoes are an accessory and their mission is to make us feel good. That is my goal when I design a shoe. For this, the lines have to be simpler with extra attention to the shape.”

It is on this premise that he justifies all the success achieved in such a short time. “My clients have discovered a shoe that’s made for them and they don’t choose it necessarily for the brand. It’s something that makes them more confident.”

Big international celebrities, such as Gwyneth Paltrow, Diane Kruger, Nicole Kidman and Charlize Theron, are already fans of the brand. “I’m very happy when I see them wearing my shoes. It makes me very proud.”

Although he admits that designing for men gives him less freedom of creativity, in

2017, he ventured into his first collection for the male audience. “I wanted to create a luxurious, modern and refreshing collection (…) We are still at the beginning of the process. I defined my line and now we are expanding.”

In regards to the new women’s collection for this season, Gianvito chose red and animal print as the key elements. “This collection comes with various types of leather, animal-themed patterns and a diverse colour palette, where I highlight the red, which is always an element of femininity. I think every woman should have at least one pair of red shoes.”

With his own stores located in strategic locations such as Milan, Rome, Paris, Monte Carlo, London, New York, Miami, California, Hong Kong, Tokyo and Seoul, Gianvito Rossi expects to open several more boutiques in the next few years, more specifically in the US.

When he needs the perspective of a younger generation, he speaks to his children, Sofia and Nicola, as “it is important to have other opinions when we are designing”. It is also in the hands of his children that he wants his brand to continue. “My daughter has now started working at the company and my son has already been working with me for some time.” 

As for the future focus of the brand, it remains the same as it has until now. “My greatest wish is that my clients stay as happy as they are,” he concludes.

《 香之精粹：发现香气、香水、香精的世界》（The Essence: Discovering the World of Scent, Perfume & Fragrance）一书深入探讨了繁香的世界

文：Cátia Matos

几个世纪以来，繁香醉人，一直魅惑着世人。 事实是，我们倾向于将香气与我们最特别的回忆联系起来，仿佛众香拥有天然的魔力。 由德国出版社Gestalten发行，并与记者、主题专家卡拉·西普（Carla Seipp）合著的《 香之精粹：发现香气、香水、香精的世界》（The Essence: Discovering the World of Scent, Perfume & Fragrance）便探讨了这一主题。 此书还触及与香水世界有关的其他主题，从香水的起源说起，并论及在将来香水界技术将发挥的重要作用。 这本书从历史、科学和文化角度出发，深入探讨香水行业是如何被打造成如今数百亿美元产值的产业，值得一读！

The book “The Essence: Discovering the World of Scent, Perfume & Fragrance” explores in depth the world of perfumes

By Cátia Matos

It is not by chance that fragrances have been a source of fascination for centuries. The truth is that we easily associate them with our most special memories as if they were inherently magical. This is one of the themes that is explored in “The Essence: Discovering the World of Scent, Perfume & Fragrance” released by German publishing house Gestalten and co-authored by journalist and subject matter expert, Carla Seipp. This book also addresses other topics related to the world of fragrance, from the origins of perfume to the vital role that technology will play in the future. It is also worth highlighting the in-depth approach to the way in which history, science and culture have shaped the perfume industry to what it is today, a billion-dollar business.

亚历山德拉·尚帕利莫(Alexandra Champalimaud)是世界上最著名的室内设计师之一。她在与《澳门精华》的独家访谈中分享自己30多年来的职业道路。

By Cátia Matos

尚帕利莫来自葡萄牙，当她准备在祖国开创自己的生活时，命运让她发生了翻天覆地的变化。那是在1974年，当时葡萄牙正在发生推翻统治政权的“康乃馨革命”，年轻的尚帕利莫和她当时的丈夫被迫背井离乡，来到加拿大蒙特利尔居住。她当时在里斯本还在进修一个设计与艺术史课程并创作了一些作品，而突然来到北美的她，真的不敢想象等待着她的将是什么。

如今，尚帕利莫已是全球最闻名的室内设计师之一，她著名的尚帕利莫设计工作室(Champalimaud Design)位于纽约。她承认“事情并非总是容易的”，但按部就班地，就会开始看到成果。“坦白地说，最终结果是个愉快的惊喜。我从未想过我会有如此成就，如今全世界都有我的作品，”她透露说。其中她最新的项目是那神话般的新加坡莱佛士酒店(Raffles Hotel)——她和她的团队对酒店进行了长时间的精心翻新修缮。

我在加拿大度过了20年，直到一个机会的到来，让我实现了美国梦。“我之前在加拿大的尚帕利莫设计工作室在蒙特利尔当地及其郊区都非常有名。从1986年起，我开始参加一些国际赛事并夺得各种设计项目。做这些事好些年并取得国际成就之后，我觉得也许自己有机会在美国发展。后来我夺得了纽约瑞士酒店和波士顿瑞士酒店两个项目，这开启了我在美国的事业发展。我在纽约越来越成功，并在当地成立了公司。”

尚帕利莫见证了911事件，对其灾难性后果更有切身体会。“对我们所有人来说都是一次很恐怖的经历。我看到第二架飞机撞上大楼。另外，当时我的公司正在负责重新设计世贸中心里的万豪酒店。那天早上，我团队的两名同事正在搭乘的士前往酒店，怎料酒店被毁了。”尽管失去了一些重要项目，尚帕利莫没有认输。她骨子里充满着奋斗精神，同时也懂得感恩。“一点点地，一切逐渐恢复（……）现在我在全球有着很高知名度，对此我深怀感恩。”

尚帕利莫现在管理着55人的团队，并有4位已经合作20载的“卓越非凡的”合伙人。她透露说，成功的秘诀在于与合适的人共事。但这还不足够……“人格和职业操守也不可或缺。价值观极其重要。拥有才华、能力和资历很重要，但不代表一切。别人一定很相信我们，所以才会把千百万计的美元（或欧元）投入到项目中并让我们负责。我们必须担起责任，投入到这些价值中从而产出成果。我们必须想别人所想，理解他们的期望、预算和需求。我知道我能够在美学上创造他们需要的东西，这是我自知擅长的，而这一直以来都极为重要。”

如今，绽放尚帕利莫设计天赋光华并已开业的著名酒店数不胜数。她的工作室负责过无数项目，例如迈阿密康莱德酒店（美国迈阿密）、时代广场希尔顿酒店（美国纽约）、雅加达四季酒店（印尼雅加达）、贝莱尔酒店（美国洛杉矶）、波士顿文华东方酒店（美国波士顿）、新加坡莱佛士酒店（新加坡）、北京瑞吉酒店（中国北京）、卡莱尔酒店（美国纽约）、吉隆坡丽思卡尔顿酒店（马来西亚吉隆坡）、华尔道夫酒店（美国纽约）等等。“对我来说，所有项目都极其重要。我对选择我们的人充满敬意，因为他们不仅知道我们有才华，也知道我们有组织力和能力创造出经久传承的奢华酒店。”

尽管她说她对自己所有的室内设计作品都同等喜欢，但她也表示对最近完成的项目情有独钟。“我们刚完成了我最爱的项目——新加坡莱佛士酒店。这是个无与伦比的项目。酒店面积覆盖了新加坡的三个街区。我们的工作从六年前就开始了，最近终于完工。”在这项目中，尚帕利莫充分尊重酒店内部设计的历史，同时将自己的设计特点融入其中。“像新加坡莱佛士这样的酒店有其自身的个性和历史，我不会改变它们。我需要做的只是为这壮观建筑的未来助力。这就是我努力的方向。当然，其中会有我自己的一些品味和看事物的角度，然而，我充分保持了酒店原有的个性。”

尚帕利莫强调她并不注重品牌形象，不会刻意让别人一眼就认出她的作品。然而，在她的创作中一直具有某种连贯一致性。“人们通常会说我的风格复杂精致，并能创造出一种怡人舒适的氛围。不会过时也是我的设计特点之一。”

当媒体还在大量评论她的新加坡项目时，尚帕利莫还有其他项目要跟进，例如洛杉矶的比佛利山庄酒店、伦敦的克拉里奇酒店和希思罗丽柏酒店，还有在葡萄牙的最新项目。

尽管她的事业都围绕在酒店设计上，还有住宅开发以及她这些年来赢得的奖项和荣誉，尚帕利莫毫不掩饰她对产品设计的偏爱。她目前更注重的领域就是产品设计，对其有着特别的钟爱之情。“我有过一些发挥创意的时刻。最近我与纽约的Salon Art + Design（沙龙艺术+艺术）合作创作一个家具系列，而目前也在为地毯公司The Rug Company设计一些地毯和为Holland & Sherry（荷兰雪莉）设计织物。”

谈到未来，尚帕利莫很开心能够继续做更多产品设计。至于会否回归祖国葡萄牙，她毫不犹豫地说：“我当然会回去的！”虽然家乡的房子还在建设中，但回家之路早已铺好。

Recognised worldwide, Alexandra Champalimaud is one of the most well-known figures in her area. In an exclusive conversation with Essential, the interior designer revealed her career path spanning over 30 years

By Cátia Matos

Destiny turned her life upside down when she was preparing to build her life in Portugal, her country of origin. It was 1974, in the middle of the revolution against the regime in force in Portugal, when the young Alexandra Champalimaud was forced with her then husband to leave the country and live in Montreal, Canada. With a course in Design and Art History and some works done in Lisbon, the interior designer headed for the North America, and could not even have imagined what the world held in store for her.

Recognised worldwide as one of the most famous personalities in the interior design area, the founder of the renown atelier Champalimaud Design based in New York, admits that “it wasn’t always easy”, but step-by-step things began to happen.   “I can frankly say that it has proved an pleasant surprise.  I never thought to have got this far, with works all over the world”, she reveals. Proof of this was her latest project, the mythical Raffles Hotel in Singapore which was the target of a careful and lengthy renovation by the designer and her team.

For 20 years she was in Canada until an opportunity arose to fulfil the ‘American Dream’.  “Champalimaud Design, in Canada was highly recognised locally in Montreal and its outskirts. In 1986 I began to compete in international competitions and won various projects. After some years of doing this and achieving international success I thought that perhaps I stood a chance in the United States. The two projects that I won in the country (Swissotel) New York and Swissotel Boston) signalled the start of my career in the USA.  I was becoming increasingly successful in New York and established a company there.”

She witnessed September 11 and felt up close the consequences of that tragic date. “It was a horror for all of us.  I saw the second plane fly into the tower. Moreover, my company has been redesigning the Marriott Hotel in the World Trade Centre.  That morning two people in my team were on their way to that hotel by taxi, the hotel that was destroyed.”  Despite losing some important projects, she didn’t throw in the towel. Her fighter spirit runs in her veins but gratitude too. “Little by little everything recovered (…) Today I have enormous recognition from the entire world for which I am very grateful.”

She managed a team today of 55 and has four “extraordinary” partners that have been with her for two decades. She reveals that the secret of success lies in working with the right people. But not just that… “Personal and professional integrity are also required. One of the most important things to have are values. Having talent, abilities and qualifications is important but it is not everything. People must trust in us because they are handing over millions and millions of dollars (or euros) for a project and we are responsible for this. We must take responsibility to invest in these values in order to get results at the end. We must put ourselves in other people’s shoes to understand their wishes, budgets and what they need done. I know in terms of the aesthetic I can create something they need, and this is the talent that I know that I have, and this has been super important.”

