Latest news with #Lido
Condé Nast Traveler
20 hours ago
- Condé Nast Traveler
7 Best Beaches in Venice for Swimming in the Adriatic Sea or the Venetian Lagoon
Ah, Venice—a city of art, history… and beaches. That's right. Though La Serenissima draws travelers for its culture, you might be surprised to find the best beaches in Venice are just as perfect for a spot of swimming and sunbathing as some of the other best beaches in Italy. Mudflats and sandbanks have made up the calm laguna di Venezia for thousands of years, which means that those long, pencil-thin islands act as natural barriers between sea and lagoon, resulting in wide, soft-sanded beaches that shelve gently into the Adriatic Sea. It's a spectacular setting quite different from the other seaside scenes on the Italian peninsula—so you have all the more reason to go. The easiest beaches to reach from Venice proper are on the island of Lido, which is essentially seven miles of sand with a town, villages, and nature reserves attached. South of the Lido is an island called Pellestrina; to the north is a long finger-shaped peninsula sticking out from the mainland, with beaches so spectacular that it often feels like half of Germany and Austria have driven down to lay out their towels on them. Wherever you go, you won't be disappointed. Here are seven of the best beaches in Venice. Read our complete Venice travel guide here. Des Bains 1900 beach club has reopened 15 years after Grand Hotel Des Bains shuttered. Courtesy Des Bains 1900 Des Bains 1900, Lido The Grand Hotel Des Bains was the icon of the Lido di Venezia, the seven-mile sandbar of an island that sits between the Venetian Lagoon and the Adriatic Sea. When the hotel closed in 2010, it even left a hole in the Venice Film Festival, which used to hold events there—but its beach club, Des Bains 1900, has returned this year, making this the hottest place to be on the island. Here, across the silken sands, you can choose between a sun-lounger (from around $32) or a family-friendly 'gazebo' (or cabana, from around $200), bookable through their site. There are bathrooms, a restaurant, optional yoga and tai chi classes, and a kids' club. This place is perfect if you want a day off from Venice sightseeing, and there are plenty of hotels nearby if you want to make a night of it, like the five-star Hotel Excelsior Venice.
Daily Mail
6 days ago
- Daily Mail
Locals in popular Italian destination buy 'Island of Death' to escape tourists
Locals in Venice have taken some very decisive action against over-tourism in the Lagoon City, by purchasing an island that's only for them - with just one catch, it has a very creepy past. Poveglia, a speck of land between Venice and its Lido in the Venetian Lagoon, is set to become an idyll for those who live in the popular Italian city break need their own break from the 30 million tourists who pour in annually. Next month will see an activist group Poveglia per Tutti (Poveglia for Everyone) start to transform a section of the island into an island playground for Venetians. With a six-year lease in place, the group says it will prevent development on Poveglia, preserving it for Venetiaans. The island has a dark backstory though; it was known as the 'Island of Death' thanks to the role it played as a quarantine station for people suffering from the plague in the 1700s. It's thought that around 160,000 people lost their lives on the tiny isle as the Black Death ravaged Italy in the 18th century. Venice's population has dwindled in recent years with factors such as an ageing demographic and locals leaving the city contributing to the falling residency - there are currently just over 48,000 people who call the city their permanent home. The city introduced its tourist tax last year, charging tourists five euros per person to visit the fragile lagoon city during peak times - and cruise ships can no longer dock close to the city, with passengers now docked miles away and bussed in. Poveglia is made up of three islands, one of the three is given over to nature, one was used as a fort to defend the island and the main island houses Poveglia's creepy abandoned buildings. There's a deserted hospital and a prison which many believe are haunted. These derelict buildings are the reason why tourists have been forbidden from visiting Poveglia as their decrepit state makes them dangerous to explore. A few exceptions on the ban have been granted for filmmakers. Although Poveglia was once home to a small community, it was first abandoned in the 14th century due to conflict. And a few centuries later, it was to become hell on earth. In the late 1700s, those showing any symptoms of the deadly Black Death were taken there, often against their will. It wasn't long before the 18-acre island became a mass grave site and it's thought that 160,000 plague victims were buried there. Many people believe that as much as 50 per cent of the island's soil today is made up of ash and the decomposed bodies of those who died there. Legend says that the island is haunted by those who passed away in Poveglia. The island later housed an asylum before being completed deserted. Despite the ban, British explorers Matt Nadin and Andy Thompson managed to travel to the island in 2020, and shared what they found on their YouTube channel, Finders Beepers History Seekers. Matt told viewers: 'The island is so full of dark, dark history, a hell of a lot of people died there and you really get a sense of the horrors that took place there while you're walking around. 'They burnt all the bodies and left them where they lay. The island has never really been cleared properly or anything so everything has just been left. 