Cupshe , the leading global fashion and beachwear e-tailer, made a sensational return to Miami Swim Week with its third annual Cupshe ‘Naturally You’ Runway Show. The event was headlined by Sports Illustrated models Brooks Nader, Christen Harper, Katie Austin, Cindy Prado, and Joy Corrigan, body positive model Iskra Lawrence, bionic model Marsha Elle, and breast cancer survivor and former Victoria's Secret model Christine Handy. The show featured 60 swim and beachwear looks, now available for purchase on Cupshe.com .   The runway showcased three unique collections celebrating nature: the Miami Swim Week Capsule Collection, Recycled Swimwear Collection, and the Cupshe x JoJo Fletcher Soul Space Collection. Each line highlighted Cupshe's dedication to style, eco-friendliness, and innovation. The diverse cast of women represented various sizes and backgrounds, reflecting Cupshe's commitment to inclusivity and empowering its community to embrace their beauty and confidence. As Cupshe's spokesperson of the year, JoJo Fletcher made a surprise appearance and announced her co-designed collection, Cupshe x JoJo Fletcher: Soul Space. This line epitomizes elegance and tranquility, featuring flattering silhouettes, vibrant colors, and eye-catching prints. Showing their commitment to sustainability, the runway featured pieces from the Recycled Swimwear Collection, crafted from Global Recycled Standard (GRS) certified recycled nylon and polyester, incorporating materials from yarn waste and repurposed water bottles. Additionally, the Miami Swim Week Capsule Collection blended vintage charm with Latin American flair for a distinctive and captivating aesthetic. "Miami Swim Week 2024 was an incredible success for Cupshe, perfectly showcasing our mission to inspire confidence and celebrate natural beauty in everyone,” says Jessie Han, Senior Marketing Director at Cupshe. “It was a testament to our commitment to inclusivity and body positivity, with our ambassadors embodying the relatable, authentic confidence we strive to instill in all our customers. We couldn't be more thrilled how it came together.”   Customers worldwide can now purchase the showcased swimwear and cover-ups directly from Cupshe.com .  By ML Staff. Images courtesy of Cupshe

As the one-year mark of PGA TOUR player Grayson Murray's passing approaches, the Grayson Murray Foundation announced today their first official partnership. The Grayson Murray Foundation will partner with the Ben Hogan Foundation as the two organizations align to support those impacted by mental health challenges. Based in Fort Worth, Texas, the Ben Hogan Foundation was established in 2007 to ensure that, in Ben Hogan's absence, the characteristics he personified throughout his life - resilience, courage, determination and perseverance - are recognized, rewarded and encouraged in the young people and veterans of today. The partnership includes a $20,000 donation to The Ben Hogan Resilience Program, a comprehensive support initiative offering mental health support, academic resources and job training for children who have lost a parent to suicide. Hogan was nine when he lost his father to suicide. The Ben Hogan Foundation will name a educational and support scholarship for Grayson Murray. "We are so grateful to the Grayson Murray Foundation for this contribution to the Ben Hogan Foundation and to be their first official partner," said Ben Hogan Foundation Executive Director Chad Cruson. "While generations apart, Ben Hogan and Grayson Murray are deeply connected through both the game of golf and their own personal experiences, and we're honored to bring their legacies together to support those impacted by mental health challenges." Hogan was a 64-time PGA TOUR winner and a five-time winner of the Charles Schwab Challenge, played this week at Colonial Country Club. "We're excited to partner with the Ben Hogan Foundation," said Grayson Murray Foundation President Jeff Maness. "Their goal to recognize Hogan's characteristics he personified through his life go hand-in-hand with our goal to continue Murray's legacy of resilience, compassion and hope through the Grayson Murray Foundation, and we look forward to the impact we'll have together." Eric and Terry Murray and Erica Robinson, parents and sister of Grayson Murray, presented the donation to the Ben Hogan Foundation, at a ceremony at Colonial Country Club. The Charles Schwab Challenge was the last PGA TOUR event Murray played prior to his passing on May 25, 2024, at the age of 30. During the ceremony, the Charles Schwab Challenge and Fort Worth Colonial Charities Inc. presented a $10,000 donation to the Grayson Murray Foundation ahead of efforts to honor Murray's memory during tournament week. "GM" buttons featuring elements of the Grayson Murray Foundation logo will be available to players, caddies, volunteers, and staff, and attendees are encouraged to wear green on Saturday, the official color of Mental Health Awareness Month in May. "The PGA TOUR is a family and Grayson's passing deeply affected us all," said Charles Schwab Challenge Tournament Director Michael Tothe. "As a tournament played during Mental Health Awareness Month, the Charles Schwab Challenge is honored to support the Grayson Murray Foundation and the incredible work the organization is doing to help others impacted by mental health challenges." Murray, who recorded five wins across the PGA TOUR and Korn Ferry Tour, was open about his personal experience with anxiety, depression and addiction. Tournaments across both Tours are carrying on Murray's legacy of compassion, resilience and hope. On Korn Ferry Tour, the AdventHealth Championship, won by Murray in 2023 and played last week in Kansas City, Missouri, presented the "Grayson Murray Be Kind to One Another Legacy Award" to past PGA TOUR member and two-time Korn Ferry Tour winner Josh Teater. This week on the Korn Ferry Tour, the Visit Knoxville Open (May 22-25) in Tennessee will provide green "GM" buttons to the field. The UNC Health Championship presented by STITCH, played in Murray's hometown of Raleigh, North Carolina on May 29-June 1, will have an honorary tee time and ceremony for Murray among other ways the tournament will honor the Raleigh native. Launched in January 2025, the Grayson Murray Foundation's mission is to raise awareness and support of mental health and addiction challenges faced by individuals from all walks of life. The Foundation aims to create a noticeable impact on mental health and addiction care by supporting innovative research, expanding access to essential services and fostering a culture of understanding inspired by Murray's legacy of compassion, resilience and hope. The Grayson Murray Foundation will host its first annual "Grayson Murray Classic," a celebrity pro-am golf tournament and gala charity fundraiser in October 2025. If you are experiencing a mental health crisis, please call the national suicide and crisis lifeline in the United States at 988 or visit their website at 988lifeline.org . About Grayson Murray Foundation Grayson Murray Foundation is a federally recognized 501(c)(3) tax-exempt nonprofit organization. To learn more about Grayson Murray Foundation or to make a tax-deductible donation, please visit graysonmurrayfoundation.com or contact Foundation President Jeff Maness at jeff@graysonmurrayfoundation.com . Grayson Murray Foundation Post Office Box 176 Garner, NC 27529 If you are experiencing a mental health crisis, please call the national suicide and crisis lifeline in the United States at 988 or visit their website at 988lifeline.org. About Ben Hogan Foundation The Ben Hogan Foundation was established in 2007 to ensure that in Ben Hogan's absence, the characteristics that he personified throughout his life; resilience, courage, determination and perseverance - are recognized, rewarded and encouraged in the young people and veterans of today. The Ben Hogan Foundation accomplishes this work through tournaments, scholarships and programs and with the incredible support of ongoing partners and sponsors who provide the regular funding that a non-profit needs to maintain daily operations. To learn more about the Ben Hogan Foundation, please visit benhoganfoundation.org or contact Executive Director Chad Cruson at chad@benhoganfoundation.org . About Charles Schwab Challenge The Charles Schwab Challenge is one of America's oldest and most celebrated PGA TOUR events. Held annually at Colonial Country Club in Fort Worth, TX, since 1946 the Charles Schwab Challenge is the longest running PGA TOUR tournament held at the same venue - 79 years. Praised as one of America's greatest championship golf courses, Colonial played host to the 1941 Men's U.S. Open, 1991 U.S. Women's Open and the 1975 Tournament Players Championship. Colonial is known as "Hogan's Alley," and probably always will, for no one man ever dominated a major golf tournament like Ben Hogan did at Colonial. In his hometown of Fort Worth, Hogan was victorious at Colonial five times. Appropriately, Hogan's final career PGA TOUR win was his fifth at Colonial in 1959. About PGA TOUR By showcasing golf's greatest players, the PGA TOUR engages, inspires and positively impacts our fans, partners and communities worldwide. The PGA TOUR, headquartered in Ponte Vedra Beach, Florida, co-sanctions tournaments on the PGA TOUR, PGA TOUR Champions, Korn Ferry Tour, PGA TOUR Americas and administers PGA TOUR Q-School presented by Korn Ferry and PGA TOUR University. TOUR members represent the world's best players, hailing from 28 countries and territories. Showcasing the biggest moments in the sport with history and legacy on the line, the PGA TOUR has long-term domestic distribution partnerships for broadcast coverage on CBS, NBC and Golf Channel and video streaming service on ESPN+. Internationally, PGA TOUR coverage is available across 200+ countries and territories in 30 languages via 39 broadcast and digital partners. Virtually all tournaments are organized as non-profit organizations to maximize charitable giving, and to date, tournaments across all Tours have generated more than $4 billion. Fans can follow the PGA TOUR via: the PGA TOUR app and PGATOUR.COM ; social media channels, including YouTube , Facebook , Instagram  (in Spanish , Korean  and Japanese ), LinkedIn, TikTok, X (in English, Spanish and Japanese); the PGA TOUR Channel on Free Ad-Supported Television (FAST) platforms such as the Roku Channel, Samsung TV Plus, PlutoTV, Xumo, LG Channels, Tubi, Amazon’s Freevee, FireTV and Alexa devices; and WhatsApp (in English  and Spanish ), WeChat , Weibo , Toutiao  and Douyin . By ML Staff. Content/image courtesy of PGA

The Bob Dylan biopic “ A Complete Unknown ,” starring Timothée Chalamet, focuses on Dylan’s early 1960s transition from idiosyncratic singer of folk songs to internationally renowned singer-songwriter. Dylan and singer-songwriter Mimi Farina relax at the Viking Hotel in Newport, R.I., in July 1964. John Byrne Cooke Estate/Getty Images As a music historian , I’ve always respected one decision of Dylan’s in particular – one that kicked off the young artist’s most turbulent and significant period of creative activity. Sixty years ago, on Halloween Night 1964, a 23-year-old Dylan took the stage at New York City’s Philharmonic Hall. He had become a star within the niche genre of revivalist folk music . But by 1964 Dylan was building a much larger fanbase through performing and recording his own songs. Dylan presented a solo set, mixing material he had previously recorded with some new songs. Representatives from his label, Columbia Records, were on hand to record the concert, with the intent to release the live show as his fifth official album. It would have been a logical successor to Dylan’s four other Columbia albums. With the exception of one track, “ Corrina, Corrina ,” those albums, taken together, featured exclusively solo acoustic performances. But at the end of 1964, Columbia shelved the recording of the Philharmonic Hall concert. Dylan had decided that he wanted to make a different kind of music. Columbia Records was on hand to turn Dylan’s Oct. 31, 1964, performance into a live album. GAB Archive/Redferns via Getty Images From Minnesota to Manhattan Two-and-a-half years earlier, Dylan, then just 20 years old, started earning acclaim within New York City’s folk music community. At the time, the folk music revival was taking place in cities across the country, but Manhattan’s Greenwich Village was the movement’s beating heart. Mingling with and drawing inspiration from other folk musicians , Dylan, who had recently moved to Manhattan from Minnesota, secured his first gig at Gerde’s Folk City on April 11, 1961 . Dylan appeared in various other Greenwich Village music clubs, performing folk songs, ballads and blues. He aspired to become, like his hero Woody Guthrie , a self-contained artist who could employ vocals, guitar and harmonica to interpret the musical heritage of “ the old, weird America ,” an adage coined by critic Greil Marcus to describe Dylan’s early repertoire, which was composed of material learned from prewar songbooks, records and musicians. While Dylan’s versions of older songs were undeniably captivating, he later acknowledged that some of his peers in the early 1960s folk music scene – specifically, Mike Seeger – were better at replicating traditional instrumental and vocal styles. Dylan, however, realized he had an unrivaled facility for writing and performing