The list of famous hotels that have already been opened and toasted with her talent goes to show.   Conrad Miami Hotel (Miami, USA), Hilton Times Square (New York, USA), Four Seasons Jakarta (Jakarta, Indonesia), Hotel Bel-Air (Los Angeles, USA), Mandarin Oriental Hotel Boston (Boston, USA), Raffles Hotel Singapore (Singapore), St. Regis Beijing (Peking, China), The Carlyle (New York, USA), The Ritz Carlton Kuala Lumpur (Kuala Lumpur, Malasia) and the Waldorf Astoria (New York, USA) are some examples of the countless projects from her atelier. “For me, all are of huge importance. I have immense respect for people who choose us because they not only know that we have the talent, but also the organisation and capacity to be able to create a luxurious hotel that will last for decades.

Although she says she likes all the interiors she creates equally, she says she has a soft spot for the last project in which she was involved. “We have just completed my favourite project, the Raffles Singapore.  It was something magnificent. It spans three blocks of the city Work began six years ago and was completed recently.” In this project, Alexandra has respected the history of the interiors, but has also put a little of her own hallmark on the project.  “A hotel like Raffles Singapore has its own personality and history and I was not going to change that. What I had to do was to contribute to the future of this marvellous establishment. And that’s what I’ve tried to do. Of course, it has a little of my taste and my way of seeing things, however, the respect for its personality has been maintained.  

She is emphatic that she doesn’t favour any brand image so that her work can be immediately identifiable, however there is a coherence that runs through her creative work.  “Usually, they say that I have a sophisticated style and that I create inviting and cosy ambiances.    Timelessness is also another of my hallmarks.”

Still riding on the crest of the media wave the Singapore project brought her, Alexandra still has some projects on the back burner for the Beverly Hills Hotel in Los Angeles, for Claridge’s Hotel in London and for the Park Inn Hotel also in London. And, in Portugal which is another of her current projects

Despite her career centred on hotel design, as well as residential developments, and all of the awards and distinctions she has won over the years, the interior designer doesn’t hide her predilection for product design, an area in which she is more focused at the moment and for which she has a special fondness.    “I have had some moments of creativity. I recently worked on a line of furniture for Salon Art + Design of New York and I am also doing a design for some carpets for The Rug Company and for textiles design for Holland & Sherry.”

As to the future, Alexandra is happy to continue to do more product design. As to possibly returning to her country of origin, she doesn’t hesitate: “Well of course I will return!” Her house is still under construction, but the certainty of returning has long been built.

The Italian fine jewellery house Buccellati completes a century of life

Founded by Mario Buccellati in 1919, Buccellati took its first steps as a jewellery display space located in a small shop at Milan’s La Scala theatre. “At that time, gold was very expensive. When people passed by my grandfather’s store, they would ask ‘What are you selling?’ To which my grandfather replied, ‘I’m selling dreams’,” says Luca Buccellati, the current CEO of Mario Buccellati Italia and the third generation at the helm of the business.

Years later, dreams really came true with the opening of the brand’s first high-fashion boutique in Milan, followed by Rome and Florence. Today, it boasts 40 boutiques worldwide and a presence in more than 150 retail outlets. “We were the first Italian company to cross the ocean and go to the US in 1952. [The luxury goods brand] Ferragamo only arrived after us, in 1953,” says Luca Buccellati. “The company is growing fast, but we will never lose our style, our heritage or our identity.”

True to its origins, Buccellati draws inspiration from ancient goldsmithing techniques, with a particular focus on the Renaissance era, to design its pieces, making ingenious reinterpretations of the classic style of that period and creating absolutely unique and distinctive jewellery. Made entirely by hand in Milan, the pieces stand out not only for the engraving techniques, but also for the rare coloured stones and diamonds from around the world. “It is impossible for me to talk about Buccellati creations without linking them to the context where our creativity was born: in our beloved Italy. Our techniques come from five centuries ago. Many renowned artists from this country were goldsmiths before they were sculptors, painters or architects,” revealed the son of the founder, Gianmaria Buccellati, who passed away in 2015.

Although acquired by the Swiss luxury conglomerate Richemont in September this year, the company has continued to be family owned and it is this passing down from generation to generation that has been one of the crucial points for keeping the DNA of the Italian house alive. “The Buccellati family has always had a huge passion for its work. We don’t care about the costs. What we do care about is creating the most beautiful products we can. We are very careful with the quality and knowledge of our artisans. It is very important for us to keep all Renaissance traditions alive. We believe in our style and design; that’s what makes our brand different from others,” says Andrea Buccellati, president and creative director of Buccellati Holding Italia SpA and another of the founder’s grandsons.

Despite this incessant inspiration from times gone by, the house has shown a desire to reach a younger audience. To this end, it has relied on the creativity of Lucrezia Buccellati, creative co-director of the brand, daughter of Andrea and a representative of the fourth generation. It is alongside her father that Lucrezia has been working day after day to interpret the Buccellati style in the best way, giving it a modern twist but never forgetting tradition and craftsmanship. “There is no brand like ours – when we buy a piece of jewellery, we are buying a piece of art. Most of our customers stop buying from other jewellery brands because they realise how different our brand is, even people of my generation who are not usually as loyal to one brand and like to mix several. That’s why our focus is on wearable, simple pieces that are easy to collect,” reveals the young designer.

This year, to mark its 100^th anniversary, the Italian house has presented a series of special collections that reflect much of its history. The Vintage collection, which brings together around 200 unique pieces (only half will be for sale), perfectly represents the timelessness that is inherent in their creations. Particularly noteworthy is the crystal necklace designed by Mario Buccellati in the 1920s for the Italian actress Eleonora Duse. Another of the collections presented is the Buccellati Cut, consisting of trademark diamonds with a shape reminiscent of the house logo. For the occasion, Buccellati also designed a limited edition of pendants inspired by its most iconic line: the Opera Color collection.

“From father to son, in fact, we passed technical abilities on, and we cultivated a habit to surprise everyone with our work. f I look at one of our works, I am proud to know that it was designed by Buccellati and handcrafted by our goldsmiths. Looking at it twice, I also notice that over time we become more sophisticated.” These words from Gianmaria Buccellati continue to translate the whole spirit of the centennial house to perfection.

意大利高级珠宝品牌布契拉提迎来百年华诞

1919年，马里奥·布契拉提（Mario Buccellati）创立了布契拉提（Buccellati），起初，它只是米兰斯卡拉歌剧院（La Scala Theatre）的一个商铺。“那个时候，黄金非常昂贵。人们经过祖父的店铺时，都会问他‘你卖的是什么’ 祖父总是回答，‘我卖的是梦想’，”品牌现任CEO和公司的第三代领导人卢卡·布契拉提（Luca Buccellati）说。

多年后，随着品牌第一批高端精品店先后落户米兰、罗马和佛罗伦萨等地，这些梦想真正变成了现实。 如今，品牌在全球各地设有40家精品店，并设有150多个零售专柜。卢卡·布契拉提表示：“1952年，我们是第一家远渡重洋进入美国市场的意大利企业。直至1953年，在我们进入美国一年后，奢侈品品牌菲拉格慕（Ferragamo） 才亮相美利坚。公司虽然发展迅速，但我们从未放弃过自己的风格、传统和身份。” 

布契拉提始终忠实于自己的原乡，从古代金匠工艺，尤其是文艺复兴时期的金匠工艺汲取灵感来设计作品，巧妙演绎文艺复兴经典风格，打造出无与伦比、独一无二的珠宝首饰。 品牌珠宝全部在米兰手工制作而成，不仅在雕刻技术上别具一格，而且还因使用世界各地的稀有彩色宝石和钻石而崭露头角。 “对我而言，在谈论布契拉提的创作时，不可能不谈到我们创意的摇篮——我们深爱的意大利。 我们使用的是五个世纪前的技术。意大利有许多著名艺术家在成为雕塑家、画家或建筑师之前都做过金匠，” 。品牌创始人的儿子吉安马里亚·布契拉提（Gianmaria Buccellati）透露说。这位第二代掌门人于2015年离世。

尽管公司已于今年9月被瑞士奢侈品集团历峰集团（Richemont）收购，但依旧采用家族企业管理模式，这也是公司虽历经几代人一直能保持品牌DNA的关键要素之一。 “布契拉提家族向来对珠宝设计制作充满热情。我们不在乎要怎样付出， 我们在乎的是竭尽所能创作最赏心悦目的产品。 我们对工匠的素质和技能要求很高。对我们来说，保育所有文艺复兴时期的传统工艺非常重要。我们对自己的风格和设计有信心； 这些因素使我们有别于其他品牌，” 马里奥·布契拉提的另一个孙子，意大利布契拉提控股有限公司（Buccellati Holding Italia SpA）总裁兼创意总监安德烈·布契拉提（Andrea Buccellat）说 。

除了从过去不断汲取灵感外，布契拉提还渴望吸引更多年轻粉丝。做到这一点要仰仗品牌联合创意总监卢克雷齐娅·布契拉提（Lucrezia Buccellati）。克雷齐娅是安德烈·布契拉提的女儿，也是家族第四代代表。卢克雷齐娅在父亲身旁日复一日地工作，已经练就以最卓越的方式诠释布契拉提的风格，赋予产品现代气息之余，秉承了品牌传统和工艺。“没有哪个品牌像我们一样——购买珠宝其实等于购买艺术品。我们的大多数客户都不再购买其他品牌的珠宝，因为他们意识到我们的与众不同，甚至还有和我同代的年青顾客。我这一代人，通常都不会只忠于一个品牌，而是喜欢将多个品牌混搭。因此，我们专注于创作易于佩戴和收藏的简约风格作品上，”这位年轻的设计师透露。

今年，在品牌迎来百年华诞之际， 布契拉提推出了一个彰显品牌历史的特别系列。 Vintage系列荟萃了约200件独特单品（其中仅有一半会出售），完美地体现品牌作品始终如一的永恒典雅风范。其中特别值得一提的是马里奥·布契拉提在1920年代为意大利女演员Eleonora Duse设计的水晶项链。另一个系列名为Buccellati Cut （ 布契拉提切割），作品由仿品牌logo形状的钻石组成。 布契拉提还设计了一款限量吊坠庆百年华诞，其灵感来自品牌最具标志性的系列：Opera Color奥佩拉彩色系列。

“事实上，我们家族一代代把技术能力传承下去，我们惯于以作品为人们带来惊喜。乍一看到我们的某件作品，我便知道它是由布契拉提设计，并由我们的金匠手工制作，为此我深感自豪。 再细看时，我还会注意到，随着时间的流逝，我们的作品越趋雅华贵。” 吉安马里亚·布契拉提的这些话再度充分表现出这个百年品牌追求至臻完美的精神。

斗转星移，转眼70年过去，全新路虎Defender卫士面世。一切都变了，但路虎精神一直没变。

文：Guilherme Marques

路虎（Land Rover）的故事要从1948年的阿姆斯特丹汽车展说起。当时的欧洲还未从人类史上最残酷的战争中恢复过来。饱受战争摧残的欧洲大陆经济，为懂得产品推销的人提供了机会，只要他们的产品有望满足人们开启新生活的愿望。

在二战期间生产高端汽车的英国罗孚汽车公司（Rover Company）这时决定集中精力生产一种新型汽车。在著名的威利斯吉普车（Willy’s Jeep）的基础上，他们在市场上推出了纯四驱车型。这是第一批量产日用四驱车型。罗孚公司本来打算在公司重新站稳脚跟的同时，只用两三年的时间生产路虎（Land Rover）。可在接下来的68年里，路虎的生产一直没有停止过，并且发展成一个独立的品牌，也在全球范围内收获了一批狂热的拥趸。

