Sandra‘s Closet

A Return to Time: Notes from Watches and Wonders Geneva

There are few places where time feels as tangible as at Watches and Wonders Geneva. For one day, everything revolves around it, interpreted through craftsmanship, design, and an almost obsessive attention to detail.

This year, the fair revealed more than technical innovation. It signaled a shift in mood, subtle, but unmistakable.

Patek Philippe New Models 2026

BVLGARI celebrates old-school glamour with its newest Serpenti watches.

There is a clear return to old-school glamour and with it, a strong retro influence. Not nostalgia in its simplest form, but a deliberate reinterpretation of the past. Vintage codes are everywhere: softened silhouettes, intricate bracelets, and, most notably, the reappearance of the secret watch.

These pieces conceal their dials beneath decorative covers, blurring the line between jewelry and timekeeping. They are intimate, almost private objects, designed to be discovered rather than displayed. It is a language that echoes the elegance of earlier decades, yet feels entirely contemporary in its execution.

At the same time, craftsmanship is moving back to the center of the conversation. Not just as a technical necessity, but as a form of artistic expression. The level of detail, the patience, and the human touch behind these pieces feels more important than ever.

One example that stayed with me came from CHANEL. A chess set, already sold and therefore no longer on display in its final form, was presented through prototypes. Each figure was meticulously crafted, with the Gabrielle Chanel silhouette wearing a tweed jacket, entirely set with diamonds, that emphasized the effect of the material. It was less an object and more a demonstration of what true craftsmanship can achieve: intricate, precise, and deeply intentional.

Audemars Piguet Etablisseurs Galets

At the same time, a structural shift within the industry is becoming increasingly visible. The market is stretching apart.

Van Cleef & Arpels is expanding its Jour Nuit collection with a new timepiece in honor of the Moon. Within the Midnight case, the watch features two overlapping complications: the first one animates the Jour/Nuit display, while the second one illustrates the actual Moon phase. 

BVLGARI

On one end, brands are leaning heavily into haute horlogerie, producing exceptional, highly complicated, and often extremely limited pieces. These watches are not simply products; they are statements of craftsmanship, created for collectors who value rarity as much as technical mastery. Prices reflect this shift, reaching levels that position these timepieces firmly within the realm of art and investment.

Celebrating 100 years of the Rolex Oyster with this beautiful and affordable Rolex Oyster Perpetual 36 «Jubilee Edition».

On the other end, the more accessible segment remains present, but quieter, almost overshadowed by the spectacle of high-end innovation. The middle ground is thinning, and the contrast between the two extremes is becoming more pronounced.

A Testament to Métiers d’Art: Van Cleef & Arpels, with its latest Perlée Extraordinaire Fruits Enchantés collection, is capturing the ruby-red intensity of perfectly ripened raspberries.

Yet within this high-end focus, creativity is flourishing. Freed from the need to appeal to a broad audience, brands are allowing themselves to be more expressive, more daring, and more niche. Watchmaking, in this sense, is becoming increasingly cultural. These are no longer just instruments or even luxury goods, they are narratives, identities, and statements.

Collectors today are not simply buying watches; they are engaging with meaning.

Walking through the fair, it quickly becomes clear that the experience goes far beyond the watches themselves. Some booths are consistently extraordinary, fully immersive environments that tell their own story. Officine Panerai, known for its diving heritage, brought that world to life with a stand that felt like stepping into the depths.

Van Cleef & Arpels created something entirely different, a poetic garden, complete with a swing, where time seemed to slow down.

And Audemars Piguet offered a more introspective atmosphere, with a library-like setting that invited you to pause, reflect, and look closer.

I leaned into the spirit of the fair with a Moschino look, complete with a watch-shaped bag and a hat featuring a clock detail. A subtle nod to the theme of time, and one that, quite unexpectedly, drew a lot of attention throughout the day. I was frequently stopped, photographed, and even interviewed, an unusual but fitting part of the experience.

Yves Piaget with me (click here for a previous post from 2012).

