Sandra‘s Closet

The Met Gala is typically held on the first Monday in May, but this year, the event was postponed due to COVID-19 and falls right in the middle of fashion month. As Iris Apfel once said: «When we were small children, we all played dress-up and everybody had a good time, so why stop?». This is how Met Gala is for me, a huge party for everyone who loves to dress up and has never stop to indulge in fashion.

Ensemble, Christopher John Rogers (American, born 1993), F/W 2020; Courtesy Christopher John Rogers. Photo: HAPPYMONDAY / Courtesy of the Costume Institute

Also referred to as «fashion’s biggest night out,» the Met Gala is a fundraising benefit for the Metropolitan Museum of Art in New York City. This year, the Costume Institute will host its first two-part exhibition, on the theme of American fashion, during 2021 and 2022. Part one, «In America: A Lexicon of Fashion,» will open in the Anna Wintour Costume Center on September 18, 2021, and will remain on display when «In America: An Anthology of Fashion,» opens on May 5, 2022 in the period rooms of the American Wing. Both shows will run through September 5, 2022.

Below, you will find my personal selection of outfits, that I loved or didn’t like and hope you will enjoy it.

LoL, Sandra

Fashion that makes us dream – my favorite look of the gala: Iman in Harris Reed

Cracking the codes: Kim Kardashian in Balenciaga

Rihanna in Balenciaga Couture and Maria Tash jewelry and A$AP Rocky in ERL

Wild West: Jennifer Lopez in Ralph Lauren

Fitting the American theme of the upcoming exhibitions perfectly: Helen Lasichanh and Pharrell Williams in CHANEL

Sporting the American flag: Debbie Harry in and with Zac Posen

Trio infernal with an American «Statue of Liberty» touch: Sienna Miller in Gucci, Hamish Bowles in Thom Browne, and Emily Blunt in Miu Miu

Feathers were also a trending theme: Serena Williams in Gucci

One of my favorites last night: Zoë Kravitz in Saint Laurent

And another one of my favorite looks: Kendall Jenner in Givenchy

Julia Garner in Stella McCartney

Hailee Steinfeld in Iris Van Herpen

Donatella Versace in Versace

Whoopi Goldberg, Pierpaolo Piccioli and Carey Mulligan in Valentino

Shawn Mendes and Camila Cabello in Michael Kors Collection

Literally eye-catching: Hunter Schafer in Prada

Gigi Hadid in Prada

A great look, but somehow not for her: Diane Kruger in Prabal Gurung and Jimmy Choo shoes

Beautiful: Emily Ratajkowski in Vera Wang

Mmh… definitely not my favorite look: Vera Wang in Vera Wang

Playing dress-up: Erykah Badu in Thom Browne

Making a statement: Cara Delevingne in Christian Dior

Flowers were a huge theme: Lili Reinhart in Christian Siriano

LOVE: Irina Shayk in Moschino

YouTuber Nikkie Tutorials (Nikkie de Jager), who came out as transgender last year, paid homage to activist and drag queen Marsha P. Johnson with this «pay it no mind» sash.

Anna Wintour wore a floral Oscar de la Renta gown.

Stunning in Oscar de la Renta: Karlie Kloss and designer Wes Gordon

Billie Eilish in Oscar de la Renta. Her bombshell gown symbolizes her activism for animal rights. According to The New York Times, she agreed to work with Oscar de la Renta on the condition that the designers would no longer use fur in their pieces.

Dan Levy in Loewe

Designer Virgil Abloh in Off-White

And here comes the golden king in his amazing outfit that revealed different layers: Lil Nas X in Versace

Photos: via Vogue.com

Last Tuesday, I enjoyed a night at the museum with Veuve Cliquot for the unique closing dinner of the retrospective of exceptional artist Yayoi Kusama at Gropius Bau in Berlin. On display in the entrance hall was the champagne house’s new, exciting collaboration with the Japanese artist who dressed the La Grande Dame 2012 Limited Edition in her signature patterns, the polka dots. Also on display was Kusama’s artwork «My Heart that Blooms in the Darkness of the Night», a vibrant floral sculpture.