1948至1985年期间，市场上被路虎的三个系列车型霸占，堪称汽车界独一无二的传奇景象。即使在1985年，当路虎已跃升为一个汽车品牌，而卫士（Defender）也成为一个终极车型时，设计上依旧基本没什么变化。尽管卫士也不断有小的调整，但其底盘始终如一；2016年推出的上一款卫士也只是1948年推出的路虎I系列的升级版而已。

因此，推出一款真正的全新卫士车型，无论是对路虎本身，还是对每个为这个20世纪经典车型的更新换代做出贡献的人而言，其重要意义不言而喻。

全新卫士不仅采用了特别打造的底盘，还肩负非常艰巨的任务：在卫士近70年的完美历史与把自己定位于汽车业最前沿位置之间寻求平衡。除了要吸引铁杆粉丝外，2019款卫士车型还必须吸引新型消费者，吸引新一代粉丝，为粉丝群注入朝气。

路虎已决定继续生产三门和五门版本的卫士，即“卫士90”和“卫士110”，以确保拥有最全车型。除了五种标准配置之外，新一代卫士还将在其产品目录中增加170个额外的自选配置选择。1948年原型车的经典方形外形被保留下来，然而车头采用了细腻的线条，突出了汽车的力量感和现代气息。前后车灯的设计无与伦比，洋溢着路虎的王者风范，与动感硬朗的外形融为一体，气度非凡。这是一款即使穿越最荒凉之地，也能始终保持其非凡气质的车型。

不负众望，全新卫士拥有各种驾驶模式，特别是越野模式，一直都是卫士的标配，路虎绝不会将自己的衣钵授予他人。

内饰方面，2019年的卫士自然在各方面都超越了原型车：采用顶级品质的材料，完全融入现代数字化世界。然而，卫士也并没有忘记它的目标客户，或者说自己的根，繁多的附加自选配置之一是前排可设第三个座位，可无缝设置于驾驶员和乘客座位之间。

和其他产品一样，全新卫士也会有批评者和支持者。然而，它的独特个性没人可以否认，并成功以自己的方式致敬经典，并坚定地展望未来 。尽管几乎可以确定路虎卫士未来不会再继续生产70年，但至少紧接着的10年里，注定会为品牌带来巨大成功。

70 years on, the new generation of Land Rover Defenders has arrived. Everything changes, but the spirit remains the same.

By Guilherme Marques

This story begins in 1948 at the Amsterdam Motor Show. Europe was still recovering from the worst war in living memory. The continent’s economy, devastated by war, offered an opportunity to anyone who understood how to pitch products that would respond to the desires of a population searching for a new way of life.

The Rover Company, British manufacturers of high-end cars during the war, decided to focus their energies on producing a new kind of vehicle. They launched a pure 4×4, based on the Willy’s Jeep, onto the consumer market; the first mass-produced four-wheel drive suited for daily use. Rover only intended to produce the Land Rover for two or three years, while they got their company back on its feet. However, it went on to be manufactured for the next 68 years, becoming its own brand in the process and generating a cult following of loyal fans across the globe.

Between 1948 and 1985, the market was flooded with three series of the original Land Rover model; creating a legacy unique in the automotive world. Even in 1985, when Land Rover became the make and Defender the model, the truth is that the car remained much the same. Despite constant small alterations, the base remained unadulterated; aesthetically the final edition of the Defender, produced in 2016, is simply an updated version of 1948’s Series I Land Rover.

Therefore, it is easy to understand the importance of the release of a genuinely new Defender, both for the British manufacturers and everyone involved in the creation of a replacement for the twentieth-century icon.

Constructed on a purpose-built chassis, the new Defender has the unenviable task of balancing a near 70 year history of perfection with the need to position itself at the cutting edge of the industry. As well as appealing to the car’s die hard fans, the 2019 model must attract a new type of consumer and rejuvenate the fan base, creating a new generation of followers.

Land Rover have decided to continue producing the three-door and five-door versions of the car, the Defender 90 and 110, to ensure the most versatile range possible and, beyond the five standard equipment options, the Defender will feature 170 more optional extras in its catalogue. The iconic square silhouette of the 1948 original is maintained, however the new model’s panels feature subtle curves which emphasise the car’s more muscular, modern feel. The aesthetic update of the front and rear lights is fantastic, reflecting the Land Rover’s prestigious status and serving to complement the reinvigorated bodywork. This is a luxury car made to traverse the most inhospitable terrains, always maintaining its signature style.

As hoped, there are various driving modes, especially for going off-road, where the Defender has always been the standard and the Land Rover couldn’t let this mantle pass to another company.

Inside, the 2019 Defender naturally exceeds the original in all aspects; the materials are of the highest quality and the car is completely suited to our modern digitalised world. However, the Defender doesn’t forget its target audience, or its roots, and one of the many optional extras is a third front seat which fits in seamlessly between the driver and passenger seats.

As with any other product, the new Defender will have its detractors and its supporters. However, it has undeniable personality and has succeeded in finding a way to pay homage to its origins while facing firmly towards the future. Although the car will almost certainly not be in production for the next 70 years, the coming decade at least is set to be filled with enormous success for Land Rover.

《精华》杂志前往米兰斯卡拉歌剧院参加劳力士斯卡拉之夜，庆祝品牌与世界顶级艺术家和机构间的悠久合作关系

文：César Brigante

劳力士在制表界的地位非比寻常。在一百多年的时间，劳力士凭其制造的高品质计时产品和传达创新、精准性、耐用性和锐意求精等丰富价值内涵的精明之道为自己缔造了无与伦比的声望。

参加此次劳力士斯卡拉之夜盛典的一众运动员、探险家和艺术家都和劳力士享有同样的价值观，因此能在各自领域发挥无限创造力并取得卓绝成就，同时为社会做出的杰出贡献。这也是劳力士创始人汉斯·威尔斯多夫（Hans Wilsdorf）在品牌创立伊始设定的开创性战略，无疑为品牌的成功起到了重要作用，并将其打造成世界上最著名的钟表制造商。

汉斯·威尔斯多夫并没有走价格竞争的道路，而将目标定为要把劳力士打造成人们梦寐以求的钟表，承载着非凡的效率和卓越声望。威尔斯多夫打造并维护品牌声誉的方式，是通过那些经常面对严苛条件的人来测试劳力士产品，并依赖他们的使用体验来为品牌作证言广告。

1927年，劳力士与青年泳将梅塞迪丝·吉莉丝（Mercedes Gleitze）的携手合作，为品牌首次运用这一开创性的营销手段。后者试图成为横渡英吉利海峡的首位女性。梅塞迪丝·吉莉丝佩戴着劳力士蚝式腕表成功完成这项艰巨的挑战，在水中浸泡了十个小时后的腕表依然运行如常，成功证明劳力士完全胜任防水挑战。劳力士此举获得媒体大肆关注，同时又在《每日邮报》头版刊登了全版的广告。此次防水挑战成功标志着劳力士自此开创了同运动员精英、纪录创造者和探险家们长久合作的历史。　

尽管无数公众人物和艺术家为劳力士代言，但直到1970年代，劳力士携手新西兰著名女高音歌唱家基莉·迪·卡娜娃女爵士（Dame Kiri Te Kanawa）时，品牌才算真正开始进入艺术领域（尤其是音乐领域）。

1982年，处在事业巅峰的普拉西多·多明戈（Plácido Domingo）成为劳力士代言人。随后多明戈说服劳力士赞助Operalia歌剧大赛，大赛由多明戈发起，旨在在全球各地发现最优秀的歌剧演唱者。几年后，劳力士开始将赞助艺术作为品牌一贯政策，至今已近40年，但依旧没有停止的迹象。

在持续关注音乐的同时，劳力士因也逐渐增加对艺术界的支持，不仅推广品牌形象大使，还与纽约大都会歌剧院到米兰的斯卡拉歌剧院（La Scala Theatre）等世界顶级歌剧院，以及萨尔茨堡艺术节、维也纳爱乐乐团──新年音乐会等节庆活动合作，同时也是维也纳爱乐乐团的独家赞助商。但随着劳力士创艺推荐资助计划（Rolex Mentor and Protégé Arts Initiative）的实施，品牌开始扩展到赞助支持其他艺术领域，比如，文学、建筑，甚至电影。

为了庆祝品牌与世界精英艺术家和机构建立的长期合作关系，跨代音乐家和歌剧歌唱家罕见地汇聚米兰，仅此一夜，只为劳力士。在当晚献艺的劳力士代言人中，头号人物要数担当指挥的普拉西多·多明戈，协助他指挥维也纳爱乐乐团的是年轻指挥家的古斯塔夫·杜达美（Gustavo Dudamel）。    

在这个万众瞩目的劳力士斯卡拉之夜，劳力士邀请了当今最杰出的歌唱家：保加利亚当红女高音松雅·永切娃（Sonya Yoncheva）、男高音胡安·迭戈·弗洛雷斯（Juan DiegoFlórez）和乔纳斯·考夫曼（Jonas Kaufmann），以及新生代， 当今最受欢迎的钢琴家之一——32岁的中国音乐家王羽佳（Yuja Wang）。

演出前一天，《精华》杂志和受邀参加此次活动的新闻记者借机参加了斯卡拉歌剧院导览之游，了解近两百年岁的歌剧院的历史和目前的运营情况，并且有幸与剧院CEO和艺术总监Alexander Pereira进行了交谈。他透露了一个许多人不知道的现实。“像斯卡拉歌剧院这样的剧院拥有新型导演，其工作就是每年有至少一半的时间都在寻找资金，试图说服企业相信他有一个非常值得投资的美妙项目。”

维也纳爱乐乐团现任领导Daniel Froschauer和Michael Bladerer也解释了乐团最初的运作和经费情况，还有他们和劳力士间的友谊。“我们参观了劳力士工厂，看到了品牌钟表的整个制作过程，深深感叹劳力士和爱乐乐团的巨大相似之处，尤其是在严苛程度及对细节的精益求精方面。（我们的合作）显然是一个双赢的局面，但我们从劳力士那里也学到了很多，尤其是视爱乐乐团为一有价值的品牌，这令我们获益匪浅。” 

当天的另一件乐事就是与艺术家们在美丽的Giallo房间的对话。除了音乐的话题以及每位艺术家的个人职业生涯外，也不可避免地谈到了劳力士对他们的赞助支持是多么重要，无论是个人还是他们开展的乐团项目方面，比如胡安·迭戈·弗洛雷斯就是如此。他在劳力士的帮助下在祖国秘鲁创立了Sinfonía por el Perú（秘鲁交响乐团），旨在通过音乐帮助处在困境中的青少年，这个机构是受到著名委内瑞拉国立青少年管弦乐团系统（Venezuelan El Sistema）启发而创立的。古斯塔夫·杜达美热情地支持委内瑞拉国立青少年管弦乐团系统，并为其争取到了劳力士的资助。“劳力士已经在几个不同的项目上给了我莫大的支持。其中最重要的一个项目就是秘鲁交响乐团。作为劳力士创艺推荐资助计划的一部分，我们正在做一个秘鲁青年交响乐团和委内瑞拉爱乐乐团合作的节目。秘鲁青年交响乐团有100位出色的孩子组成，他们的演奏妙不可言。这个交响乐团将会在2021年的萨尔斯堡圣灵降临节（Salzburg Whitsun Festival）上演奏，但他们要先努力，向维也纳爱乐乐团学习。”

斯卡拉歌剧院当晚盛况空前，节目编排上考虑到不同观众的口味而制定，当然，这种活动的真正爱乐者会比平常音乐会的少，但节目也颇有趣味。表演曲目来自广为人知的威尔第、马斯卡尼（Pietro Mascagni）、古诺（Charles Gounod）、唐尼采蒂、阿莱维（Fromental Halévy）和普契尼的代表作品。在第一部分节目中，青年钢琴家王羽佳在歌剧《命运的力量》（“The Force of Destiny”，威尔第歌剧）序曲之后演奏了《a小调钢琴协奏曲 Op. 54》和《霍洛维茨：卡门主题变奏曲》，她的精湛技艺感染着在场的每一个人。

当晚的盛会以斯卡拉大剧院舞台上的盛大晚宴结束，来自世界各地的音乐家和劳力士贵宾以及少数媒体记者共同享受了一顿劳力士美食盛宴，其品质与整体盛会一样不同凡响，让人叹为观止。

Essential was at the iconic Teatro alla Scala in Milan to attend the Gala Ambasciatori Rolex, an extraordinary event that celebrated the brand’s long standing partnerships with some of the world’s pre-eminent artists and institutions

By César Brigante

Rolex occupies a very special place in the world of watchmaking. Its unique prestige, built over more than a century, owes as much to the quality of the time-measuring instruments it produces as to the intelligent way in which it has been able to communicate its rich values, such as innovation, accuracy, resilience and demand for excellence.

