Dernier spot pour le constructeur Audi et son modèle l’Audi A8 autour du thème du luxe. Une mise en scène entre humour et esthétisme. Une production Epoch Films, et un travail de l’agence Venables Bell & Partners qui a signé dernièrement la campagne Intel – The Chase.
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Une luxueuse propriété située dans les Caraïbes en bord de mer sur Grand Cayman, l’une des îles Caïmans. Proposée à la vente pour 60 millions de dollars, Castillo Caribe est une impressionnante résidence avec 4.500 mêtres carrés de surface habitable. Plus d’images dans la suite.
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Our behind-the-scenes look at the making of Aston Martin’s upcoming short films
Like many brands, where car manufacturers once relied on lifelong customers, changing market factors (globalization as a whole, the Internet, etc.) has empowered buyers to venture beyond local car lots to find an automobile that truly speaks to their needs and desires. While Aston Martin‘s reputation for luxurious motoring may be enough, at nearly a century old, the manufacturer hopes to engage a new generation of drivers with its series of interactive films centered around their new Rapide. (See the full story on the four-door sports car on CH here.)
To check out how Aston Martin’s Marketing Director Markus Kramer and his staff are creating something beyond a cliché TV commercial, I recently traveled on the brand’s invitation to Lisbon where the team was busy shooting the trio of 90-second videos. The creative mind behind the project, James Temple of digital agency R/GA explained that the genesis of the project is “True Power Should Be Shared,” with each film highlighting four people on a mission to deliver a time capsule from Lisbon to Zurich. Recognizing the limited amount of time the Aston Martin client has, the work aims to show how time is one of the most precious commodities today.
On set, there was some mystery as to how the narrative will develop, but I learned that the script is broken down into three separate stories which will launch in three segments beginning next month to make one complete short film come February 2011. To keep its audience fully engaged and interacting with the brand, Aston Martin placed clues throughout each film that can be cracked for a chance to win prizes associated with not only themselves, but the partner brands within the film.
Read more about my exciting behind-the-scenes experience after the jump, and see more images from the shoot in the gallery below.
The night shooting in central Lisbon covered a scene in which the four protagonists of the movie (all wearing Ozwald Boateng suits) are trapped in a small alley by two aggressive vehicles. Despite the cold and the rain, the atmosphere on the set was relaxed and the enthusiasm of the local and British crews (almost 60 people in total!) was high.
The second day brought us to Alges, where the scene featured a mysterious black helicopter performing impressive maneuvers under the vigilant eye of the “bomberos” (local firemen) and director Donnie Masters from Serious Pictures. After this we drove to the hills of Arrábida where the stunning ocean views and curvy streets promised intense performance from the Rapide.
From here I finally experienced the car first hand. In the back seat Steven Egan, General Manager Marketing Operations at Aston Martin, explained to me that what makes the car super special “is what it delivers to the driving performance, the feeling when you are one with the road—it’s a driver’s car.” Egan also touched on the practicality of the four-seater, but saying the car is still very emotive. “In the heart it’s still a sports car—everything is at your fingertips and you always feel in control of its power.” From a passenger’s point of view, it’s clear how the cocoon-like seats are designed to keep you feeling safe and molded to you, “like a hand that fits into the glove,” Steven states.
I also had the chance to take part into a small portion of the filming, with an experienced driver taking the Rapide to the limits in the small street of Arrábida, closed to the traffic. The roar of the engine, the quick accelerations and the sudden braking made me feel the true power and the possibilities of the car.
After this breathtakingly unique event, I got back to the base camp and spent some time with Donnie Masters. The director told me how happy he was with the process, revealing more details about the story. A meeting in a restaurant, a mission, a tunnel, martial arts, flashbacks and more set the tone. “It’s not going to be a dark film, but it will carry a tone of excitement, a dense atmosphere. The movie will find its natural length in less than 10 minutes. I want it to be long enough to enjoy, but not indulgent.”