new songs. In October 1961, veteran talent scout John Hammond signed Dylan to record for Columbia. His eponymous debut , released in March 1962, featured interpretations of traditional ballads and blues, with just two original compositions. That album sold only 5,000 copies, leading some Columbia officials to refer to the Dylan contract as “ Hammond’s Folly .” Full steam ahead Flipping the formula of its predecessor, Dylan’s 1963 follow-up album, “ The Freewheelin’ Bob Dylan ,” offered 11 originals by Dylan and just two traditional songs. The powerful collection combined songs about relationships with original protest songs, including his breakthrough “ Blowin’ in the Wind .” “ The Times They Are A-Changin’ ,” his third release, exclusively showcased Dylan’s own compositions. Dylan’s creative output continued. As he testified in “ Restless Farewell ,” the closing track for “The Times They Are A-Changin’,” “My feet are now fast / and point away from the past.” Released just six months after “The Times,” Dylan’s fourth Columbia album, “Another Side of Bob Dylan,” featured solo acoustic recordings of original songs that were lyrically adventurous and less focused on current events. As suggested in his song “ My Back Pages ,” he was now rejecting the notion that he could – or should – speak for his generation. Bringing it all together By the end of 1964, Dylan yearned to break away permanently from the constraints of the folk genre – and from the notion of “genre” altogether. He wanted to subvert the expectations of audiences and to rebel against music industry forces intent on pigeonholing him and his work. The Philharmonic Hall concert went off without a hitch, but Dylan refused to let Columbia turn it into an album. The recording wouldn’t generate an official release for another four decades. Instead, in January 1965, Dylan entered Columbia’s Studio A to record his fifth album, “Bringing It All Back Home.” But this time, he embraced the electric rock sound that had energized America in the wake of Beatlemania . That album introduced songs with stream-of-consciousness lyrics featuring surreal imagery, and on many of the songs Dylan performed with the accompaniment of a rock band. Dylan plays a Fender Jazz bass while recording ‘Bringing It All Back Home’ in Columbia’s Studio A in New York City in January 1965. Michael Ochs Archives/Getty Images “ Bringing It All Back Home ,” released in March 1965, set the tone for Dylan’s next two albums: “Highway 61 Revisited,” in August 1965, and “Blonde on Blonde,” in June 1966. Critics and fans have long considered these latter three albums – pulsing with what the singer-songwriter himself called “ that thin, that wild mercury sound ” – as among the greatest albums of the rock era. On July 25, 1965, at the Newport Folk Festival, Dylan invited members of the Paul Butterfield Blues Band on stage to accompany three songs. Since the genre expectations for folk music during that era involved acoustic instrumentation, the audience was unprepared for Dylan’s loud performances. Some critics deemed the set an act of heresy , an affront to folk music propriety. The next year, Dylan embarked on a tour of the U.K., and an audience member at the Manchester stop infamously heckled him for abandoning folk music, crying out, “Judas!” Yet the creative risks undertaken by Dylan during this period inspired countless other musicians : rock acts such as the Beatles, the Animals and the Byrds; pop acts such as Stevie Wonder, Johnny Rivers and Sonny and Cher; and country singers such as Johnny Cash . Acknowledging the bar that Dylan’s songwriting set , Cash, in his liner notes to Dylan’s 1969 album “Nashville Skyline,” wrote, “Here-in is a hell of a poet.” Enlivened by Dylan’s example, many musicians went on to experiment with their own sound and style, while artists across a range of genres would pay homage to Dylan through performing and recording his songs. In 2016, Dylan received the Nobel Prize in literature “for having created new poetic expressions within the great American song tradition.” His early exploration of this tradition can be heard on his first four Columbia albums – records that laid the groundwork for Dylan’s august career . Back in 1964, Dylan was the talk of Greenwich Village. But now, because he never rested on his laurels, he’s the toast of the world. By ML Staff. Content/images courtesy of Ted Olson - Professor of Appalachian Studies and Bluegrass, Old-Time and Roots Music Studies, East Tennessee State University. Special thanks for The Conversation. Please donate  today.

The annual Met Gala in New York City is a dazzling collision of celebrity, fashion and media frenzy. The event is ostensibly a fundraiser for the Metropolitan Museum of Art’s Costume Institute , which houses a vast collection of historical costumes and fashion artifacts. Diana Vreeland takes a drag from her cigarette as she greets Andy Warhol. Ron Galella Collection/Getty Images But for many people, it’s that time of year when their social media feeds become awash with posts, stories and live streams of A-list actors, musicians and influencers ascending the iconic steps of the Metropolitan Museum of Art to showcase their elaborate outfits. Zendaya at the 2024 Met Gala, which was themed ‘Sleeping Beauties: Reawakening Fashion.’ Neilson Barnard/MG24/Getty Images for The Met Museum/Vogue The gala has come a long way since its early days as an intimate fundraising event for the local fashion industry and New York’s old-guard elite. Through my research at the Met’s Thomas J. Watson Library , I discovered the ways in which a former fashion editor named Diana Vreeland elevated this formerly stuffy charity ball into a global media sensation. A low-key affair Philanthropist and arts patron Irene Lewisohn launched the Museum of Costume Art in 1937 to promote the preservation and study of historical clothing. In 1946, New York fashion publicist Eleanor Lambert helped bring the museum’s collection under the purview of the Metropolitan Museum of Art, with the caveat that it would operate independently of the museum’s budget . It was then renamed the Costume Institute. In 1948, Lambert organized the inaugural gala to raise funds for the institute. The following year, Lord & Taylor president Dorothy Shaver established a formal management structure for both the institute and its annual gala, streamlined operations, and helped burnish the reputation of the fledgling institution among New York’s social elite. During her tenure, gala revenues climbed steadily, from US$31,723 in 1949 to $118,775 in 1958 – roughly $1.3 million in today’s dollars. Dorothy Shaver burnished the reputation of the Costume Institute in its early years. Erwin Blumenfeld/Condé Nast via