In Midtown, among the high anonymous skyscrapers of the offices, there is a short stretch of Lexington Avenue, between 26th and 28th Street, which smells of spices. We are in Curry Hill, the small Indian cultural and gastronomic enclave of Manhattan, which survives proudly with its few-storey buildings and commercial activities in family management, despite the continuous and hectic evolution of the neighborhood. Who knows New York knows that the great Indian neighborhood of the city is not here but in Jackson Heights, Queens, where Asia has rooted in the streets and markets, with a residential and commercial density that has no comparison in Manhattan. Curry Hill, however, is a reality to itself: smaller and more concentrated, but not for this less interesting to discover.

My first meeting with authentic Indian cuisine did not take place in New York but in Delhi, on the evening of the first day of a trip to Rajasthan in 2013, when still disoriented by time zone and impact with the city, I found myself sitting by Saravana Bhavan, a historical chain of vegetarian restaurants native to southern India. I didn’t know what to order, and it was someone at the table next to pointing out the dosa masala. This thin and crunchy rice flour, filled with spicy potatoes, served with coconut sambar and chutney, turned out to be one of those experiences of food that do not forget. Later I would have discovered that Saravana Bhavan also has a seat in Curry Hill, at 81 Lexington Avenue, where every time I come back to mind Delhi, the ant table, the frenzy of the restaurant in one of those short geographical circuits that only New York can generate!

But we do as always a step back and try to figure out how this neighborhood corner has developed. The South Asian community began to root in New York significantly after 1965, when the Immigration and Nationality Act dismantled the national quotas that had in fact held out of America anyone who was not European, opening the doors to a highly specialized immigration made of doctors, engineers, professors, very different from the labor wave that had characterized previous generations. Murray Hill, with its still affordable rents and its central location, becomes one of the chosen natural landing points, and the Lexington section around the 28th, already known as Little Armenia, is soon renamed Curry Hill, in a word game with the name of the neighborhood that still resists today. To make the place interesting, besides the presence of the spices name and fact, is the succession of restaurants and Indian shops, Pakistani, bangladesi and Lankesi sri, with their kitchens and their cultures that in the countries of origin bear the weight of deep historical tensions and that here, in four blocks of Midtown Manhattan, seem to have found a quiet and pragmatic truce.

The easiest way to get to Curry Hill is by metro line 6. Coming to 28th Street and turning east on Lexington, the neighborhood turns out alone. The first thing you notice is the overlap of different registers: next to a restaurant with elegant air there is a place without name with plastic chairs that bakes thali to fifteen dollars, next to a jewelry store with the sari exposed in the showcase there is a grocery store where an old man counts lentils behind the counter. It is a neighborhood that works, in the simplest and most New Yorker sense of the term, and the fact that among its most faithful frequenters there are taxi drivers of the city, mainly Indians, Pakistani and Bangladesi, is perhaps the most honest sign of its authenticity. When those who know that kitchen better than anyone else choose to stop there, you can definitely trust! The culinary choice ranges from North Indian cuisine to South India with Saravana Bhavan, which brings to Manhattan the vegetarian cuisine of Tamil Nadu with its steamed soft idles and crispy dosas that here are identical to those I first discovered in Delhi.

Before the restaurants, however, there is a place that deserves a separate speech and that in a way precedes everything else. It is Kalustyan’s, at 123 Lexington Avenue, which is not only the most supplied spice shop in the city but it is, in all effects, the place from which Curry Hill began to take shape. Founded in 1944 by Kerope Kalustyan, an Armenian arrived from Istanbul with the intention of exporting steel to Turkey, the store develops in what was then an Armenian neighborhood, selling spices and products of the Middle East. When in the 1960s and 1970s the Indian community began to reach significant numbers, Kalustyan’s expanded to serve it, introducing ingredients that were not elsewhere in New York, and thus became one of the catalysts of the very identity of the neighborhood. Today the store is owned by a bangladese family and sells products from more than eighty countries, with shelves coming to the ceiling and a ability to let anyone enter without a precise list. I go back regularly to stock up with spices and herbal teas, and every time I go out with at least three things I had not planned to buy including sweets soaked in honey, a special rice pack or some datter with surreal dimensions. It is one of those shops that remind you why it is worth living in a big city!

In Curry Hill, restaurants take place a few steps from each other, often managed by the same entrepreneurs who over time built small family groups, covering different registers of the same culinary tradition. It is the case of Bhatti Indian Grill and Desi Galli, two locals of the same owner who turn to different moments of the day and to different moods: the first is the place for a more collected dinner, with a focus on the kitchen of the tandoor, specialized in chicken tikka while Desi Galli is the realm of Indian street food where the kathi roll (rolled paratha cakes around various fillings) are unmissable. There are also vegetarian options and the aforementioned Saravana Bhavan and Kailash Parbat are the right places.

