RESULTS

Ahead of the Spanish Grand Prix this weekend, Alinghi Red Bull Racing was joined by two motorsports icons, 8-time Grand Prix winner Daniel Ricciardo and 8-time MotoGP champion Marc Márquez. Following Max Verstappen's visit to the Base last year, this week the two racers took it a step further, not only getting the chance to foil on the Swiss challenger's two AC40 yachts, but race them on the America's Cup venue. Swapping wheels for sails, Ricciardo and Márquez went head-to-head along Barcelona's seafront for a friendly contest, feeling the adrenaline as they reached speeds of almost 90 km/h. Both boats were quick off the start line, but ultimately the Australian driver got the upper hand, beating the Catalonian MotoGP champion on home ground. Márquez compared his experience in motorsports: "The speed is completely different. Maybe in kilometres per hour it's slower, but the feeling of the speed was super high. When you're in it, you don't feel like you are flying. But then I saw Daniel's boat flying by our side, and I realised I was too. We were foiling super smoothly." Alinghi Red Bull Racing has been working closely with Red Bull Advanced Technologies, the high-performance vehicle engineering division of Red Bull Racing. Despite the apparent difference between the two sports, both Formula One and the America's Cup share roots in high-performance engineering. "The way these boats are built and the structure feels a lot like the cockpit of a Formula One car," Ricciardo commented. "They're super sensitive with the wind, so aerodynamics has some crossover as well. It's a lot like what we do, with small movements and everything needs a lot of finesse." The Swiss team's skipper Arnaud Psarofaghis was tasked with getting the two athletes up to speed before the AC40s went out. "Daniel took my seat on the boat, and followed all my directions as I sent them through from the chase boat," Psarofaghis said. "Both Marc and Daniel were dropped in the deep end today, and they adapted really quickly. Overall, it was a super inspiring day out on the water with these guys." Although it was a lower-stakes race for Ricciardo ahead of the upcoming Spanish Grand Prix this Sunday, the friendly competition with his Red Bull colleague might just be the perfect preparation as he gears up for the racetrack. EXTRA QUOTES Daniel Ricciardo, F1 Pilot: "You never know what to expect when you experience something like this, but I had a lot of fun. Also to do it with Marc, it was great for us to spend some time together and do something like this with Alinghi Red Bull Racing. I want to wish the team the absolute best for the America's Cup. It's going to be awesome. I've seen everything, and we know you're going to do great, so we'll be cheering you on. When you come out of the water foiling, the boats go so fast, the agility and everything's really precise. You also feel the wind like we do – and Marc does on his bike – but unless it's a wet race we don't really get the water that much. So every now and then you hit a wave and get covered with water." Marc Márquez, Moto GP driver: "For me, the most impressive thing is the coordination needed inside the boat. The biggest thing I was asking myself was how they learn and understand what they need to do. Because it was super difficult to feel what's going on inside the boat because as soon as you are flying, everything is super smooth. You need to be super precise. In motorsport, if you make a mistake, you fall down. But here, in a race, I imagine that if you make a small mistake, you drop the speed very quickly, and then it takes a lot of time to reach that speed again." Arnaud Psarofaghis, Alinghi Red Bull Racing skipper: "I watch a lot Formula 1 and MotoGP, so to show these guys around our Base was great. Daniel and Marc were really interested to learn about our America's Cup campaign, so before we got on the water I even gave them a behind-the-scenes tour onboard our AC75, BoatOne. We've been here as a team for two years, getting to know the conditions of Barcelona and how to sail these boats, so seeing both of them quickly learn the ropes was a big inspiration ahead of the racing this summer." By ML Staff. Content/Image courtesy of RedBull

Hard Rock Stadium announced today it has received the Leadership in Energy and Environmental Design (LEED) Gold v4.1 O+M certification for the overall sustainability of both Hard Rock Stadium and the Miami International Autodrome Paddock Club building. South Florida Motorsports (SFM) was also awarded the prestigious FIA Three-Star Environmental Accreditation rating, which is the highest rating achievable for demonstrating best practice in environmental management. The LEED v4.1 O+M Certification is a green building certification program led by the U.S. Green Building Council (USGBC) that rates buildings for their operational performance. This certification provides a framework for building owners and operators to be environmentally responsible and use resources efficiently. Hard Rock Stadium is now one of six NFL stadiums which has received Gold or higher certification for operations of the facility. It is the only Formula 1 venue in the United States to receive the FIA Three-Star Environmental Accreditation rating. “We are proud to be LEED certified Gold for both Hard Rock Stadium and the Formula 1 Paddock Club building. To transform a 37-year-old stadium into an energy-efficient building is an incredible feat thanks to the collaborative efforts across many departments and individuals who have set out to ensure that we continue to be environmentally-responsible stewards of this community asset,” said President and CEO of Hard Rock Stadium and Managing Partner of the Formula 1 Crypto.com Miami Grand Prix, Tom Garfinkel. “Under the vision and leadership of Stephen Ross, Hard Rock Stadium has become not only one of the premier sports and entertainment venues in the world, but also one that prioritizes sustainability and community impact. We are proud of this recognition and will continue these efforts to lead the way in sustainability while bringing world-class events to Miami Gardens for years to come.” These certifications, supported by the guidance of 3R Sustainability, a certified B Corporation and woman-owned consulting firm, come after years of dedicated sustainability efforts that span across the organization. In late 2019, the organization committed to phase out 99.4 percent of fan-facing single-use plastics in the food and beverage operation, which eliminated a total of 2.8 million units of plastic annually. Hard Rock Stadium was the second venue in the United States to make the wholesale move away from plastic cups and the first within professional sports. A member of the Green Sports Alliance, Hard