Among the guests from art and culture were German A-listers Iris Berben, Lea van Acken, Andreas Mühe, Christian and Karen Boros, William Fan, Franz Dinda, Hardy Krüger jr, Esther Perbandt, Johann König and many more.

German actress Iris Berben exploring the early years of the Kusama exhibition.

The evening started with a private guided tour through the amazing retrospective of Yayoi Kusama (92). From an upper class Japanese family that owned a seed nursery business, Yayoi Kusama grew up in a conservative environment. When she left school, and against her mother’s wishes, Yayoi decided to leave Japan, which she considered too small a country, and her family, where art as a career was not appreciated. Kusama left for the US, first Seattle, before settling in New York.

As a painter, sculptor, author, and performance artist, but also a filmmaker, writer, and a female artist of Asian origin in a predominantly male, Western art world, her audacity knew no bounds, as her controversial «happenings» showed. She soon gained recognition and her tenacity paid off: from the 1960s onwards she was one of the few female artists to make a living from her work.

Since her early years, the artist has experienced obsessions and hallucinations; she uses art as a sort of antidote for healing, a kind of self-medication. The canvases she covers with nets and dots have a dual effect; she demonstrates a mastery of repetition that at the same time reveals its infinite character; its overflow is liberating. Interesting to know is that Kusama was the first person in the 20th century to use this method of harnessing an individual’s potential for artistic expression and creativity for openly psychotherapeutic purposes. Today this has acquired the name «art therapy».

As a young artist, Kusama gained inspiration from plants and flowers, which she saw as a symbol of life, birth and regeneration. In later years, they became part of her figurative languages as positive symbols conveying vital energy and regeneration.

The flower is what led her to paint dots at the start of her career – the famous polka dots, which have become her signature. At her happenings in the late 1960s she covered her own and the participants’ bodies in these dots.

«Polka dots are a life, and the moon, the sun, and the stars are one of hundred of millions of polka dots. This is my grand philosophy. With peace from polka dots, I would like to deeply launch my longing for eternal love. Polka dots shall continue to proliferate and appeal to the people with my message.» – Yayoi Kusama

This message of hope and optimism has made her a much-loved figure who is avidly followed by a wide public. She was one of TIME magazine‘s 100 most influential people in the world in 2016 and is now a style icon. She has collaborated with countless brands; from couture (remember the fantastic collaboration with Louis Vuitton in 2012) to streetwear, Kusama’s name fascinates and inspires.

In honor of Madame Cliquot, Veuve Cliquot has commissioned Yayoi Kusama to create a joyful, original work celebrating the new vintage, La Grande Dame 2012. Two bold destinies, two innovative minds, two avantgardists who influenced their times.

With Petra Nagel, Managing Director Moët Hennessy Deutschland (LVMH)

Celebrating this magic encounter, we were invited outside after the tour to enjoy a champagne reception, followed by a wonderful vegetarian/vegan dinner with live performance accompanied by three amazing vintage champagnes; Veuve Cliquot La Grand Dame 2012, La Grand Dame Rosé 2006 and La Grand Dame 2008 Magnum.

A beautiful evening – thank you Veuve Cliquot for inviting me to Berlin, for these unforgettable memories and a message of hope and optimism.

I fully enjoyed the dinner thanks also to the lovely company of Karen Boros, Lea Van Acken and Hendrikje Kopp.

LoL, Sandra

Photos: Franziska Krug/Getty Images for Veuve Clicquot, Agentur EVENTPRESS for Veuve Cliquot and © Sandra Bauknecht
DISCLOSURE: This post is sponsored, but I only recommend products I love. Promise.
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In the beginning of June, an amazing exhibition took place at Kunsthalle in Zurich and I was extremely bumped that I couldn’t go as the event took place for one day only. Originally a coffee table book, ‘weak in the presence of beauty’ is a photographic series by Swiss artist Walter Pfeiffer.

The exhibition captured the constants throughout Daniel Lee’s menswear collections at Bottega Veneta. Walter Pfeiffer continues to represent the fluidity of gender and sexuality, especially expressed with the male body.

Additional drawings from the artist, who had long worked as an illustrator before making a name as a photographer, complimented a curated edit of these photographic images. Friends and family showcased the best bits including Roberto Bolle, Trent Alexander Arnold, Timo & Janik Baumann, Pan Daijing and Fernando Cabral.