If restaurants are the most immediate way to get into Curry Hill, shops are the way to really understand it. In addition to Kalustyan’s, which we have already met, it is worth stopping also from New Foods of India, at 121 Lexington, smaller and chaotic with the typical atmosphere of neighborhood shops that New York is losing more and more often. Completing the picture are the jewelers and textile shops, overcrowded with rolls stacked up to the ceiling, which line Lexington with their illuminated windows. Here you can buy both classic sari and salwar kameez, tunics with trousers that have become the daily leader for many women in southern Asia, and prices are almost always surprising for the quality of what is found. There are also jewels and decorative ornaments that in traditional Indian families represent a transferable personal wealth of the woman, a form of savings and security independent from any other variable of family life.

Curry Hill has a precise and recognizable daily rhythm, but also knows how to fit into the great celebrations of Indian culture. During Diwali, the festival of lights that falls between October and November, the shop windows fill with mithai, the traditional desserts made of reduced milk, sugar, saffron and pistachios, the restaurants offer special menus, and the atmosphere becomes warmer and more convivial than usual. Then there is the India Day Parade, the largest celebration of Indian independence outside India, which parades every year along Madison Avenue with dozens of wagons, thousands of participants and the Empire State Building illuminated with the colors of the Indian flag. The parade does not pass on Lexington, but its path ends a few blocks away, and in those afternoons of August Curry Hill becomes the natural continuation of the party, with the restaurants that fill and the streets that animate a joy different from the usual. If you want to live it firsthand, mark on the agenda on the third Sunday of August and arrive at Curry Hill in the late afternoon, when the parade is over and the party moves to the table.

Curry Hill, like all of Manhattan’s ethnic neighborhoods, today faces a pressure that does not hint at decreasing. Rentals increase, new real estate developments transform the isolated building fabric, and the children of immigrants who built this place move elsewhere or simply embark on professional routes that do not pass through the opening of an Indian restaurant in Midtown. The neighborhood has survived many transformations, but the changes are in place and do not hint to slow down despite these few blocks are still frequented both by a clientele full of long course and by the new arrivals looking for a cultural reference point. If you haven’t been there yet, go there. And if you’ve been there, maybe go back to a party day where sharing gets deeper.

This is our monthly appointment with the World Tour in New York. If you have lost your previous numbers, you can find all the articles in the section on the site: Greenpoint Poland, the Williamsburg of the Orthodox Jews and many other corners of the world, without ever leaving the city. Next month, with a new story and a new neighborhood!

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A film, The third time, already presented at the Film Festival in Rome, directed by Gianni Aureli, who returns to the theatre at the end of April, a smile that fascinates for its delicate beauty.

The actress Elisabetta Pellini is the new top star of our column. That’s what he told us.

What’s the third time? It is the story of two women, a partisan and a nobleman, who will later be Edda Ciano, the daughter of Benito Mussolini, set during the end of World War II. Two very different women, who do not even know each other, but who find themselves fleeing through the woods looking for a refuge. And among them will come to create an complicity that at another moment would have been impossible. I play Ciano, Sara Baccarini is the partisan.

How did you prepare this role, a woman really existed and linked to a very complicated period of Italian history? It was a great challenge, because the script, written by Gaia Moretti, predicted that for most of the film my character did not speak almost. So the interpretation was all to play with expressions of face, eyes, of the unspoken. I studied some documentation, looked at the process of Verona by Carlo Lizzani, where Edda is interpreted by Silvana Mangano. However, the story of his escape, a really happened episode, had never been told by the cinema.

What do you think of Edda’s personality? That of a very strong woman who wanted to be free. He spoke many languages, including Chinese, and his judgment on the work of his father at that time was not very positive, since he had let her fucilate her husband, Gian Galeazzo.

Did you find anything that belongs to you? Surely the spirit of adventure, and his love for elegance. And then he taught me that even in the worst situations, when everything seems lost, we must find the courage to react and move forward.

Do you have any plans coming? I just finished shooting Lola Bum, a film directed by Maurizio Baldini in which I interpret a very different character, a musical agent, vegan and a little naif. I had a lot of fun, it made me rediscover my “blond side”.

We’re coming to you. You’re a woman of great beauty, what do you do to keep her? In fact, in me there is a lot of unconsciousness, indeed maybe I should work a little on my self-esteem. However, I think that in the end everything comes from inside: people who appear beautiful out are beautiful inside, in peace with themselves.