Rock Stadium also diverts waste from landfill through innovative sustainability efforts that includes bio digesters – composting through liquid food digesters – and recovering kitchen oil into biofuel, creating renewable energy. As part of their sustainability strategy to reduce carbon, SFM has introduced a number of environmental initiatives across their Formula 1 operations, which includes eliminating single-use plastic, reducing waste, auditing energy consumption and tracking progress to continually improve around the Miami International Autodrome campus. In the three years of hosting the Formula 1 Crypto.com Miami Grand Prix, SFM has taken steps to reduce the carbon emissions associated with fan travel by offering various transportation options such as park and rides, walk and rides and ride share partnerships. The FIA Environmental Accreditation Programme is aimed at helping motor sport and mobility stakeholders worldwide to measure and enhance their environmental performance and recognizes their sustainable efforts, including the engagement with the local area, and Hard Rock Stadium and SFM have worked closely with the residents, schools and community restaurants to support and offer placements on campus during the race weekend each year. Following the recent sustainability honors, Hard Rock Stadium will host the final of CONMEBOL Copa America 2024 on July 14 followed by a full slate of Miami Dolphins and Miami Hurricanes football games in the fall. Hard Rock Stadium is a global entertainment destination and cultural curator of world-class events. The best-in-class venue is a home to the Miami Dolphins, University of Miami football team, Orange Bowl, Formula 1® Crypto.com Miami Grand Prix, Miami Open presented by Itaú, major concerts, championship boxing, CONMEBOL Copa America 2024™ and FIFA World Cup 2026™. For more information, visit hardrockstadium.com. By ML Staff. Content/Image courtesy of Hard Rock Stadium

Louis Vuitton was born in 1821 in the mountain town of Anchay, in eastern France. Around the age of 13, he set off on foot to find his fortune in Paris. It was a journey of some 300 miles, and it took him more than two years. On arriving in Paris, aged 16, Vuitton became an apprentice to a manufacturer of packing boxes. He excelled at his craft and in 1853 was hired as the personal box-maker and packer to Eugénie, Empress of France. Before long, he was the travel goods manufacturer of choice among the aristocracy. Louis Vuitton trunks, all offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online. Clockwise from bottom left: a monogram canvas wardrobe trunk with brass hardware, 1930 (€10,000-15,000); a monogram canvas Cabin 110 trunk with brass hardware, 1915 (€7,000-9,000); a Gris Trianon coated-canvas rounded-lid trunk with black lacquered iron hardware, circa 1870 (€5,000-7,000); a green Vuittonite canvas Courrier 90 trunk with black lacquered iron hardware, 1909 (€8,000-10,000); a natural cowhide leather trunk with brass hardware, 1913 (€6,000-8,000); and a Damier canvas lady’s High 100 trunk with brass hardware, 1895 (€10,000-15,000) Harnessing his experience and growing reputation, Vuitton opened his own workshop in 1854 at 4 Rue Neuve-des-Capucines near the Place Vendôme. With his clients travelling farther, faster and more often, he set about designing durable, more easily transportable luggage. In 1858, he introduced the first flat-topped trunk that could be stacked — a revolution, because until then packing boxes had had curved lids. Commercial success soon followed, and in 1859, Vuitton opened a larger atelier in Asnières, just outside Paris, where Louis Vuitton products are still crafted to this day. By 1867, Vuitton was showcasing his creations at the Exposition Universelle in Paris, winning a bronze medal and gaining international acclaim. The evolution continued in 1872, with the introduction of the company’s iconic striped canvas, followed in 1875 by the pioneering wardrobe trunk, which revolutionised travel packing. In June 2024, Christie’s will present Legendary Trunks: A European Private Collection, the largest single-owner collection of Louis Vuitton trunks ever offered at auction. Featuring around 100 trunks and accessories from across the 20th century, it traces the evolution of luxury travel and the design and function of Louis Vuitton trunks. The sale is live for bidding until 3 July 2024. Louis Vuitton’s signature materials Louis Vuitton’s early trunks were crafted from Trianon canvas, a grey, water-resistant fabric that was odourless and extremely hard-wearing. As the popularity of Vuitton’s trunks grew, however, so too did the number of imitations. In a bid to prevent plagiarism, Vuitton expanded his range of canvas coverings: he introduced striped canvases in red and white (1872) and beige and brown (1876), followed in 1888 by the Damier canvas — the checkerboard design that is now synonymous with the brand. A beige and brown striped canvas Cabin 90 trunk with brass hardware, Louis Vuitton, 1895. 85 x 33.5 x 48.5 cm. Estimate: €5,000-10,000. Offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online In 1896, Vuitton’s son Georges introduced the LV monogram canvas in memory of his late father. The signature design, which still adorns a wide range of Louis Vuitton products, from handbags and trunks to clothes and accessories, has a floral and star motif alongside the initials of the company’s founder. An orange Vuittonite canvas trunk for 30 pairs of shoes, with brass hardware, Louis Vuitton, 1926. 63.5 x 115 x 40 cm Estimate: €10,000-15,000. Offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online Coloured Vuittonite canvas — in yellow, red, green or orange (as seen in the example above) — usually appears on trunks made between 1900 and 1920. A robust fabric that can withstand exposure to the elements, it was sewn directly onto wooden trunks. It was also popular for use in cars, as it could easily be dyed to match the colour of the vehicle. (Most cars of that era were black, so black Vuittonite was widely used.) Other materials that appear in special-order pieces and smaller travel accessories include wood, zinc, copper and animal skins such as crocodile. The unpickable lock In 1886 — the year after the opening of the company’s first store outside France, on Oxford Street in London — Louis Vuitton adopted a single-lock system with two spring buckles that was ‘unpickable’. The lock was deemed so effective that Georges Vuitton challenged Harry Houdini, the celebrated American escapologist, to escape from a locked Vuitton box. Houdini didn’t rise to the challenge, but the lock’s innovative system remains one of the brand’s greatest innovations. It is now a hallmark of Louis Vuitton trunks, and is still used on new models produced today. Classic models New collectors often begin their journey with classic hard-sided models, such as wardrobe, steamer and cabin trunks, in the monogram canvas or Damier Ebene, the distinctive checkerboard design in light and dark brown. ‘These models epitomise the quintessential Louis Vuitton aesthetic and the art of travel through the ages,’ says Christie’s Handbags & Accessories specialist Lucile Andreani. ‘They also retain their value exceptionally well over time, making them perpetually popular among collectors.’ A natural cowhide leather Ideal trunk with brass hardware, Louis Vuitton, 1894. 100.5 x 46 x 47.5 cm. Estimate: €6,000-8,000. Offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online The Ideal trunk is also highly prized for its elegant shape and functional double-top design. The example above, which is crafted from cowhide and embellished with brass hardware, has separate compartments for shoes, hats and scarves. ‘The Ideal trunk was first introduced in 1905 and originally named “Perfect” because it was the perfect — or ideal — size for a week-long business trip or vacation,’ explains Andreani, adding that the model was particularly favoured by gentlemen travellers. ‘The compartments within open up to reveal their contents like a toolbox.’ From clothes to books, paints, wine and cake As the luxury travel industry evolved, Louis Vuitton adapted its trunks to suit the changing needs of its clients. In the early 20th century, the company embraced the idea that it wasn’t only clothing that could travel. It has since designed boxes to store and transport everything from picnic sets and billiard cues to records, watercolour paints, cakes, Christmas decorations, wine decanters and books. A special-order monogram canvas box for a birthday cake, with brass hardware, by Tomoko Tashiro, Louis Vuitton, 2004. 30 x 26 x 30 cm. Estimate: €15,000-20,000. Offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online Louis Vuitton’s library trunks, which could be placed on a table, elegantly showcasing the volumes inside, are today among the brand’s most popular and collectable models. Over the years they have become sought-after by collectors and bibliophiles, including some well-known writers. A yellow Vuittonite canvas library trunk with brass hardware, Louis Vuitton, 1926. 37 x 68 x 46 cm. Estimate: €4,000-6,000. Offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online The Hemingway library trunk, which features drawers, convertible book compartments and space for a typewriter, was originally conceived by Gaston-Louis Vuitton for Ernest Hemingway. Library trunks in the Hemingway style come in various materials, including yellow Vuittonite, as seen in the example above. ‘Library trunks and other vintage models have transcended their original purpose as travel companions to become exquisite decorative collectables,’ notes Andreani. ‘Classic models in timeless hues like brown or black, or those crafted from Louis Vuitton’s signature materials, seamlessly double as chic coffee or side tables. Meanwhile, trunks featuring distinctive colours such as forest-green, red or yellow Vuittonite, as well as rare metal trunks originally designed for expeditions, can add an elegant touch to grand entertaining spaces, showcasing their enduring appeal and versatility.’ Special-order trunks Louis Vuitton’s Asnières atelier has been producing special orders since the early 1900s. ‘Special-order trunks tend to be acquired by established trunk collectors with a deep knowledge of the brand and its heritage,’ says Andreani. ‘Collectors are drawn to these pieces for their rarity, innovative design, quality craftsmanship — and, of course, the story they represent.’ A monogram canvas desk trunk for 36 pairs of shoes, with brass hardware, Louis Vuitton, 1926. 63.5 x 114 x 40 cm. Estimate: €15,000-20,000. Offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online The company’s most extravagant and innovative creations were published in Louis Vuitton: 100 Legendary Trunks (2010). Celebrated special orders include the Trunk Bed, designed for Pierre Savorgnan de Brazza for his 1905 expedition to the Congo, and the Lily Pons Shoe Secretary Trunk (1925), which was designed to accommodate the opera singer’s extensive footwear collection. Louis Vuitton used the Lily Pons trunk as the model for others, including the monogram example above. A red Vuittonite canvas trunk with brass hardware, Louis Vuitton, circa 1926. 73 x 31 x 39 cm. Estimate: €20,000-30,000. Offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online Albert Kahn’s custom-made, air- and watertight trunks were designed to accompany the banker on his photographic expeditions around the world. The interiors, lined with grey fabric, featured compartments for his cameras and other equipment, while the exteriors were covered in red Vuittonite and adorned with three white birds. Khan’s signature motif appeared on numerous trunks ordered between 1911 and 1929, including the example above, offered in the current online sale. Other notable special orders include a monogram croquet trunk, a monogram watch trunk and a Damier trunk from 2006 made to store traditional utensils for the Japanese tea ceremony. Limited-edition trunks Louis Vuitton constantly reinvents classic models and looks to the brand’s archive for inspiration. The resulting designs are often produced in limited editions, making them highly sought-after by collectors around the world. A limited-edition yellow and white monogram Courrier 110 trunk with silver hardware, by Virgil Abloh, Louis Vuitton, 2021. 110.5 x 51 x 54.5 cm. Estimate: €50,000-70,000. Offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online In 2021, the late fashion designer Virgil Abloh reimagined the company’s famous Courrier trunk, covering it in a yellow monogram canvas with silver hardware. ‘Abloh transformed the classic steamer trunk into a vibrant contemporary masterpiece,’ says Andreani. ‘This collaboration marks a significant moment in the brand’s history — it highlights the house’s spirit of innovation, as well as its ability to reinvent itself in an ever-changing world of luxury fashion.’ A rare monogram canvas Casino Trunk with brass hardware, Louis Vuitton, 2009. 53.5 x 110 x 53.5 cm. Estimate: €50,000-100,000. Offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online Equally desirable are new limited-edition designs such as the Casino Trunk, which was launched in 2009 to celebrate the grand opening of Louis Vuitton’s store in Macau. The exterior showcases the company’s signature monogram print, while its interior features storage compartments for gambling paraphernalia, including a roulette wheel, 20 packs of cards and 800 poker chips. ‘For collectors and enthusiasts, the Louis Vuitton Casino Trunk is more than just a piece of luggage,’ says Andreani. ‘It is an extraordinary and elegant example of the brand’s ability to blend luxury with functionality and entertainment.’ Collaborations Louis Vuitton trunks, bags and accessories conceived in collaboration with renowned fashion designers and artists combine the heritage and prestige of the brand with contemporary creativity and style, resulting in highly collectable pieces. A limited-edition red and white monogram Malle Courrier 90 trunk with silver hardware, by Supreme, Louis Vuitton, 2017. 90 x 51 x 48 cm. Sold for HK$1,100,000 on 25 November 2019 at Christie’s in Hong Kong In 2017, Louis Vuitton teamed up with Supreme, a mainstay of New York City streetwear and one of the most coveted brands in the world. ‘The trunks are the perfect blend of New York street style and French savoir-faire, and they epitomise the ingenuity, artistry and heritage of Louis Vuitton,’ says Andreani. ‘They command high prices at auction.’ In celebration of Vuitton’s bicentennial birthday in 2021, Louis Vuitton presented another collaborative project, Louis 200, that exemplified its desire to evolve while also respecting its heritage and history. The company invited 200 leading figures from the arts, sciences, sports and politics to reimagine the original 1858 trunk. The 200 bespoke trunks were then presented in 200 Trunks, 200 Visionaries: The Exhibition, which travelled from Asnières to Singapore and Los Angeles, before landing for its final stop in New York. Collaborators included the architect Frank Gehry, the astrologer Susan Miller and fashion designer Marc Jacobs. A collecting phenomenon In recent years, the secondary market for Louis Vuitton trunks has expanded. ‘Vintage and rare models have seen an uptick of interest from collectors worldwide, driven by their scarcity and historical value,’ explains Andreani. Which, of course, drives up auction prices. In 2014, Christie’s offered the largest single-owner collection of Louis Vuitton trunks to date in The Ski Sale, Travel in Style, with a wardrobe trunk in monogram canvas from the 1930s achieving £37,500. Since then, prices for Louis Vuitton trunks have skyrocketed. In December 2018, an aluminium trunk sold for £162,500 — a record-breaking price for a Louis Vuitton trunk — while in May 2019 a brass trunk sold for HK$1,250,000 (around $160,000) in Hong Kong. A rare copper wardrobe trunk from 1925, pictured below, is offered in Legendary Trunks: A European Private Collection. A rare hermetic copper Explorer wardrobe trunk with brass hardware, Louis Vuitton, 1925. 55 x 110.5 x 54.5 cm. Estimate: €120,000-180,000. Offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online Because of their rarity, metal trunks — also known as Explorer trunks — command high prices at auction. ‘Metals such as copper and aluminium are extremely durable and so protect the contents within from heat, humidity and moisture,’ explains Andreani. ‘They are also symbolic of a golden era when exploration was synonymous with style, glamour and elegance.’ A monogram canvas wardrobe trunk with brass hardware, Louis Vuitton, 1930. 55 x 110 x 65 cm. Estimate: €24,000-35,000. Offered in Legendary trunks: A European Private Collection until 3 July 2024 at Christie’s Online Celebrity provenance is another factor driving prices up. In 2011, a set of Alzer suitcases and a boîte pharmacie offered from the collection of Elizabeth Taylor achieved $110,500, more than 22 times the high estimate; while in 2022, a set of three suitcases offered from The Collection of André Leon Talley sold for $94,500, more than 23 times the high estimate. Among the lots with celebrity provenance in the current sale are threes trunks formerly owned by the English actor John Moffat, best known for his portrayal of Agatha Christie’s Belgian detective, Hercule Poirot. The monogram wardrobe trunk above has six drawers and hangers, and features Moffat’s name prominently on the exterior. ML Staff. Content/image courtesy of Christies. Click here for the latest Christies auctions

Glass House Boca Raton, the first modern glass building in the heart of downtown Boca Raton, featuring 28 gracious residences, is pleased to continue building a South Florida-based team of real estate experts. GlassHouse welcomes Anthony Perera, founder and managing partner of Exuma Capital Partners, as general partner; and Square Edge as construction management partner. Perera is a South Florida businessman and serial entrepreneur with a 20-year history of highly profitable and diverse business ventures. In addition to investing capital, he shares his expertise and resources. Exuma Capital Partners has made various investments across numerous construction organizations including Air Pros USA, Peak Roofing Partners and Inspected.com. Established in 2014, Square Edge is a full-service real estate project management and advisory company based in Miami, Florida, and working across all sectors of real estate development. Its sectors include core and shell, corporate interiors, retail, hospitality and gaming, art and culture, education, residential and master development. This team is in addition to Glass House’s stellar visionaries, renowned West Palm Beach architecture firm Garcia Stromberg, celebrity interior designer Wade Hallock of Miami-based Hallock Design Group, and award-winning landscape architects AGTLAND of Delray Beach. Douglas Elliman Development Marketing is the exclusive sales and marketing team for Glass House Boca Raton. “I am honored to join this team of local partners who live and breathe South Florida and are vested in the local community,” said Perera. “This is a magnificent project that is arising amidst a renaissance in downtown Boca Raton, and I’m excited to be a part of it.” Less than one mile from the beach, Glass House Boca Raton, a 10-story, intimate luxury residential development, is expected to be completed in Q4 2026. It launched sales in February 2024, and groundbreaking is slated for the first quarter of 2025. Offering the city’s only rooftop pool oasis with stunning ocean, Intracoastal, and golf course views, Glass House Boca Raton features open concept layouts with two- to four-bedroom floor plans ranging from 2,504–3,950 square feet. Select residences include a den/office. Purchasers have the option to combine for half- and full-floor residences. They include private terraces ranging from eight to 12 feet deep, spa-inspired primary bathrooms, gourmet kitchens, a Crestron automation system and more. The premier rooftop oasis includes a private pool, private cabanas, in-pool sun deck, Jacuzzi, fire pit, and an outdoor catering kitchen with a commercial BBQ grill. A state-of-the-art fitness center with outdoor turf