On Monday, October 27, Accor shared a first look at the carriages, marking the start of the Orient Express’s long-awaited next chapter.

The new designs were unveiled at the Musée des Arts Décoratifs’ landmark exhibition in Paris, 1925–2025: A Century of Art Deco, hailed as one of the most significant Art Deco showings ever staged.

A narrow corridor snakes along the train.

Each carriage celebrates the spirit of the Art Deco masters, Ruhlmann, Dunand, and Lalique-Haviland, while integrating 21st-century craftsmanship and technology.

The just-released images show vibrant green banquettes curving through glittering carriages, deep red furnishings in bedrooms that open up to corridors stretching as far as the eye can see, and dining tables illuminated by their golden surroundings.

Of the many fascinating stops along the historic Silk Road, the transcontinental trading route that connected ancient and early modern Asia with Europe, the city of Almaty is perhaps one of the most exciting. Today, it’s Kazakhstan’s largest city and the second biggest in all of Central Asia, with a population of 2 million people exceeded only by 2.6 million people in Tashkent, the capital of Uzbekistan. At the foot of the Trans-Ili Alatau mountains, Almaty is a vibrant center of commerce and culture, known for how it blends Soviet-era architecture with trendy neighborhoods, glitzy boutiques, and celebrations of time-honored crafts on street corners beside fashionable cafés and dining establishments.

Plus, with the inaugural Kazakhstan International Textile Machinery Exhibition coming up in April 2026, the Kazakh city is rising to be one of Asia’s top destinations for ingenious craft and design—all the more reason to go shopping in the city before hitting the country’s boundless and majestic natural landscapes. Here, we round up the addresses to know, whether you’re in the market for eye-catching garments inspired by traditional folk costumes, quirky ceramics, or kitchen utensils handcrafted from felled local karagach elms.

A version of this article originally appeared in Condé Nast Traveller UK.

Korkem Experience

In a powder yellow building near Almaty’s historical Golden Quarter, Korkem Experience is a perpetual work in progress. Each season, both the shop’s elaborate decor and its collection of clothes, jewelry, homeware, and perfumes receive a top-to-bottom makeover to fit a new theme. Recent inspirations include Shakespeare’s A Midsummer Night’s Dream—featuring glittering chandeliers, vintage silverware, and an antique cabinet overflowing with shimmery chapans lined with ikat-printed silk from Uzbekistan—and the seaside, which brought an artificial beach, sailor-inspired tunics and knitted fishing nets draped from the ceiling. These displays are supplemented by a permanent collection of flouncy dresses from the in-house Steppe Roses label and other products, from linen place mats by Latvian brand Truffle Bee to woven Madagascan reed bags that owner Assel Tatisheva has picked up on her travels.

Synesthesia Concept Store

A few doors down from Korkem Experience, Synesthesia Concept Store is home to a flower shop, cosmetics boutique, and ice cream parlor serving up scoops flavored with sea buckthorn, lavender or Uzbek pistachios.

Moonshuaq

The couple behind Moonshuaq, Álisher Baqyt and Erkenaz Aqtileuova, want to transform Kazakhstan’s folk costumes for special occasions into casual outfits for everyday wear. From the brand’s subterranean shop, half-hidden in the basement of a block of flats, the designers sell slouchy jackets with colorful embroidery inspired by Central Asia’s ubiquitous chapan overcoats, and windbreakers printed with eye-popping oyu-ornek (ethnic-ornamental) patterns. Taqiyah (traditional skull caps) get a modern makeover with embroidered velvet and silver chains; chunky bracelets and mismatched earrings combine ceramic oyu-ornek charms with pearls, jewel-toned beads, and neon-colored climbing rope.

Beepl Space

Even though the Beepl Space shop, with its straw ceiling and timeworn wood, looks like a blast from the past, the wares on sale are decidedly design-forward. A platform for local creatives, it brings together a genre-crossing mix of fashion, homeware and accessories it describes as “neo-Kazakh.” Products range from knitwear by Metaironia; local brand Tamyr’s bag charms and sharp-cut takes on traditional Kazakh garments; and bracelets by Almaty-based Ozin, which fuses the region’s folksy silver jewelry with Y2K-inspired beadwork.