Amidst all of this, it is often the quieter, more personal moments that stay the longest. Seeing Yves Piaget again was one of them. Having been for many years an ambassador for Piaget, it made the encounter feel all the more meaningful.

Relaunch of the Piaget cocktail ring collection, for which I hosted an private garden party in my house in 2013.

There was something genuinely special in being recognized, in that brief moment of familiarity within such a fast-moving environment. A small exchange, a shared memory, and somehow, it stays. I still have the Piaget rose.

Ulysse Nardin

And perhaps that is what defines the fair as much as the watches themselves. It is not just an industry event, it is a cultural moment, where craftsmanship meets storytelling, and where timepieces become part of a larger narrative.

I predict a huge success for the BVLGARI Octo Finissimo Watch in satin-polished 18 kt yellow gold case.

What remains after a full day is not simply a memory of products, but a clear impression:

The future of watchmaking may well lie in its past.

In craftsmanship over scale.
In rarity over ubiquity.
In intimacy over display.

And in the enduring desire to make time feel, once again, timeless.

Trying on Cartier‘s latest Bagnoire collection, that I am completely obsessed about.

Some of the most remarkable pieces deserve a closer look, and I’ll be returning to a few of them in more detail over the coming weeks.

LoL, Sandra

Photos: © Sandra Bauknecht
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When Time Meets McDreamy: A TAG Heuer Moment in Geneva

Surrounded by some of the most extraordinary watches in the world… and yet, meeting McDreamy might have been the real highlight.

At Watches & Wonders in Geneva, where every brand competes to redefine time through design and innovation, it’s easy to get lost in the details, movements, materials, complications.

But some moments cut through all of that.

Meeting Patrick Dempsey, forever McDreamy from Grey’s Anatomy, was exactly that kind of moment. Effortless, charismatic, and completely at ease, he represents the spirit of TAG Heuer in a way that feels natural rather than staged.

And fittingly, the brand itself delivered one of the most compelling statements of this year’s fair. In a year dedicated to the chronograph, TAG Heuer revisited its most iconic model: the Monaco.

The new Monaco Evergraph feels bold and forward-looking, built around a completely reimagined movement that replaces traditional components with flexible structures, pushing precision and performance into new territory. It’s technical, architectural, almost futuristic. Co-developed with Vaucher Manufacture Fleurier, it brings a distinctly experimental edge to contemporary watchmaking.

Operating at 5 Hz with a 70-hour power reserve and COSC certification, it reflects a clear focus on precision and long-term reliability. Co-developed with Vaucher Manufacture Fleurier, the movement adds a layer of serious watchmaking credibility to its experimental edge, while the open-worked architecture reinforces its technical character.

Alongside it, the Monaco Chronograph takes a more restrained approach. Rooted in the original 1969 design, it refines the icon with sharper lines and improved ergonomics, now housed in a 39mm Grade 5 titanium case that feels both modern and wearable. Inside, the in-house Calibre TH20-11 delivers an 80-hour power reserve and a bi-compax layout inspired by the historic Calibre 11, while signature elements like the left-side crown remain intact.

Together, they capture what TAG Heuer does best: balancing heritage with innovation, without ever losing its identity.

And maybe that’s what made the moment with Dempsey feel so aligned. In a space defined by exceptional watches, it was presence, not just precision, that made it memorable.

LoL, Sandra

Photos: © Sandra Bauknecht
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«Schiaparelli: Fashion Becomes Art» – an exhibition that sets out to explore the rare moment when clothing transcends function and becomes pure expression – opened at the Victoria and Albert Museum with a quiet sense of occasion that felt entirely fitting.

The evening began, as such evenings should, with a sense of anticipation. London suspended between history and spectacle, the museum preparing to open its doors to a world that has always lived slightly beyond the real.

With my dear friend Pernilla Bennet of House of Bennet at the opening.

I had flown in for the occasion, drawn not only by the promise of the exhibition but by something more personal, a long-standing admiration for Elsa Schiaparelli and the singular universe she created. Dressing for the night felt less like choosing an outfit and more like stepping into a dialogue with her legacy.