Joining sportsmen, explorers and artists who embrace these values ​​in their achievements and creations, projecting a positive effect on society, was a pioneering strategy set from the start by Rolex founder Hans Wilsdorf, which has been instrumental in the success of the house and unquestionably made it the most famous watchmaker in the world.

Rather than making price-competitive watches, Hans Wilsdorf chose to make them desirable for their efficiency and prestige. Testing the pieces on the wrist of those facing adverse conditions and relying on their testimony was Wilsdorf’s way of asserting their credibility.

This innovative marketing approach was first put into practice in 1927, when Rolex teamed up with young swimmer Mercedes Gleitze in an attempt to be the first woman to swim across the English Channel. The swimmer successfully completed the feat, which took ten hours to complete, with a waterproof wrist Rolex Oyster that proved to be totally up to the challenge. With great media attention and duly highlighted by the brand with a full-page advert in the Daily Mail newspaper, the feat marked the beginning of the essence of the brand that has long favored sportsmen elite, the record-breakers and the explorers.

Although present on the pulse of countless public figures and artists, it was not until the 1970s that Rolex extended the concept to the art world – specifically music – by inviting the famous New Zealand soprano Kiri Te Kanawa.

In 1982, at the height of his career, Plácido Domingo joined the brand. Shortly after, Domingo convinced Rolex to sponsor Operalia, an event he founded to find the best opera singers in the world. A few years later, this trend gave way to a consistent policy of sponsoring the arts, which has been growing for 40 years with no signs of stopping.

While continuing to focus on music, Rolex’s role in the art world is increasingly widespread and includes not only ambassadors but the world’s top operas and theatres, from New York’s Metropolitan Opera to Milan’s La Scala Theatre, and festivals such as that of Salzburg and the Vienna Philharmonic Orchestra, of which it is the Exclusive Partner. However, it extends to other disciplines, such as literature, architecture and even cinema, thanks to the Rolex Mentor and Protégé program.

It was to celebrate the brand’s long standing partnerships with some of the world’s pre-eminent artists and institutions that, for one night only, Rolex brought together a series of intergenerational musicians and opera singers in Milan that was almost impossible to bring together if it weren’t for this special link to the organising brand. Among Rolex Testimonees who performed that evening, the headliner was Plácido Domingo in the role of conductor, aided in conducting the Vienna Philharmonic Orchestra by the much younger Gustavo Dudamel.

On a night when the opera was in the spotlight, as to be expected at La Scala, some of today’s best performers were invited: Bulgarian soprano Sonya Yoncheva and tenors Juan Diego Flórez and Jonas Kaufmann, and at the other end of the generational spectrum, one of today’s most sought-after pianists, the 32-year-old Chinese musician Yuja Wang.

On the day before the performance, Essential and a small group of journalists invited to the event had the opportunity to not only take a guided tour of La Scala to learn about its history and current operation, but also to talk to Alexander Pereira, CEO and artistic director of the Milanese theatre, founded almost two centuries ago, who revealed a reality of which many are unaware. “A new kind of director of a theatre like La Scala spends at least half of his time looking for funding, trying to convince companies that he has a fantastic project worth investing in.”

The current Vienna Philharmonic Orchestra leaders Daniel Froschauer and Michael Bladerer also explained the original operation and funding of this important institution and a relationship they already consider to be a friendship. “We visited the factory where we were shown the whole process of making the watches and were impressed when we saw the enormous similarities that exist, particularly in regards to the degree of demand and attention to detail that the Philharmonic and Rolex share. This is clearly a win-win situation, but we have learned a lot from Rolex, especially with regard to our perception of the Philharmonic’s value as a brand, and that has been very valuable to us.”

No less interesting was the conversation with the artists present at the gala, which took place in the beautiful Giallo room where, among other themes related to the music and personal career of each one, the importance of Rolex’s sponsoring support inevitably came up, both in a personal sense and in the philanthropic projects that some of them develop, such as the case of Juan Diego Flórez. In his home country, the tenor is the founder of Sinfonía por el Perú, an organisation that aims to help at-risk children through music inspired by the well-known Venezuelan El Sistema, of which Gustavo Dudamel is a fervent supporter and for which he managed to garner Rolex’s support. “The brand has been supporting me on several different projects. The most important is the work we have been doing with the Sinfonia por el Perú. As part of the Rolex Mentor and Protégé initiative, we are developing a programme with the Youth Orchestra for El Peru with the Vienna Philharmonic. The El Peru Youth Orchestra has 100 fantastic children who play amazingly. This orchestra will play at the Salzburg Festival in 2021, but they will be working first, learning from the Vienna Philharmonic.”

For the night, in a theatre filled with the characteristic atmosphere of these occasions, the programme was tailored to a diverse audience, certainly with less music lovers than usual but still quite interested. It contained themes by Giuseppe Verdi, Pietro Mascagni, Charles Gounod, Gaetano Donizetti, Fromental Halévy and Giacomo Puccini, well known to the general public. In the first part, after the Opening of the Opera “The Force of Destiny”, Yuja Wang had the opportunity to perform the Piano and Orchestra Concerto in A minor, Op. 54 and Variations on a Theme by Carmen de Horowitz, where the young pianist demonstrated all her virtuosity.

The evening ended with an incredible dinner on the La Scala stage that brought together musicians, Rolex guests from around the world, and little more than a handful of journalists where, gastronomically speaking, the organisation presented the same excellence as the overall event.

当奥丰素1890 意式料理主厨Giovanni Galeota倾情呈献南意真美味

位于澳门新葡京酒店的「当奥丰素1890 意式料理」，出品正宗意大利美食，餐厅环境温馨优雅、格调惬意悠闲，适合一家老少齐聚，共享佳肴。

「当奥丰素1890 意式料理」餐厅于2007年由顶级名厨Alfonso Iaccarino创立，自去年以来进行了一些重要调整。曾经外文名为“Don Alfonso 1890”的餐厅如今已经更名为“Casa Don Alfonso”意为“欢迎来到当奥丰素的家”。

翻新升级后的「当奥丰素1890意式料理」采用了复古色彩，宾客宛若置身于一栋欧洲的房子里，处处是柔和的白色和淡蓝色色调及花鸟主题的装饰。经典别致的环境，适合各种庆祝活动。

如今带领餐厅团队的是厨师长Giovanni Galeota。在意大利那不勒斯土生土长的Giovanni Galeota，曾在世界各地的知名餐厅效力。他于2012年加入「当奥丰素1890意式料理」，曾短暂退出过一段时间。2014年，他重返当奥丰素，担任部门主管，并与创始人兼米其林星级大厨Alfonso Iaccarino共同工作了很长一段时间。

餐厅的菜单也更新了，如今包括更多意大利家常菜是。宾客可以感受一场探索南意苏莲托半岛（Sorrento Peninsula）和阿马尔菲海岸（ Amalfi Coast）的味蕾感官之旅。

无论是您首次光顾还是已经对菜单耳熟能详，都不妨尝一下厨师推荐的菜式。Giovanni Galeota设计了一份全新菜单，非常希望宾客品尝体验。

餐单上的头盘水牛芝士番茄沙律由Giovanni Galeota主厨亲自准备。这道简单的开胃菜绽放着意大利国旗的颜色：绿、白、红。

意大利面是所有意大利餐厅的灵魂。「当奥丰素1890意式料理」的一道必尝菜式是Homemade black-ink tagliolini with scallops and greens asparagus特式墨鱼汁面配带子及青芦笋。意面如丝般柔软，配美味清淡的酱汁制作而成。意式云吞是意大利家庭的常见菜肴。Giovanni Galeota极力推荐Home made ravioli filled with veal ragout in Genovese style and burrata cheese意式云吞酿牛仔肉伴水牛芝士泡沫。热那亚酱（Genovese sauce）是一款源自那不勒斯、非常受欢迎的酱汁，在意大利美食烹饪史上意义非凡，大约在15、16世纪时引入热那亚。制作时用大量的洋葱炒牛肉或小牛肉，炒上几个小时才行。主菜一定要试一下US rack of lamb with baby vegetables and Mediterranean pesto美国羊排配时菜伴地中海香草汁，新鲜的酱汁足以平衡羊肉的脂肪。

最后，以美味的甜品为您在「当奥丰素1890意式料理」的就餐体验划上完美句点，餐厅的芒果梳乎厘配乳酪雪葩非常值得一试，赏心悦味。

若喜欢美酒配佳肴，餐厅珍藏了超过17,000 款来自世界各地著名产区的葡萄酒佳酿，为您打造非凡的美食体验。

当奥丰素1890意式料理

澳门大堂区葡京路，新葡京酒店3楼

Hackett has opened a store on the iconic Savile Row, the ultimate name in tailoring and men’s elegance. This move brings the founder of the British brand back to the street where he worked in the ‘70s, now occupying number 14. Essential Macau spoke to Jeremy Hackett about the decision that marks a new and exciting step in the history of the London house

By César Brigante

After many years of promoting British style and tradition, Hackett London has finally arrived at Savile Row, considered the center of a culture in which tailoring takes the top spot. At a time when Row-based houses are increasingly developing their ready-to-wear (RTW) lines as a way to enhance and grow their business, Hackett London is taking the opposite path: from the world of RTW, it has now opened a store in central London’s famous Mayfair to consummate the age-old relationship and provide its customers with a completely genuine sartorial experience.

For anyone who knows the Hackett journey, it is a natural step. Since the opening of its first store on Kings Road in 1983, the legendary street has been the beacon of the brand, as Jeremy Hackett explains. From the early days of Hackett, my motivation has always been to design in the style of Savile Row, using the same fabrics, linings, buttons…but in RTW. So, subscribing to tailoring by opening a space on the acclaimed Savile Row, a place highly regarded by all gentlemen in the world, is a natural evolution and a way to cement our reputation.”

For Jeremy, this is also the fulfillment of an old dream, as it was at Row that he started working when he moved to London in the 1970s and joined the team of (now deceased) Michael Ingram, one of the big names of ‘60s London fashion.

The new shop was completed in November and is located in the beautiful four-storey Georgian building that once held the studio of Sir Hardy Amies, who Jeremy Hackett met at his Jermyn Street store, where the tailor would buy his stiff collars. One of Row’s greatest figures who always excelled in discretion, Amies was known above all for making Queen Elizabeth’s tunics, and saying that “a man should look as if he had bought his clothes with intelligence, put them on with care, and then forgotten all about them”.