LoL, Sandra

Photos: © Walter Pfeiffer

On the 100th anniversary of the founding of Gucci, comes to Florence Gucci Garden Archetypes, an immersive multimedia experience that explores and celebrates the House’s creative vision.

An archetype is the original form from which all copies are made, never able to be recreated in itself, and every Gucci campaign speaks of a unique and unrepeatable moment – expressing the spirit of each collection, while reflecting the inclusive philosophy, liberated and audacious of Creative Director Alessandro Michele.

From Tokyo to Los Angeles, and from Northern Soul to May 68, the exhibition features mythical ark-builders, intergalactic explorers, horses, dancers, angels, and aliens all making appearances in this expansive exploration of Alessandro Michele’s kaleidoscopic vision. Gucci Garden Archetypes delves into the multifarious inspirations from the music, art, travel and pop culture spheres that resonate through Gucci’s campaigns.

«I thought it was interesting to accompany people in these first six years of adventure, inviting them to cross the imaginary, the narrative, the unexpected, the glitter. So, I created a playground of emotions that are the same as in the campaigns, because they are the most explicit journey into my imagery,» says Alessandro Michele, curator of the exhibition.

Cutting-edge technology, elaborate hand-crafting and innovative interior design create a sequence of distinct, immersive worlds, designed by Archivio Personale, the design studio that has transformed Alessandro Michele’s vision into narrative spaces reflecting and enhancing the uniqueness of his aesthetics. Accessed via what appears to be a behind-the-scenes operations center, visitors first get a split-screen live view of the exhibition they are about to enter. Inside, a network of themed spaces and corridors bring the intricate world-building of 15 Gucci campaigns to life.

Gucci Beauty’s lipstick campaign for the ‘bold, bright and beautiful’ is transformed into a multi-screen extravaganza, in which we are dazzled from multiple angles by the now-famous smile belonging to punk singer Dani Miller that has overthrown beauty conventions in the cosmetic industry.

Viewers also enter the scented floral paradise of Gucci Bloom, a hidden imaginary garden becomes a place of freedom for the three stars of the campaign – actress Dakota Johnson, feminist artist and photographer Petra Collins, and actress, model and trans woman Hari Nef. Charismatic and unconventional, this trio collectively ushered in Alessandro Michele’s new, inclusive vision of modern femininity.

In one room, a circular projection creates the immersive sensation of being out ‘on the floor’ with the exuberant dancers of Pre-Fall 2017, with its pioneering casting of an all-black ensemble, in what Michele described as a ‘homage to the elegance of black culture’, by putting it in the foreground. This campaign responded to the need for a better representation of the Black community in the fashion industry.

Pre-Fall 2018’s homage to the Parisian youth of ‘May 68’ on the 50th anniversary is evoked by a graffitied stairway that connects the two floors of the space. For S/S 2018, interdisciplinary artist Ignasi Monreal created in almost 900 hours of painstaking work, a giant hand-painted mural that covers the walls and ceiling. Elsewhere, 150,000 shimmering sequins blanket the walls in a dazzling reimagining of F/W 2016 campaign, a trip through Tokyo, while a museum-style diorama provides a guide to the creatures, aliens and explorers of the F/W 2017 campaign’s trip to outer space.

The obsessive collections of F/W 2018 campaign fill one space from floor to ceiling, as visitors are surrounded with shelves stacked with thousands of cased butterflies, as well as hundreds of cuckoo clocks, colorful wigs and sneakers. Guests can also find themselves in the 80s nightclub bathroom of the Berlin-set S/S 2016 campaign, and behind the scenes in the sprawling modernist villa that hosted the Cruise 2020 campaign ‘party of the century’.

Visitors can even enter a mirrored labyrinth to go inside a stately home like the one at the heart of the Cruise 2016 campaign, take a trip through the breathtakingly world of Cruise 2019’s epic community of ark-builders, and ride on an LA subway carriage like the one that made an appearance back in the F/W 2015 campaign, the first by Alessandro Michele.