Forma

In the industrial bowels of a^–Soviet-era printworks on leafy Gagarina, Forma emerges as a light at the end of a tunnel. Part of a new wave of creative businesses that have taken over a share of the complex in recent years, this ceramics atelier produces tableware for some of the top restaurants and cafés in the city, including contemporary Kazakh restaurant Auyl. On the shelves of its light-flooded showroom lie leftovers from orders—duotone teapots, rough-edged plates and mugs glazed like swirling marble—next to small-batch collections of its playful designs, all shaped, baked and glazed in the workshop across the hall.

Dunie Studio

Dunie Studio, an all-women multidisciplinary design collective, has its fingers in many of Almaty’s smartest pies. The team master-minded the creative direction of clothing line Erke Moms, developed products for yurt-inspired homeware brand Yourta, and designed packaging for TruNomad, a Kazakh natural skincare label. With the recent opening of Spazio Dunie next to its office in a Soviet mansion on Tchaikovsky Street, the group now has a creative outlet to call its own. The collection of limited-edition ceramics, shirts, and textiles draws on the studio’s in-depth knowledge of Central Asian traditions and crafts. Standouts include soaped-wool tekemet rugs covered in scribbly figures, hand-painted kese teacups, and louche overshirts with color-blocked patterns that nod to traditional quraq körpe quilts.

VW Home

Founded by Alyona and Alexey Lezhanina in 2021, VW Home feels cosy from the get-go. A carpenter by trade, Alexey uses the snug, light-filled space as a shoppable showroom for the wooden cutting boards and bowls he makes from felled local karagach elms. Alyona draws on her talents as a textiles designer to create waffle-patterned towels, dishcloths, and candles made from natural materials, and to source products such as woven baskets by local homeware brand Uige.

BBSR

A short drive away from VW Home is the atelier of husband-and-wife duo Altynay Murzabekov and Dias Murzabekov. The pair work with Kazakh illustrators on an ever-changing collection of silk scarves and twillies for their accessories label BBSR (a nod to their daughter’s name, Bibisarra). The kaleidoscopic designs in colorful, playful prints riff on Central Asian folk tales.

Tartpa

Taking its name from the Kazakh word for “drawer,” the living room-like Tartpa sells postcards, notebooks, shirts, and printed posters made by a crew of local creatives. Founded by designer Aizhan Baitimbetova and children’s author Symbat Omarkulova as a way to connect Almaty artists with an audience, the shop stocks a wide collection of quirky prints by makers such as illustrator Aziza Kireyeva and collage artist Perizat Suleiman. Subjects range from tongue-in-cheek Kazakh wordplays to colorful renditions of local landmarks such as the Green Bazaar or Television Tower, and the store’s collaborative ethos means that artists receive royalties for every purchase.

An 11-day spring trip to Morocco. Seven hotels, two young and frequently squabbling daughters. One husband who had to leave for work halfway through. Stressful? To put it mildly. But it was also by far the most memorable trip I have had with my four- and seven-year-olds to date.

After hopping luxuriously between five-star kids’-club-cosseted resorts, my husband bade farewell, and we were on our own for the “trickiest” part of the trip. I was slightly fearful of leaving the out-of-town majestic hotels for the madness of the medina, but one intake of breath as we stepped into the palatial Nobu Riad in Marrakech, and all fears abated.

Located a five-minute (private and always on hand) shuttle ride away from the Nobu Hotel Marrakech, the buyout-only Nobu Riad is within haggling distance of the Jemaa El Fna Square and souks. Once a nobleman’s private residence, the property was previously rented by the room until Nobu (and owners of Puente Romano Marbella, Nobu Hotel Marbella, and the upcoming Nobu Beach Inn) acquired it in 2020 and transformed it into a design-focused upscale abode.