Getty Images The Met Gala that Shaver shaped looked similar, in many ways, to today’s: There was a theme, a formal dinner, live entertainment and a fashion parade that attendees could participate in. There were also a photographers row, where guests could be snapped by famed fashion photographers for a fee, and raffles with department store prizes. After Shaver’s death in 1958, department store executives continued to steer the gala, but attendance and revenue waned. In 1961, in an effort to cut costs and revive interest, the event was moved into the museum itself. The gala needed a reinvention. Soon, it would get one. Vreeland’s vision Diana Vreeland took the reins of the Met Gala in 1973. She’d had a storied career in fashion journalism, including stints as fashion editor of Harper’s Bazaar and editor-in-chief of Vogue. Vreeland, however, understood that in order for the gala to grow, it needed to become a newsworthy event that would be of interest to those who might not even attend the gala itself. So she selected spectacular, sometimes controversial themes that would generate interest from the press. Vreeland’s first exhibition in 1973 was bold: a tribute to a single designer, Cristóbal Balenciaga. “ The World of Balenciaga ” was funded by the Spanish government, Iberia Airlines and five Spanish banks – a controversial move, considering Spain was still under Francisco Franco’s dictatorship . The show featured Franco’s granddaughter’s wedding dress as one of the central pieces. Some curators also bristled at Vreeland’s unorthodox approach to exhibition planning, such as blurring time periods, displaying clothes without providing historical context and prioritizing beauty over scholarship. “She knows fashion and who wore it,” one former museum official said , “but she doesn’t know history.” Nonetheless, critics deemed the gala and its accompanying exhibition a huge success. American designer Stan Herman declared that the garments “ belong in a museum, like good paintings .” In the coming years, Vreeland’s other themes included “Romantic and Glamorous Hollywood Design,” “The ‘10s, '20s and '30s,” and “ American Women of Style .” The latter was accompanied by a Vogue magazine spread starring actress and model Marisa Berenson, who channeled iconic American “it girls” like Irene Castle , Consuelo Vanderbilt and Josephine Baker . Models and actresses wear costumes and masks for the Costume Institute’s 1974 exhibition ‘Romantic and Glamorous Hollywood Design.’ Diana Vreeland is seated in the center, sans mask. Buzz And Pizzazz Before Vreeland, coverage of the gala was limited to society pages and publications like Women’s Wear Daily. Vreeland knew how to generate buzz because she thought like an editor. She also knew how to charm the press . Vreeland popularized words like “ pizzazz ,” “ splendeur ” and “deeveen.” She told tales of discovering model and actress Lauren Bacall and the work of fashion designer Roy Halston . She regaled reporters with stories of allegedly visiting Buffalo Bill in Wyoming. Under Vreeland’s leadership, media coverage of the gala and exhibitions exploded, with articles appearing in The New York Times, The New Yorker, New York Magazine, People, Interview, Le Figaro, Le Monde, Revista Hola!, ABC de las Americas, Il Tempo, Paris Herald Tribune and Tokyo’s High Fashion, among others. During her tenure, she also opened the doors to reporters and photographers so they could cover the night of the event. In an interview with Women’s Wear Daily she said, “I am an entertainer. And I believe in wit, and good nature, and laughter.” Corporate Controversies With “The World of Balenciaga,” Vreeland also pioneered the use of corporate sponsorships to finance the exhibitions and parties. In 1982, Pierre Cardin Management funded “ La Belle Époque ,” a Met Gala theme associated with the relaunch of the famed Paris restaurant Maxim’s , in which Cardin had invested. In 1983, Vreeland courted controversy again with the first exhibition honoring a living designer — Yves Saint Laurent — underwritten by the Pierre Bergé Foundation. Bergé was Saint Laurent’s life and business partner . The show was launched amid rumors of the designer’s declining health and growing criticism of the museum being exploited as a publicity platform. “One day the god of the Temple of Dendur will cry: 'I am not on earth to share a museum with a bunch of fashion freaks!’” critic John Heilpern groused in the East Side Express . The following year, Ralph Lauren became the central sponsor and guest of honor for “ Man and the Horse .” Diana Vreeland and designer Ralph Lauren at the 1984 gala, which was themed ‘Man and the Horse’ and sponsored by Lauren. Sonia Moskowitz/Getty Images The Met set Under Vreeland, a new kind of guest list also emerged. The rise of celebrity culture in the 1960s gave birth to the “ jet set ” – beautiful people whose fame transcended traditional society circles. Vreeland embraced this shift. She made space at the gala for the likes of Andy Warhol, Bianca and Mick Jagger, Halston and his Halstonettes , David Bowie, Cher, Diana Ross, Warren Beatty and Jack Nicholson. Their presence helped transform the gala from society soirée to pop culture phenomenon. After Vreeland’s death in 1989, the event lost some its splendor under the guidance of museum curators. Women’s Wear Daily columnist Aileen Mehle later lamented the decline, writing that the event had become “a far cry from the dear old Diana Vreeland days when that fashion oracle called the Costume Institute’s shots, and elegance and anticipation abounded.” In the late 1990s, however, the museum curators who had run the event since Vreeland’s death ceded control back to the fashion industry. High-end brands like Chanel, Versace and Christian Dior sponsored the Met Gala, while fashion editors such as Liz Tilberis and Anna Wintour chaired the event. By channeling Vreeland’s vision, they were able to turn the gala into the global media spectacle it is today, which now thrives in an era of social media and global branding. This year’s theme, “ Superfine: Tailoring Black Styles ,” is co-chaired by rapper-producer Pharrell Williams , who is also the artistic director of Menswear at Louis Vuitton. The LVMH conglomerate – Moët Hennessy Louis Vuitton – is the sponsor, showing how the gala continues to operate as a platform where corporate branding, celebrity culture and high culture converge. Taylor Swift attends the 2014 Met Gala, themed ‘Charles James: Beyond Fashion.’ Dimitrios Kambouris/Getty Images By ML Staff. Content/images courtesy of Elizabeth Castaldo Lundén - Research Fellow at the School of Cinematic Arts, University of Southern California. Special thanks for The Conversation. Please donate  today.