I wore Schiaparelli, of course, an ensemble rich in detail, anchored by those unmistakable buttons that are never merely functional but small sculptures in their own right. There is something transformative about wearing Schiaparelli: you don’t simply dress, you participate.

Beautiful opening speech by Tristram Hunt, Director of the Victoria and Albert Museum.

With actress and singer Minnie Driver at the opening reception.

Almost as if the spirit of Elsa Schiaparelli was still quietly moving through the room.

With one of the UK’s first hijab-wearing models, Ikram Abdi Omar, both in Schiaparelli.

The Opening: A Living Surrealist Moment

The reception unfolded with a kind of cinematic elegance. Guests moved through the museum like characters in a dream Elsa herself might have approved of, where fashion, art, and personality dissolve into one another. It felt fitting, because Schiaparelli never believed in boundaries.

Elsa was not simply a designer; she was an instigator of ideas. She introduced shocking pink as a cultural statement, elevated the ordinary into the extraordinary, and treated garments as canvases for wit and subversion. Her fascination with the surreal, lobster dresses, skeleton gowns, tears rendered in silk, was never decorative. It was a way of seeing.

She brought so many extraordinary ideas into fashion. Her eye for surrealism, her collaborations with artists like Salvador Dalí and Jean Cocteau, her instinct for symbolism and illusion, and her fascination with remarkable details, especially her extraordinary buttons, helped redefine what couture could be.

On display is the Schiaparelli Harlequin Coat from the S/S 1939 Haute Couture collection entitled «Commedia dell’ Arte» inspired from Man Ray’s 1939 painting entitled «Les Beaux Temps».

Elsa did not merely create beauty; she created conversation. Her work had humor, elegance, and often an intentional sense of disturbance. That was part of her brilliance. She understood that fashion becomes unforgettable when it surprises the eye and unsettles expectation just enough to make people look again.

A Morning with the Past and Present

The following morning offered something rarer: stillness, and the privilege of understanding.

I was guided through the exhibition by Sonnet Stanfill, Senior Curator of Fashion at the Victoria and Albert Museum (V&A), whose clarity and sensitivity brought the entire curation into focus. It was a deeply impressive experience and one that stayed with me on a very personal level.

One room is dedicated to Elsa Schiaparelli’s amazing jackets with incredible details.

What makes this exhibition remarkable is its rhythm. Rather than isolating history, it stages a conversation, one room dedicated to Elsa’s original creations, the next to the contemporary vision of Daniel Roseberry.

Daniel Roseberry’s dreamy designs.

This alternation is more than curatorial, it is philosophical. It allows you to see, almost viscerally, how a house survives time without becoming static.

Three rare pieces from Elsa Schiaparelli’s iconic 1938 Circus Collection.

From Elsa to Daniel Roseberry – a legacy reimagined, the inspiration found within the exhibition itself.

Elsa’s pieces remain astonishing: technically daring, intellectually mischievous, and deeply emotional. But what I just love as much is how seamlessly Roseberry’s work stands beside them. He has achieved something exceedingly rare. His designs do not imitate; they translate. The codes, bold symbolism, sculptural silhouettes, that slightly disquieting elegance, remain intact, yet they are sharpened for a contemporary eye.

Daniel Roseberry with me

For me, he is one of the most compelling designers working today. There is precision in his work, but also courage. He understands that Schiaparelli must provoke, not just please.

Walking through the exhibition, I felt something unexpectedly personal: a renewed conviction in the beauty of collecting fashion. To preserve, to curate, to believe that garments carry memory and meaning. And, quietly, the thought emerged, perhaps one day, my own collection Sandra’s Closet will live in a space like this.

Conversations at Annabel’s

From the museum, I hurried to Annabel’s, where another layer of the story unfolded in conversation.