What is it that gives you joy, that makes you smile, that keeps you in peace? Simple things. First look at my mom Graziella and see she’s healthy, because she’s been having some trouble lately. Work hard and carry out my projects having given the best of myself. Spend time with the people I love. And to take care of charity: I am the witness of the association Meter that deals with abused children and with problems, it is a great joy.

How important is it for you to smile? It is fundamental. Lately I experienced it with my mom, who had a stroke, needed to practice recovering the mobility of a part of the face. To help her, I also smiled with her: 20 smiles, a break, and then 20 kisses, and then again. As I went on I realized that it was not just a good facial gymnastics: because looking in the mirror you realize that the smile brings smile, and inevitably gives us joy.

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Spring in New York arrives without asking permission, one day you are still in the grey of winter, the day after the city explodes of colors, light and energetic look. It is precisely in this passage, a little chaotic and totally authentic, that the true style of the season is born: spontaneous, unpredictable and impossible to ignore. With spring 2026, trends evolve in a more personal and instinctive direction. The new password is mixing.

The colors tell this freedom starting from the most delicate palettes: pink confetto, green mint and blue sky build a light and sophisticated imagination. Brand like KidSuper, Kate Barton and Curiel interpret the trend of pastel colors in distinct but complementary ways. KidSuper stands out for a creative approach, unique and out of patterns, transforming color into pure artistic expression. Kate Barton combines elegance and a more relaxed touch, balancing sartorial construction and modernity. Curiel, on the other hand, maintains a classical and sophisticated vision, in which the pastel becomes a symbol of timeless refinement.

Next to this chromatic harmony emerges the trend of color block, which breaks the patterns with more decisive combinations, such as red and pink, yellow and fuchsia. It is not only an aesthetic choice, but a way to affirm presence and safety, transforming color into a real visual language. To best interpret this trend are Private Policy and SHAO. In their collections, chromatic contrasts become narrative, creating dynamic and immediately recognizable look.

Transparency is no longer just sensual, but they play with levels and perception. Among the most interesting interpretations of this trend is that of Caroline Zimbalist, which brings flowers out of the purely decorative dimension, to make them a structural part of the garment and the jewel, through the use of biomaterials. Its corsets and dresses, as well as rings, pins and earrings, dialogue with the theme of three-dimensionality and volume. An approach that blends aesthetics and innovation, redefining in a contemporary way the relationship between fashion and nature.

The stylistic influences intertwine, giving space to the boho-gypsy tendency made of fringes in movement and lightness, able to evoke a sense of spontaneous freedom. The result is a style that escapes the rules, but for this reason it manages to express a free and deeply current femininity. In this direction it is inserted Alix of Bohemia, which decodes this imaginary through handcrafted details, refined fabrics and fluid silhouettes. The fringes are not only decorative, but they accompany the movement, making each garment dynamic.

Da sinistra: Alix of Bohemia SS26 e RVNG SS26

In contrast, the return of the preppy style, with dancers and moccasins, brings order and measure, proposing a more discreet and daily elegance. It is precisely this dialogue between opposites to make the look interesting. To Kokkino and Giada interpret this aesthetic with an approach in which the cleanliness of the lines meets refined details, offering a vision of daily elegance never trivial.

On the contrary, the used & destroyed trend introduces a more raw and authentic dimension, where imperfection becomes aesthetic value. In this context there is also the return of the printed and decorated denim, which abandons its most basic soul to become expressive surface, between embroidery, pattern and maternal processing. Earthling translates this trend into garments that seem to have lived, capable of telling a story through textures, details and unconventional finishes.

The proportions change and with them the way to move in the urban space. Soft or voluminous trousers expand the silhouette, creating a sense of comfort that reflects the rhythm of the city, defining a new balance between comfort and scenic presence. Jarel Zhang works precisely on this concept, building volumes that dialogue with the body in a fluid but decisive way, redefining the proportions in a modern key.

At the same time, garments like trench and blazer turn: on the one hand the clean elegance of the old money style, which recalls sobriety and timeless quality, on the other the new utility, which integrates functional elements such as pockets, zip, technical details, making the look practical but sophisticated. Public Serv-ce decodes this duality, combining functionality, style and aesthetic research into garments that are practical but highly distinctive.

The accessories, today more than ever, define the identity of the wearer. Bandanes and scarves add versatility to the look, can be romantic, casual or edgy depending on how they are matched. In this direction Mark Gong reinterprets these elements, transforming them into unique details capable of completing and at the same temp or characterizing the whole look.

Da sinistra: Mark Gong SS26 e Samantha Siu SS26

XL jewels do not simply complete the outfit, but become real focal points. In this trend Samantha Siu stands out, making the jewel the central element of the look: decisive volumes and bold shapes transform each piece into a declaration of style.

