The Sea Society gathers in Miami and its Faena Hotel in December. Design Miami and Art Basel ignite the conversation of the media and sophisticated industry
The Sea Society gathers in Miami in December. Design Miami and Art Basel ignite the conversation of the media and sophisticated industry – as luxury can afford sophistication. The traditions. A Sea Society is defined above the traditions of a place that developed on the seashore that does not bear the new openings, the evolutions and the changes.
The Casa Tua is part of that list of places that symbolize the coast on which they are open – the Cave du Roy in Saint Tropez, the Dracula in Sankt Moritz, Annabelle in London, Cipriani of West Broadway in New York. On the first floor of Casa Tua is the club – on the door, the list of members. Snobbery is maximum – but then it always remains relative, reminding us of Roberto Cavalli and his clique only remained cool in the 1990s.
Miami still remains a little behind its past of excessive luxury, between yachts and paparazzi – but in this whirlwind, the warmth and flesh of Casa Tua make you remember the poetry of a photo by Slim Aarons.The owner, Miky Grendene , stop the time. You come back to the Casa Tua, whenever you are in Miami, and in the evening you find yourself there. The staff is Italian, chosen with every care, not least the beauty – one of the maitre, Beni, with a white shirt interprets the erotic dream of any Eva Longoria who always wanted to satisfy herself as a desperate housewife.
Towards the famous Fontainebleau now too many years ago, the Faena Hotel appears. A neighborhood, more than a hotel, a cross on the Collins for the investments of the Argentine family Faena – of which among the heirs is Sebastian, the photographer always chosen by Carine Roitfeld, immersed in a clique of male Hispanic beauty, not by chance, friend by Jon Kortajarena. In front of the beach, at the end of the garden beyond the pool, a glass case holds the golden elephant skeleton, by Damien Hirst. The gold leaf reappears in the lobby, everywhere around the Gucci-Guccy-style frescoes, paintings or murals, with good reason.
So in the restaurant, on a podium of excess that finds wonder, another work by Hirst: a unicorn, on one side still golden, on the other anatomically visible. The hotel is the old Saxony, a building taken from the set of Magic City is brought back to nobility with a design that – if it is true in the large halls touches a bit on kitsch – in the room becomes a very good exercise.
The red detail is the thread of the story – from the sofas to the patterns of the carpet where it mixes with a bright and modern turquoise like the best fashion from Prada or Gucci – here without a final. The beach umbrellas, red, take you back to the 1940s, where the charm project in South Beach still draws energy.
Construction sites are open – there is a museum, Norman Foster’s skyscraper, and Casa Faena – perhaps in rhyme and rivalry at the Casa Tua from above, news against tradition. Like the first, Casa Faena looks like a smaller colonial residence – here not Italian, but Cuban, among chairs in wicker and windows with Spanish ogives, and a lot of literature that takes you back to the Paris of the Caribbean, forgetting, perhaps overseeing this project apparently without brakes, an outdoor garden.
3201 Collins Ave
Miami Beach, Florida