At the heart of Monaco’s 2025 designation as the World Capital of Sport, the Principality’s Direction de l’Aménagement Urbain (DAU) has unveiled a series of breathtaking floral structures. These living sculptures—ranging from life-size Formula 1 cars to tennis balls, a basketball, rugby balls and gymnastic clubs—blend botanical mastery with sporting symbolism, creating an unforgettable visual tribute to Monaco’s active year.
From late 2024, eight dedicated agents at the Saint-Laurent-d’Éze nursery undertook an ambitious programme: sowing 12,000 begonias, propagating 850 Ajuga cuttings, transplanting 10,000 seedlings and planting 8,000 blooms. Over approximately 400 hours, each sculpture was painstakingly assembled: the process included painting, moss and sphagnum placement, cutting and regular care to ensure each figure flourished. The result can now be admired across multiple public garden beds in the Principality.
Fusing sport, art and public engagement in civic spaces
Each installation is accompanied by explanatory panels about the sporting discipline it represents. Far beyond mere decoration, these works enhance Monaco’s public realm with living art and engage both residents and tourists in the narrative of sport. They serve as a poetic embodiment of the spirit of Monaco Capitale Mondiale du Sport 2025, showcasing the DAU’s commitment to horticultural excellence and civic pride.
A symbolic highlight in Monaco’s 2025 sporting calendar
As Monaco was officially declared the 2025 World Capital of Sport in December, the floral structures now stand as a vibrant corollary to that honour. Their unveiling follows a series of landmark sporting events—including the Monte-Carlo Rally in January and the Herculis EBS Diamond League meeting on 11th July—marking 2025 as a year of athletic and cultural prominence.
A Rolex ‘Paul Newman’ Daytona, a Van Cleef & Arpels Art Deco bracelet and a monumental sculpture by Manolo Valdés led the charge during Artcurial’s summer auctions in Monaco, which collectively brought in €9.38 million across six sales.
Held from 7th to 9th July at the Hôtel Hermitage in Monte-Carlo, the Monaco Auction Week confirmed the Principality’s standing as a hub for collectors of fine art, haute horlogerie, and rare jewels. Organised by French auction house Artcurial, the week-long event brought together connoisseurs from around the world, achieving a combined total of €9,383,767 (USD $10,994,316) including fees.
Vintage Rolex and Patek Philippe watches take centre stage
In the horology category, a highly sought-after Rolex Cosmograph Daytona ‘Paul Newman’ model from circa 1967 fetched €249,280, well within its €200,000–€400,000 estimate. It was sold to a French client. Meanwhile, a Patek Philippe Perpetual Calendar Chronograph (Ref. 3970, circa 2000) realised €154,816, acquired by a European collector. The overall watch sale brought in over €1.19 million.
Other standout wristwatches included a Patek Philippe Nautilus Jumbo, which sold for €111,520, and an Audemars Piguet Edward Piguet Minute Repeater that was snapped up by an American collector for €44,608.
Sculptures shine in the open air
One of the most successful categories of the week was contemporary sculpture, which totalled more than €4 million. Manolo Valdés’ Ariela – a striking aluminium work from 2011 – sold for €1,104,400, the highest price achieved during the week. Claude Lalanne’s Caroline enceinte (1969–1979) followed closely at €734,720, while Murano Head by Valdés attracted €458,440. The sculptures were exhibited in the gardens of Monaco, providing a striking backdrop for these commanding works.
High jewellery dazzles collectors
The jewellery segment also attracted vigorous bidding, totalling €3.53 million. A platinum Van Cleef & Arpels Art Deco bracelet set with emeralds and diamonds was the highlight, achieving €249,280. A 22.97 carat diamond solitaire reached €196,800, and a Mauboussin platinum ring with a 6.10 carat centre stone garnered €118,080.
Hermès bags, a frequent crowd-pleaser, also drew interest, with a Kelly Retourné 25 Colormatic from 2022 selling for €17,712, while various Birkin models from 2024 earned prices between €12,000 and €15,000.
The iconic Fiat 500 will once again take centre stage at Port Hercule as the fifth International Meeting of Historic Fiat 500s rolls into Monaco on 19th and 20th July. With more than 80 immaculately restored models expected, the event promises a colourful celebration of Italian automotive design, music, and community spirit in the heart of the Principality.