On stage, Daniel Slater, Director of Exhibitions at the V&A, spoke alongside Francesco Pastore, Head of Heritage and Culture at Schiaparelli, about the making of the exhibition. What appears effortless to the visitor is, in truth, the result of years, seven, as it turns out, of discussion, negotiation, research, and patience. To gather these pieces, to shape them into a coherent narrative, required not only expertise but devotion.

Toward the end, Delphine Bellini, CEO of Schiaparelli, joined the discussion, and I found myself asking a question that had lingered with me: why choose Daniel Roseberry, at the time a relatively unknown name outside industry circles, despite his important work with Thom Browne?

Her answer was as precise as it was revealing. Roseberry had submitted a portfolio so extraordinary, so clear in its vision, that the decision became inevitable. What he offered was not just skill, but perspective: an ability to bridge heritage and modernity through what she described, beautifully, as a «quite disturbing view.»

It is exactly that tension, between beauty and unease, elegance and provocation, that defines Schiaparelli at its best.

Daniel Roseberry’s now-iconic look worn by Gigi Hadid in Cannes with its sculptural lung necklace born from an unexpected production accident, turned into one of Schiaparelli’s most striking modern signatures.

A House That Refuses to Sleep

What this exhibition ultimately makes clear is that Schiaparelli is not a house anchored in nostalgia. It is alive, restless, intelligent, and unwilling to settle.

Elsa once stood at the intersection of fashion and art, reshaping both. Today, under Daniel Roseberry, that spirit continues, not as imitation, but as evolution.

And as I left, still carrying the echo of the night before and the clarity of the morning after, one thought remained: some maisons dress the body, others shape identity. Schiaparelli does something rarer, it changes the way you see.

And that, perhaps, is the real triumph of «Schiaparelli: Fashion Becomes Art»: it shows that the most powerful fashion does not simply dress the body. It leaves a mark on the mind.

Schiaparelli: Fashion Becomes Art runs until 8 November 2026 at V&A South Kensington.

LoL, Sandra

Photos: © Sandra Bauknecht
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A Black Rose Moment: Inside Sisley Paris’ Elegant Zurich Launch

Some launches feel less like presentations and more like an atmosphere. The unveiling of the new Black Rose Concentrate by Sisley Paris was exactly that.

At the Mandarin Oriental Savoy in Zurich, everything echoed the essence of the Black Rose: deep, velvety tones, refined florals, and a setting that felt intimate yet impeccably composed.

At its center: the new Black Rose Concentrate – Radiant Youth Serum (Concentré Rose Noire). What defines it is not only its immediate radiance and plumping effect, but its ritual. The formula is activated before use, freshly blending its key ingredients. In that moment, it turns into a soft, luminous pink, an elegant indication of its freshness.

This activation preserves the potency of the formula, which remains at its peak for six months. Rooted in Sisley’s botanical expertise, the serum combines the iconic Black Rose complex with hydrating and smoothing actives, leaving the skin visibly softer, fresher, and more radiant. And like the entire line, it is delicately scented with the signature Black Rose fragrance, subtle, refined, and unmistakably luxurious.

At the heart of the formula is an advanced antioxidant and soothing complex designed to protect and prolong a youthful radiance. A new, exclusive molecular extract of Black Rose, rich in anthocyanins, helps to defend the skin against environmental stressors such as UV exposure, pollution, and daily stress. Combined with knotweed extract and vitamin B12, it works to soothe, strengthen, and maintain the skin’s natural balance.

Experiencing the full Black Rose routine again underscored its coherence:
The Black Rose Precious Face Oil comes first, preparing and nourishing the skin. The Black Rose Eye Contour Fluid follows with a cooling, subtly firming effect – ideal for tired eyes and light enough to layer. Finished with the Black Rose Skin Infusion Cream, the result is skin that feels hydrated, plumped, and quietly luminous- all enveloped in that elegant Black Rose scent.

What stayed with me, however, was the ease of the afternoon itself, thoughtful conversations, a beautifully curated lunch, and that rare sense of shared attention.

A launch that felt less like a debut, and more like a continuation of something already deeply refined.
Available now for CHF 236.00 (30ml).