Swiss watchmaking Maison Jaeger-LeCoultre marked a momentous occasion with the Emirati premiere of ‘The Precision Pioneer’ exhibition. This captivating showcase, hosted at ICD Brookfield Place in DIFC, invites the public to discover how the pursuit of precision has advanced the art of fine watchmaking over the course of almost 200 years. A Dazzling Debut Event To kick off this remarkable exhibition, Jaeger-LeCoultre was honoured to welcome the Jordanian-Palestinian R&B artist Zeyne and the Syrian actor Moatasem Al Nahar during an exclusive private opening celebration. The Emirati film producer Abdulla Alkaabi was animating the evening as its Master of Ceremony before handing over to the renowned DJ Kaboo for the after party. Honoring Precision Adding to the festivities, Chinese light-painting artist Roy Wang unveiled for the first time four exclusive light-painting artworks created exclusively for La Grande Maison and performed a live light-painting show with one of his signature motives - the dragon. Two Michelin-starred Indian chef Himanshu Saini, who created four special bites for Jaeger-LeCoultre, was also present, inviting guests to embark on a culinary journey blending ingredients of the Vallée de Joux with flavours from the subcontinent at the Precision Atelier. Both collaborations were commissioned by Jaeger-LeCoultre under its Made of Makers programme – a series of artistic partnerships that expands the dialogue between watchmaking and other art forms. A New Limited-Edition Timepiece Revealed The exhibition opening was further graced by the reveal of a new interpretation of the Master Grande Tradition Calibre 948, with a green enamel dial. A uniquely artistic expression of the world-time complication uniting mechanical excellence with rare handcrafts - enamelling, guillochage and lacquering. The Universal Tourbillon makes a complete circuit around the dial in 24 hours, echoing the way that Earth spins on its axis and makes a circuit around the Sun. A Journey Through Time and Precision Created by Jaeger-LeCoultre as part of its mission to expand the cultural conversation around fine watchmaking, ‘The Precision Pioneer’ offers visitors a deep immersion into the art and science of precision in fine watchmaking. From the palladium hairspring to the first multi-axis tourbillon or from the anti-magnetic cage to the Duometre concept, visitors are invited to embark on a quest for precision divided in four chapters: The Precision of Production, The Precision of Chronometry, The Precision of Regulating Organs and The Precision of Complications. As visitors journey through the Story of Precision, they will enjoy exploring the depths of Jaeger-LeCoultre’s rich heritage, craftsmanship and pioneering spirit. A Celebration of Craftsmanship and a Hands-on Experience A viewing room within the exhibition is dedicated to the 180 skills mastered within Jaeger-LeCoultre’s fully integrated Manufacture, showcasing essential aspects of the art and craft of watchmaking that have particular relevance to the theme of precision. ‘In the Making’ is devoted to a series of short films that take viewers behind the scenes, each focusing on a single craft: design, production, finishing, assembly and ornamentation. In addition, visitors can watch live demonstrations of two key skills: perlage and movement assembly. To offer a deeper understanding of watchmaking, ‘The Precision Pioneer’ provides hands-on educational workshops at the Atelier d'Antoine. Location, Opening Hours and Admission The Precision Pioneer is open free of charge to the public until May 19, offering the opportunity to experience craftsmanship and watchmaking in a new cultural context. Presented at ICD Brookfield Place in DIFC, opening hours are: 11am until 10pm on weekdays; 10am to 10pm on weekends. Guests will be able to walk in or may book guided visits online at: https://bit.ly/PrecisionPioneerDubaiVisit . Discovery Workshop sessions at the Atelier d'Antoine are available to all visitors by appointment. ML Staff. Courtesy of Jaeger‑LeCoultre

Fontainebleau Miami Beach is turning up the heat this summer with the next chapter of its legendary  BLEAULIVE  entertainment series — featuring none other than multi-platinum recording artist and Miami’s own global superstar Flo Rida.  Known for his chart-topping hits  Right Round ,  Club Can't Handle Me ,  Wild Ones , and many more, Flo Rida will bring unstoppable energy to the world-renowned  LIV  nightclub, on Saturday, June 28 at 8 pm. This exclusive experience blends the glamour and excitement of Miami nightlife with the star power of one of today’s most celebrated performers, continuing the BLEAULIVE tradition of delivering world-class entertainment in a truly unique setting. BLEAULIVE has a storied legacy of hosting world-renowned talent at Fontainebleau Miami Beach—welcoming icons from the Rat Pack and Elvis Presley to Lady Gaga and Calvin Harris. Now, Flo Rida’s electrifying performance kicks off what promises to be an unforgettable summer, ushering in a powerhouse 2025 lineup, epically concluded by the resort’s legendary New Year’s Eve festivities. For tickets and more information about upcoming events as announced, visit  bleaulive.com . For guests looking to make the weekend even more memorable by booking a stay at or pre-show dinner at the resort’s celebrated signature dining outlets, more information about Fontainebleau Miami Beach can be found at  fontainebleau.com/miamibeach/ . WHEN : Saturday, June 28 Doors Open : 8:00 PM Flo Rida  Performance : 9:15 PM - 10:00 PM WHERE : LIV at Fontainebleau Miami Beach  4441 Collins Ave, Miami Beach, FL 33140 TICKETS: General Admission, Open Bar:  Starts at $99   VIP, Stage Front, Open Bar:  Starts at $175   (Open bar includes selection of specialty cocktails, wine, beer)  By ML Staff. Image Courtesy of Fontainebleau Miami Beach And Bleaulive

The NBA announced today that Miami HEAT center Kel’el Ware has been named to the NBA All-Rookie Second Team. He becomes the 15th HEAT rookie to be named to an NBA All-Rookie Team and the eighth to earn Second Team honors, joining Tyler Herro (2019-20), Justise Winslow (2015-16), Mario Chalmers (2008-09), Udonis Haslem (2003-04), Willie Burton (1990-91), Glen Rice (1989-90) and Kevin Edwards (1988-89). Ware, who was selected by the HEAT in the first round (15th overall) in the 2024 NBA Draft and was named the Eastern Conference Rookie of the Month for January, appeared in 64 games this season (36 starts) and averaged 9.3 points, 7.4 rebounds, 1.11 blocks and 22.2 minutes while shooting 55.4 percent from the field. He grabbed a HEAT single-season rookie record 357 defensive rebounds, surpassing Rony Seikaly (1988-89) for the all-time lead while also posting a HEAT single-season rookie record 23 double-figure rebound games. He blocked 71 shots, the second-most by a rookie in team history and posted 15 double-doubles, the third-most by a rookie in franchise history, including a 20-point, 15-rebound game on January 21 vs. Portland as he became the first rookie ever in HEAT history to record at least 20 points and 15 rebounds without a single turnover. In the same game, he blocked two shots to become just the second NBA rookie over the last 40 years with at least 20 points, 15 rebounds and two blocks in his first career start, joining only David Robinson on November 4, 1989. In his second career start on January 23 at Milwaukee, he posted a 22-point, 10-rebound double-double to become just the fourth HEAT rookie to ever post multiple double-doubles in their first career starts. On March 2 vs. New York, Ware blocked six shots, tying for the most by any rookie in franchise history. Additionally, he finished the season with 35 made three-point field goals, the second-most during a single-season amongst any seven-footer in team history. Among rookie league leaders this season, Ware led all rookies in defensive rebounds and double-doubles while also finishing second in field goal percentage, fourth in total rebounds, fifth in offensive rebounds, sixth in blocks, eighth in scoring average, tied for eighth in field goals made, 11th in plus/minus, 12th in points and 15th in steals. By ML Staff. Courtesy of NBA. For Miami HEAT tickets click here .