lanes, infra-red sauna, steam room, and a plunge pool can be found on the first floor, in addition to a residents-only “Palmetto Lounge,” which will offer demitasse and a tranquil space to meet privately. With monitored entries including a full-time door attendant, Glass House offers two levels of underground parking with two parking spaces for every residence, including a limited number of climate-controlled private two-car garages with storage, a residents-only car wash, golf cart parking and charging station, and parking for residents’ bicycles. Brightline’s new Boca Raton station is less than one mile away. Glass House Boca Raton also offers a generator for fire life safety and elevator service. Glass House is offering residents two complimentary annual Sollis Health preferred memberships for one year, subject to availability. In addition, it is offering a limited number of preferred membership opportunities to its residents at the iconic The Boca Raton (formerly Boca Raton Resort & Club), subject to availability (golf not included). Glass House Boca Raton is located at 280 E Palmetto Park Road, Boca Raton, FL 33432. Pricing is from $2.5 million to over $6 million. For more information, call 561-232-2644. The sales gallery is located at 221 E Palmetto Park Road, Boca Raton, FL 33432. By ML Staff. Renderings by wearevisuals

In today's volatile financial environment, getting to the end of the month isn't always easy. With sudden expenses cropping up unexpectedly, one often needs a financial nudge to cope. However, there's a solution at hand;  short term loans UK  can provide the quick cash injection needed. But like any financial decision, they come with their own set of benefits and risks that should be carefully considered. Image by PaeGAG / Adobestock Benefits Of Short Term Loans 1.  Fast Accessibility : One of the primary benefits of short term loans is their speed. Usually, the application process is quick and straightforward, meaning that you'll often have access to the funds within 24 hours. 2.  Less Interest : As you're borrowing money for a shorter period, you'll likely pay less interest than you would with a long-term loan. 3.  No Long-Term Commitments : Short term loans are designed to be paid back quickly, which can be beneficial if you don't want to be tied into a long-term financial commitment. 4.  Bad Credit Accepted : Many lenders of short term loans are willing to consider applications from people with poor credit ratings. While this doesn't guarantee approval, it might increase your chances of obtaining a loan. Risks Of Short Term Loans 1.  Higher Interest Rates : While short term loans can have lower total interest due to the short borrowing period, they often come with higher interest rates compared to other types of loans. 2.  Quick Repayment : These loans often require you to repay the amount borrowed plus any interest and charges quite quickly. If you miss payment dates, there can be severe penalties. 3.  Debt Cycle Risk : If a loan is not managed responsibly, there's a risk of falling into a debt cycle, continually borrowing to cover the costs of previous loans. 4.  Damage to Credit Score : If not managed properly, these loans can damage your credit score, affecting future borrowing potential. Image by Rapeepat / Adobestock In conclusion, short term loans can definitely be a useful financial tool when used wisely and responsibly. They can provide a quick solution for short-term cash flow problems, but their benefits should be weighed carefully against the potential risks. Always remember to understand the terms and conditions of your loan thoroughly and consider seeking independent financial advice if you're unsure. By ML Staff. Images courtesy of Adobestock

In partnership with SwimShow, the eagerly anticipated Summer Fashion Summit is gearing up for its second annual event on June 1st and 2nd. Promising two days packed with educational conversations, networking opportunities, and exclusive insights, this summit aims to reshape the landscape of swimwear fashion while addressing key sustainability challenges facing the industry. Hosted by Natalija Dedic Stojanovic, Founder of Summer Fashion Summit and Co-Founder/Creative Director of PARAISO Miami Swim Week, alongside Judy Stein, Executive Director of SwimShow, the summit brings together leading figures in swimwear, resort wear fashion, and sustainability solutions. The agenda is brimming with engaging sessions tailored to industry professionals seeking to stay ahead of the curve. Attendees can expect panel discussions, presentations, and invaluable networking opportunities with like-minded peers. Key sessions include a panel discussion on "How to Stay Relevant in a Saturated Market," where industry veteran Somkele Idhalama, Chief Product Officer of the Andrea Iyamah line, will share insights on navigating a competitive landscape. Kendal Becker, Director of Fashion and Media Relations at Trendalytics, will delve into data-driven trend forecasting in the digital age in her presentation, "The Art of Trend Science." Moreover, the summit will explore the intersection of technology and fashion in a panel discussion on "Transforming Retail with In-depth Consumer Insights Enabled by AI," featuring Fashion Tech strategist Julie Evans. Media dynamics in fashion will also take center stage in a panel led by Alle Fister, CEO of Bollare PR agency, discussing the balance between social and traditional channels. Attendees will also have the opportunity to gain expert trend forecasting insights from Rebecca Saygi, Editor & Trend Forecaster at WGSN, a global authority on change. Additionally, industry leaders like Ron Grundland, CEO of Gottex, and Eloise Monaghan, Founder of Honey Bridgette, will share their expertise on sustainability and driving revenue growth through innovation. One of the most anticipated sessions will feature Steve Philpott, CEO of Bond-Eye, discussing strategies for building successful swimwear brands that resonate with consumers, focusing on inclusivity and sustainability. With such a comprehensive lineup of industry experts and thought leaders, the Summer Fashion Summit promises to be a transformative event for the swimwear industry, offering invaluable insights and strategies for navigating an ever-evolving market. Tickets are available now for those looking to be part of this groundbreaking event. By ML Staff. Images courtesy of Summer Fashion Summit