LoL, Sandra

With my lovely colleagues Zoe and Elena.

Photos: © Sandra Bauknecht
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Fashion is obsessed with what’s new. But the most beautiful things in life usually reveal themselves only over time.

Last night in Munich, I was reminded of that. My friend was celebrating her 50th birthday in her beautiful home, one of those places that instantly tells you something about the person who lives there. Effortless elegance, thoughtful details, a certain calm confidence that cannot be staged.

I have known her for more than thirty years. That thought alone already carries its own kind of luxury. When she appeared to welcome her guests, she was wearing a silver dress made of tiny metallic plates. It shimmered softly as she moved through the rooms, catching the candlelight with every step. Sculptural, powerful, almost like armor, its metal discs manage to feel both strong and elegant at the same time.

And in that moment, it felt strangely perfect. Because the older we get, the more we understand that a little armor is not such a bad thing. Life inevitably leaves its marks, experiences, lessons, challenges. But some people carry those years with such grace that they become part of their style.

Fashion, of course, moves quickly. Every season introduces new silhouettes, new colors, new rules about what is suddenly essential. But real style has very little to do with speed. It reveals itself slowly. I have watched my friend move through decades of life, different chapters, different cities, countless conversations that stretched late into the night. Through all of it, one thing has always remained unmistakably hers: an extraordinary sense of taste.

Not the kind dictated by trends. The kind that comes from instinct. You see it in the way she dresses. You see it in the way she has created her home. And you see it in the life she has built around herself. There is something deeply luxurious about that kind of consistency.

In fashion we often talk about investment pieces, the coat you keep for twenty years, the bag that never loses its relevance, the dress that somehow always feels right no matter how trends change around it. Friendships can be like that too. They deepen with time. They gather stories and memories. And after decades they become something rare: a constant in a world that moves very quickly.

Standing there last night, watching the silver dress catch the candlelight as she laughed with friends who have been part of her life for half a lifetime, I had a quiet thought. In a culture that celebrates the new, the most luxurious things are often the ones that last. A beautifully tailored coat. A home filled with memories. And a friendship that has been part of your life for more than thirty years. Perhaps that is the most timeless style of all.

LoL, Sandra

Photos: © Sandra Bauknecht
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For S/S 2027, ZEGNA will present its fashion show in Los Angeles, stepping outside the traditional Milan Fashion Week calendar for a singular, time specific moment. The show will take place on June 5, alongside the arrival of VILLA ZEGNA, the brand’s invitation-only temporary private club, opening right after the show and remaining in Los Angeles for a few days. Made in full alignment with Camera Nazionale della Moda Italiana , this choice underscores ZEGNA’s commitment to extending Italian savoir-faire into a global cultural stage, while preserving its strong and enduring bond with Milan.

The S/S 2027 show will be central to a carefully orchestrated sequence of experiences in Los Angeles, bringing together top clients, friends of the brand and international press. VILLA ZEGNA offers a curated environment where guests can experience the brand beyond the runway. Following previous editions in Shanghai, New York, Dubai, Miami and Milan, VILLA ZEGNA arrives in Los Angeles as part of an ongoing cultural journey, shaped each time by its context while remaining rooted in intimacy and human connection.

Los Angeles is chosen not as a fashion capital, but as a cultural one: a city where creativity has long been shaped through cinema, storytelling, and image-making. From Hollywood’s cinematic legacy to its enduring influence on global visual language, Los Angeles represents a place where narratives are crafted, a global destination for long journeys, where distance, time, and landscape invite a slower form of discovery.

LoL, Sandra

Photos: © Sandra Bauknecht and Courtesy of Zegna
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Brunch at Odéon: A Fragrant Morning with Memo Paris

There are mornings in Zurich that feel like cinema, pale winter light gliding over the Limmat, the hush of the city before noon, and the quiet glamour of Café Odéon, where writers, revolutionaries, and artists once lingered over espresso. It was here, beneath the chandeliers and Art Déco mirrors, that fragrance met memory in the most poetic way.