'Later on, when it was turned into an asylum, and because people were shoved there out of the way of prying eyes, they started to do experiments on them, horrible, horrible stuff.' Despite its dark past, Matt said it was still possible to tell from the site's tiles and archways that it would once have been a 'beautiful building'. And the pair added that it was easy to tell that no one had visited Poveglia in years, as there was no graffiti on the island, just 'natural decay'. Matt revealed that the pair 'heard the bell toll' while they were there and adds 'that did actually freak me out a little bit'. But Poveglia is far from the world's only abandoned island. The world might know the Maldives for its picture-postcard villas, turquoise waters, and once-in-a-lifetime luxury escapes. But one island in the middle of this tropical paradise tells a completely different story - one of decay, mystery and ambitious plans left abandoned. In a video uploaded to YouTube in 2023, Australian filmmaker and surfer Kale Brock explained that while on the retreat in the Maldives, he and his group had spotted a 'mysterious' island in the distance and convinced their guide to take them there. What they discovered was straight out of a movie - more Jurassic Park than five-star luxury getaway.
National Geographic
6 days ago
- Lifestyle
- National Geographic
The UK's nightlife has lost its mojo—can it be saved?
This article was produced by National Geographic Traveller (UK). Nights out have been a staple of British life since the early 20th century, when the country's first nightclubs opened. But in recent years, the country has seen a surge in venue closures, with a study by the Night Time Industries Association (NTIA) suggesting that there could be no nightclubs by 2030. With a clutch of big openings and a new government taskforce, there are reasons to remain hopeful — but are we witnessing the end of nightlife as we know it? What's the latest? One nightclub is closing around every two days in Britain, according to NTIA data. Since 2020, more than a third of UK nightclubs have shut, totalling around 400 losses. In London, there are now more 24-hour gyms than nightclubs with late-night licences. The main reason is unsurprising: in the current economy, many nightlife venues simply can't afford to keep their doors open. Superclubs, like north London's 15,000-capacity Drumsheds, have been able to survive, partly thanks to being owned and funded by large corporations. But smaller venues are struggling — and this could spell disaster for up-and-coming DJs and bands, left without spaces to hone their craft. Meanwhile, strict licensing laws, which might force venues to close outdoor areas or have reduced hours, are making it increasingly hard for them to operate in a profitable way. Surges in new housing developments near nightlife spaces have only added to this, resulting in rising noise complaints. And on top of all that, attitudes are shifting away from going out, catalysed by the pandemic and rising cost of living. Why are people going out less? With tickets to club nights costing up to £50 and pints averaging over £5, many can't afford to go out any more. On top of this, Gen Z is less interested in enjoying a hedonistic lifestyle. According to 2021 NHS statistics, 38% of 16- to 24-year-olds in the UK don't drink alcohol. Is anything bucking the trend? There may be fewer clubs, but bars are doing well, growing by 5.4% over the past 12 months in Britain, according to NTIA figures. There's also evidence that young people are saving their money for a few nights a year, getting more bang for their buck — whether that's at a day festival, stadium concert or superclub where they can see multiple headliners in one go. From May to September, the UK capital will host at least 35 day festivals, with events like Lido, Polygon Live and SXSW London all new for 2025. 'Day festivals and multipurpose venues are thriving as they tap into that demand for something different — something more social, cultural and immersive,' says Michael Kill, chief executive of the NTIA. Venues are also innovating, bringing clubbing to a new wave of people, with the likes of DJ Annie Mac's Before Midnight events and sober and wellness-focused nights such as south London's Sauna Social Club, which combines saunas with electronic music. Can UK nightlife bounce back? Like Berlin's Berghain club, which was granted the same lower tax status as the city's concert venues in 2016, nightlife could be granted special protections. Local authorities in Britain are certainly taking note — Greater Manchester, London and Bristol have all appointed Night Time Economy Advisors, allowing nightlife professionals to collaborate with councils. London Mayor Sadiq Khan has also just been granted game-changing new powers to overturn licensing decisions, such as early closing hours or restricted outdoor spaces, while a new London Nightlife Taskforce will bring directors of clubs like Fabric together to tackle the issues. In 2025, the capital has seen new arrivals despite recent trends, including Gallery, a 400-capacity venue in Kensington. 'It's sink or swim,' says DJ and promoter Jon Nelmes, who runs Manchester club night Sassafrass. He adds that his local scene is still thriving, partly thanks to new spaces that offer something unique, and points to newcomers like Amber's, which sells £5 tickets and has a no-phones rule. 'Clubbing isn't becoming obsolete — it's evolving,' says Kill. 'UK club culture has always been dynamic. It's survived legal crackdowns, economic downturns and shifting musical landscapes. What we're seeing now is more about transformation than decline.' Despite all the obstacles, it seems that British nightlife isn't going anywhere just yet. Published in the July/August 2025 issue of National Geographic Traveller (UK). To subscribe to National Geographic Traveller (UK) magazine click here. (Available in select countries only).