The Gucci Garden Archetypes catalog will be the continuation of this journey into the imagination of Alessandro Michele – a true inventory of the creativity on display and a collection of images and surprises, complemented by original texts by personalities of the cultural scene including art critic Achille Bonito Oliva, philosopher Emanuele Coccia, artist and researcher Anna Franceschini, curator Antwaun Sargent, and sustainability and culture advisor Shaway Yeh.

Coherently with Gucci’s explorations of the digital realms, a virtual tour will also be available online, giving the possibility to visit the exhibition. Stepping further down this path, envisioning dialogues melding physical and virtual environments, the House has once again partnered with the global online platform Roblox – bringing in their metaverse a captivating Gucci Garden shared experience that will open its doors on May 17, for two weeks only. As visitors explore this virtual gallery freely inspired by the Gucci campaigns exhibited, the digital avatars transform into mannequins absorbing elements of the exhibition, turning themselves into unique digital artworks.

LoL, Sandra

Photos: © Gucci

Dame Zaha Hadid passed away in Miami on March 31, 2016 at the age of 65. On the 5th anniversary of her death, Galerie Gmurzynska presents an immersive homage to the visionary architect.

The Great Utopia, The Russian and Soviet Avant-Garde, 1915, 1932, 1992, © Galerie Gmurzynska

The shared interests between the gallery and Zaha Hadid for the Russian avant-garde fortuitously crossed paths in 1992 at the monumental exhibition «The Great Utopia,» at the Guggenheim Museum for which Zaha Hadid designed the rotunda – the first architect tasked with reimagining the Frank Lloyd Wright architectural icon. From early in her career, her peerless aesthetic was deeply inspired by Kazimir Malevich and the Suprematists, on whom she prepared her graduation thesis in 1976.

Zaha Hadid and Suprematism installation at Galerie Gmurzynska in 2010 (click here for a previous post).

The gallery’s active collaboration with Zaha Hadid from 2010 until her death began with the idea to again combine her knowledge of the Russian avant-garde with her architectural practice, which had advanced deeper since the Guggenheim exhibition. Thus, in 2010, the exhibition «Zaha Hadid and Suprematism» was held at Galerie Gmurzynska’s headquarters on Paradeplatz in Zurich. The exhibition and book, published together with Hatje Cantz, became a global event. This first collaboration with Zaha was followed by many other exhibition projects, including at Art Basel.

With Zaha Hadid in 2012 during a dinner at Art Basel when she signed the book for me (for the post click here). 

On the occasion of the important Malevich retrospective held in 2014 at Tate London the star architect was asked to take part in a long documentary about Malevich with the BBC. Part of this documentary included an interview with Galerie Gmurzynska CEO Mathias Rastorfer and Zaha Hadid about Malevich and the nature of architecture and art.

The final project completely planned by Zaha Hadid was again to show the dramatic development of her architecture in the context of another foundational modern master: Kurt Schwitters. The exhibition architecture was planned entirely by Hadid, and the selection of works by Schwitters was as well rigorously curated by her. Hadid unfortunately died before the opening of the show and left behind an architectural monument remaining unchanged in the Galerie Gmurzynska on Paradeplatz, open to the public.

The latest exhibition at Galerie Gmurzynska titled «Abstracting The Landscape» was conceived and created with the same team with whom the gallery planned and executed all Zaha Hadid exhibitions since 2010. It has been a fruitful and euphoric collaboration for all involved, for which Galerie Gmurzynska expresses its heartfelt gratitude to the entire Zaha Hadid design and archive team. In this spirit of long-term collaboration and the highest respect for her perpetual vision, historical projects with models and drawings, as well as sculptural objects realized since her passing have been individually selected to be integrated into a custom floor design displaying Hadid’s best traits. The exhibition also features site-specific objects, as well as never-before exhibited designs. It will be open until July 31, 2021.

I was able to shoot different looks inside the exhibition which presented me with an amazing backdrop. Stay tuned for all the posts coming up soon…

LoL, Sandra

Photos: Courtesy of Galerie Gmurzynska, © David Biedert Photography

On the occasion of the International Women’s Day, La Prairie announces lead patronage of Niki de Saint Phalle‘s most substantial U.S. retrospective at MoMA PS1 in New York.

On view from March 11 to September 6, 2021, Niki de Saint Phalle: Structures for Life will feature over 200 works created from the mid-1960s until the artis’s death, highlighting Saint Phalle’s interdisciplinary approach and engagement.