The voluminous dresses redefine the silhouette through large proportions and scenic constructions. Fluid but well structured lines combine with bold colors, creating impact look. To best represent this trend is RVNG. Each garment sculpts the figure with precision, transforming the amplitude into a distinctive sign of contemporary elegance.

Like spring, style also changes rhythm and finds new forms to express itself. And between a sunny day and a sudden change of temperature, New York continues to remind us that the right time to reinvent itself is always now.

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At the beginning of the twentieth century, in the United States, travelling by train was the fastest and most widespread way to cross long distances, but also one of the most risky. The railways were booming, with thousands of kilometres of lines connecting industrial cities, agricultural areas and new settlements. It was a still unregulated system, far from today’s security standards and largely based on manual procedures: signalling systems were not fully automated yet, and most of the rail traffic was based on telegraphic communications and pen-written instructions. Coordination errors between stations or engineers could lead two trains to the same line without adequate safety distances. Frontal clashes, especially on single-track lines – most of the lines had a single track – were among the most frequent accidents. And accidents, in general, were not rare.

One of these, which took place on 27 November 1901 along the Wabash Railroad line, between the towns of Seneca and Sand Creek, Michigan, involved two trains and caused dozens of deaths. But there is a reason why we talk about it.

Una mappa che mostra le linee ferroviare della Wabash Railroad

The so-called “wreck on the Wabash” was a frontal confrontation between two convoys. On the one hand there was a passenger train, the Number Four “Continental Limited”, directed towards Detroit and with on board many people of the middle class, mainly American and divided into wagons between first and second class, traveling during the Thanksgiving period, Thanksgiving Day. On the other hand, a much more humble convoy, the train number 13, consisting of a pair of first-class carriages, a cheaper wagon and three water tanks. In these three wagons, built in wood, there were about one hundred Italian immigrants, arranged with lucky seats. The train number 13, which is also a number traditionally associated with bad luck in American culture, had departed from New York and traveled in the opposite direction to Detroit, towards Colorado, where many of the Italians would look for work in the mines.

The most credited historical reconstruction tells that the Continental Limited did not respond to the order to stop at Sand Creek station and ended on the same route occupied by the other convoy: the order was to give precedence to the Treno number 13, which had accumulated a lot of delay due to a broken engine during the trip. It is unclear whether the order was sent late or did not arrive at the engineer in time before redisclosure, or if it failed to interpret it correctly or ignored it.

Particolare della mappa di sopra: è possibile distinguere Detroit, in alto a destra, e, seguendo la linea più spessa verso il margine inferiore sinistro, arrivare fino ad Adrian. L’incidente ferroviario sarebbe avvenuto tra la stazione di Adrian e quella successiva di Sand Creek proseguendo la traiettoria.

However, at 6:45 in the afternoon, the impact between the two trains caused a violent fire: the materials used for carriages, along with the lighting systems of the time – gas lamps or oil lamps, extremely dangerous – made the flames difficult to contain. Many of the Italian passengers were trapped inside the tankers and died without being able to leave.

The Italians involved in the accident were part of the Great Italian emigration, that is the vast migration phenomenon between the end of the nineteenth century and the first decades of the twentieth century that prompted millions of Italians to leave the rural areas of the country, especially in South Italy, to move overseas. Many of them moved within the American territory to reach seasonal or industrial jobs, often organized through recruiting submerged networks. The journeys were in precarious conditions, with very low costs but safety standards much lower than those of the most affluent passengers.

After the accident, the rescues were organized by the inhabitants of the nearby areas, mainly from the most inhabited city of Adrian, with some houses of the nearby Seneca and Sand Creek turned into lucky hospitals, but for many of the passengers there was no possibility of salvation. The bodies of the Italians were recovered only after the end of the fire and quickly buried in a common pit: the reconstructions of the time speak of a few large containers – about 5 coffins – where the corpses were piled together.

Una foto dell’incidente fornita dalla Keene Public Library and the Historical Society of Cheshire County, firmata Keene N.H. | Via Picryl.com

In several cases it was not possible to identify the bodies of the Italian immigrants, both for the conditions of the remains that were taken away after the fire, and for the lack of documents or contacts on the spot; also for this reason the count of the victims is not accurate: some sources speak of about 75-80 victims, while the official version of the railway company mentions only 23, all with tickets of first and second class. In a time when the information was not travelling with the same speed and precision as today, it was the interest of railway companies to try to mitigate as much as possible the consequences of binary accidents. This does not, however, deprive one of the most serious railway disasters in Michigan history.