With Clara Molloy

The occasion? An intimate brunch with Clara Molloy, the visionary co-founder of Memo Paris. She had come to Zurich to speak about Odéon, a perfume that feels less like a scent and more like a love letter.

And how fitting that we gathered at Odéon Café itself.

A Brand That Travels Through Scent

Founded in 2007 by Clara and her husband John Molloy, Memo Paris is built upon a singular idea: «The journey is the destination.» Each fragrance is tethered to a place, sometimes a city, sometimes a vast landscape, but always a location that carries emotional weight. Paris. Irish moors. African plains. Venetian palazzos.

Memo does not create perfumes; it creates destinations.

Clara spoke with luminous nostalgia about growing up in Paris, about standing above the rooftops and breathing in the city, warm stone, distant gardens, rain on zinc, the invisible sweetness of evenings stretching into night. For her, scent is inseparable from geography. A perfume is never abstract. It belongs somewhere.

Odéon: Paris, Reimagined

Launched in 2020, Odéon entered the Memo Paris collection as a radiant oriental composition, sensual and textured. The fragrance was created by master perfumer Aliénor Massenet, the nose behind Memo’s very first creation, Lalibela, as well as other iconic chapters of the house.

Odéon is Memo’s homage to Paris, not the postcard version, but the intimate, literary, Left Bank Paris. Think golden light spilling from theatre doors, lipstick traces on porcelain cups, the soft rustle of silk against café chairs.

In the Art Déco elegance of Café Odéon, Clara described how Odéon captures that feeling of sensual intellectualism. It is warm yet refined, modern yet steeped in memory. A fragrance that evokes whispered conversations and pages turning in dim light.

There was something almost cinematic about hearing her speak of Paris while seated in Zurich’s own historic Odéon. Two cities momentarily intertwined through scent.

The Art of Odéon

As if the fragrance itself were not already a portrait of Paris, Odéon arrives dressed in art. The bottle is adorned with a bespoke illustration by Jean Jullien, the celebrated French artist known for his poetic minimalism and unmistakable graphic language.

His line work feels effortless yet deeply expressive, capturing the spirit of the Left Bank in a way that is both playful and sophisticated. It is not merely packaging; it is a visual extension of the scent’s narrative. The illustration transforms the bottle into an object of desire, collectible, cultured, and unmistakably Parisian.

In true Memo fashion, fragrance becomes multidisciplinary: scent meets storytelling, meets art.

The Olfactory Pyramid

Top: A radiant touch of bergamot opens the fragrance with clarity and light, softened by a subtle fruity nuance and a whisper of spice.

Heart: At its center blooms a velvety rose, enriched with creamy sandalwood and the addictive warmth of tonka bean, sensual yet refined, romantic yet composed.

Base: Ambered woods and a delicate gourmand facet linger on the skin, creating depth, warmth, and that unmistakable Parisian afterglow.

A Morning of Memory and Connection

Beyond the fragrance itself, the brunch carried its own sweetness. Seeing colleagues again, familiar faces framed by coffee steam and laughter, felt like stepping into a shared chapter. The atmosphere was effortless, elegant, warm.

With my lovely colleagues, Niklaus Müller and Jaz Brunner

And then there was that moment: dipping into the world of Memo, inhaling Odéon, letting it settle onto skin as the scent unfolded slowly, intimately. Perfume has this rare ability to collapse time. Suddenly, we were not just in Zurich. We were on Parisian rooftops. In hidden theatres. In Clara’s memories.

With Marc-André Heller, CEO Memo Paris

The café’s polished wood, the clink of cutlery, the glow of chandeliers, everything felt heightened, as if scent had sharpened the edges of experience.

The Poetry of Place

What makes Memo Paris so compelling in today’s saturated fragrance landscape is precisely this emotional cartography. These perfumes are not trend-driven. They are narrative-driven. Rooted in longing. In belonging. In the idea that a place can live forever on the skin.

As we left Café Odéon, Zurich felt different, slightly more romantic, somehow infused with Parisian air. Perhaps that is the quiet power of fragrance: it allows cities to travel with us.