Organised by Club Fiat 500 Monte‑Carlo with support from the Italian Embassy in Monaco, the Monaco Government, and the Automobile Club de Monaco, this much-anticipated event will showcase a wide variety of classic Fiat 500s. From early production models to rare and unique editions, the gathering reflects the enduring legacy of a car once adored by cultural icons like Sophia Loren, Brigitte Bardot and Paul Newman, and immortalised on screen in everything from La Dolce Vita to Mission: Impossible.
Celebrating Italy’s most beloved small car
Launched in 1957, the Fiat 500 became a symbol of Italy’s post-war recovery and industrial creativity. “This year again, the International Meeting of Historic Fiat 500s in Monaco will represent a moment of special interest for all enthusiasts and collectors,” said Massimo Peleson, President of Club Fiat 500 Monte‑Carlo. “The Fiat 500 is a true emblem of Italian ingenuity and elegance.” The event continues to receive the patronage of the Italian Embassy in recognition of the car’s place in the country’s cultural and entrepreneurial heritage.
Music and milestones on the port
The weekend’s festivities will include a free open-air concert on Saturday 19th July at 8:30pm, featuring The Fly Blue’s performing a tribute to Italian rock and blues legend Zucchero. The date also marks the 20th anniversary of the reign of Prince Albert II, a coincidence that organisers are delighted to honour through this special musical celebration.
Parade routes, elegance contests and charity partnerships
Visitors can look forward to vibrant parades through Monaco and the surrounding backcountry along the famed Rallye de Monte‑Carlo routes, alongside a concours d’élégance showcasing the finest restorations and most creative car-and-crew combinations. A dedicated market will offer souvenirs and collector items, and refreshments will be available at a pop-up bar operated by the Scouts of Monaco, with proceeds going to their long-standing community work.
Driven by passion and a cause
As in previous years, the event will support a charitable cause close to the Club’s heart: BE SAFE, the Monaco-based association led by Camille Gottlieb that raises awareness about the dangers of drink-driving, particularly among young people. Representatives from the organisation will be present to inform and engage the public, and the Club has pledged to donate part of the event’s proceeds to support their initiatives. With strong backing from sponsors and partners both local and international, this year’s edition of the International Meeting promises to blend nostalgia, celebration and solidarity in true Monegasque style.
The Stade Louis‑II has unveiled a fully revamped website — stadelouis2.mc — aligned with Monaco’s designation as the World Capital of Sport 2025 and marking the stadium’s approaching 40th anniversary. The modernised platform improves navigation, highlights key milestones, and aims to reinforce the Principality’s sporting identity online.
The new site, available in French, English and Italian, has been optimised for mobile devices and focuses on enhancing user experience.
It introduces sections such as a dynamic sporting events calendar, a dedicated ’40 years of the Stadium’ page connected to the exhibition Il était une première fois, and a practical information FAQ designed to support visitors seeking access to all stadium services.
Celebrating four decades of sporting legacy
The relaunch coincides with the stadium’s 40th anniversary in January 2025, a milestone first marked on 25th January 1985 by Prince Rainier III — captured through a new online exhibition spotlighting historic imagery and notable events.The exhibit, tied to Monaco’s status as World Capital of Sport, aims to connect digital audiences with the venue’s storied past and future.
British artist and award-winning photographer Bran Symondson has brought his thought-provoking and emotionally charged works to Monte-Carlo this week as part of Monaco Art Week, exhibiting at the HOFA / YellowKorner gallery alongside some of the most recognisable names in art history. Known globally for turning decommissioned AK-47s into intricate symbols of peace and transformation, Symondson’s pieces fuse delicate elements like real butterfly wings, dollar bills and hand-blown glass bullets to deliver layered commentary on violence, power, and the fragility of life.
His journey from Special Forces soldier to internationally acclaimed artist is as complex as the artworks themselves. What began as a photographic exploration in Afghanistan evolved into a groundbreaking artistic practice that challenges viewers to confront the aesthetics of conflict.
In this exclusive interview with Monaco Life’s Cassandra Tanti, Bran Symondson reflects on the moments that defined his creative path and the symbolism behind his striking pieces.
Cassandra Tanti: You began your career as a photographer and served in the British Army Special Forces Reserves. How did those dual roles influence each other and later your art?