Of the common pit, over time, the traces were lost, and also of the railway accident did not speak for much, robbing it to a local history only knowing of the few inhabitants of the area of Seneca and the city of Adrian. Moreover, at the time it was frequent that immigrant workers, without family ties in the United States, were buried without identification and without a proper burial rite, and if no one reclaims the bodies for years it is even more difficult for someone to remember the event. And so it was: for most of the twentieth century, the history of disaster remained limited to local studies and reconstructions of historians of the area.

For years, one of the main sources on the disaster was the book Wreck of the Wabash (2001) of the historic local Laurie C. Dickens, which reconstructed the incident but ended with an unresolved point: the fate of the remains of Italian immigrants. The ashes, wrote Dickens, had been transferred to an unspecified place and priests had been prevented from celebrating funeral rites. And there was nothing left until 2016, thanks to Kyle Griffith’s work.

The discovery allowed us to locate the burial site, but did not solve all the uncertainties, as Professor Griffith told us: “Although more than 100 Italian immigrants have died in the accident, the exact number has never been definitively confirmed. Among the most significant stories related to the tragedy is that of a single survivor, a newborn then known as “Baby Wabash”. In a desperate gesture, the mother broke the train window while the flames enveloped the carriage and threw the child towards salvation, where he was rescued from a local family”.

Since then, the city of Adrian has started a path of recognition of the incident and the victims, involving local institutions, descendants and Italian-American communities. The process led to the realization of a memorial inside the cemetery, signed by the Italian artist Sergio DeGusti, and to an official ceremony that included, for the first time, also a religious rite. “This moment of recomposition and memory – says Griffith – represents a clear signal: it is never too late to do what is right”.

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There is a moment, between the end of March and the first weeks of April, in which the vineyard seems to hold its breath. The rows are still naked, drawn against uncertain light, and then, almost without notice, something changes. It is not a net gesture, but a slow transformation: the buds inflate, they hatch, and a light green, fragile but irrevocable, begins to make room. It is sprouting, a silent and decisive passage, in which wine still exists only as a possibility.

The spring, however, is a tense, vigilant season, made of waits and interrupted nights. Late ice creams arrive without announcement, cut the air and put at risk what has just been born. Then the vineyard lights up in the dark: small fires between the rows, fans moving the air, steps that are lost in the wet land. In places like Burgundy or Champagne April is this, a discreet wake, almost ritual and wine begins here, in these hours suspended, where each gesture is a form of resistance.

Then comes the day, and with him a different light. Higher, clearer. On April 22 the Earth Day is celebrated, but in the vineyard the earth is never an abstract concept: it is presence, matter, silent interlocutor. In spring he returns to impose, alive, irregular, crossed by spontaneous herbs and insects that reappear. Every decision to intervene or refrain, guide or observe, becomes a choice of balance. It is no longer just to produce wine, but to interpret a fragile system, constantly moving, where the climate is no longer a stable frame but a constant tension.

Yet, in this complexity, the vineyard reaches a form of almost hypnotic beauty. The green light turns on, the rows relax, the lines soften under a light that seems designed specifically to slow the look. In landscapes like Tuscany or Napa Valley, everything appears suspended, as in a scene that does not need to be told because it imposes itself: essential, precise, inevitable.

And in the meantime, today, far from those places where everything is still becoming, someone pours a glass of wine. A wine made, defined, born from a season now closed. There is something deeply romantic in this temporal waste; while you drink what has been, somewhere is just starting what will be. Spring in the vineyard is where time never really accelerates. It is the time when everything can still happen, but nothing is guaranteed.

And perhaps it is precisely in this elegant uncertainty, in this ever declared promise, that wine finds its deepest form and spring its innate romance. Before still being taste, it is waiting. Before being a story, it is silence.

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Today, thanks to IWC, I bring you into one of the most interesting realities of this new frontier: Vast, Californian company selected by NASA among the five calls to design the space station of the future.

The context is clear: the International Space Station has an expiry date set around 2030. After more than thirty years of activity, a historical era of space exploration will be closed. And from that moment a new phase will open: that of the privatization of the low earth orbit.

Not only institutional missions, but travel, research and experimentation also entrusted to private operators. In other words: the marketing of space. In this scenario the Vast project is inserted: a modular station, designed to be operational in the coming years. The first step will be the launch of the initial module Haeven-1 – scheduled around 2027 – followed by a series of progressive missions until the complete realization of the station.

A new way of living space, more accessible, more commercial, but also more competitive. We could also see the first prototype: a futuristic, essential, almost cinematic design. An object that already seems to belong to tomorrow, ready to transform the very idea of permanence in space.

“Haven-1 remains a scientific laboratory, but it also becomes a human experience. Looking at the future, the design will be increasingly central even in the commercialization of space. It will not be enough to work: it will be well designed for people. We have already shown that this approach is necessary. Now the challenge is to make it grow: larger stations, more customization, more capacity. The future? A balance between Earth and space, between technology and humanity.”.