Observer
23-07-2025
- Entertainment
- Observer
Those ugly shoes? She'll make you love them
In late 2018, a seismic shift took place in footwear — an epochal moment that now feels like a lifetime ago in fashion. Daniel Lee's debut collection for Bottega Veneta broke the mould, introducing shoes that seemed almost revolutionary. Square-toed clunkers — sandals characterised by exaggerated, spatula-like soles that jutted out beneath the foot — and pumps with bulbous, stubby toes made their debut at fashion month. At first glance, they appeared hideous, almost grotesque; their unconventional shapes challenged notions of beauty and tradition. However, within months, these shoes became a culture-shift phenomenon. They appeared on the feet of nearly every celebrity, editor, influencer and luxury insider. Retailers such as Vince Camuto and Shein swiftly produced their own versions — dupes — of the viral Lido sandal, a simple slide with an enormous, blown-up interpretation of Bottega's signature intrecciato woven leather. The designer behind these provocative shoes is Nina Christen, a Swiss shoe designer whose distinct vision played a crucial role. 'It's funny what you can make people wear if you do it the right way,' she reflected. For over a decade, Christen's influence has subtly shaped contemporary shoe design, her work sinking into the industry's subconscious, trickling from luxury houses to streetwear. She has collaborated with Phoebe Philo at Celine, Jonathan Anderson at Loewe, and the Olsen twins at The Row. Last month, Anderson appointed her as the design director of shoes at Christian Dior — an ambitious role and one of the most coveted in fashion today. Yet, Christen continues to pursue her independent vision simultaneously. In 2022, she launched her own brand — Christen — a move born partly from frustration. She explained that her designs for other houses represented her taste, her perspective, 'but they were never 100% myself.' Her opportunity arose when she met Paul Dupuy, an entrepreneur who co-founded Zoi, a health-tech start-up focused on longevity. Christen had designed uniforms for Zoi's staff and clients, and Dupuy was so impressed he offered to help her create her own label. His familiarity with industry insiders, thanks to his mother's fashion background and his network, helped turn her idea into raised $5 million in capital and took charge of logistics, including planning a store in Paris scheduled for 2026. Christen already possessed a comprehensive vision: beyond footwear, she dreamed of perfect Japanese denim jeans, a leather jacket, and fine jewellery — her debut piece being a diamond toe ring. Every detail was mapped out — the packaging, branding, logo and market positioning. Her shoes are produced in Italy by the same factories that serve luxury brands, ensuring impeccable craftsmanship. Price points ranging from $1,100 to $3,650 reflect her commitment to quality and her desire to compete at the highest level. In late June, Christen's Paris studio offered an intimate peek into her universe. The raw cement floor was set with more than 30 of her designs, arranged in a carefully curated grid. Among these, styles from Loewe's spring 2023 runway stood out: cartoonish, fantastical creations — pumps embroidered with deflated white balloons, sandals blooming with hyper-realistic anthuriums, and red rubber pumps resembling Minnie Mouse. Christen was candid: 'You can't wear this for more than two hours. But Jonathan Anderson was very open to ideas that crossed the line between art and fashion.' She has a profound love for the geometry of shapes. 'When I think about toe shapes, it's all about the square, rectangle, circle, oval,' she said. 'What is the degree?' She wore a pair of pure white sandals that left most of her foot exposed, seamlessly bisected by a single strip of leather that ran through the big and second toes — like a strand of floss. The sole was thin, elongated, almost oversized beneath the toes. 'It's about creating things we're not used to yet,' Christen explained. 'When I make something and I don't know if I like it — that's often a good sign.' Her work is driven by experimentation — she strives to redefine norms and challenge perceptions of beauty. She finds inspiration in the mundane, the ugly, even orthopaedic shoes — everyday items that, through her lens, become something more intriguing. Her biggest seller after the first year? A grandpa-style slip-on boot lined with goat shearling. 'Once you wear them,' she says, 'you can't wear anything else.' Her designs highlight the power of the everyday, transforming the familiar into avant-garde statements. — NYT
Yahoo
23-07-2025
- Entertainment
- Yahoo
Venice Strikes Back: Alberto Barbera on His Powerhouse 2025 Festival Lineup