Shut off from the energetic streets beyond and with all six bedrooms to ourselves, we really felt like it was our castle. A tinkling fountain and the scent of jasmine greeted us as my girls bundled inside, already playing cat and mouse under the ancient painted beams (often found in historic well-to-do mansions), running into ochre-walled bedrooms and past African art books dotting midcentury tables in the library. The space fuses the brand’s Japanese design motifs—using lots of wood throughout, from headboards to shutters—with Moroccan signatures, like geometric tiling and Arabic-inscribed doors. Piles of kindling pointed to cooler months, but while we were there, swathes of bougainvillea fell down iron railings in technicolor bundles, and palm trees framed the calm, cooling courtyard.

The girls made a mad dash up three flights of stairs to the rooftop pool, with loungers under shaded palapas. We found that power walking around the souk—and getting lost at every turn—was ample exercise; but for those who wish to hone their limbs further, a Peloton bike awaits, overlooking orange-tree-lined streets and the city’s signature red hues.

This was a family trip, but a DJ booth and chilled sushi counter for private chef nights tempted me for a heady and fun-fueled return visit for a significant birthday or celebration. The riad can play host to the full range: hedonistic, holistic, or homebody. Staff are on hand 24/7, be it to pour a Hendrix G&T from the handsome drinks trolley at sunset or to pass around almond and orange blossom treats to guests. My palatial room overlooked the courtyard, with a vast bed plonked in the center of the room, a walk-in shower big enough to house the whole family, a Marshall radio, and a minibar stocked with cool Moroccan brands. Moroccan leather slippers with a snake design and signature Nobu kimonos kept us warm on mornings when we descended for the most exquisite breakfast (the only meal that’s included in the stay): an array of freshly made traditional breads that we slathered in French butter and Atlas mountain honey, plus berries, flaky pastries (a nod to the French heritage), glass pitchers of freshly squeezed orange juice, and cheeses.

There’s magic in Vienna on New Year’s Eve. It’s not just the twinkling lights, the bustling holiday markets, or the excitement of a new 365 days to look forward to—it’s the music that spills out in the streets on the last day of the year. Vienna is known as the capital of classical music, and during New Year’s Eve, the streets are filled with the sounds of Silvesterpfad, one of the largest New Year’s Eve celebrations in Europe. People dance in the streets holding glasses of champagne alongside their friends and partners. Just before midnight, soft snowflakes fell and kissed our faces—I didn’t want the magic I was feeling to come to an end.

Planning a New Year’s Eve trip is no easy feat. I’m a true beach bum, but this year I decided to spend the holidays a little differently. A friend and I would be based in London for part of the season, but we knew we wanted to escape the UK for New Year’s Eve and experience a new place neither of us had been to before. I‘ve always loved Austria—having visited Salzburg and Innsbruck—and for this trip, we chose Vienna, recently named one of our best places to visit in 2025. Ideally, we wanted to stay close to the action but also needed to keep costs reasonable, knowing accommodations could be pricey during this time of year. We both love clean, modern, stylish, and open spaces, so we landed on this urban apartment in the 16th district—just 30 minutes from the city center and only a minute’s walk from several tram stations that connected us to the heart of Vienna (no transfers needed!).

The marble-covered bathroom.

Once we arrived in Vienna it was easy to navigate our way to the apartment. The host was responsive, check-in was seamless, and the space was cozy. As we stepped inside the Airbnb, we were immediately bathed in the natural light that poured in from the tall windows that led out to the terrace, accessible from both the bedroom and living room. Despite the cold outside, I couldn’t help but imagine how wonderful it would be to sit on the terrace in the summer, basking in the warmth of the sun. Inside, the bedroom featured a cozy king-size bed, black-out curtains, and an open closet. I was instantly in love with the bathroom which had a sleek marble design and a rainfall shower.

What stood out most, though, was how peaceful the building felt. Despite being on the ground floor, it was surprisingly quiet. Even though we didn’t have a car, it was reassuring to know that we had access to a parking garage space, sparing us the hassle of finding street parking if we decided to rent one. One unexpected, yet delightful, surprise was the heated floors. On New Year’s Eve, the weather was a balmy (kidding) 25 degrees Fahrenheit, and after spending hours braving the cold, peeling off our wet socks and stepping onto the warm wooden floors was pure heaven.