Today we no longer ask ourselves how to survive in space, but how to live well. We studied the experience of the International Space Station and spoke with astronauts to understand real problems: for example, sleeping in space. Without gravity the body does not feel “safe”, so we have designed systems to improve sleep. We have introduced natural materials, softer lights, cozy surfaces: elements that on Earth we give for discount, but that in space make the difference between surviving and living really well. Another theme is the rhythm in space you can see up to 16 sunrises and sunsets a day. For this we work on lights and environments that help the body understand when it is time to rest.

The clock also has a role: it is not only a tool, but a connection with the Earth, with time and with the loved ones. It helps to feel connected.” Hillary Coe, Chief Design and Marketing Officer. And in this vision of the future also enters time – literally. IWC works on a completely new technology to measure it in space, where gravity and speed change the rules we are used to on Earth.

“When our XPL technical division has developed the Pilot’s Venturer Vertical Drive, it has not simply adapted the design of an existing clock for use in space. It started from a white sheet and worked to define from scratch what a tool clock for astronauts should offer in terms of functionality, ease of use, time display and material execution. Every single detail of this watch has been specially optimized to meet the specific requirements of human space flight and timekeeping in space. For us it was essential to put the final clock in the expert hands of real space professionals. After being rigorously tested by our partner Vast, the Pilot’s Venturer Vertical Drive became the first IWC watch to get the certification for space flight,” explains Chris Grainger-Herr, CEO of IWC Schaffhausen.

A detail that tells the scope of this revolution well: it is not just about going into space, but about learning to really live there.

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There are buildings in New York that only follow the market, and others that, quietly, anticipate it. 56 Leonard Street, in the heart of Tribeca, belongs to this second category, and it is no coincidence that, still today, it continues to be one of the most recognizable addresses of the skyline downtown.

For many is the “Jenga Tower”, an almost ironic definition for something that, in reality, is studied with absolute precision. Designed by Herzog & de Meuron, the Swiss study that has transformed contemporary architecture into an artistic language, the building seems to challenge every rule: volumes that overlap without ever really aligning themselves, terraces that display as if they were laid one above the other and a silhouette that changes depending on the light and the point from which you look at it.

It is precisely this apparent imperfection to make it so powerful visually and so rare in a market where often everything tends to resemble.

The first time you enter, the feeling is different from that of many other luxury buildings. There is no “hotel-like” impact that is now found everywhere. At the entrance, Anish Kapoor’s mirror sculpture welcomes residents and visitors with a spectacular reflex game.

Going up, what really strikes is not only the height, but the way space is lived. The apartments do not follow a repetitive scheme; each unit has its own identity, its own geometry, a unique relationship with light. The terraces, then, are perhaps the most surprising element: not simple balconies, but real extensions of the house, almost outdoor rooms suspended over Manhattan. It is there that often you understand the sense of the building, not so much looking at the city, but suddenly feeling inside it.

In a market like New York, where the concept of luxury is often linked to quantity, more services, more height, more visibility, 56 Leonard Street has chosen a different road. The amenities are, of course, but do not try to impress. Everything is coherent, measured, almost discreet. It is a luxury that does not need to be flaunted.

The type of buyer also reflects this philosophy. Over the years, many of the most important sales, some well over forty million, have not been driven by urgency or speculation, but by the desire to live in something difficult to replicate. It tells an idea of home that approaches collectors.

And then there is Tribeca, made of broad roads, slower rhythms and a quality of life that, in Manhattan, remains difficult to match. It is the kind of neighborhood that does not need to reinvent itself continuously and that, precisely for this reason, remains one of the most solid choices in time.

Maybe that’s why, when I happen to accompany someone to see an apartment here, the conversation changes tone. It becomes less technical, less tied to numbers, and more intuitive. Because there are buildings that explain themselves, and others that understand.

56 Leonard Street definitely belongs to the second category. It is not only a prestigious address, nor simply an example of spectacular architecture. It is one of those rare projects that can shape an idea and keep it intact over time, even while everything around continues to change.

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In recent years the New York real estate market has experienced a silent but profound transformation. Neighborhoods historically dominated by pre-war cooperatives are seeing a new generation of residential buildings born: the so-called new development. And for many American and international buyers, buying in a newly built building is not only a choice of lifestyle, but also a real estate strategy.

Unlike the most dated buildings, the new buildings are already created for the needs of contemporary life. The apartments offer more fluid spaces, open kitchens, high ceilings, large windows and advanced technological systems for heating, cooling and safety. It is not just aesthetics: more modern buildings often mean greater energy efficiency and less extraordinary interventions in the first years of the building life.