“I feel very privileged to follow in the footsteps of such an admired designer: it’s a legacy that I will have to live up to,” says Jeremy, unable to conceal his pride.

The store, located between two well-known workshops – the bicentennial Henry Poole & Co and the most recent arrival, just 20 years ago, Richard Anderson – was restored by Ben Pentreath’s studio in a process closely overseen by Jeremy Hackett. Ben, one of the most respected British interior architects today and who is very knowledgeable of traditional English architecture, does not hesitate to say that number 14 Savile Row is one of the most beautiful original Georgian buildings he knows in the English capital.

This opinion is shared by Jeremy, who tells us about the new space. “No. 14 is one of Row’s most beautiful buildings and is listed as an example of Georgian magnificence. The size of the property not only enabled us to set up the RTW store, but also to have the measurement rooms, as well as the offices, the showroom and the public relations department, with the bonus of getting Hardy Amies’ office.”

Savile Row was designed in the first half of the 18^th century and, thanks to the excellence of its masters, quickly became the great centre for tailoring in Her Majesty’s land. It also become the go-to destination for leading illustrious people from all over the world to get their suits and uniforms made. Although it was incredibly sought after by royalty, politicians, businessmen, Hollywood actors and all the men of status for whom elegance meant everything, in the middle of the last century, it declined with the advent of pret-a-porter and the powerful fashion industry. In this regard, Jeremy Hackett has a skeptical relationship that he explains when we ask him what place Hackett and Savile Row have in today’s fashion world. “I personally believe that Savile Row has little to do with contemporary fashion and, while recognising its importance as a phenomenon, I take from it only what is relevant to Hackett. It is a point of view that does not slavishly follow the latest trends. Savile Row has an amazing story of tailoring and craftsmanship that symbolises quality and style and, to me, that is true luxury. With so much out there today, Savile Row produces sustainability, because a beautiful custom-made suit is timeless and can be worn for many years, which puts it far beyond the ephemeral whims of contemporary fashion.

In recent years, there has been a surge of interest around traditional métiers and in particular tailoring. The luxury industry has been repositioning itself, valuing more and more the craftwork that it uses as a factor of differentiation and exclusivity. Although there is now a much greater perception of what Savile Row stands for and the importance of preserving it, it still risks being ‘contaminated’ by the presence of stores with concepts that are conflicting with the essence of Row.

We asked Jeremy the question of whether a brand such as Hackett, from the world of RTW, could contribute to this dreaded misrepresentation, to which he responded assertively: “I disagree. In fact, not everyone can have suits made at a luxury tailor’s. So, having something already made under the discerning eye of an experienced tailor, although not tailoring, is the most appropriate and affordable way to introduce a young person to the wonders of this art and, who knows, perhaps arouse his or her interest for later, when they have the purchasing power to buy a bespoke suit.”

However, in order to maintain the tradition as much as possible, it was requested that they use the personal designation of its founder rather than the trademark. Therefore, the name that appears above the door of No. 14 is J.P. Hackett.

When asked how he sees the future down this road, Jeremy is optimistic. “Savile Row shop-owners have been very careful about recovering the street. With the growing appreciation for tailoring, young people are increasingly showing interest in becoming tailors. There is a great resurgence of traditional crafts, a greater interest in handmade and quality (and consequently, longevity), patterns that Savile Row has always stood by.”

Besides a tailoring team, led by master cutter Juan Carlos Benito, which will follow Row’s current canons, with a measurement session, choice of fabric from the 4,000-plus available, manual cutting and sewing, and an average of three fittings, in a feat that can take up to 80 hours of work, an exclusive RTW collection by the name of JP Hackett Savile Row will be available from spring next year. Jeremy says it will “showcase Hackett’s best and will be a kind of icing on the cake for the brand”. This tailoring department has already started taking orders from Hackett stores around the world.

To accompany the opening, in collaboration with D.R. Harris, a well-known men’s perfumer in St. James since 1790, a cologne was created, along with soap and moisturiser, aptly named No. 14. To make the experience more complete, the store featured a room similar to a British club, where guests can relax and have a drink at the bar.

Still evoking the brand’s early days, when it sold antique accessories that it discovered in regular raids through London’s antique markets, an area was created where vintage items will be sold. Jeremy Hackett, certainly very happy with this achievement, concludes with a smile: “In many ways, I went full circle. I hope you can visit this new space and, who knows, I’ll be here to welcome you with a cup of English breakfast tea or, why not, a gin and tonic.”

英国服装品牌哈克特在享负盛名的伦敦萨维尔街开设门店。萨维尔街可谓是顶级定制和绅士式优雅的终极圣地。入驻萨维尔街14号让哈克特创始人杰里米·哈克特（Jeremy Hackett）又回到了自己70年代打工的地方。《精华》杂志对话杰里米·哈克特，他娓娓道来品牌迈出史上这激动人心的新一步的来龙去脉

文：César Brigante

伦敦哈克特（Hackett London）多年来一直致力于推广英伦风格和传统，如今终于进军以量身定制为精髓的萨维尔街（Savile Row）。当许多萨维尔街品牌也在日益发展成衣（ready-to-wear ，缩写：RTW）系列以拓展业务时，伦敦哈克特（Hackett London）却反其道而行：从成衣界反攻回伦敦市中心著名的梅费尔地区（Mayfair）开店， 进一步巩固品牌与历史长久的量身定制间的关系，为客户提供真正的定制体验。

对于任何了解哈克特发展史的人来说，品牌迈出这一步都是意料之中。 正如杰里米·哈克特（Jeremy Hackett）所说，自1983年在国王路开设第一家专卖店以来，萨维尔街就一直是品牌前行的指路明灯。“ 从品牌成立伊始，我的动机一直都按照萨维尔街的风格进行设计，使用相同的面料、衬里、纽扣…但制作的是成衣。 因此，在这个深受全球各地绅士们高度赞扬、享誉盛名的萨维尔街上开设专卖店来弘扬定制，是品牌自然而然的演变，也是巩固我们杰出声誉的一种方式。”

对杰里米来说，自己身怀已久的梦想终于达成，因为他于1970年代搬到伦敦工作，乃至后来加入Michael Ingram（60年代时装界著名人物之一，已故）的团队都是在萨维尔街。

新店装修于11月完工，设在一栋乔治亚风格的建筑内。英国女王御用裁缝赫迪·雅曼爵士（Sir Hardy Amies）的工作室也曾设在这栋楼里。杰里米·哈克特曾在自己位于杰明街（ Jermyn Street）的专卖店见过赫迪·雅曼爵士，后者当时正在他的店里买硬领。赫迪·雅曼爵士是萨维尔街上最伟大的人物之一，眼光独到，他尤其以为伊丽莎白女王制作外套、连衣裙而闻名，他曾说，“男人应予人这样的印象：精明购装，精心着装，然后把这些装束忘得一干二净。” 

杰里米无法掩饰自己的骄傲，说道：“能够追随这样一位备受尊敬的设计师的脚步，我感到非常荣幸：我必须不辜负这份荣耀。”

新店座落在两个闻名遐迩的品牌店之间，一个是已有200周年历史的Henry Poole & Co，另一个是20年前才开张的Richard Anderson。著名建筑设计师Ben Pentreath的工作室负责整修哈克特店铺，且全程由杰里米·哈克特紧密监督。作为最受敬重的英国室内建筑师之一，Ben Pentreath坚定地表示，萨维尔街14号是伦敦城中最为迷人的乔治亚风格建筑之一。

对此，杰里米也表示赞同，他向我们介绍了新店铺。“14号是萨维尔街上最美的建筑之一，被列为乔治亚风格建筑的典范。这里空间硕大，我们不仅可以开设成衣店，还设有量身房、办公室、展厅和公关部，可喜的是，我们还拿到了赫迪·雅曼爵士的办公室。”

萨维尔街在各位杰出裁缝大师的努力下，于18世纪上半叶创立，并迅速成为英国最杰出的男装定制中心。同时也是全球各地名流雅士争相前往定制西装和制服的地方。虽然备受皇室、政客、商贾、好莱坞明星及身份显赫者的追捧，但随着成衣的出现和时装产业的迅猛发展，萨维尔街的业务还是在上个世纪不断下滑。鉴于此，当我们问及如何看待哈克特和萨维尔街在当今时尚界的地位时，杰里米有些犹豫。“我个人认为萨维尔街与当代时尚业的联系不大，我承认时尚业作为一种现象非常重要，但我只关心与哈克特有关的东西。我的观点是不盲从于最新潮流。萨维尔街本身是一个关于服装定制和卓越手工工艺的传奇，象征着品质和风格，对我而言，这才是真正的奢侈。虽然现在外面的选择让人眼花缭乱，但萨维尔街打造的是可持续性，因为一件优雅的定制西装是经得起时间考验的，可以穿很多年，这足以让它把精灵古怪、昙花一现的当代时装甩出老远。”

近年来，人们对传统职业的兴趣又开始兴起，特别是对裁缝业。奢侈品行业一直在寻求重新定位，越来越重视那些彰显独特和与众不同的手工艺元素的价值。尽管现在人们对萨维尔街所代表的意义以及保存它的重要性有了更深刻的认识，但它仍然面临着被各种时装店“污染”的风险，因为时装店的理念与萨维尔街的精髓相冲突。

我们问杰里米，像哈克特这样的来自成衣界的品牌是否会加剧这种可怕的冲突，他肯定地回回答道：“我不这么认为。事实上，并不是每个人都可以在高级裁缝店定制西服。因此，如果有位眼光敏锐，经验丰富的裁缝透过成衣把定制艺术以年轻人承担得起的合适方式介绍给他们，谁知道呢，也许会引起其兴趣，当他们将来有购买力的时候，可能就会买一套定制西装。”

为了全力传承萨维尔街的传统，按照萨维尔街的要求，店名要使用品牌创始人姓名而不能用品牌商标。因此位于哈克特的店铺名称采用J.P. Hackett。

当被问到对品牌入驻萨维尔街后的未来作何感想时，杰里米非常乐观。“萨维尔街的店主们一直在小心翼翼地萨维尔街。随着量身定制日益受欢迎，越来越多的年轻人也开始对裁缝这个职业感兴趣。传统手工艺正在复兴，而对手工制作和高品质（以及耐用）产品的关注也越来越多，而这正是萨维尔街一直坚守的准则。”

JP Hackett的定制团队在首席裁剪师Juan Carlos Benito领导之下，遵循萨维尔街现时精细的标准程序——量身、从4,000余种面料中选择布料、手工裁剪、缝制，以及三次试衣（平均计算）——整套工序做下来大约要80个小时。除了这种量身定制，明年春天起哈克特将推出 JP Hackett Savile Row高级成衣系列。杰里米表示，系列“将展示哈克特的精湛技艺，是品牌的锦上添花之作”。定制部已经开始收到来自品牌世界各地店铺的订单。

为了庆祝店铺开业，哈克特与著名男士香水品牌D.R. Harris合作打造了一款古龙水、香皂和润肤露，命名为No. 14。D.R. Harris位于圣詹姆街，创立于1790年。为了给客人提供完整的体验，店内还设有一个类似于英式俱乐部的房间，客人可以在吧台喝上一杯放松一下。

品牌起步初期曾出售定期从伦敦古董市场上搜罗来的古董配饰，为回顾这段日子，店里划出一个空间来售卖复古饰品。杰里米·哈克特显然对如今的成就非常开心，他笑着总结道：“从许多方面来讲，我是绕了一个圈又回到起点。我希望你能来我们的新店铺看看，也许我就在这里欢迎你呢，为你准备一杯英式早餐茶或金汤力，为什么不呢?”