Niki de Saint Phalle. Californian Diary (Order and Chaos). 1994

La Prairie honours Niki de Saint Phalle’s audacious and visionary feminist spirit – her defiance of social norms and her willingness to break the codes both in her personal life and work. The work of Niki de Saint Phalle has a particular resonance for La Prairie as it was her striking use of cobalt blue that was the inspiration behind La Prairie’s iconic Skin Caviar Collection colour.

Niki de Saint Phalle. Flaçon de parfum. 1982

In 1982, Niki was developing her eponymous fragrance from her atelier in a shared design studio in
New York where La Prairie’s team would often engage in creative exchanges. When La Prairie
encountered Niki de Saint Phalle’s cobalt blue – her favourite colour that she describes «as the colour
of joy and luck» – the link became clear: only cobalt blue would do. A fortunate encounter that would
spark a bond with the House of La Prairie and seal it forever.

La Prairie Skin Caviar Collection

Just as Niki de Saint Phalle raised awareness on modernist, progressive views, La Prairie’s founder paved the way to pioneering discoveries. Dr. Paul Niehans was a dreamer, a seeker of beauty. Art was central to his science, central to his dream to hold time in his hand, central to his pioneering spirit. A spirit mirrored in Niki de Saint Phalle’s inner flame of audacity. She expressed a new femininity, one which stood in opposition to the conventional influences and values of society.

Niki de Saint Phalle working on the set for The Travelling Companion at her studio near Milly-la-Forêt. 1977.

Through her lifetime, Niki de Saint Phalle used her platform as an artist to bring attention to various issues advocating for women’s equality to provoke and trigger conversations – a legacy that today continues to inspire new generations of artists and women beyond. Niki de Saint Phalle also shaped art movements such as Nouveau Réalisme. As the only woman in the 1960s-founded group, she offered a unique perspective and proved her art was as innovative as her male counterparts.

Niki de Saint Phalle. La femme et L’oiseau fontaine. 1967–88

«Niki de Saint Phalle created artwork that explicitly rejected patriarchal values and artistic convention. Her Nanas confront Western standards of femininity and decorum: they are brash, ecstatic, and embrace sexuality. She created her Nanas at such a large scale specifically so that they could dominate – literally tower over – men. Saint Phalle was also an iconoclast in her personal style and way of life,» according to Ruba Katrib, Curator of the exhibition.

Last Night I had a dream, 1968-1988

This collaboration with the upcoming exhibition at MoMA PS1 in New York is an opportunity for the Swiss luxury house to enable the world to experience Saint Phalle’s revolutionary work. It is also an expansion of La Prairie’s support of art and culture by creating new connections with the world of art and its various representatives, whether emerging or established artists or cultural institutions. A commitment that continues to flourish and to build on the House’s existing partnerships with art fairs Art Basel and West Bund Art & Design and the iconic Fondation Beyeler in Switzerland.

More information at moma.org/ps1. I would love to see this exhibition and truly hope that we will be able to travel to the U.S. soon again.

LoL, Sandra

Niki de Saint Phalle with La Fontaine Stravinsky

Photos: Courtesy of La Prairie, © 2021 Niki Charitable Art Foundation
© Michiko Matsumoto, © Leonardo Bezzola Estate

One thing you should not have missed when visiting Gstaad, is the outdoor sculpture MIRAGE GSTAAD. Until this month, the mirror house designed by Los Angeles-based artist Doug Aitken stands on the hiking trail between Schönried and Gstaad and can only be reached on foot.

With every available surface clad in mirror, it both absorbs and reflects the landscape around in such ways that the exterior will seemingly disappear just as the interior draws the viewer into a never-ending kaleidoscope of light and reflection. With the help of my tripod, I shot this outfit post by myself – a comfortable look that is perfect for hiking around Gstaad.

My look: Lawrence space-dyed cashmere sweater, and Lauren fringed space-dyed cashmere wrap, both by Gabriela Hearst, skinny jeans «Kate» by Dolce & Gabbana, Biker II leather boots by Jimmy Choo, Loulou heart-shaped acetate sunglasses by Saint Laurent, Clash de Cartier ring in 18K rose gold with amazonite by Cartier, and waist belt by CHANEL.