Equipped with Calibre 2755 QP, the new Overseas Grand Complication Openface achieves a horological feat as an elegant sports watch housing a movement barely 7.9 mm thick and incorporating a minute repeater, a perpetual calendar, a tourbillon and a power reserve indicator. With its water-resistant titanium case and integrated bracelet, this grand complication model respects the technical and aesthetic codes of the Overseas collection. The sapphire dial reveals the beauty of the mechanism, while rhodium-plated wheels and NAC treatment enhance its avant-garde spirit. Vacheron Constantin's attention to detail is exemplified by the meticulous care taken in the hand-finishing of the movement components.  Equipped with Calibre 2755 QP, the first minute-repeater Overseas model also incorporates a perpetual calendar and a tourbillon  A water-resistant titanium case with revised proportions and great elegance   A contemporary aesthetic with the mechanism visible through a highly complex sapphire crystal dial  Haute Horlogerie prowess   The Vacheron Constantin Overseas Grand Complication Openface is the outcome of a long process to meet the challenge of integrating a grand complication mechanism into an elegant case. In addition to a tourbillon and a perpetual calendar, this movement incorporates a minute repeater, a first in the collection. Generally speaking, water resistance is difficult to achieve with minute repeater calibres due to the sliding mechanism in the case-side that activates the repeater. The challenge with this model was to ensure the water-resistance of the Overseas case, while adapting its lines to Calibre 2755 QP. This required a year and a half of research and development and involved a complete redesign of the caseback to create space for the minute repeater mechanism while maintaining the slender curves characteristic of Overseas watches.  With a diameter of 44.5 mm and a height of 13.1 mm, the proportions of this new Overseas case deftly balance the collection’s adventurous character with a spirit of elegance.  An emblematic calibre   One of Vacheron Constantin's emblematic movements, Calibre 2755 QP benefits from developments made for the Tour de l'Île watch presented in 2005 and brings together three major horological complications. With its 602 components contained within a diameter of 33.30 mm, it incorporates a perpetual calendar with date, day, month and leap-year cycle indications. In addition to this calendar mechanism, which requires no correction before 2100 – a non-leap secular year – there is a minute repeater.   To govern the cadence of the repeater mechanism, which strikes the hours, quarters and minutes on demand, the Maison's watchmakers developed a centripetal regulator, a proprietary device that allows the hammers to be struck at the precise intervals required to obtain the correct musical sequences. Totally silent, this regulator features two centrifugal weights that act as a motor brake on the axis of rotation, smoothing the flow of energy released by the repeater spring.   In keeping with Vacheron Constantin's attention to detail, particular attention has been paid to the aesthetics of this governing device, which is visible through the sapphire caseback. An arc-shaped bar secures the regulator; crafted in 750/1000 gold its rounded form requires a full day of meticulous hand-polishing. Beneath it, the circular-grained inertia weights are engraved with the initials of Jean-Marc Vacheron, who founded the Maison in 1755.   The same high standards were applied to the finishing of the tourbillon bridges, which involved rounding the convex profile as well as tapering it towards the fixing screws, then hand-polishing each bridge to a perfect shine. Their architecture was also reviewed, particularly on the reverse side, where it has been made more open and visually lighter. This allows full appreciation of the tourbillon’s ballet, which is enhanced by the relatively slow tempo of 18,000 vibrations per hour (2.5 Hz). Commensurate with the complexity of Calibre 2755 QP, the movement finishes also include mirror-polished repeater hammers, bevelled and satin-brushed bridges, circular satin-brushed wheels, and bridges decorated with Côtes de Genève.   A sporty and contemporary aesthetic   With its grade 5 titanium case and integrated bracelet, the Overseas Grand Complication Openface watch remains true to the spirit of the collection. Its sporty, contemporary character is enhanced by the transparency of the sapphire dial, which reveals the beauty and complexity of the movement. Applied to the transparent sapphire, the 18-carat white gold hour-markers appear to be floating in space, amplifying the airy aesthetic.    To enhance legibility and create a dynamic contrast with the grey and silver tones of the movement components, the circles surrounding each of the time and calendar indications are treated with a blue metallised finish. The surface of each metallised circle is then engraved in white with the various indications – dates, days, months, years and minutes.  Viewed through the sapphire dial  the avant-garde spirit of the watch is highlighted by the contrast between the anthracite grey hue of the NAC galvanic treatment on the bridges and the silvery tone of the rhodium-plated wheels. The mix of finishes on the case and bracelet amplifies the contemporary aesthetic with a visually captivating play of light and reflections. On the bezel, sandblasting combines with polishing and satin-brushing – a new signature for titanium-cased models in the Overseas collection. Like the other pieces in the collection, the model's titanium bracelet, fitted with a comfort system, is interchangeable without tools and two additional straps – one in blue alligator, one in blue rubber – are offered with the watch.  TECHNICAL DATA - OVERSEAS GRAND COMPLICATION OPENFACE      Reference: 6510V/110T-128C     Calibre: 2755 QP  Developed and manufactured by Vacheron Constantin   Mechanical manual-winding   33.9 mm diameter, 7.9 mm thick   Approximately 58 hours of power reserve  2.5 Hz (18’000 vibrations/hour)   602 components   45 jewels  NAC finishing  Hallmark of Geneva certified timepiece     Indications: Hours and minutes  Small seconds on tourbillon  Minute repeater  Perpetual calendar (day, date, month, leap year)  Tourbillon  Power reserve on the back of the watch    Case: Titanium grade 5  44.5 mm diameter, 13.1 mm height   Transparent sapphire crystal caseback Water resistant tested at a pressure of 3 bar (approx. 30 metres)    Dial:  Sapphire crystal with blue display counters  18K white gold (750/1000) hour-markers and hours & minutes hands highlighted with blue Super-Luminova®  18K white gold (750/1000) counter hands    Strap: Titanium grade 5, satin-finished and polished, interchangeable and with comfort-adjustment system  Two additional straps, in blue alligator and in blue rubber    Buckle: Titanium grade 5 folding clasp   One additional titanium grade 5 folding clasp, interchangeable and compatible with both additional straps  ML Staff. Courtesy of Vacheron Constantin