Global fashion powerhouse, Oh Polly Swim, made waves with its runway presentation at Miami Swim Week on Friday, 31st May 2024. The highly anticipated show took place at 10:00 PM in the Paraiso Tent at The Collins Park, Miami Beach, FL., where the brand showcased 19 unreleased looks on the 80ft runway. Models were dressed in swimwear from two visually striking collections, due to be released this summer. The first, a collection of vivid mix-and-match bikini sets rendered in color-pop hues, from raspberry pink to pear green and ocean blue, echoing the appearance of tropical landscapes, and elevated with custom-developed hardware, including statement O-rings and shell charms. The second, a selection of swimwear crafted from all-new high-shine satin fabric in light pastel hues, inspired by the serenity and calm of cotton candy skies at sunrise, with coordinating cover-ups ranging from timeless sarongs and shirts to a playful draped mini dress, a cut-out ruched skirt and two maxi dresses, offering a complete and head-turning holiday wardrobe. The brand demonstrated its signature artistic prowess with a variety of must-have swim silhouettes elevated with cut-out elements, custom detailing, and premium fabrications, including high-shine lycra and swim satin. Shapes ranged from classic triangle, bandeau, sweetheart, and scoop-neck styles to multi-wear and crossover designs that are in keeping with the brand’s keen creative eye and commitment to reinventing the wheel. Following its recent rebrand, Oh Polly Swim’s presence at Miami Swim Week marks another significant milestone, as the brand continues to share its values of innovation, inclusivity, and empowerment, as well as making waves within the fashion industry at a global level. The pieces shown on the runway will be released throughout the summer and available to shop exclusively on www.ohpolly.com. ABOUT OH POLLY Oh Polly is a rapidly growing pure-play fashion brand selling women's clothing internationally. They have offices in Glasgow, Liverpool, London, Los Angeles, Dhaka, and Guangzhou, with over 350 employees in the UK and 1500 directly employed worldwide. With a social-first business model centered around industry-leading Instagram and TikTok accounts, the brand delivers affordable, high-quality clothing built around an ethical supply chain. In 2019, Oh Polly was ranked as the 5th most social media engaged clothing brand within the UK and by March 2024, they had a combined following of over 9 million people. This puts them among the fastest-growing fashion brands within the UK. Visit www.ohpolly.com for more information. Social Media: @ohpolly By ML Staff. Images courtesy of Getty & World RedEye

The excitement in the air was palpable as the calendar turned to July 4th. Collectors and art enthusiasts from around the world eagerly awaited the grand auction of Old Master Paintings & Works on Paper, set to begin at 10:00 AM at Sotheby's in London. This sale promised an extraordinary array of art spanning over four centuries, showcasing masterpieces from major national schools. Effective May 20th, 2024, Sotheby's had made significant changes to its Buyer's Premium rates, much to the delight of bidders. The Overhead Premium was now only applicable to Wine & Spirits, making this auction even more appealing to those looking to invest in timeless art pieces. The updated rates could be found in the Conditions of Business on the relevant sale page. Pieter Aertsen and workshop The Last Supper. Property from a Flemish Private Collection This July sale was particularly noteworthy due to the rich diversity of works on offer. It included Flemish and Dutch Golden Age paintings, dramatic Italian Baroque pictures, elegant British and French portraits, and an impressive selection of paintings and drawings with distinguished provenance. Among these was a group from the esteemed collection of Dr. Einar Perman (1893–1976), which added a touch of historical significance to the event. The auction was meticulously organized, with Old Master Paintings categorized into lots 101 to 127 and 141 to 230. Works on Paper were grouped into lots 128 to 140 and 231 to 281. Each lot represented a unique piece of history, a testament to the artistic genius of the past. As the clock struck 10:00 AM, the auctioneer's gavel came down, and the first lot was unveiled. The room buzzed with anticipation, each bidder hoping to secure a piece of the rich artistic legacy on display. The auction was not just a sale; it was a celebration of art, history, and culture, a moment where the past met the present in the most exquisite manner. For more information click here. Top image: Jacob van Oost the Elder and Jacob van Oost the Younger Diana with her hounds seated on stag in a landscape, Estimate £60,000–80,000. By ML Staff. Image courtesy of Sotheby's

The Inter Miami CF Academy recently wrapped up the MLS NEXT season by participating in 2024 MLS NEXT Cup Playoffs in Nashville. After our Academy's U-13, U-14, U-16, and U-17 sides clinched titles in their respective MLS NEXT league divisions, our U-15s, U-16s, and U-17s went on to compete in this year’s MLS NEXT Cup Playoffs. The teams earned qualification based on league standings or by winning their groups at MLS NEXT Flex. Notably, the U-15 team secured their spot by finishing atop the MLS NEXT Flex U-15 category. Here’s a look at our Academy’s U-15s, U-16s, and U-17s performance at this season’s MLS NEXT Cup Playoffs. U-15 Our youngest age group in MLS NEXT competition faced Sacramento Republic in the Round of 32 and endured a narrow loss in a penalty shootout (4-5). Additionally, the boys participated in two showcase matches which concluded with a stellar 4-1 victory over Real Salt Lake and 0-1 loss against FC United Soccer Club. U-16 The Inter Miami CF U-16s began their tournament journey with a 2-0 victory over FC Bay Area Surf and advanced to the Round of 16 with another notable 2-0 win against Intercontinental FA. Despite securing a spot in the Quarterfinals, they were knocked out by St. Louis CITY SC, who prevailed 4-2 in a penalty shootout. U-17 The U-17 team began strongly by progressing to the Round of 16 with a 3-2 victory over the Colorado Rapids. However, their momentum was halted as they lost to Charlotte FC in a penalty shootout (3-4), preventing them from securing a second consecutive win. Notably, the U-17s then participated in one showcase match winning 3-2 over FC Cincinnati. For additional coverage of our teams, you can follow our Academy’s journey online by following our X @InterMiamiAcad and Instagram @InterMiamiCF_Academy accounts By ML Staff. Content/Image courtesy of Inter Miami CF

Ease into your Sunday and join us at Michelin-starred Le Jardinier from 12-4PM. With any brunch reservation beginning June 23rd, receive a welcome glass of bubbles and then choose from a perfect summer spritz or by the glass options by Champagne Telmont. Just in time for summer, enjoy this special drink menu through July 7th. DATE: Sunday, June 23, 2024 -Sunday, July 7, 2024 TIME: 12:00PM - 4:00PM ADDRESS Le Jardinier 151 NE 41 St. Suite 135 Miami FL, 33137 More Info ML Staff. Content/image(s) courtesy of MDD