Bran Symondson: Well, they influenced it because, firstly, I was in Afghanistan when the moment came upon me to make artworks from AK-47s. There’s a little story behind that. I was photographing the Afghan National Police—we were working alongside them, training them—and I started noticing a feminine side to their behavior. They would wear eyeliner, dye their hair with henna, and even decorate their AK-47s with stickers or freshly picked roses.
I started photographing this because my background was in advertising, fashion, and portraiture. Normally, because we were Special Forces, we weren’t allowed to take photos, but they asked me to because they knew I was a photographer. So, I was recording what was going on.
I also encountered the chai boys—young boys serving commanders in the absence of women—which highlighted a deeply complex and troubling cultural landscape.
One day, while out on patrol with one of these boys, we came under fire. We dived into a ditch, and I remember nervously laughing with him, clutching only my camera. I wasn’t armed. That moment was pivotal. I thought: if I make it out alive, wouldn’t it be powerful to use the AK-47—not as a weapon, but as a blank canvas?
The AK-47 is such a globally recognised weapon system. It symbolises so many different things depending on where you’re from—terrorism, freedom. It was used in Cuba, Vietnam, Africa, China. So I thought: why not disarm it and use it as a canvas for artwork? And it snowballed from there.
Bran Symondson with his works – The Art to Disarm. Photo source: HOFA
So you use decommissioned AK-47s. How do you select the different materials for your pieces?
It depends on the narrative. That piece behind you, Change, is all about the environment. This other piece is about how we beautify brutality. I think about what’s happening in Israel right now, and how social media and the news can whitewash what’s really going on and who’s actually being affected.
My work touches on relevant subjects—environmental issues, civil rights. Those are the two main areas I try to explore. I’ve worked a lot with Human Rights Watch and other charities. Often, I’m asked to make something on a specific subject, so I’ll do that.
The bullets are key to each individual piece—they carry the symbolism. The meaning often lies in what’s inside the bullets.
What are the other influences in your work?
Sometimes it depends on the butterfly species. That piece behind you features Morpho butterflies and origami dollar bills. It represents Mother Nature and capitalism fighting each other—very symbolic.
When I’m creating a piece, I try to make a balance. I’ve used a lot of primary colors—yellows, blues—and different butterfly species. It really depends on the concept of the piece.
Bran Symondson uses American dollar bills as a symbol of greed and capitalism. Photo source: HOFA
Butterflies are very delicate. How difficult is it to work with them?
When I first started, I broke a lot. But now I’ve gotten the hang of handling them. I rehydrate, clean, and open them up—that’s a big part of the process. I position the wings exactly where I want them and try to mix up the species, because often the underwing is just as beautiful as the top.
The irony of butterflies and guns is not lost on me. Do most people see that contrast too?
Absolutely. Whenever I speak to people, there’s always a strong symbolism with butterflies. Many have experienced a butterfly landing on them during an emotional moment or after someone has passed. For me, it’s also a spiritual thing.
The Mayans believed the monarch butterflies flying into Mexico were the spirits of their ancestors. I love that idea.
You flip the object of violence into something more beautiful. What emotional response do you hope viewers have to your artwork?
I hope they understand how weapon systems can be disarmed—it’s about perception. Some people are initially scared off because it’s built on a weapon. But once they see the narrative, they understand the layers of symbolism.
I like to think I’m doing a small part to take weapons out of the hands of people who shouldn’t have them.
Do you have a particular location or exhibit that stands out as special?
The Royal Army Museum showed some of my works last year. They displayed them beautifully—in a way I’d never seen before—next to an actual AK-47 and Saddam Hussein’s gold AK-47.
It was amazing to be a part of that. There were a lot of kids walking through on school trips. I was just hiding in the shadows, listening to their reactions. They were really intrigued by the butterflies and the symbolism.
How do you prepare such an incredible weapon for this purpose?
The AK-47 arrives at the studio deactivated—it can’t be fired. But I still have to remind myself that I’m working on something that, in all likelihood, may have killed someone. Many of the guns I get come from conflict zones. Some have people’s initials inscribed on them.
The butterflies take days to prepare. I select and source them from specialists. Some species go in and out of availability depending on how well they’re bred. Once I have them, I rehydrate and pin them. Then I assess the weapon system and decide how I want to approach it.
The bullets are all hand-blown in London, made in kilns by craftsmen who also make pharmaceutical glassware. Once I’ve worked out the narrative of the piece, I fill the bullets with symbolic elements and begin work.