Beyond the Screen returns for its second iteration, continuing to push the boundaries of digital technologies in a highly curated online auction. By highlighting both physical and digital works, the auction invites collectors to experience digital art ‘beyond their screens’. The sale showcases pioneering works such as a Harold Cohen  AARON  drawing (1970) and William J. Kolomyjec (aka ‘Dr. Bill’)’s print and bitcoin ordinal from a 1976 algorithm. The auction also features works from contemporary artists working with the latest technological systems, including physical artwork from  Beeple , Grant Yun, Quayola,  Tom Sachs , Pascal Boyart, Tyler Hobbs, Summer Wagner, and more. Beyond the Screen offers collectors a diverse range of high-quality opportunities at accessible price points, making it an ideal sale for those curious about the most innovative forms of contemporary art. Auction times: 29 May 10:00 AM (EDT) ML Staff. Content/images courtesy of Christie's

The exhibition  Giorgio Armani Privé 2005-2025, Twenty Years of Haute Couture  opens at Armani/Silos: a journey curated by Giorgio Armani himself through two decades of Haute Couture shaped by an unmistakable style. The exhibition explores the themes of a vision in which pure form and precious fabrics celebrate beauty in a tale told in the present. Because, when they are authentic, fashion creations are timeless. Presented for the first time in 2005 in Paris, the capital of Haute Couture, the Giorgio Armani Privé collection stems from a vision of modern creativity, expressed in refined lines, precious materials and techniques, and jewel-like embroideries. It immediately emerged as a new expression of Armani style, both complementary to and distinct from prêt-à-porter, yet unified by the pursuit of a linear, elegant, and rarefied signature aesthetic. With his Haute Couture, Giorgio Armani offers a surprising perspective on his idea of elegance. He embraces new adventures, drawing on faraway places and atmospheres, crafting a serene and seductive allure. Here, the designer dares, experiments, and imagines freely, yet never loses touch with his proverbial pragmatism or forgets the needs of his discerning clientele. With feet firmly on the ground, he dreams and invites others to do the same. Even when reviving the magic of Hollywood nights with his designs worn by stars of cinema and entertainment.  This exhibition brings these dreamlike creations to Milan, the beating heart of the Armani uni- verse, offering everyone the chance to admire them up close and appreciate their exquisite craftsmanship. Immersed in color, form, sound and fragrance, visitors embark on a sensory journey that unfolds across the entire Silos space. The garments are further enhanced by a diffused scent – Bois d’Encens, emblem of the ARMANI/PRIVÉ Haute Couture Fragrances collection – and an original soundtrack created especially for the exhibition by L’Antidote. The display follows a subtle thread: light both as a metaphorical reference to invention and a tangible accent that embellishes surfaces with a pearly, moonlike glow, reminiscent of rare stones.  The pieces are an anthology of all the Couture collections, arranged in a sequence that highlights a language which, while continuously evolving, remains firmly rooted in its founding principles. “In my Haute Couture collections, I express my vision of style and elegance through the art of craftsmanship and savoir-faire: only here am I free to do so without limits. Twenty years of Giorgio Armani Privé have been an extraordinary, liberating journey. Now, I want to share it with a wider audience, inviting them into this dream of mine, a dream of dresses woven from imagination and grace. A very special world that takes on new meaning in this exhibition” , commented Giorgio Armani.  The  GIORGIO ARMANI PRIVÉ 2005-2025, Twenty Years of Haute Couture  exhibition will be open to the public from 21 May to 28 December 2025. By ML Staff. Images courtesy of The Giorgio Armani.

Hermès is renowned for its fine leather and vast kaleidoscope of colours. Each colour palette is meticulously designed, epitomising timeless elegance and refined taste. The extensive range of colours offers fashion enthusiasts a wealth of choices. The diverse combinations of the materials and colours, spanning from delicate hues to vibrant shades, reflects the brand’s ultimate quest for colour accuracy and its dedication to craftsmanship in the dyeing process. These shades can reflect different styles and have become an important tool for self-expression. Each colour is assigned a unique Hermès colour code, consisting of numbers and letters. Drawing on years of experience, Christie’s Handbags & Accessories specialists reveal an exquisite selection of the Hermès colours that are most sought after by collectors. 5P Pink 5P Pink is undisputedly the most iconic of all Hermès pink shades. It has been widely admired by collectors since its release and hailed as Hermès’s best pink shade. While often seen on Epsom leathers, it becomes even more coveted among collectors when rendered in exotic skins. The recurring presence of Hermès 5P Pink handbags in pop culture underscores their significant influence and enduring value in the market. A custom matte Pink 5P & Gris Perle alligator Retourné Kelly 25 with brushed palladium hardware, Hermès, 2021 . 25 w x 19 h x 9 d cm. Estimate: HK$ 350,000 – 550,000. Offered in Handbags & Accessories on 26 May 2025 at Christie’s in Hong Kong 3Q Rose Sakura It is a delicate and refreshing shade of cherry blossom pink, inspired by the soft hues of cherry blossom petals and evoking the vitality and energy of spring. Hermès handbags in 3Q Rose Sakura have consistently achieved remarkable results at auctions, making this shade one of the most sought-after colours of Hermès handbags. A custom Rose Sakura & Nata Chèvre leather Birkin 25 with brushed palladium hardware, Hermès, 2022 . 