But the real change mainly concerns the way of living the house. New development in New York offer services that until a few years ago were rare even in the most prestigious buildings: professional gyms, swimming pools, lounges for residents, coworking spaces, private cinemas, panoramic terraces and play areas for children. In many cases the building becomes a true extension of the apartment.

There is then an economic factor to consider. Buying in a new development often means entering the project when the building is just launched on the market. At this early stage prices can be more competitive than the values that will be followed once the sale of all units is completed.

For this reason some buyers see new development as a way to buy a property that already has a potential revaluation.

A less well-known advantage, but very appreciated by those who buy in the early stages of sale, is the possibility to customize the apartment before the building is completed.

When the project is still under construction, many developers are willing to work with the buyer to make some internal changes. This can mean choosing different finishes, changing the layout of some rooms, joining two units or adapting kitchen and bathrooms according to your needs. In other words, you have the possibility to create a house almost “made to measure”, which is much more difficult in existing buildings.

It is not uncommon that the first buyers manage to negotiate these changes without excessive costs. In some cases the developers allow you to select alternative materials or custom layouts if the apartment has not yet been completed. For many buyers this is a great advantage: you buy a new property but with a level of customization that normally associates with a complete renovation.

In recent years this phenomenon is particularly evident in the Upper East Side, one of Manhattan’s most iconic neighbourhoods. For decades the area has been dominated almost exclusively by very selective pre-war cooperatives. With the arrival of the new metro line on Second Avenue and a growing demand for modern apartments, the neighborhood has seen several new high-level condominiums born.

This transformation has had a direct impact on prices: in some areas of the Upper East Side the average value of the condominiums has grown considerably, with prices that have exceeded in many cases the $2,000 per square foot in the new high-end buildings.

An emblematic example is Beckford House, located at 301 East 81st Street between First and Second Avenue. The project, inspired by the classic architecture of the Upper East Side but built with contemporary standards, quickly became one of the most sought after addresses of the area. The apartments have recorded sales with values above $2,200 per square foot, while some residences of over 2,000 square feet have reached prices around $4.5-5 million.

In buildings like this, many of the first buyers were able to collaborate with the developer to customize interior details of their residences before the final delivery. It is one of the reasons why entering the early stages of a project can represent an interesting opportunity: not only do you benefit from more favourable launch prices, but you also have the opportunity to adapt the house to your needs before it is completed.

The success of new development is part of a wider context of high demand for quality properties in Manhattan. In the luxury segment, sales over $4 million continue to represent an important part of the market, with many buyers attracted by new buildings that combine contemporary architecture, high-level services and greater flexibility than traditional cooperatives.

Of course, every purchase requires careful analysis of the project, sponsor and Offering Plan documents. However, for those seeking modern comfort, complete services and a ready-to-life property, new development today is one of the most interesting opportunities in the New York real estate market.

In a city where space is limited and new buildings are relatively rare, buying in a newly built building does not only mean buying a new house: it often means getting in advance into the future of the city.

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Rent towards Favignana on a 20-metre catamaran, with an endless wide angle on the sea, while a red Gambero chef prepares a Mediterranean Style delicacy: a wonderful perspective.

In fact, the turnover of Spartivento Group, the leader of sailing charters with a specialization in luxury travel, is 24% thanks to US customers.

Sailing charters represent the last frontier of refined tourism, that of the so-called “luxury seekers”, eager for strong contact with nature and experience outside the ordinary.

Spartivento has 13 luxury catamarans, boats from 20 meters and beyond, viable as a 5 star floating hotel, with captain, hostess, chef. It sails between the coasts and the most sought-after destinations of the Mediterranean: the archipelago of La Maddalena, the Egadi, the Aeolian coast and its pearls, the cool places of Sardinia.

Boating like Lagoon 60, with the walls of a stern that create terraces on the sea and a living room on a single level, are an experience to live.

It could only be Spartivento to offer this opportunity: the company created by Stefano Pizzi has 130 boats dedicated only to sailing charters, the new passion of a large group of tourists. And America, including South America, covers half of its turnover.

Sailuxe is the company of Spartivento that brought the catamaran cruise to a bespoke level. As if the mood of Dolce Vita, with that light luxury, that comfort, that cradle among the waves of beauty, was refurbished absorbing all the Mediterranean style. A project that works, if since 2019, year of birth of Sailuxe, the turnover has grown by 900%! Complicated, the spectacular nature, the pastel terraces of Positano, the charm of Capri, the volcanic soul of Stromboli and the enchanted solitude of Filicudi.