Every year in September, a small town in the south of England returns to the glorious years of motorsport to celebrate the passion for cars

By Guilherme Marques

It was on September 18, 1948 that the first race took place at the Goodwood circuit in Chichester, West Sussex. Organised by the Junior Car Club, which would later change its name to the British Automobile Racing Club, the race was authorised by the Duke of Richmond and Gordon, owner of the property. This property is called Goodwood House, where, during the Second World War, the Royal Air Force built a small airfield, which proved instrumental in the Allied war effort. The circuit was nothing more, nothing less than the perimeter of that same aerodrome.

Goodwood became so famous that it became the scene of renowned events such as the Tourist Trophy, rivalling in prestige with Silverstone, the largest and most important English track. At one point, even Formula One organised a Grand Prix in the Duke’s gardens. The idea of ​​recreating the racing atmosphere of the 1940s, ‘50s, and ‘60s gave rise to an event named the Goodwood Revival, a three-day festival every September. The first edition took place half a century after the circuit opened and 22 years after it received its last official race.

But where does the Goodwood Revival come from? The ‘fault’ lies with a gentleman named Charles Henry Gordon-Lennox, also known as the 11^th Duke of Richmond, 11^th Duke of Lennox, 11^th Duke of Aubigny and 6^th Duke of Gordon. Heir to the Goodwood Estate, this car lover is still president of the British Automobile Racing Club, Patron of the TT Riders Association and honorary member of the British Racing Drivers Club and the Guild of Motoring Writers.

The Duke of Richmond, as he is usually referred to since his father’s death in 2018 – prior to that, his title was Lord March –, wanted to bring car racing back to the Goodwood Circuit, but no official race could be organised there due to safety issues relating to the drivers and spectators. And so, Charles Gordon-Lennox came up with the brilliant idea of ​​creating a festival entirely dedicated to cars where an unofficial race could be held.

So, in 1993, the Goodwood Festival of Speed (FoS) was born. Open only to guests of the Duke, the participants adhered to the idea on a massive scale. In the first year, the event received 25,000 visitors. The success of the FoS was so significant that two things happened as a direct consequence: the first was the creation of the Goodwood Revival five years later, to separate new cars from classic cars at different events; the second was the decline of car shows as they were known up until that point. The typical car shows, where tradition dictated that the brands presented their newest creations, could not adapt to the times, and the Festival of Speed ​​and Revival showed that drastic changes were underway, in how people see, use and understand a car.

The Goodwood effect

For the past five years, some of the world’s biggest brands have been absent from the biggest stages, such as the Geneva, Frankfurt, Paris and Detroit Motor Shows, and have created new ways to communicate their products to potential customers. The fall of the car show is a testament to the fact that stationary vehicles on brightly lit platforms no longer have the appeal of old. People want to see cars in action and be able to interact not only with the automobiles, but with industry personalities such as drivers, engineers, designers and so on. All this happens at Goodwood.

The success of the FoS ​​naturally led to the success of the Goodwood Revival, which quickly became the biggest classic car event on British soil. The number of visitors increases from year to year and the echoes of the event have a farther and stronger reach than ever before.

The re-enactment of the old-fashioned races is like a trip to the past, where not only the cars but also the people must comply with the tradition of that period. Most of the attendees dress up, embodying characters from the 1950s and 60s, and modern cars are not even allowed in the perimeter of Goodwood House, except those related to safety, such as police and fire brigade.

The races themselves are a reflection of times gone by, not only in terms of cars and drivers, but also in the ferocity of the competition. It isn’t unusual to see cars worth several tens of thousands of euros scraping past one another in pursuit of the best place in the standings. The public, of course, goes wild, and the owners of such machines seem more concerned with making this a weekend to remember than preserving the paint of their bolides. Anything damaged can always be repaired the following week.

Goodwood Revival 2019

Summer stayed true to its name until the end and the south of England was blessed with three hot days, perfect for the Revival 2019. For those who thought the event might not live up to expectations, the first race of the weekend, called the Kinrara Trophy for the pre-1963 closed cockpit cars with an engine capacity of over 3000cc, was won by Gary Pearson and Andrew Smith behind the wheel of a Ferrari 250 GTO – one of 36 produced and widely recognised as the most valuable car in the world, with valuations reaching $70 million. In second place was an Aston Martin DB4GT and in third a Ferrari 250 GT SWB C. This meant that, to kick off the festivities, the first podium represented around $100 million. By the way, in fourth place, in another Ferrari 250 GT SWB, was Tom Kristensen, the absolute record holder of Le Mans 24 Hours wins, with nine titles under his belt. Welcome to the Goodwood Revival.

Every year there is a special celebration of an important anniversary in the history of cars, and this year the choice fell on the 60^th anniversary of the Mini. Sir Alec Issigonis’s iconic design is an industrial symbol of the United Kingdom and the Revival was the place to celebrate the 60 years of the model that gave it its name. It brought together 150 participants with Mini models, including four very special cars once owned by a group of friends from Liverpool named John, Paul, George and Ringo, who became famous for forming a music band that was quite successful in the ‘60s.

Outfits from these and other eras are gaining followers – the number of visitors joining in with vintage costumes is increasing year by year – and it creates an absolutely unique atmosphere that gives Revival an aura unlike any other classic car festival. It is as if the event were only for true lovers, for those who are willing to do whatever it takes to enjoy the cars. Alongside the action on the track, it is common to run into big names in the world of motorsports in the gardens of Goodwood House, and 2019 was no exception. Dario Franchitti, Jeff Gordon, Derek Bell and Jochen Mass mingled with the crowd and showed that love of automobiles is an excuse for a little chat even with strangers.

Throughout the 15 races of the weekend where competition is always present and the desire to win is as great as the cost of the cars, spectators were presented with an unforgettable event that has the power to always end on a positive note: next year there is more.

每年九月，英格兰南部的一个小镇上都会重返赛车运动的辉煌岁月，庆祝对汽车的热爱

By Guilherme Marques

1948年9月18日，西萨塞克斯郡奇切斯特的古德伍德（Goodwood）赛车场举行了第一届赛车比赛。比赛由场地所有人里士满公爵（ Duke of Richmond）和戈登公爵授权，由Junior Car Club（后更名为British Automobile Racing Club英国汽车赛车俱乐部）主办。场地所在地名为古德伍德庄园（Goodwood House），二战期间，英国皇家空军在这里建了一个小型飞机场，在盟军的战争中发挥了重要作用。古德伍德赛道（Goodwood Circuit）的长度就是这个军用机场的周长。

古德伍德声名鹊起，许多如Tourist Trophy一样的著名活动在此举行，与英国最大、最重要的赛道银石赛道（Silverstone）齐名。甚至连F1都曾在这里举行了一次格兰披治大赛车。为了重塑1940、50、60年代的赛车氛围，古德伍德复古风情节（Goodwood Revival）应运而生。这个为期三天的节日于每年九月举行。第一届古德伍德复古风情节举行时（1998年），距古德伍德赛道建成已过去了半个世纪，距离上一次在这里举行正式比赛也已过去了22年。

但古德伍德复古风情节是如何诞生的呢？这项错有错着的赛车盛会与一位名叫查尔斯·亨利·高登·伦诺克斯（ re-enactment）的绅士分不开，他也被称为11世里士满公爵、11世伦诺克斯公爵、11世奥比尼第公爵和6世戈登公爵。 作为古德伍德庄园的继承人，他至今仍是英国汽车赛车俱乐部的总裁，TT车手协会（TT Riders Association）的赞助人，英国车手俱乐部（British Racing Drivers Club）和汽车作家工会（Guild of Motoring Writers）的荣誉会员。

自2018年父亲去世以后，里士满公爵——此前，被人们称为马奇勋爵（Lord March）——希望让赛事重回古德伍德赛道，但由于与车手和观众相关的安全事项不达标，这里不能举行正式的比赛。 因此，里士满公爵想到了一个绝妙的主意，即打造一个纯为汽车而设的节日，举行非正式比赛。

1993年，古德伍德速度节（FoS）诞生了。速度节只向公爵的客人开发，参与者共同成就规模盛大的赛事。第一届古德伍德速度节就迎来了2.5万人。速度节的巨大成功直接带来了两个结果：一个是在五年后创立了古德伍德复古风情节；另一个是至此汽车展开始逐渐消退。典型的汽车展一向都是展示品牌的最新产品，已经无法适应时代的发展，而速度节与风情节则表明人们在看待、使用和理解汽车方面都在发生着巨变。

古德伍德效应

过去五年中，全球最大的一些汽车品牌一直都没有现身世界大型汽车舞台，例如日内瓦、法兰克福、巴黎和底特律车展等，而是已经开辟了全新方式将产品传达给潜在客户。车展的衰落说明了一个事实，即停泊在灯光闪耀的舞台上的汽车不再拥有往日的吸引力。人们希望看到在路上驰骋的汽车，他们不仅希望能够与汽车互动，还可以同驾驶者、工程师、设计师等行业人士互动。而这一切都在古德伍德发生。

古德伍德速度节的成功自然带来了古德伍德复古风情节的成功。风情节很快成为英国最大的古典汽车盛会。 参加风情节的人数逐年增加，而活动的影响力也越来越大，影响越来越深远。

旧式比赛的重现就如一场穿越时光的旅行，无论是人还是赛车，都要与过去的传统相一致。大部分与会者都会精心装扮，打扮成1950年代和60年代的人物形象，除了警车和消防车等安全类汽车外，现代汽车甚至不准进入古德伍德庄园地界。

无论是赛车和车手，还是比赛的激烈程度，古德伍德比赛都洋溢着往昔时光的气息。像这样价值数万欧元的赛车争先恐后角逐奖杯的盛况可是非常罕见的。观众当然也都狂热异常。车主们似乎都更在乎要如何让这个周末难以忘怀，而不是保护好车身上的车漆。车子有任何损坏都可以在下个星期修好。

2019年古德伍德复古风情节

夏末来临，英格兰南部延续三天的炎热天气， 2019年古德伍德复古风情节可谓得天独厚。如果有人认为赛事可能会不及预期的精彩，那你就错了。在周末的第一场比赛金拉拉盃（Kinrara Trophy）赛上，参赛车辆都是1963年前制造的封闭式赛车，发动机容量都大于3000cc。Gary Pearson和Andrew Smith驾驶着法拉利50 GT SWB C赢得奖杯（参赛的36辆汽车都是世界公认的最昂贵汽车，仅这辆法拉利50 GT SWB C就大约价值7000万美元）。获得亚军和季军的分别是阿斯顿马丁 DB4GT和法拉利250 GT SWB C。这也意味着，风情节开幕后的第一场比赛，领奖台上的赛车价值高达1亿美元。顺便说一下，驾驶另一辆法拉利250 GT SWB获得第四名的是Tom Kristensen，他是勒芒24小时耐力赛当之无愧的记录保持者，他曾获得了9个冠军头衔。 欢迎来到古德伍德复古风情节。

每年的复古风情节上都会举行特别庆祝活动来纪念汽车史上的重要纪念日，今年适逢Mini 60周年纪念日。有“Mini之父”之称的亚力克·伊斯哥尼斯（Alec Issigonis）爵士的标志性Mini车设计堪称英国工业界的崇高象征，而复古风情节是庆祝Mini车型诞生60周年的场合， Mini的品牌名称就取自这款车型。150名参与者驾驶着不同的Mini车型参加了庆祝比赛，其中包括四辆非常特别的汽车——其车主出身自利物浦且都是朋友：John、Paul、George和Ringo，他们组成一支乐队，在60年代声名显赫（译注：该乐队即大名鼎鼎的Beetles披头士！）。

风情节上，1950、60年代和其他年代的服装也越来越受追捧——身着复古服装来参加的观众数量与年俱增——并且营造出一种无与伦比的独特氛围，使风情节散发着不同于其他任何经典汽车节的光环。这个活动好像只为真正的汽车爱好者，为那些愿意为享受汽车付出一切努力的人而举办。 除了风情节赛事外，在古德伍德庄园的花园中碰到赛车界的大人物们也不足为奇，2019年的风情节也不例外。Dario Franchitti、Jeff Gordon、Derek Bell和Jochen Mass等著名车手与人群融为一体，并以身示范，凭热爱汽车之名就可自由聊天，哪怕是与陌生人聊天。

在整个周末的15场比赛中，竞争一直都很激烈，对胜利的渴望与这些复古汽车的天价一样高，观众参与了一场难忘的活动，而且活动结束时大家都很确定：明年还会更精彩！

Try chef Giovanni Galeota’s recommendations at Casa Don Alfonso

Casa Don Alfonso is a cosy and family-friendly restaurant nestled within Grand Lisboa Hotel, Macau, serving authentic Italian with a casual dining approach.