I always use the American dollar because it represents so many things: greed, capitalism. But in the end, it really depends on how the viewer interprets it.
What do your colleagues in the Army Reserve think?
They love it. They’re always intrigued. I recently made a piece for one of my mates—it went to auction for a fundraiser and fetched a lot of money. That was a proud moment. I think, to date, with all my charity auction donations, it’s around £2 million. I work a lot with charities that support veterans with PTSD. That’s my way of staying involved with the guys.
You’ve collaborated with high-profile figures like Damien Hirst, Antony Gormley, and Terry O’Neill. Is there an artist you’d love to work with next?
If I could go back in time, I would have loved to work with Salvador Dalí. He’s like my hero.
Right now, I’m working with a company called Everrati. They make high-end, battery-powered sports cars—taking classic models and converting them. I’ve done an art piece with them, and I’m also collaborating with some fashion brands.
You’re exhibiting during Monaco Art Week, alongside works from Francis Bacon, Picasso, Warhol, and Chagall. How does it feel to be among these masters?
Honestly, I feel quite humbled. I think artists only really make a definitive mark on the world once they’re dead (laughs). But yeah, I do have those pinch-myself moments.
Still, it’s like anything—if you’re passionate about something, you just keep your head down and do what you love. Then one day you look up and find yourself in a place you never imagined.
Practical Information
Exhibition Title:Bran Symondson – The Art to Disarm
Presented by: HOFA Gallery in partnership with YELLOWKORNER Monte Carlo
Dates: On view until the end of October 2025
Location: YELLOWKORNER Monte Carlo Palais de la Scala 1 Avenue Henry Dunant, Monte Carlo
One Masters Monaco launched its inaugural edition on 9th July, brining together art dealers, renowned artists and high-end jewellery houses in a private salon at One Monte-Carlo.
The three-day event held during Monaco Art Week was hosted by Art and Jewels of the World in the Salle des Art and Jean Cocteau rooms.
Organiser Valentina Vasileva, owner of Art and Jewels of the World, drew on over a decade of experience in international art fairs to create what she describes as a “boutique style collector’s concept”.
“We’ve been organising similar events since 2013, including an art and jewellery fair in Baku for ten years,” Vasileva said to Monaco Life. “However this is the first time we’re mixing art, design, and jewellery through a certain angle—not just holistically, but in dialogue, with a special message.”
The invitation-only event featured 14 galleries, dealers and jewellery houses, creating what Vasileva described as a networking environment for art collectors, professionals and enthusiasts.
Maison d’Art in One Masters. Photo by Monaco Life.
The spacious foyer featuring works by Salvador Dali, Marino Marini and Pablo Artchugarry, while Marine Abramović’s latest digital project was showcased on a large screen overlooking the exhibition.
The participating galleries varied from Monaco-based M.F Toninelli Art Moderne to Geneva’s CKS Gallery and New York’s Boccara Gallery. London platform TAEX brought NFTs by established artists, while designers Hom Le Xuan and David Bitton presented exclusive creations.
Rouvenat revives historical jewellery house
Among the luxury jewellery houses, Rouvenat stood out for its unique approach to sustainable luxury. The maison’s CEO Marie Berthelon, who spent 20 years at Cartier before launching her brand, has revived the forgotten 19th-century jeweller Léon Rouvenat.
“Léon Rouvenat was a great jeweller in the nineteenth century,” Barthelon explained to Monaco Life. “In 1851, he created the very first jewellery manufacturer in the world. For over thirty years, he was the absolute reference in jewellery, creating pieces for Empress Eugénie and the Shah of Persia. But when he died in 1878, he had no heir, and his name was completely forgotten.”
Marie Berthelon Rouvenat’s CEO, photo by Monaco Life.
Berthelon discovered Rouvenat’s archives sleeping in a Parisian bookstore. The design, emblematic of the Second Empire yet contemporary, inspired her to launch what she calls “circular jewellery.”
“My idea was to create new things from ancient materianls,” she said. “We use recycled gold, recycled silver, and most importantly, vintage stones—ancient stones that sleep in the safes and vaults of auction houses, old creations, your grandmother’s jewellery.”
The event, which Vasileva plans to make annual, reflects her company’s evolution from organising large international art fairs to more curated, intimate experiences for discerning collectors