And that morning, between espresso cups and silk scarves, between memory and modernity, Odéon became more than a perfume. It became a story.

Memo Paris X Jean Jullien Odéon Eau de Parfum (75ml) for CHF 275

LoL, Sandra

Photos: © Sandra Bauknecht and Andrea Monica Hug for Memo Paris
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There could hardly have been a more fitting moment for an evening dedicated to craftsmanship, heritage, and design. As Bvlgari celebrates 120 years of its St. Moritz boutique, Mary Katrantzou travelled to Switzerland for the occasion, beginning with a first stop in Zurich before heading to St. Moritz. During an evening in Zurich, the Maison once again demonstrated its remarkable ability to honour its history while expressing a confident and contemporary creative vision, with Mary’s presence adding a meaningful creative dimension to the celebration.

Against this backdrop, the unveiling of the Spring/Summer 2026 Leather Goods and Accessories collection, alongside the sculptural Icons Minaudière creations, carried particular weight. The evening was not simply about new designs; it was about continuity, evolution, and the discipline required to build icons that endure.

At the center of it all stood Mary Katrantzou, Creative Director of Leather Goods and Accessories, whose approach to design is guided by structure, clarity, and an uncompromising respect for craftsmanship. Mary does not create bags as seasonal statements, she constructs objects intended to last, pieces defined as much by their engineering as by their beauty.

Under her direction, High Craft is not a tagline. It is a methodology.

Seeing the Icons Minaudière collection in person made this immediately evident. Architectural and jewel-like, these pieces occupy a space somewhere between handbag and collectible design object. Metal frameworks are executed with remarkable precision, surfaces are resolved with near-jewelry attention, and every proportion feels deliberate.

The XS minaudières, notably smaller than a smartphone, express this philosophy with particular confidence. They are not designed around practicality but around presence, objects chosen for their expressive power rather than their capacity. It is a bold stance, and one that speaks to a house secure in its authority.

Running parallel to these sculptural forms was the emotional centerpiece of the evening: the newest iteration of the Serpenti Cuore 1968.

Following its successful debut, the heart-shaped silhouette returns for Spring/Summer 2026 in ultra-supple Light Amethyst calf leather. Defined by its emblematic form and the sinuous metallic snake handle inspired by the Serpenti Harlequin watch of 1968, the design captures the idea of love with surprising discipline, romantic, yet architecturally controlled.

Arriving just ahead of Valentine’s Day, the bag felt perfectly timed. Not sentimental, but symbolic.

The Cuore universe expands further with the introduction of the Serpenti Cuoricino, a jewel-like miniature that reinforces Mary’s nuanced exploration of scale. Retaining the padded curves of the original, it reads almost as wearable jewelry. Pavé crystal versions, meticulously hand-applied through a complex multi-step process involving more than 4,600 Swarovski crystals, leave no doubt about the level of craftsmanship at play.

For me, however, the evening carried an additional – deeply personal – dimension.

Mary and I have shared a friendship for many years, and seeing her present these collections with such quiet authority filled me with enormous pride. She is endlessly inspiring: intellectually rigorous, instinctively creative, and grounded in a warmth that makes her brilliance feel even more rare.

Over time, I have collected each of her own collections, pieces I continue to return to not only for their design but for what they represent. Wearing a look from her F/W 2018 Bauhaus collection that evening felt almost inevitable, a gesture of admiration, but also of continuity.

With heart-shaped bags subtly setting the tone, it felt as though Valentine’s Day had arrived early. Yet rather than romance, the atmosphere suggested something more modern, a refined kind of Galentine’s moment: women supporting women, celebrating creativity, and recognizing the work behind objects of lasting value.

After the presentation, we slipped away for dinner, just the two of us. Mary tried Zürcher Geschnetzeltes for the very first time – a proper Zurich classic – and the simplicity of that moment provided the perfect counterbalance to an evening defined by high craft.

What lingered afterward was not only the beauty of the objects, but the clarity of the message behind them.