The restaurant was opened by Alfonso Iaccarino in 2007 and has undergone some big changes since last year.  What used to be a fine-dining Italian restaurant named Don Alfonso 1890 has now become the casual eatery Casa Don Alfonso, meaning “Don Alfonso’s home”.

After some renovation work, the restaurant is now decorated in retro-ish colours, transporting guests to a European house suffused with pastel shades of white and light blue, with bird and floral motifs. The chic and classy ambiance is perfect for all kinds of celebrations.

Heading the kitchen team in Macau is chef de cuisine of Casa Don Alfonso, Giovanni Galeota. Born and raised in Naples, he has worked in several awarded restaurants around the world. The chef joined the team at Don Alfonso 1890 in 2012 but left for a short period. He returned to the family–run Don Alfonso Consulting & Distribution two years later, and worked with master chef Alfonso Iaccarino for a long time.

The menu has changed as well, now featuring more Italian family-style dishes. Guests can enjoy a journey of senses exploring the south of Italy – the Sorrento Peninsula and the Amalfi Coast.

Whether you are a first-time visitor or already familiar with the menu, it is always a good idead to try some recommended by the chef. Giovanni Galeota has designed a menu that he really wants the guests to try. 

Whet the appetite with an entrée prepared by the chef – Caprese salad with fresh buffalo mozzarella, fresh basil and cherry tomato. This simple dish features the colours of the Italian flag: green, white and red.

Pasta is the soul of any Italian restaurant. One of the must-try dishes at Casa Don Alfonso is the homemade black–ink tagliolini with scallops and greens asparagus. The pasta is silky soft and clearly wellmade with a pleasant and light sauce. Ravioli is a common dish for Italian families. The chef also highly recommends the homemade ravioli filled with veal ragout in Genovese style and burrata cheese. Genovese sauce is a popular pasta sauce from Naples and an important part of its culinary history, having been introduced to the city in the 15th or 16th century. It is prepared by sautéing either beef or veal in a large amount of onions, for many hours. The main dish has to be the US rack of lamb with baby vegetables and Mediterranean pesto, which is perfectly fresh to balance out the fattiness of the lamb.

To complete this extraordinary dining experience at Casa Don Alfonso, there is a delightful sweet treat using delicious mangoes to create a soufflé with yogurt sorbet.

For guests looking to add a little buzz to the meal, there is an outstanding wine list and a cellar of more than 17,000 labels.

Casa Don Alfonso 

3F, Grand Lisboa Macau, Avenida de Lisboa, Macau

澳门是一个国际大熔炉，其充满活力的饮食文化更是彰显了这座城市无与伦比的创造性，游客在澳门可以享受到东西荟萃各种美食。不过话说回来，无论是本地宾客还有外来游客，更钟爱的还是中国美食。

中国美食博大精深；每个城市的美食都有自己独特的风格和与众不同的强项 。北京菜是根据负责皇帝饮食的御膳房佳肴衍生而来，座落在紫禁城里的御膳房汇集了来自中国各地成千上万的杰出厨师，用各自最顶级的烹饪技巧伺候着皇帝一家和朝廷命官。

澳门的北方菜虽不算少，但北京菜却很少见。位于澳门君悦酒店的满堂彩（Beijing Kitchen）是最卓越的北京菜餐厅之一。为了向澳门宾客呈献最正宗的北京味道，生长在北京的厨师孙师傅夏天回到家乡寻找最出众的食材和调味料。他还拜访了不少当地厨师，为自己激发灵感，将北京菜提升到一个全新水平。

孙师傅说：“我从小就对烹饪情有独钟，我在烹饪学校学的是鲁菜（山东菜），”孙师傅说。鲁菜是中国八大菜系之一，北京菜深受其影响，而且京菜和鲁菜都以食材新鲜和味道丰富著称。和我一样在胡同里出生、长大的北京人，可以透过我们的全新家乡菜品尝到家的味道。我希望邀请世界各地的朋友来满堂彩做客，品尝一顿京式家常便饭。

2009年，孙师傅加入了满堂彩的开业团队，建立了一支出色的餐厅团队。“满堂彩的灵魂所在是妈妈的家常菜。北京菜是简单的家常菜。我想把家乡的味道呈献给本地人或来自中国北方、想念家乡的客人，”他说。

说到北京菜，最闻名遐迩又最受欢迎的要数传统的北京烤鸭了。澳门只有满堂彩一家餐厅供应这道菜：“我们烹饪用的鸭子来自北京，要在特制的开放式烤炉里用枣木烤制60分钟。鸭子必须采用至少38天大的鸭子，”孙师傅说。为了使烤鸭烤得均匀，烤箱的设计是外方内圆。

烤鸭由餐厅侍者在宾客餐桌旁当着客人的面片鸭皮。“鸭皮要沾上糖吃才行，这是传统的吃法。糖可以平衡鸭皮中的油脂，”孙师傅解释道。鸭皮酥脆的质地和甜甜的口感，口口都是惊喜。“鸭肉应该搭配黄瓜条、葱丝和甜面酱。我们还会配上春饼，春饼卷上鸭腿肉和一点鸭皮一起吃才算地道。”

“我总去其他餐厅寻找灵感，家乡的味道是我最大的灵感源泉。我想为澳门客人带来正宗的北京菜味道。”

松鼠桂鱼是满堂彩的另一道招牌菜，在其他餐馆也很难找到。“我们用新鲜水果做糖醋酱。广式松鼠桂鱼通常是用醋和糖来做。因此我们的酱汁的颜色和味道相对温和，”孙师傅解释道。

正宗的北京菜没有芝麻酱就算不上地道，所以孙师傅就用菠菜、芝麻酱和醋做了一道传统开胃菜。在北京菜中，开胃菜常合用到芝麻酱与花椒油，用额外的味道和香气来打开食客的味蕾。芝麻酱也是京式羊肉火锅的必备调料。

孙师傅还分享了他最喜欢的用餐方式——吃炒饼，喝什锦杂粮粥。“中国北方的家庭会买很多烙饼。如果吃不完，就把饼切成条，和蔬菜、鸡蛋和肉一起炒。这是一种在当地非常美味的吃烙饼的方式，”他说。“我真心希望客人们能品尝到我家乡的味道。”　

Macau is a city of international fusion – and nowhere is that creativity more apparent than in its vibrant culinary culture. Here, guests can enjoy different cuisines from west to east. Nevertheless, local guests and tourists alike still more prefer to eat Chinese food.

This cuisine is broad and profound; each city has a distinct style and different strengths. As the capital of China, Beijing cuisine is based on the Chinese imperial food that originated from the Emperor’s Kitchen, which referred to the cooking facilities inside the Forbidden City, where thousands of cooks from different parts of China showed their best culinary skills to please the imperial family and officials. 

In Macau, there is no lack of northern cuisine, but Beijing cuisine is very rare. Beijing Kitchen, at Grand Hyatt Macau, is one of the best restaurants in town for this type of cooking. To bring in the most authentic taste of Beijing, chef Jason Sun, who was born and raised in the capital city, travelled back to his hometownduring summer to look for the finest ingredients and seasonings. He also visited local chefs for inspiration in his quest to take gourmet dining to a whole new level.

“I have loved cooking since I was young and I went to cooking school to study Lu cuisine (Shandong cuisine),” said chef Sun. “Beijing cuisine was heavily influenced by Shandong cuisine – one of China’s eight major cuisines – and both are known for their richness and freshness. People from Beijing, like me, who were raised in “Hutongs”, can easily get a taste of home with our new home-style menu. I hope to invite friends from all over the world to pay a visit to Beijing Kitchen for a home-cooked meal.”

In 2009, chef Sun joined the opening team of Beijing Kitchen and build up a wonderful group in the restaurant. “The sprit of the restaurant is the taste of mum’s dishes. Beijing cuisine is simple and home-style. I want to bring the flavours of my hometown to local guests or visitors from northern China who miss their home,” he said.

When it comes to Beijing cuisine, the traditional Beijing Style Duck must be the most famous and popular dish. In Macau, there are no other restaurants that have this delicacy: “We use duck from Beijing and roast it with wood from jujube trees in the special open oven for 60 minutes. The ducks must be 38-days old,” said chef Sun. In order to roast the duck evenly, the oven is specially designed to have a rectangle and a circle inside.

The duck is served tableside, so guests can witness the staff cutting off the skin. “The duck skin should be eaten with sugar – that is the traditional way to eat it. The sugar can balance the oiliness of the skin,” the chef explained. The crispy textures and the sweetness offer surprises with every bite. “The duck meat should be paired with cucumber sticks, spring onion slices and sweet bean sauce. And we also serve it with steamed pancakes, which should be eaten with the leg meat and a little skin.”

“I always visit other restaurants to find ideas, thetaste of my hometown is always the biggest inspiration for me. I want to bring authentic flavours to Macau guests.”

Crispy Mandarin fish with sweet and sour sauce is another of the restaurant’s signature dishes, which is also hard to find anywhere else. “We use fresh fruits to make the sweet and sour sauce. The Cantonese version is normally made with vinegar and sugar. That’s why the colour and the taste of the sauce is mild,” chef Sun explained.

However, no authentic Beijing cuisine is complete without sesame sauce, so the chef also makes a traditional appetizer with spinach, sesame sauce and vinegar. In Beijing cuisine, sesame paste is often used in appetizers with peppercorn–flavoured oil to entice diners’ palate with an extra kick of flavour and aroma. Sesame paste is also the must–have sauce for Beijing lamb hotpot.

The chef also shares his favourite way to enjoy the meal is eating fried pancake with assorted grain congee. “Families in northern China always buy many pancakes. If they can’t finish them all, they cut them in slices and fry them with vegetables, eggs and meat. It’s very delicious and a very local way to eat pancake,” the chef said. “I really hope guests enjoy the taste of my hometown.”