The neighborhood around the apartment was tranquil—perfect for enjoying some time away from the crowds—and the tram ride into the city center was faster than expected. It hit all the major transfer stops, and since the tram station was right across the street, we could quickly dash out and catch it even when we were running behind. Riding the tram gave us a wonderful view of the city; I was constantly picking my jaw off the floor from the beautiful art nouveau, baroque buildings, and palaces that were whipping past us on the 30-minute journey. Even the city’s alleyways were worthy of an Instagram post.

While the magic of Vienna was particularly present on New Year’s Eve, our favorite discovery was The Sign Cocktail Lounge. Not only did they make innovative drinks, but sitting at the bar made us feel like locals hanging out with old friends. The bartenders were so warm and engaging that we ended up chatting with them for hours. It was the perfect spot to cap off our trip.

At a time when we needed rest, relaxation, and a fresh start to the new year, this Airbnb offered exactly what we were looking for.

For the last five decades, the Sydney Opera House has been a global spectacle: with its whimsical rooftop sails and prime location on the Sydney Harbour, it has become not only the city’s most recognizable symbol, but that of all of Australia. While presiding over the building’s October 20, 1973, opening, the late Queen Elizabeth II called it “unique”—and while its architecture certainly remains a standout feature, what makes the structure truly forward-thinking is the degree to which Danish architect Jørn Utzon drafted it with sustainability in mind.

Selected from 233 entries in a 1956 international competition sponsored by then-New South Wales Premiere Joseph Cahill, Utzon’s design tied visual ingenuity with thoughtful elements, considering color and surface texture to reduce natural heat absorption of the one million ceramic tiles that make up the roof sails. He also took advantage of the site’s location on Bennelong Point, conserving water by designing the building to draw its supply from the sea. These features were all part of Utzon’s goal to make a building with a 250-year lifespan—features that, while considered smart today, were especially innovative at the time, when most new builds were expected to last just 80 years.

That precedent has helped to ensure that sustainability remains a top priority for the Opera House, maintained not only through the upkeep and modernization of its original features, but in the continual reassessment of its operations, from its waste management program to the fostering of wildlife diversity in the surrounding waters. These efforts have led it to become one of the only UNESCO World Heritage Sites to earn the highest-possible 6-Star Green Performance Rating by the Green Building Council Australia, a rating systems similar to the U.S.’s LEED (Leadership in Energy and Environmental Design), this past May.

When it comes to enacting environmental responsibility, “people look to the Opera House for inspiration, or as a beacon,” says Sydney Opera House’s Sustainability Manager Emma Bombonato. “If a 50-year old building can do all of these things, that means that it can happen in other types of buildings, whether a school, office building, or other cultural institution or performing arts venue.” On the heels of its golden anniversary, we chatted with Bombonato about this global influence, and what the future looks like for this timeless—and ever-timely—institution.

Anyone familiar with Beata Heuman’s work—either from following her Instagram feed populated with cheery, inviting interiors, reading her lauded design monograph Every Room Should Sing, or shopping from her collection of whimsical-but-grounded decor—can sense the designer’s personality in every room she touches. Her work is a unique balancing act between playful colors, toile patterns, and plush fabrics, and the characteristics that remind one of home: weathered woods, handwoven rugs, and checkerboard tile in the kitchen.

Her latest project takes those same ideas and puts them to new use at Hôtel de La Boétie in the 8th arrondissement. Heuman’s vision for the hotel, which is managed by hospitality group Touriste, was to turn her residential style up a notch. “I jumped at the opportunity when the owner asked me,” says Heuman. “I always wanted to do a hotel. It’s very different, what’s appropriate for residential versus a hospitality project. I’m interested in going more theatrical and that’s not always suitable for residential work.” With the hotel, she joins a growing number of designers that are leading hospitality concepts. A few years earlier, Touriste brought on another popular designer, Luke Edward Hall, to create Hotel Le Deux Gare across town.