LoL, Sandra

 Photos: © Sandra Bauknecht
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First of all, congrats to Net-à-Porter, my favorite shopping destination turns 20 this month and it never stops to amaze me. Last Thursday, I had the privilege too attend a very exclusive zoom meeting hosted by Net-à-Porter for their top clients to explore Masterpiece London, the world’s leading cross-collecting fair, before the official launch date today.

With Alison Loehnis to the right and Charlotte Olympia in the middle at another amazing Net-à-Porter event in London.

Our lovely host, Alison Loehnis, president of Net-à-Porter, was joined by experts from the art world for a virtual discussion on «Voyages of Discovery: journey, legacy and connection in art & design.»

Philip Hewat-Jaboor gave us some great insight into Masterpiece London.

Philip Hewat-Jaboor, chairman of Masterpiece and a distinguished collector himself of exceptional pieces from every category imaginable, including 18th-century and early-19th-century ceramics, marbles, furniture and antiquities, gave us a great introduction. What sets Masterpiece London apart from other art fairs is the juxtaposition of art and design from all periods and origins. It is the unmissable art fair at which visitors can view and buy the finest works of art, design, furniture and jewellery – from antiquity to the present day.

Emma Ward during the meeting in front of a Picasso painting.

«Art is incredibly subjective.» – Emma Ward

With almost 400 years of collective art world experience, Dickinson specialises in privately and discreetly handling rare Old Masters through to Impressionist, Modern and Contemporary masterpieces. Emma Ward, Managing Director, who runs the company, explained us how to navigate through today’s complex and fast-moving art world.

Stunning necklace by Fabio Salini

«I couldn’t find the perfect color combination. Therefore I divided the gems in two rows, into warm and cold colors.» – Fabio Salini

Gemologist and jewelry designer Fabio Salini worked for Bvlgari and Cartier before launching his own brand, creates original jewelry and events around the world. In 2004 he opened his Atelier in Rome, an elegant shop and design studio that has become the focal point of his work, representing the quintessence of his style. His keen interest in contemporary art as a form of expression and a source of inspiration has led to brilliant collaborations, like that with Fernando and Humberto Campana, rooted in a tantalizing mélange of jewelry, design and art. He sees himself as a contemporary artist, very much related to his emotions. He is a pisces, very moody, feelings change every single day.

Image of Rockefeller’s salon designed by Jean-Michel Frank in 1939, showing the Léger mural and Giacometti andirons.

«I believe that a less severe principle can be found—the mixing of styles. The noble frames that came to us from the past can receive today’s creations. The house that we build now can welcome ancient things of beauty.» – Jean-Michel Frank

Such a source of inspiration: Helena Rubinstein’s apartment.

«Re-editions can be problematic.» – Daniel Malarkey

Daniel Malarkey, art advisor, specialized in contemporary art and important design for collectors. I loved his advice and speech. He spoke about provenance and the designer’s work; how proportion, materials and form inspire contemporary design today: how then one commissions site-specific design for interiors and mixing 20th century with contemporary.

Van Cleef and Arpels Œillet handbag mirror. Unique piece, High Jewelry Collection, 2019
Yellow gold, rose gold, white gold, pink sapphires, rubies, diamonds. £300.000

If this preview has whet your appetite, you can go even further with this online. Navigate on your own, you can do this from every corner of the globe. However, without the conversation with the exhibitors, you might be stuck. If you find something you like, make a telephone call, talk to the dealer, get engaged and learn more about the respective piece. Masterpiece’s exhibitors span all eras and disciplines and include many of the world’s most distinguished art dealerships.

Shopping art and design is actually similar to shopping at Net-à-Porter, do your homework. Understand the fabrics and materials, buy books and learn about iconic pieces. Buy the best you can afford, instead of buying 25 pieces, invest in THE one. You should feel comfortable in spending money so that you would like to do it again.

Chairs, ca. 1930, by Jean-Michel Frank (1895-1941), Galerie Marcilhac

If you commission a piece, find a gallery, an artist or designer. Talk about the feeling of the house, work on the discussion and have an eye on proportion.