After getting upstaged by Cannes at this year's Oscars — when Sean Baker's Palme d'Or winner Anora took best picture over Brady Corbet's Lido champ The Brutalist — Venice has come roaring back. Venice's 2025 lineup, with its blend of prestige auteurs, big-name debuts and politically charged provocations, reaffirms the Lido as the premiere launchpad for award-season hopefuls. Highlights this year include Julia Roberts in Luca Guadagnino's After the Hunt, Dwayne Johnson in Benny Safdie's The Smashing Machine and a triple threat from Netflix: Guillermo del Toro's Frankenstein starring Jacob Elordi, Noah Baumbach's Jay Kelly with George Clooney and Kathryn Bigelow's A House of Dynamite with Idris Elba and Rebecca Ferguson. More from The Hollywood Reporter Jussie Smollett Speaks in Netflix Doc 'The Truth About Jussie Smollett?' Paramount Execs Tell Staff That Africa Offices and Channels May Close Amid Strategy Review (Exclusive) Disability Advocate, AGC Studios Boss, 'Poor Things' Producer, Berlinale Boss Set for Locarno Pro Add in new features from Yorgos Lanthimos, Jim Jarmusch, Park Chan-wook, François Ozon, Paolo Sorrentino, Mona Fastvold, Gus van Sant, Julian Schnabel, Mamoru Hosoda and Laszlo Nemes, and the political heft of Kaouther Ben Hania's Gaza drama The Voice of Hind Rajab and Olivier Assayas' The Wizard of the Kremlin [with Jude Law as Vladimir Putin], and you have, on paper, one of the best Venice festivals in years. That's saying something. Shortly after unveiling this year's program, Venice artistic director Alberto Barbera spoke to The Hollywood Reporter about the fierce but friendly rivalry between the major festivals, the challenge of programming two-to-three-hour epics and why politics are back on screen in a big way. This is going to sound like I'm a broken record, because I say it every year, but you have another phenomenal lineup. We in the press always pit the big festivals — Cannes, Venice, Toronto — against one another, but how much is competition, a desire to beat the other big festivals, a drive for you? I'm a good friend of [Cannes festival director] Thierry [Fremaux] and [Toronto Film Festival CEO] Cameron [Bailey]. We're colleagues. We meet each other at each other's festivals. I've got a wonderful relationship with them. But of course, it is a competition. That's just a fact. There is competition between festivals, and each of us tries to get the best films from what the market gives us. We are lucky in that we're maybe in a better position, coming at the beginning of the new season, where Cannes is at the end of the old one. And we're a week, 10 days, ahead of Toronto, so we are often lucky to get a lot of world premieres. I know Toronto tries to get as many world premieres as possible, and they don't always succeed in competing with us on certain films. But this competition is a way to push you to do your best, to get the best out of the submitted films. How do you measure success for a festival lineup? The first element is the way the film is accepted during the festival, the response of both the critics and the audience to the film. That's the first moment when you realize if you made a good choice or if you were wrong. Because when you invite one film, it means you give up the chance to invite another. And it always happens that this or the other film doesn't meet the expectations that were created when we announced the lineup. That first moment when the film screens is when I realize if I did a good job or not. Then, of course, if the film travels to other festivals or gets awards, if it goes to or wins the Oscars, which happens a lot, that helps to confirm and establish the position of the festival, of our position in the international calendar of festivals, and gives us the chance the following year to get access to the most interesting and important films of the season. In your presentation, you suggested you would have liked to have put Luca Guadagnino's in competition. Was it Amazon MGM that wanted it to run out of competition? That was a decision by Amazon MGM. From the beginning, when they showed the film to us, they told us 'We don't want to be in competition. This is a film we believe in. It's our candidate for the Oscars. It doesn't need to be in competition.' So I accepted that. I respect the decision of producers. Most of the time. star Julia Roberts will make her Venice debut this year, as will Dwayne Johnson, star of Benny Safdie's competition film . Any advice for the Lido newbies on navigating the Venice red carpet? I'm sure they know how to behave. They are great professionals, both of them. And they are delivering exceptional performances in the two films that we'll see. Both Julia Roberts and Dwayne Johnson are really outstanding. So I'm very happy to have them in Venice. As you know, we have a wonderful new audience, very warm, very gentle. I think the experience here is easier for talents than at other festivals — that's what they tell me. Partially due to the success that you've had over the years, more and more people are coming to Venice. How much pressure is that putting on the festival's infrastructure? A