Donnie has worked for years directing commercials for the automotive industry, but this time is a totally new and different approach. “Aston Martin should be making films like this” he says. “Because now they know they can do something more than classic car commercials. Here the car is the hero, but in a very humble way—we’ve got characters, story, wonderful dialogue by Sean Doyle—but still the car is the thread all the way through the film, in the same way it does with James Bond.”
Two luxury hotels introducing a welcome modern touch to classic Venetian style
In a place like Venice where nearly everything in the city has been featured in a postcard, the Bauer Hotel and Palazzo stand out for their surprising design, which I recently had the pleasure of exploring.
Built in the ’40s, the linear and austere façade of the hotel on Campo San Moisè creates a deep contrast with the picture-perfect cliché of a gondola gliding down the nearby canal. The decor of the wide hallways (a rarity in the compact town) reflect owner and art director Francesca Bortolotto Possati’s knack for integrating classic materials, such as marble, gold-plated candelabras, silk wallpaper and Murano glass chandeliers, with the clean lines of modernism.
A grand ballroom and lounges continue the opulent atmosphere, boasting more luxurious materials like ostrich leather, walnut root, marble and brass as well as a constant mixture of objects from different ages, including Moresque sculptures and Art Deco armchairs.
Bauer’s twin structure, Il Palazzo, is an 18th-Century boutique hotel offering guests the chance to experience the life of Venetian palazzo living. The views on the Canal Grande are unique, both from the De Pisis Restaurant (located at Canal level) and the Settimo Cielo—the highest terrace in town, providing a beautiful panorama overlooking the entire lagoon.
Each room in the Hotel and Il Palazzo is distinct, incorporating precious antiques, rare prints, small pieces of furniture as well as 20th-century paintings and design objects.
Prices for the Bauer Hotel span €200-900, and €390-8,000 for Il Palazzo.
Une création sur mesure de la part d’Art of Kinetik avec ce yacht de luxe intitulé “Hedonist Yacht”. Une coque entièrement en bois d’acajou, pour une longueur de plus de 20 mètres. L’ensemble est propulsé grâce à des moteurs Rolls Royce. Plus de visuels dans la suite.
Gear up with a limited-edition Italian bicycle modeled after a Maserati winner
In celebration of their famous 1940 win at the Indianapolis 500 known as the “Boyle Special,” Maserati teamed up with cult Italian bike builder Cicli Montante to create a limited-edition bicycle resembling the victorious fixed head, eight-cylinder 8CTF race car. With driver Wilbur Shaw behind the wheel for the second year in a row, Maserati historically took first place proving the prowess of European design.
Debuting at the recent Paris Auto Show, Cycle EXIF points out that while successful bike/car collaborations are rare, the Montante Maserati 8CTF is a clear exception.
In addition to the beautiful coloring and detailing, Cycle EXIF asks “Who else is sticking a front disc brake on a fixed geared bike? It might not necessarily be the smartest thing to do, but at least they’re putting it out there.”
A limited run of 200 bikes were created (in commemoration of the 200 laps completed during the race), each individually numbered and selling online from Cicli Montante for €3,000.
Natural beauty, elegance and relaxation at a rustic 4th-century guesthouse in the Tuscan hills
Located in the rolling hills of Tuscany’s idyllic Crete Senesi region, it’s hard not to feel enchanted driving up the gravel road to the rustic guesthouse Pieve a Pava. Combine the stunning natural setting with a building dating back to the 4th century, elegantly relaxed ambiance, as well as gracious hospitality, and you have a recipe for subtle perfection.
On a recent stay, my traveling companions and I arrived in the evening to a warm welcome by owners Johny and Rita, along with their adorable Jack Russells. After a quick tour of the grounds, the endearing Belgian couple made us dinner reservations at the nearby La Locanda del Castello and set up a bottle of Belstar Prosecco, fresh cheese and pistachios to enjoy while watching the sun set over Mount Amiata—the highest point in Tuscany.