Invest in something you like. It might become an iconic piece. I am a collector myself, my collection of high end fashion pieces is my biggest passion that I have followed since over 25 years now. I buy what I personally adore and this is in general the best advice! In the meantime, my collection includes many museum-quality objects.

Do you remember the auction sale of the art collection put together by Yves Saint Laurent and Pierre Bergé that was held from February 21-25 2009? Yves Saint Laurent was a tastemaker of his own who also got inspired by art, as you can see perfectly in the creation of the famous «Mondrian dress». It was the first ever auction sale to be staged in the Nave of the Grand Palais. The event turned out to be memorable with even 34.000 visitors. Record-breaking items were: the Brancusi sculpture, Madame L.R. which fetched 28.1 million euros. The Matisse Cuckoos went for a spectacular 32 million, smashing the estimated figure of 12 to 18 million euros. Marcel Duchamp’s Belle haleine, eau de voilette fragrance bottle fetched 7.9 million euros.

Yves Saint Laurent and Pierre Bergé in their apartment with the famous dragon armchair.

Last but not least, a legendary item in the collection, Eileen Gray’s «dragon» armchair, defied all expectations, the sale price of 21.90 M€ being ten times the pre-sale estimate. This chair was absolutely different from her usual style, but you see how things can turn out surprisingly well.

Join Masterpiece Online (22 – 28 June 2020) for live panel discussions with leading cultural institutions, watch interviews and learn from experts, expert-led virtual tours or arrange a tailor-made private view for you and your friends.

Have a great start into the week.

LoL, Sandra

Photos: © Sandra Bauknecht, Courtesy of Rockefeller Foundation, Net-à-Porter and Masterpiece

In Wednesday’s post about the departure of Rolex, Tudor, Patek Philippe, Chanel and Chopard from Baselworld, I rose the question if this will be the end of the famous watch and jewelry show. Here is the answer and some more breaking news as the Swiss watch manufactures belonging to the LVMH Group, the world leader in luxury, have chosen to leave Baselworld in order to join the other flagship brands of the Swiss watch industry in Geneva from 2021 onwards. This includes all brands from the LVMH Watchmaking Division, TAG Heuer, Hublot and Zenith, as well as the House of Bvlgari.

Within this context of clearly weakened representation of the Swiss watch industry and hence inevitably lower participation, it appears clear to the brands composing the Division and to the House of Bvlgari that they must also withdraw in order to preserve their image and their relations with their clients as well with the media.They will therefore not be taking part in the 2021 edition of Baselworld.

The four Maisons are examining various potential event formats corresponding to the need to present their strategic directions and new products to their commercial partners – as well as to the international press – next year. The LVMH Watchmaking Division on the one hand, and Bvlgari on the other, will decide on their plans in the coming weeks, according to their respective objectives.

Stéphane Bianchi

Stéphane Bianchi, CEO Watchmaking Division LVMH, said: «We are sorry to have to leave this over 100-year-old Baselworld event to which our Maisons have been consistently loyal. It is nonetheless clear that we must respond quickly and make other arrangements. We are facing an opportunity to reinvent the format and content of one of the key moments of our watchmaking year, which represented both a major commercial challenge and a lever of influence for our brands. With this in mind, we will do our utmost to be present alongside the other prestigious Maisons that will gather in Geneva in April 2021, and thereby meet the requirements of our partners and clients while offering them an unrivalled experience.»

Jean-Christophe Babin, CEO Bvlgari Grou., stated: «Grouping the entire Swiss watch industry in a single location, Geneva – the historical capital of watchmaking – and around a single date, is a major opportunity to at last revive a sector that all too many divisions and divergent interests have weakened compared to the rest of the luxury sector in which Bvlgari is active and that is making much faster progress. We are looking forward to going to Geneva in April 2021, even though we still need to define the terms of our participation, which we will specify in the coming weeks. We are also delighted not to have to make up for the lack of institutional watch shows, which in 2020 forced us to take tactical initiatives that were necessary in the short term but undesirable in the medium term.»