While people seek function in their homes, in a hotel, guests are excited by pomp and circumstance, and by the escapism offered by a stay—something Heuman felt ready to tap into and explore. After studying under acclaimed designer Nicky Haslam for nine years, Heuman started her own firm in 2013 and has since been named an AD100 designer. “I wanted to do something that can be more about the concept. It’s about creating an experience for a few nights, not year-in and year-out,” says Heuman. The 40-key hotel is located just off the Champs-Élysées, and was the perfect size to put the designer’s elevated charm on display. The goal was to make the hotel as much a part of the trip as exploring the city.

“It’s always a balance to be observed,” she explains. In her residential work, a bedroom might include a wooden bedframe set against a wall painted in a saturated color to brighten things up. In the hotel, that same idea is expanded upon. “The headboards are a good example, they have this big swirling pattern that’s very bold and then we repeated that idea in all the rooms. It provides an escapism into something else.” Heuman extends this intention to other rooms, using decorative objects in three different colorways that she’s spread across floors. “I wouldn’t have done that in a residential interior,” she says.

In her residential practice, Heuman’s designs often require her going out and sourcing lots of vintage and antique pieces—an idea that can be difficult to translate to a hotel. While the rooms may feature unique smalls and objét, it’s a whole other task to locate 40 similar-looking vintage sofas or bed frames, instead of choosing to have them all built in a similar style. Aside from the obvious problem with finding 40 identical vintage pieces of anything, taking vintage (read: fragile) pieces and putting them in a hotel is more or less asking for them to be damaged—even if by accident.

The idea of a Paris luxury hotel often conjures up images of a grand stalwart, but Hôtel de La Boétie brings fresh energy to the city’s hotel stage: a designer-driven concept that doesn’t rely on the inertia of tradition, but blazes a new path by creating modern versions of often nostalgic ideas. The small, painted-wood designs Heuman grew up around in Sweden, for instance, are expanded upon here with everything from the headboards to the accents in the common spaces.

A wall of windows framed the East Twin River out back, at the far end of the grassy lawn, and on some days, you can spot Sandhill cranes from the home’s dock. And if it was warmer during our spring visit, we might have spent more time on the private patio, which had banquettes and an outdoor fireplace. As our tour guide, Jenny Leigh, said just before we checked in, at night this place is lit up from the back like a Chinese lantern, due to the staggered height and outdoor lighting.

There’s an eye on cultivating mindfulness here—there’s no TV, for one—and in the listing, the Airbnb hosts suggested watching the birds. (It’s a very calming activity.) We lounged in the living room for hours reading books we’d brought, also perusing books about Wright lining the built-in shelving. I felt like a kid in a candy store with shelves of so many colorful books wrapping around me.

Like most Wright-designed homes, the entrance is partially concealed. It’s not facing the street but instead is off to the right when facing the home. Once inside, the architect’s compression-and-release technique is at play, with low ceilings in the entry that expand and spring open in the living room.

Wright’s famed clerestory windows are designed to illuminate the room naturally.

Courtesy Airbnb

To the right of the entry is the aforementioned breakfast nook and the full kitchen. It has all one needs and there is lots of space on the orange countertops and within cabinets. We loved how the Ditmers considered every possible need—right on down to the era’s barware on a dedicated shelf leading to the living room. Our groceries fit comfortably in the full-size fridge.

On the second level are three bedrooms and two baths. A built-in desk in the mezzanine is paired with a vintage typewriter and vintage mint-green Ericofon for a fun touch. Most of Wright’s homes were built as showpieces for the stewards to entertain, and this one is no exception. A sizable patio features plenty of furnishings, whether you want to eat dinner or relax with a book.

The way the light bounces around is incredible, made possible thanks to Wright’s cut-out clerestory windows (low in height and above eye level).

Occasionally we meet other people who have stayed here. There’s a collective sigh as we ponder in silence the communal experience of staying in a true work of art—one that’s famous in architectural circles. But on a more personal level it was, for us, a place where time literally stopped; we reconnected with nature and ourselves.