欢迎前往麦卡伦威士忌吧——澳门首间也是唯一一间威士忌大使认证酒吧，了解威士忌的前世今生

澳门作为世界著名的旅游胜地，到处都是酒吧和酒廊。但位于澳门银河的麦卡伦威士忌吧却是亚洲是第一间、也是唯一一间以酿酒家麦卡伦（Macallan）为主题的高级威士忌酒吧，拥有超过400种顶级麦芽威士忌珍藏，甚至连麦卡伦自家酒厂出品的稀世佳酿亦可提供，可谓威士忌迷的天堂。

威士忌大使（Whiskey Ambassador）是一门专门设计的课程，讲授苏格兰威士忌的发展历史、神秘特征和向上销售的机会。近期麦卡伦威士忌吧被选为品牌的澳门基地，推广威士忌的非凡之处，打造威士忌团队，并向威士忌爱好者普及威士忌知识。 这是澳门首家也是唯一一家苏格兰官方认证的威士忌大使课程。

“2014年，我参加了威士忌大使课程，因为我那时四处寻找威士忌班和大师班， 当时香港根本没有，甚至亚洲也没有这样的学习班，”威士忌大使兼培训师Eddie Nara说。 “后来我遇到Leigh，我们便一起在五年前将这个课程带到了香港。”

“香港人很喜欢学习，这是首个为期一天的威士忌认证课程。 威士忌大使Dea Macleod解释说：“我们是第一批将这个课程带到国外的人，我们在亚洲开设课程的首个地方选在了香港。” “有很多人像Eddie一样，我们是在线上开始的。 他们的味觉提升很多，也懂得了如何品赏威士忌。”

麦卡伦威士忌吧邀请专业导师举办各类型的课程、活动及工作坊，学员可以了解到威士忌丰富多彩的历史，学会品鉴复杂的优质顶级威士忌。 “我们决定在澳门启动该培训计划，因为会更容易。 当我们寻找合作的酒吧时，发现麦卡伦威士忌吧的威士忌珍藏惊为天人，大约有450瓶。让人难以置信，”威士忌大使兼培训师Leigh McGrotty表示。“最重要的是，麦卡伦威士忌吧的工作人员、服务水平及专业精神都很好。”

这门著名的课程，既适合行内人士，也适合威士忌爱好者和初学者。 “如果您参加大使课程，我们将教您分析威士忌的特点，从甜威士忌、辛辣威士忌、干威士忌或烟熏威士忌中发现自己喜爱的威士忌，” Macleod 说。 “课程可以让您知道要点什么样的威士忌。 去威士忌吧点酒着实令人却步——您也许会看着琳琅满目的酒瓶想“我该怎么选呢”。 威士忌大使课程就是要教人们如何决定自己喜欢的品种。 我们会教授某些地区的威士忌，因为它们通常具有相似的特征。”她解释说。

“我们每个人都擅长于威士忌的某些特征。Eddie对威士忌技术、生产和科学了如指掌； 我在威士忌的历史、故事和背景方面更胜一筹；Dea则专注于威士忌与食物的搭配，”McGrotty说。

在麦卡伦威士忌吧，客人将会真切体会到苏格兰风情。 从家具到布置细节包括灯具和书本的摆放，都弥漫着浓浓的苏格兰风味。 传统苏格兰风格的家具、橡木地板、真皮沙发、精美的地毯和硕大的壁炉营造出一种无与伦比的苏格兰氛围，让身临其境的你，身心倍感放松舒适。除了各种威士忌外，麦卡伦威士忌吧还提供香槟、葡萄酒、鸡尾酒和品种繁多的众多其他优秀饮品，以适合不同的口味。

Learn more about whisky at Macau’s first and only Whisky Ambassador Certified bar – The Macallan Whisky Bar & Lounge

As world-renowned destination, the city has no lack of bars and lounges. However, the Macallan Whisky Bar & Lounge at Galaxy Macau is the first and only bar in Asia to feature Macallan as its signature whisky. The bar boasts a collection of over 400 types of malt whisky, including the rarest selections from the Macallan Distillery. It is a true heaven for whisky aficionados.

The Whisky Ambassador, a uniquely designed course teaching the history, mystery and the up-selling opportunities that Scotch whisky offers, recently chose The Macallan Whisky Bar & Lounge as their base in Macau to promote this drink, create a community and educate whisky lovers. It is the first and only official outlet in Macau that features the original Scotland-accredited Whisky Ambassador programme.

“I did the Whiskey Ambassador programmes in 2014 because I was searching for any whisky classes and master classes. There weren’t any at all in Hong Kong at that time, not even in Asia,” said Eddie Nara, certified whisky ambassador and trainer. “When I came back and I met Leigh, we brought the programme to Hong Kong five years ago.”

“People in Hong Kong really liked to educate themselves and this is the first one-day, credited programme on whisky. We were the first people to bring it abroad, so Hong Kong was the first place in Asia where we premiered the lessons,” Dea Macleod, certified whisky ambassador, explained. “There are a lot of people like Eddie we have started online. Their palate developed, they understand how to taste.”  

The Macallan Whisky Bar & Lounge organises classes, activities and workshops with experts, and participants can learn about the drink’s colourful history and also appreciate the intricacies of the fine premium spirit. “We chose to start the programme in Macau because it is easier for us. When we were looking for a bar to partner with, we found they had an amazing collection, with around 450 bottles. It’s incredible,” said Leigh McGrotty, certified whisky ambassador and trainer. “Most importantly, the people here, the level of service and their dedication were ideal.”

This reputable course is for professionals in the industry but also for whisky enthusiasts and beginners. “If you take the ambassador course, we teach you how to analyse the characteristics of whisky to find which you would like from sweet whisky, spicy whisky, dry whisky or smoky whisky,“ Macleod said. “It helps people to know what to order. It’s quite daunting to go to a whisky bar – you may take a look at all the bottles and think ‘how do I choose?’. What we do with the whisky ambassador course is try to teach people how to decide what they like. We teach them about the whisky from a certain region, since it will generally have similar characteristics,” she explained.

“Each one of us has specialised in certain characteristics of whisky. Eddie is good with the technical aspects, production and science of whisky. And I am good at the history, story and background of whisky. Dea’s focus is on food paring,“ McGrotty said.

At the Macallan Whisky Bar & Lounge, guests will encounter moments of Scottish delights. A deep Scottish flavour permeates throughout, from the furniture down to the smallest details, including the lamps and books on display. Traditional furniture, oak floors, leather sofas, beautifully patterned rugs, and an impressive fireplace come together for the perfect environment to unwind in.In addition to countless whisky selections, the Macallan Whisky Bar & Lounge also serves up champagne, wine, cocktails, and a whole host of other exceptional drinks, to suit all tastes.

瑞士品牌雷达表推出限量版时计庆祝澳门特区 20周年庆

2019年12月20日是澳门特别行政区成立20周年纪念。为了庆祝这个意义非凡的日子，瑞士钟表品牌雷达表（Rado）特别设计了一款特别版的HyperChrome 皓星系列1616腕表，全球限量发行888枚。

该款腕表的发布彰显了雷达表的探索精神。腕表方形表壳直径46毫米，尺寸相当大，可能有人会说，该款腕表比1970年代的原创款式一下子跳到如今的尺寸（大约长了10毫米），有点夸张。可是，虽然体积庞大，但由于采用了创新的轻量元素，比如雷达独有的特殊材料：高科技陶瓷和钛金，戴在手腕上，完全不会感觉沉重。

腕表最引人注目之处是采用了深绿色表盘，象征着澳门的区旗颜色。红色的锚形标志 (雷达表的经典标志)仍处在以往的位置（12点时标下方），展示了品牌和澳门的勇敢无畏精神。

雷达HyperChrome 皓星系列1616腕表搭载了ETA自动机芯，特别是Caliber CO7.621机芯，这款机芯是在经典的2824-2机芯基础上演变而来。表盘显示小时、分钟、秒、星期和日期，该机芯拥有惊人的80小时的动力存储和高达10巴(100米)的防水功能。

为了赋予腕表更多的特殊意义，品牌邀请澳门本地艺术家百強专门为客户设计了一款皮包。百強是著名的插画艺术家、视觉艺术家和金属乐队“刃记”的主音歌手。他特别为这款腕表，创作了一幅名为“希望之光”的插画，以呈现雷达表和澳门的共同价值观：勇敢、创新、尊重传统。他还希望向澳门人民表达自己对澳门美好未来的祝福。

The Swiss watch brand introduces a limited–edition timepiece to celebrate this special year for the region

December 2019 is a special time for this city – it marks the 20th anniversary of the establishment of the Macau Special Administrative Region. In celebration of this meaningful date, Swiss watch brand Rado has designed a special edition HyperChrome 1616, which is limited to 888 pieces in the world.

The release of this model proves the Swiss brand’s dedication to the spirit of discovery. Designed in a distinctively cushion-shaped case that has a diameter of 46mm, which is fairly large on the wrist, one may argue that the huge jump in size (approximately 10mm) from the original 1970s model is a little over the top. However, despite the humongous size, the watch sits perfectly on the wrist without weighing it down, thanks to the use of innovative light elements like Rado’s very own specialty material: high-tech ceramic and titanium.

 The most striking feature of the watch is the dark green dial, which represents the regional flag of Macau. A red anchor or ‘symbol of Rado’ is located at its usual position (below the 12 o’clock mark), which showcases the brave, fearless sprit of the brand and the city.

The Rado Hyperchrome 1616 is powered by an ETA automatic movement, specifically the Caliber CO7.621, which is an evolution of the classic 2824-2 movement. The dial shows the hours, minutes, seconds, day and date, while the movement is also enabled to boast a power reserve of a phenomenal 80 hours and water resistance up to 10 bar (100m).

To imbue the watch with even more special meaning, the brand invited local artist Fortes to create a special leather pouch for customers. Fortes is a famous illustrator, visual artist and main vocalist of the band Blademark. Especially for this watch, he created an illustration entitled “The Light of Hope”, which showcases the shared values of the brand and the city, which are both brave, creative, and respectful of tradition. He also wants to show his blessing to Macau for a bright future.

透过蛇的镜头看鸡、虎、羊其乐融融的家庭生活

在近期中国70周年国庆庆典焰火晚会上，为2008年奥运会开幕式创造了大脚印的中国著名艺术家蔡国强制作了红星、鸽子、笑脸和鲜花等美丽震撼的焰火造型，受到观众震耳欲聋的欢呼。

蔡国强在1999年的威尼斯双年展上获得金狮奖，在2007年获得广岛艺术奖，并在2009年被授予福冈亚洲文化奖。2012年，他获得有“艺术界诺贝尔奖”之称的“世界文化奖” 绘画类终身成就奖。

蔡国强的女儿蔡文悠，从小就被鼓励去追求自己的兴趣爱好。 与父亲不同，文悠的才华展现在摄影方面。 她五岁那年收到一部相机作为礼物，自此她与摄影结下了不解之缘。她越发感受到按下快门的巨大愉悦。

蔡文悠首个摄影展《蛇拍的鸡、虎、羊》在澳门美狮美高梅拉开序幕，展览至2020年2月9日。是次展览的灵感来自中国生肖，借此突出描绘蔡文悠家的四位成员：父亲蔡国强（鸡）、母亲（虎）、妹妹（羊）及自己（蛇）。

展览共展出从2006年到2018年蔡文悠拍摄的176幅作品。她认为，照片可以讲述一个家庭的完整故事。

多年来，文悠透过相机捕捉到了一家人相处的各种时刻，他们在她的镜头前毫无保留的呈现着真实的自我。亲密的家庭关系不仅让曾经一度内向的文悠变得自信，还让她下定决心从事摄影。“透过我的镜头，我渐渐开始重视不同年代的家庭成员间的沟通，”她说。“拍照的过程中我一直都得到家人的支持，也帮助我成为了如今的自己。”

展览期间，蔡文悠也开设了自己的品牌店“Special Special”，这也是美狮美高梅首个快闪零售项目。这个以游乐园为主题的快闪店内囊括了众多独立艺术家的创意设计作品，复古的氛围让人犹如回到欢乐的童年奇趣时光。