Just as Pieve a Pava strikes a pleasing balance between its environs and creature comforts, it seamlessly mixes old and new for a similarly harmonious experience. One of estate’s brick buildings, the church of Santa Maria di Pava, was rebuilt several times due to conflict between Siena and Florence and anchors the property. Across from it, the kitchen and dining area, accented by its meticulously crafted brick lattice walls, has a glass-paned front that give way to the lush surroundings outside.
Other thoughtful details like Philip’s Biscuits (from Antwerp), Etro toiletries and high-speed wi-fi make you feel at home (if not a fantasy home for most), and strategically-placed seating areas invite you to hang out and relax with other guests—which mostly include easy-going European artists and designers.
Whether simply appreciating a place designed for true tranquility, taking a dip in the salt water pool, or hopping on one of the Vespas that are on-hand for local sightseeing, Pieve a Pava is a memorable destination for anyone seeking a holiday that really feels like one.
Prices vary depending on the room and season, but typically average €330 per night and include food and beverages. See more images of Pieve a Pava after the jump.
Traditional craft and materials star in Prada’s new capsule collection
In the early twentieth century Mario Prada (Miuccia Prada’s grandfather) traveled the world in search of precious materials, exotic leathers and luxurious fabrics, but also to discover sophisticated craftsmen and manufacturers to realize his designs. The first Prada products (bags, suitcases, gloves, walking sticks, bottles and glasses) were made by Alsatian and Austrian leather artisans, Bohemian crystal-makers, English silversmiths, as well as by Italian artisans using materials such as rare ivory, tortoiseshell, ebony and precious stones and leathers from all over the globe.
This curious connoisseur’s spirit remains at the heart of Prada, and translates into a sort of antidote to homologation and globalization so often seen among its competitors. Using Mario’s original approach, Prada collaborates with many different artisans to produce its designs utilizing the traditional craftsmanship, materials, and manufacturing techniques of a specific region.
This tactic will be soon explicit in the new “Made in…” project, a series of local products with special labeling declaring the origin of each piece.
“Prada Made in Scotland” will be a collection of traditional tartan wool kilts from U.K.workshops using traditional manufacturing and weaving techniques.
“Prada Made in India” is the label for a collection of handmade garments from workshops that specialize in Chikan, one of the most ancient Indian embroidery. Items will consist of handmade ballerina flats, woven sandals and artisinal handbags.
A series of jeans produced by Dova, a leading denim manufacturer, will carry the label “Prada Made in Japan.” The trousers can be custom ordered in four different varieties of cloth and seven different washes, making every article one of a kind.
“Prada Made in Peru” is a line of alpaca wool knitwear from the most traditional workshops of Peru.
These collections will be in stores starting in 2011.
Lightweight leather bags designed for modern hairstylists with style
Designed specifically for hairstylist needs, these leather holsters from Austrian brand Caleas come equipped with padded interior pockets for scissors, razors and combs, and an adjustable band for keeping them all conveniently within reach at your waist.
At less than a pound, the handmade Caleas case allows stylists to tote their tools from salon to photo shoots with ease, efficiency and style. The utility belt also keeps pricey shears completely protected from falling out of a pocket or getting damaged while on the go with specially-designed slots, and side zippers open the bag up for quick cleaning and hair removal.
The hip-huggers come in various styles and colors of leather—including alligator and patent. Both sizes hold two razors, but the large case has room for five pairs of scissors, while just four fit in the smaller pouch. They sell online from €187 to €327.
Having perfumed bubbles at Versailles, created olfactory installations, and collaborated with dancers, perfumer Francis Kurkdjian is no stranger to clever experimentations with scent. For a slightly less fantastical but equally delightful experience, he infuses delicate little paper strips with versions his signature fragrances—A Piece of Me (APOM), Lumière Noire and Aqua Univeralis—tailored for interiors. The Perfumed Incense Papers come in chic matchbox-style packaging (matches included) and either fold into zig-zags for burning or, slipped into drawers and luggage, keep clothing smelling fresh.
Boxes of 20 sell from Francis Kurkdjian’s online store for €18 each or from Bergdorf Goodman for $25.
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