25 w x 19 h x 14 d cm. Estimate: HK$ 120,000 –180,000. Offered in Handbags & Accessories on 26 May 2025 at Christie’s in Hong Kong 0V Gris Ciment A classic neutral tone launched by Hermès in 2024, Gris Ciment (French for ‘cement grey’) draws inspiration from the concrete textures of modern architecture. This subtle yet elegant grey exudes a refined sophistication and versatility. Often referred to as ‘crystal grey’ by collectors, its clear, translucent quality enhances its allure. With its low saturation, this shade offers exceptional adaptability, making it one of the most coveted colours of the moment. A rare, matte gris ciment alligator, gris misty & craie Epsom leather, orange H & black Swift leather Rainy Days Faubourg Sellier Birkin 20 with Permabrass hardware, Hermès, 2024 . 20 w x 16 h x 11 d cm. Estimate: HK$ 1,000,000 – 2,000,000. Offered in Handbags & Accessories on 26 May 2025 at Christie’s in Hong Kong 0H Gris Misty Another exquisite addition to Hermès’ grey lineup in 2024, Gris Misty captures an ethereal aesthetic through its matte texture and neutral tone. Inspired by the early morning mist and the soft veils that shroud distant mountains, this hue is meticulously crafted with low saturation. It retains the modern sensibility of cool grey while revealing delicate tonal variations across the leather surface. Perfect suited for both formal occasions and everyday wear, Gris Misty transcends seasons and genders, embodying an understated yet impeccable elegance. A gris misty Togo leather Birkin 25 with Permabrass hardware, Hermès, 2024 . 25 w x 19 h x 14 d cm. Estimate: HK$ 100,000 –160,000. Offered in Handbags & Accessories on 26 May 2025 at Christie’s in Hong Kong Y1 Vanille A signature Hermès neutral tone, this shade takes inspiration from the warm, creamy hue of vanilla pods, epitomizing the brand’s sensitivity to organic textures. It transforms the plant’s soft off-white into an elegant leather colour, subtly shifting from creamy beige to light khaki as the light changes. This unique blend of natural warmth and refined sophistication has rendered it a timeless choice among Hermès collectors, particularly those who cherish enduring elegance. A matte vanille alligator Birkin 25 with gold hardware, Hermès, 2024 . 25 w x 19 h x 14 d cm. Estimate: HK$ 400,000 – 500,000. Offered in Handbags & Accessories on 26 May 2025 at Christie’s in Hong Kong 8L Béton 8L Béton, one of Hermès’s early shades of white, is inspired by the light grey of cement. Aptly named “Glacier White”, its subtle grey undertones paired with white evoke the soft light reflecting off polar glaciers under the sun. A matte béton alligator Retourné Kelly 25 with gold hardware, Hermès, 2023 . 25 w x 19 h x 9 d cm. Estimate: HK$ 350,000 –450,000. Offered in Handbags & Accessories on 26 May 2025 at Christie’s in Hong Kong 10 Craie 10 Craie features a soft chalk white enriched with a touch of light grey. It has always been the most favoured among Hermès’s white shades by collectors since its release in the Autumn/Winter 2013 collection. A limited edition craie Epsom leather Mini Desordre Kelly 20 with gold hardware, Hermès, 2023 . 20 w x 18 h x 14 d cm. Estimate: HK$160,000 –240,000. Offered in Handbags & Accessories on 26 May 2025 at Christie’s in Hong Kong I2 Nata I2 Nata, which first made its appearance in the Autumn/Winter 2019 collection, was named after the Spanish word for cream. The ivory undertone lends a brighter and warmer appearance, and the dark brown oil edge adds sublime depth to the clean white. A limited edition nata, mauve sylvestre, lime & chai Epsom leather Kellydole Picto with palladium hardware, Hermès, 2022 . 16.5 w x 11.5 h x 7 d cm. Estimate: HK$300,000 –400,000. Offered in Handbags & Accessories on 26 May 2025 at Christie’s in Hong Kong 0T Mushroom Released in 2022, this white colour with a hint of cool tone is reminiscent of white mushrooms enveloped in morning mist. It effortlessly complements any outfit, revealing an infinite beauty of transformation. A mushroom togo leather Birkin 25 with gold hardware, Hermès, 2023 . 25 w x 19 h x 14 d cm. Sold for HK$176,400 on 28 October 2024 at Christie’s in Hong Kong M4 Gris Pale M4 Gris Pale is a lighter Hermès grey colour released in 2023. This enchanting, soft hue beautifully balances between white and grey, embodying true elegance. Under varying lighting conditions, it reveals delicate cool undertones while occasionally showcasing a hint of warmth, making it understated yet remarkably versatile. A gris pale togo leather retourné Kelly 25 with palladium hardware, Hermès . 25 w x 19 h x 9 d cm. Sold for HK$252,000 on 28 October 2024 at Christie’s in Hong Kong 37 Gold 37 Gold is considered the most versatile shade of the Hermès colour palette, as it coordinates beautifully with any outfit. This classic shade of brown harmonises with every look. Golden brown leather is sewn with delicate white stitching, a unique technique that has become a signature feature of the shade, making Hermès leather goods in this shade even more unique. A gold Togo leather Birkin 25 with gold hardware, Hermès, 2022 . 25 w x 19 h x 14 d cm. Estimate : HK$ 100,000 –160,000. Offered in Handbags & Accessories on 26 May 2025 at Christie’s in Hong Kong 73 Bleu Saphir 73 Bleu Saphir is a deep blue with a hint of a purple undertone that emerges in the light. This unique, highly saturated blue shade exudes a sense of sophistication. Hermès leather handbags in 73 Bleu Saphir are highly valued on the auction market, and their sapphire-like lustre further enhances their appeal and collectability. A shiny Bleu Saphir alligator Mini Kelly 20 II with palladium hardware, Hermès, 201 8. 20 w x 14 h x 6 d cm. Estimate: HK$260,000 –340,000. Offered in Handbags & Accessories on 26 May 2025 at Christie’s in Hong Kong Y9 Doré In 2024, Hermès released the shade of Doré, a French word representing things that shimmer with a golden glow. Paired with premium goat leather, the soft texture and natural sheen perfectly showcase a unique golden charm. The golden hue, especially in the autumn and winter seasons, adds warmth and a sense of luxury, making the overall look more vibrant. A limited edition doré chamkilight chèvre leather mini Kelly 20 II with permabrass hardware, Hermès, 2024 . 20 w x 14 h x 6 d cm. Sold for HK$ 327,600 on 28 October 2024 at Christie’s in Hong Kong Click here   for the latest Christies auctions ML Staff. Content/images courtesy of Christies.

Halle Berry wore a Gucci green GG cotton gabardine dress, and carried a Gucci 73 red leather bucket bag and Gucci red floral print twill carré at the mayor's Aioli Lunch at the 78th annual Cannes Film Festival at on May 21st, 2025, in Cannes, France.  SHOP FLORAL CARRÉ SHOP GUCCI 73 SHOP DRESS By ML Staff. Images courtesy of Gucci