So, dear ladies and gentlemen, this is the answer, this is the end of Baselworld…

LoL, Sandra

Photos: Courtesy of the Brands

Yesterday I received the breaking news: Rolex, Patek Philippe, Chanel, Chopard and Tudor leave Baselworld to create a new watch trade show in Geneva with the Fondation de la Haute Horlogerie (FHH). The show will be held early April 2021 at Palexpo, at the same time as Watches & Wonders (The FHH is the group that organizes what, until this year, has been known as Salon International de la Haute Horlogerie (SIHH).) This departure follows a number of unilateral decisions made without consultation by Baselworld management, including the postponement of the watch show until January 2021, as well as its inability to meet the brands’ needs and expectations.

The announcement comes as no surprise – as open letters about the fair’s plans and its organizer’s handling of refunds, among other things, have been paramount this past week. Apparently, Baselworld management also opted to reschedule Baselworld 2020 for January 2021 without asking the exhibitors. The dates conflict with a host of other exhibitions around the world in jewelry and watches.

The new show, which will be linked to Watches & Wonders, organized by the Fondation de la Haute Horlogerie, is to take place at Palexpo. The aim is to offer partner brands the best possible professional platform, applying a shared vision to successfully meet future challenges in the watchmaking industry. It will also give crucial prominence to the sector’s expertise and innovations, both in Switzerland and internationally. Other brands may also be added, according to terms that have not yet been defined. This new event will be geared predominantly towards retailers, the press and VIP customers.

Jean-Frédéric Dufour

Jean-Frédéric Dufour, Chief Executive Officer, Rolex SA, and Board Member, Montres Tudor SA, said: «We have taken part in Baselworld since 1939. Unfortunately, given the way the event has evolved and the recent decisions made by MCH Group, and in spite of the great attachment we had to this watch show, we have decided to withdraw. Following discussions initiated by Rolex, it seemed only natural to create a new event with partners that share our vision and our endless, unwavering support for the Swiss watchmaking sector. This will allow us to present our new watches in line with our needs and expectations, to join forces and better defend the interests of the industry.»

Thierry Stern

Thierry Stern, President, Patek Philippe said: «The decision to leave Baselworld was not an easy one to take for me, being the fourth generation of the Stern family to participate to this traditional yearly event. But life evolves constantly, things change and people change as well, whether it is at the level of those responsible for the watch fair organization, the brands or the clients. We constantly have to adapt ourselves, question what we do, since what was right yesterday may not necessarily be valid today! Today Patek Philippe is not in line with Baselworld’s vision anymore, there have been too many discussions and unsolved problems, trust is no longer present. We need to answer the legitimate needs of our retailers, the clients and the press from around the world. They have to be able to discover the new models from Swiss watchmakers each year, at one time, in one place, and this in the most professional manner possible. That is why, following several discussions with Rolex and in agreement with other participating brands, we have decided to create, all together, a unique event in Geneva, representative of our savoir-faire.»

Frédéric Grangié

Frédéric Grangié, President of CHANEL Watches & Fine Jewellery said: «Like its partners, CHANEL shares the same independence and the same desire to protect and promote the values, know-how, utmost quality and precision of Swiss Watchmaking. This initiative marks a key milestone in the history of CHANEL Watchmaking and is part of a long-term strategy, which began with the launch of this activity in 1987. This exhibition will allow us to present all of our new creations in an environment that meets our high-quality standards.»

Karl-Friedrich Scheufele

Karl-Friedrich Scheufele, Co-President Chopard et Cie SA said: «Chopard first exhibited at the Basel fair in 1964 with a stand of some 25 square metres. After careful consideration, our family decided to support the Rolex initiative and retire from Baselworld – a painful decision. The creation of this new watch show in Geneva, in parallel to Watches & Wonders, will allow us to better serve our watchmaking partners and our customers. Through the alliance, these grandes maisons will also be able to collaborate in promoting the values and best interests of Swiss watchmaking.»

Jérôme Lambert

Jérôme Lambert, on behalf of the Fondation de la Haute Horlogerie Council said: «The Fondation de la Haute Horlogerie is delighted to welcome a new salon which will strengthen the historical Watches & Wonders event in Geneva next year in early April.»

Further information will be published at a later date, in particular concerning the name of the new watch fair and its organization.

I fear this will be the end, pure and simple, of Baselworld…

LoL, Sandra

Photos: Courtesy of the Brands and © Sandra Bauknecht