Or the contrasts between the cliffs that jump on the sea to the mouths of Bonifacio and the international glamour of Porto Cervo.

As Spartivento CEO Stefano Pizzi explains, “The sailing holiday is a sustainable tourism model par excellence – explains Stefano Pizzi, CEO of Spartivento Group – because it educates sobriety, sharing and respect for the sea. It imposes a slow pace, away from mass tourism and enhances the authentic beauty of the places. “

In a sailboat you take advantage of the wind, you learn how to manage your resources. Marine creatures are not disturbed by a sailboat. The trip, like?

Tell us about Stefano’s daughter, Iole Pizzi: “The type trip lasts a week. The rhythm is that of the slow holiday, with stages in the archipelagos and in small isolated or coastal countries. ” Groups, families are the elective customer. But the way is also open for singles. They must have similar age and people acting as a parent. It is a practice that has grown very

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Fate sometimes makes sense of irony. Crazy Joe Gallo was born on April 7, 1929 and died on April 7, 1972. Same day, two extremes of the same parable. In the middle: New York, mafia, poetry and a myth that still hasn’t stopped breathing.

Joe Gallo wasn’t just a gangster. It was an ambiguous, almost romantic symbol of an era in which organized crime merged with culture, street with living rooms, violence with a certain aesthetic of rebellion. And perhaps it is this contradiction that still makes it so fascinating. Already in 1963, during the hearings of the McClellan Commission against organized crime – become central after the revelations of Joe Valachi – presents itself with dark glasses and an almost theatrical attitude: an image that, surprisingly, anticipates the aesthetics of the cinematic mafioso that will come.

To understand Gallo, we must start from the internal war with the Profaci family. In the 1960s, Joe openly challenged his boss, Joe Profaci, breaking balances that seemed untouchable – from there, “Crazy Joe”. It is a dirty war, made of attacks, betrayals and sold. In 1971, the new boss, Joe Colombo – from which the family will take its name – was hit during a public service and will remain in a coma for years, until death. Shooting is Jerome Johnson, an African American, but the main suspect as a warrant is Gallo. Because, for a long time, he had begun to move out of the box, breaking one of the unwritten rules of the mafia: do not involve black people in operations. A cultural taboo that Gallo breaks. And that’s why the suspicions about Crazy Joe become immediate. It was never proven to be him. But in the wild, the verdict arrives before the evidence.

On 7 April 1972, Gallo was killed at Umberto’s Clam House in Little Italy. Spectacular death, almost cinematic. Until then, Little Italy was still an enclave, closed and authentic. After that night, something changes. People start visiting Little Italy not only to taste Italian cuisine, but to see, to breathe the place where “it happened”. It is the beginning of a transformation: from enclave to tourist destination, from district lived to scenography. Curiosity towards the Mafia – until then confined between chronicles and whispers – explodes and will no longer stop.

Il ristorante Umberto’s Clam House dove fu ucciso Crazy Joe Gallo

There is a coincidence that seems written by a screenwriter: The Padrino exits March 24, 1972. Gallo dies exactly two weeks later. Before that, gangsteristic cinema existed, but it had another grammar. There were great classics with James Cagney, such as The Public Enemy, or Scarface by Howard Hawks. Powerful films, but still far from that raw, realistic and at the same time mythological dimension that will explode in the following years. After Gallo’s death – coincidence or not – the crime becomes a global story: the Godfather Part II, those good boys, Scarface by Brian De Palma, Donnie Brasco and many others arrive.

But Crazy Joe’s real peculiarity lies elsewhere, especially in the last years of his life. Not only in the wars of power, but in its dual existence. Thanks to a woman, Gallo begins to attend the West Village, enters the intellectual halls, moves among artists, musicians, writers. He is passionate about Jack Kerouac and the Beat Generation, that idea of instinctive, almost anarchist freedom, which seems to the antipods compared to the rules of the Mafia. That’s where the myth takes shape: a gangster reading, listening to jazz, discussing literature, crossing opposite worlds. It was the Beat Generation gangster.

Over the years, his figure is recounted, transformed and mythized. Films such as Crazy Joe and The Gang That Couldn’t Shoot Straight are directly or indirectly inspired by his life and, more recently, his spirit aleggiates also in Martin Scorsese’s The Irishman or in the Godfather of Harlem and The Offer series. His death also marks the beginning of a collective obsession. The curiosity towards organized crime grows, expands, changes shape. From neighborhood tales you go to books, movies, series, to the current era of true crime.

Crazy Joe Gallo remains an impossible figure to screw up. He was not a classic mafioso and not even a pure rebel: he was something more contradictory, more human. It is born and dies the same day, as a story closed in a perfect circle. And, like all the great stories, it never really stops being told.

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