One hundred and forty years after its founding, Bvlgari continues to prove that true icons are never static. They evolve, they adapt, and when guided by vision and craftsmanship, they remain unmistakably relevant. And some evenings remind you that the future of a historic house is safest in the hands of designers who understand exactly that.

LoL, Sandra

Photos: © Sandra Bauknecht and Courtesy of BVLGARI / Remy Steiner for Bvlgari
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My Kind of Slumber Party – Celebrating the Launch of Olympia The Label

There are evenings that stay with you, not only because they are beautiful, but because they bring together creativity, passion, and a wonderful sense of community. The recent launch event of Olympia The Label in the heart of Zurich was exactly that kind of night.

Hosted inside the iconic Mandarin Oriental Savoy, the setting was elegant yet inviting, creating the perfect backdrop for the debut of a Swiss premium pyjama and lifestyle brand that already feels destined for great things.

The dress code for the evening? Pyjamas, which, if you ask me, made it officially my kind of slumber party. Naturally, I fully embraced the theme and arrived in my own set, leaning into the playful sophistication of the night. To complete the look, I carried a Moschino pillow-shaped bag the perfect accessory for a pyjama-inspired outfit and a true statement piece that captured the spirit of the evening.

And the fashion moment didn’t end there. Heading straight to dinner afterward still dressed in my pyjamas definitely turned heads. It sparked conversations, drew a few admiring smiles, and proved that great style doesn’t have to follow traditional rules.

What immediately caught my attention were the designs themselves. Crafted with delicate scalloped edges, the pieces combine timeless elegance with a charming femininity. These thoughtful details elevate classic sleepwear into something truly special, luxurious yet comfortable, refined yet effortlessly wearable.

Shana Conod

The evening was made even more memorable by the inspiring people behind the brand. Visionary designer Shana Conod has clearly poured her heart into this project, which was named after her little daughter, and it shows in every detail. Supported by Switzerland’s renowned PR manager Laura Zanni, the launch felt seamless, joyful, and full of pride.

Laura Zanni

Guests were also treated to beautiful blowouts by Nathanael Alexander, perfectly complementing the equally stunning pyjamas, a reminder that when attention to detail meets creativity, magic happens.

Nathanael Alexander

Yet beyond the aesthetics, what made the night truly special was the spirit of support. Watching a dream come to life reminds us how important it is to uplift one another, especially in creative industries. Celebrating the success of others doesn’t dim our own light, it allows the entire community to shine brighter.

Olympia The Label may just be getting started, but the brand already radiates confidence, grace, and ambition. If this launch is any indication of what’s to come, the future looks incredibly promising.

With Jaz Brunner and Shana Conod.

Here’s to strong women, beautiful design, unforgettable evenings,  and, of course, more slumber parties in style.

LoL, Sandra

Photos: © Sandra Bauknecht and Courtesy of Olympia The Label
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Happy New Year 2026 to you all! I started the new year in St. Moritz, surrounded by my close friends, winter glamour, music, laughter, and exactly the kind of energy a new beginning deserves. We celebrated up on top of the mountain at White Marmot with good vibes, strong looks, and the feeling of truly stepping forward.

The year behind me was not an easy one, but this night reminded me of something essential: life moves, energy matters, and joy is something worth choosing again and again. We danced, celebrated, laughed, fully present, fully alive.

At the same time, the tragedy in Crans-Montana was a sobering reminder of how fragile life is, how quickly everything can change. My thoughts are with everyone affected. I wish strength, light, and healing to all who are grieving.

And maybe that’s exactly why moments like these matter so much.
Why we celebrate.
Why we gather.
Why we start again with intention, joy, and courage.

Grateful for my friends!

For this new year, I wish you energy, laughter, love, and the confidence to embrace everything good that comes your way. Let’s move forward, bold, grateful, and fully awake to life. 2026 – consider this my energy era.

LoL, Sandra

Photos: © Sandra Bauknecht
DISCLOSURE: We may earn commission from links on this page, but I only recommend products I love. Promise!