lot. Well, not on the festival itself, because we have a lot of seats, a lot of theaters, to accommodate everybody. The pressure is put on the infrastructure outside the festival, on the hotels, the restaurants, and so on. Venice is one of the most touristic places in the world, with a lot of events at the end of August and the beginning of September. There are a lot of people coming in, also for other events. It's difficult to find hotels, and it's becoming more and more expensive to attend. This is the main issue we have. We don't have enough hotels on the Lido, actually, just one five-star hotel, The Excelsior. The good news is that they are going to renovate the Grand Hotel Des Bains. It will take 4-5 years, but it should come back as beautiful as it was in the past. So I'm quite confident and optimistic about that, because it's from people from Dubai [Abu Dhabi's Eagle Hills is backing the $230 million renovation] who have a lot of money. So it should work, right? I've written a few times who struggle with the cost of going to Venice and also with access to the talent that they need to justify coming. Is there anything that you or the festival can do to address this problem? It's extremely difficult to do something regarding the hotels, the cost of the rooms, the restaurants and so on. The infrastructure is just not there. I know there is an issue for some independent journalists to get access to interviews with stars and so on, but again, this is out of our control. It's the decision of the production team or the press agent for each film. I try to convince them to be more open and available, but they often only stay 48 hours, 72 hours in Venice, because of the cost of staying here, so it's difficult to meet all the requests they get from journalists. It's a major problem, but I don't know what we can do to solve it. You also mentioned in your presentation how submitted films are getting longer and longer. How big a problem is that when it comes to programming? It's a big issue because we usually have four [competition] films a day, in the main theater, two in the afternoon and two in the evening. If every film is two hours long or more, it means the last film won't start until very late in the evening. It's a huge problem for everybody. From tomorrow, I'll start working on the screening schedule, and I'll see how things look, but I'm a little worried. We'll find a solution, of course, but it's not easy. This is a trend that started one to two years ago and has become a really major trend. Most of the films are more than two hours long, and many are two hours and 30 minutes long or longer. It's a problem. Venice has never avoided political films, but current events seem at the center of a lot of movies in this year's lineup, from Kathryn Bigelow's to Kaouther Ben Hania's to Olivier Assayas' . Why did you think it was important to program these movies? They are all very strong films in of themselves. Not only very emotional but excellent films dealing with contemporary issues. Most of the films this year are dealing with contemporary problems. Whether it's the use of atomic weapons [A House of Dynamite], to the horrors of the wars in Ukraine or Gaza, or looking at dictatorships in many countries in the world. It's the comeback of the cinema of reality, and I think it's important that the festival is open to the contemporary world and not closed off inside the universe of films and cinema, that cinema of dreams. There will still be a lot of entertaining films, spectacular films, at the festival, but most of the films are strongly connected to contemporary problems and issues. Some are very strong and emotional. I get emotional talking about The Voice of Hind Rajab. I was so impressed when I watched that film. Every time I think about it, I get emotional again. I think it will be one of the films that will get the most intense response from everybody, from the press and from the audience, for obvious reasons, not only political reasons but for emotional, human reasons. Netflix is also back in force this year, after . Yes, they couldn't come last year because they didn't have any films to offer, but they have three very strong films this year, from Kathryn Bigelow, from Noah Baumbach and from Guillermo de Toro. We worried if it was a good idea to have three films from Netflix in the main competition, but they are all so good, they all deserve to be in there. Do you ever worry that your streak at Venice will end, that this could be your last good year? Every time. After every festival, I tell myself, I won't be able to do as strong a lineup next year. And then we are lucky enough to get access to the most interesting films of the season. And this is the case again. For this year at least. Best of The Hollywood Reporter The 40 Greatest Needle Drops in Film History The 40 Best Films About the Immigrant Experience Wes Anderson's Movies Ranked From Worst to Best Solve the daily Crossword