For Gemma Rolls-Bentley, encapsulating the breadth of the contemporary queer experience in a single book has proven to be the ultimate curatorial exercise. ‘There were meant to be 100 artists; in the end there are nearly 200’, the London-based curator, creative consultant and writer tells Christie’s of her newly published tome, Queer Art: From Canvas to Club, and the Spaces Between. Having worked at the forefront of contemporary art for almost two decades, Rolls-Bentley has established herself as a fierce advocate for the LGBTQIA+ community by curating shows across the globe, including the 2023–24 exhibition Dreaming of Home at the Leslie-Lohman Museum of Art in New York City. Left: Quarto/Frances Lincoln Right: Gemma Rolls-Bentley. Photograph by Christa Holka Approaching the book ‘like a curator’, Rolls-Bentley grouped works by LGBTQIA+ artists like Andy Warhol, David Hockney, Catherine Opie, Felix Gonzalez-Torres and Nina Chanel Abney, amongst others, into three sections: ‘Queer Spaces’, ‘Queer Bodies’ and ‘Queer Power’. ‘I didn’t want to organise it chronologically because I wanted it to be super approachable, not academic,’ says the author. Her selection of images reflects a full spectrum of experiences within the community, whether it be survival and protest, heartbreak and lust, domesticity and nightlife, or isolation and belonging. Below, Rolls-Bentley discusses the queer artists, past and present, whose works have most touched her — for as many pieces pull at her heartstrings, there are others that fill her with joy, laughter and pride to be part of this multi-faceted community. Christina Quarles, Try n’ Pull tha Rains in on Me, 2022. Courtesy of Christina Quarles, Pilar Corrias, London, and Hauser & Wirth Ghada Khunji, Maria, Myself and I from the series ʻThe Dark Ages’, 2016. © Ghada Khunji How do you describe the queer art landscape today? Throughout history, there are many examples of artists making work about the queer experience, however, that art has often been erased, excluded or, perhaps, framed in a way that didn’t centre the queerness. Right now, the art world is looking back and finding ways to highlight and celebrate these works. There is huge interest in many contemporary artists, like Jenna Gribbon and Christina Quarles. They’ve said to me that the queerness in their work, even if pretty explicit, is not always discussed openly. At the same time, if you look at the key commercial galleries, they still often underrepresent queer artists and particularly trans artists. There are a lot of people making the work, but how many of those people are making a living from their work? There’s still a gap. How did you determine which artists you’d feature? Did you have any selection parameters in mind? It was not an easy task. I took Stonewall as a loose starting point because the 1969 riots were such a pivotal moment that really changed and informed our understanding of queerness. That’s what gave birth to the global Pride movement, and art and culture followed. I was determined to make sure that this book looked different from anything that had come before. I wanted it to have lots of female artists, trans artists, artists of colour and artists from all around the world — not just artists of different nationalities that have moved to New York, Los Angeles or London. It was quite a laborious but very joyful process because it involved a lot of discovery. Beyond figurative painting and photography, I also wanted to include sculpture, film and performance. As the book’s subtitle suggests, for queer people, our journey is not always straightforward, and as such, the art does not always make it into a gallery or a museum. A lot of the vibrant creativity that comes out of the queer community is often found in the club, on the dance floor, on a catwalk, on a podium or in the streets at a protest. Osinachi, Becoming Sochukwuma, 2019. © Osinachi You also feature artists from countries where it is not safe to be openly gay. Do you think there is a general misconception about LGBTQIA+ progress? In many countries, we have these big landmark moments like marriage equality, and we have more queer visibility on television shows. I think that suggests to people that we’re always on an upward trajectory, however, the reality is many other countries are introducing new anti-LGBTQIA+ laws. And even in the United States and Europe, these are really challenging and scary times for the trans community. Who are some of the artists you were most excited to learn about during your book research? Nigerian artist Osinachi has made quite a lot of work in a digital format about being queer. The book features Becoming Sochukwuma, which is about this story that relates to Nigeria’s 2014 anti-gay law [people could be incarcerated for same-sex marriage, public displays of affection or for being affiliated with LGBTQIA+ rights groups]. Another artist who I think is super interesting is April Bey. She is from the Bahamas and lives in Los Angeles. She makes work about a fictional prejudice-free planet called Atlantica where nobody feels othered. The only currencies are love and glitter. There are a lot of examples of artists, like April, who are using their work to imagine better worlds. Charmaine Poh, Jean and Xener from the series ‘How They Love’, 2018. © Charmaine Poh The 60th International Art Exhibition, Foreigners Everywhere, at this year’s Venice Biennale brings the work of many past and present queer artists to the fore. Were there any works you found particularly striking or inspiring? It was brilliant to see some of the artists whose work I’ve been looking at for a long time be truly celebrated in the Biennale. A really good example is Charmaine Poh, who is an artist from Singapore that lives in Berlin. She had two videos at the end of the Arsenale. Her work is about queer families and love. While it is activism, it’s also very beautiful and tender. It was also great to see Salman Toor and Jeffrey Gibson, as well as Xiyadie, a Chinese artist who makes these amazing papercuts. Who are some of the historical queer artists in the book that you think deserve more attention? British painter Maggi Hambling. She’s a beloved icon in the UK, but I don’t think she’s celebrated enough internationally. Greer Lankton, who passed away and whose estate is represented by Company gallery, is another artist that should have been celebrated more during her time. I’d also add G.B. Jones, who is like the female Tom of Finland. Maggi Hambling, Wilde and the Wallpaper, 1996–1997. © Maggi Hambling You mentioned your desire for Queer Art to spark new discourse. What do you hope people will consider further? There are several household names whose work has not been examined enough through a queer lens. For example, David Hockney’s work has always been explicitly queer, but I wouldn’t say the mainstream art market and establishment have celebrated his queerness enough. Similarly with Francis Bacon and his work about George Dyer’s death, it’s queer romance and heartbreak at its best. Additionally with Robert Indiana and his LOVE sculpture, since the book came out, many people have said to me, ‘Wow, I’ve seen that image 100 times, and I never knew there was queer love behind it.’ I think it’s very validating for queer people to know that our messages and experiences have been in homes and museums whether people knew it or not. To highlight just a few more powerful works from the book, let’s play a game of artist rapid fire. Is there an artist or work who made you see queer art differently? Felix Gonzalez-Torres is really interesting because his minimalist installations are not the figurative representational work that one may, perhaps, associate with queer art. Yet they are deeply powerful, moving and explicit in their intention once you understand the works’ titles. James Bartolacci, Spectrum Closing Party, 2021. © James Bartolacci/Private Collection Is there a work that most touched you? Catherine Opie’s Self-Portrait/Cutting from 1993, which is the image where she cut two stick-figure women and a house with two birds in the sky into her back. I remember vividly seeing that piece when I was in my early 20s. I’d only been out a couple of years and was still figuring out my own identity. I was having difficulty with it, and that piece to me just perfectly articulated a sense of longing that I felt and my own desire for domesticity and queer family, but also the feeling of how difficult that journey might be. This piece was the starting point for ‘Dreaming of Home’, the show I curated last year at the Leslie-Lohman Museum of Art. What is the work that you found the most heartbreaking? The Francis Bacon because he made that right after George Dyer died. The story is also about addiction and alcoholism, which is a big topic within the queer community. There are a lot of people struggling to find peace within. On the opposite end, which piece makes you burst out laughing? There’s a Jill Posener photograph that resembles a mattress advert saying ‘We can improve your nightlife.’ Someone then spray-painted ‘JOIN LESBIANS UNITED’ on top of it. Rene Matić, Jenny and Zac Holding Hands, 2019. Courtesy of the Artist and Arcadia Missa, London Rene Matić, Mia and Cait Snogging I, 2020. Courtesy of the Artist and Arcadia Missa, London Which artwork made you want to get up and dance? There are loads, but I would say, James Bartolacci’s Spectrum Closing Party. I love that it’s pictured alongside Hannah Quinlan and Rosie Hastings, because both artists’ bodies of work were memorialising the LGBTQIA+ pubs and bars and venues that we’ve lost in New York and London. Queers are really good at dancing and finding each other and themselves on the dance floor. Finally, which work makes you feel most proud to be part of this vibrant community? Rene Matić photographs their community, which is also my community, at parties and clubs. Rene is the youngest artist to be acquired by the Tate, and there is a whole wall of their images on long-term display at Tate Britain. Rene’s works document people that love each other unconditionally, and there is a real joy and celebration — I’m actually going out dancing with every single person on those two pages tonight! ML Staff. Content/image courtesy of Christies. Click here for the latest Christies auctions

The Florida Department of Health in Miami-Dade County (DOH-Miami-Dade) observes Revive Awareness Day on Thursday, June 6, 2024, and reminds residents that naloxone (Narcan) is a medication that can reverse the effects of an opioid overdose. Floridians can find naloxone for their community through ISaveFL.com or by calling DOH-Miami-Dade at 305-324-2400. DOH-Miami-Dade offers naloxone (Narcan) at the following locations: Health District Center 1350 NW 14th St. FL 33125 Miami, Little Haiti Health Center 300 NE 80th Terrace Miami, FL 33138 West Perrine Health Center 18255 Homestead Ave. FL 33157 Miami West Dade Health Center 11865 SW 26th St. J2 Miami,FL 33175 Florida City Clinic 1600 NW 6th Court Homestead, FL 33034 Signs of an Overdose All Floridians need to know the signs of an overdose, which include: Small, constricted “pinpoint pupils” Falling asleep or losing consciousness Slow, weak, or not breathing Choking or gurgling sounds Cold or clammy skin Discolored skin, especially lips and nails Limp body What to Do if You Think Someone is Overdosing If you suspect someone has overdosed, call 911 immediately. Administer naloxone (Narcan) if available, lay the person on their side to prevent choking, and try to keep them awake and breathing until emergency assistance arrives. What is the HEROS Program? The Florida Department of Health’s Helping Emergency Responders Obtain Support (HEROS) program provides naloxone to emergency response agencies throughout the state. Any Florida agency that employs licensed emergency responders may apply to the HEROS program online. If You or a Loved One Need Help The Coordinated Opioid Recovery (CORE) Network is the first of its kind in the U.S. and aims to eliminate the stigma of addiction and treat substance use disorder as a disease, with the same level of continuous care. Floridians battling with addiction can utilize CORE for stabilization and to receive medication assisted treatment from a network of specialized medical experts that will help guide them on a sustained pathway to healthy success. Evidence shows medication-assisted treatment (MAT) reduces the risk of fatal overdose by over 50% and supports long-term sobriety. The CORE Network has placed nearly 50% of opioid use disorder patients on MAT. The national average is less than 20%. To find help and resources, please visit the CORE Network website. Spearheaded by First Lady Casey DeSantis, “The Facts. Your Future.” campaign focuses on supporting students statewide to ensure they receive prevention instruction and encouragement to protect and maintain their health, avoid substance misuse, and discourage risky behaviors so they can thrive and flourish for life. This campaign is an interactive approach to ensure students are informed and can make safe decisions as they grow. To find more information, please visit “The Facts. Your Future.” website. A public health and safety alert was also deployed by the Florida Department of Health on July 8, 2022, to ensure Floridians remain vigilant of the signs of overdose. Poster materials are available. By ML Staff. Courtesy of Florida Department of Health. Image, Unsplash