Behind the Luxury: Louis Vuitton, Rue Paradis and the Wartime History of Nice

 

From a pioneering luggage shop opened in 1908 to a street barricaded against enemy advances during the Second World War, the story of one of Nice’s best-known luxury shopping locations reaches far beyond the world of fashion.

Today, Rue Paradis is synonymous with luxury shopping. Just steps from the Mediterranean, tucked into the elegant streets of central Nice, it is home to international brands, fashionable boutiques and the familiar signs of the French Riviera’s enduring relationship with wealth and glamour.

At the corner of Rue Paradis and Avenue de Suède stands the Louis Vuitton boutique, a destination for shoppers who come in search of the brand’s handbags, luggage, accessories and other luxury goods. It is easy to walk past without giving much thought to the history surrounding it. Yet the story of Louis Vuitton in Nice stretches back more than a century, to a time when the city was establishing itself as one of Europe’s great destinations for international travellers.

And during the Second World War, the streets around this fashionable shopping district belonged to a very different world.

A Luxury Brand Arrives on the Riviera

Louis Vuitton first opened a boutique in Nice in 1908, at 12 Avenue de Verdun. The company had already established its reputation for quality trunks and travel luggage, products particularly suited to an era when wealthy travellers journeyed across Europe with substantial wardrobes and belongings.

The French Riviera was an ideal setting for such a business. Nice attracted aristocrats, industrialists, artists and affluent visitors from Britain, Russia and elsewhere in Europe. Its grand hotels, elegant villas and winter season had made the city internationally renowned, while its mild climate and Mediterranean setting continued to draw visitors seeking a fashionable escape.

For a company built around the art of travel, Nice was a natural place to establish a presence.

In those days, luxury luggage was not simply an accessory. Trunks were essential possessions, often custom-made to accommodate clothing, personal effects and the practical demands of long journeys. Quality, craftsmanship and reputation mattered enormously, and the Louis Vuitton name was already becoming associated with a particular standard of travel.

The Nice boutique had been trading for more than three decades when the Second World War began in September 1939. Its history was therefore already woven into the commercial life of the city long before the war transformed the Riviera.

When the Riviera’s Glamour Gave Way to War

The declaration of war in 1939 did not immediately turn Nice into a battlefield. However, the conflict gradually changed the character of the city, affecting international travel, trade and everyday life.

France’s defeat in 1940 brought the establishment of the Vichy regime and a new political reality. Nice initially remained outside direct German military occupation, although the region was subject to the wider pressures and discriminatory policies of wartime France.

In November 1942, Italian troops occupied Nice and the surrounding region. During this period, the area became a refuge for many Jewish people escaping persecution elsewhere in Europe. The policies of the Italian occupation authorities in this region differed in important respects from those of the Vichy administration and the Germans, although the Italian regime itself was Fascist and antisemitic.

That relative refuge ended abruptly in September 1943.

Following Italy’s armistice with the Allies, German forces moved into the region. On 10 September, SS officer Alois Brunner arrived in Nice with a unit tasked with arresting and deporting Jewish people. The subsequent round-ups brought terror to the city. Thousands were arrested, and many were sent through Drancy before deportation to Auschwitz-Birkenau.

Nice’s streets, hotels and railway station became part of this terrible history. Behind the familiar architecture and elegant façades, people were hiding, fleeing, searching for safety or facing arrest.

The Riviera was no longer simply a destination for those seeking sunshine and luxury. It was a place where survival could depend on remaining unseen, finding refuge with others or escaping before the authorities arrived.

Rue Paradis: A Street Closed Against the Enemy

One of the most striking reminders of wartime Nice lies in the history of Rue Paradis itself.

Today, the name suggests shopping, fashion and an easy stroll through the city centre. During the war, however, the street was barricaded off, forming part of the defensive measures intended to restrict movement and prevent enemy forces from advancing farther into the city.

Personal historical photographs accompanying this article show Rue Paradis blocked by a substantial barrier. The images offer a remarkable contrast with the street as it appears today, where shoppers move freely between boutiques and the city’s commercial life continues much as visitors would expect.

The wartime barrier was not merely an inconvenience or a temporary street closure. It belonged to a period in which the control of roads and access points could become a matter of military necessity. Barricades, anti-tank obstacles and defensive positions were used in different parts of Nice and along the Riviera to impede movement and protect strategic locations.

Historical material concerning Nice in 1944 also documents a striking defensive construction on Rue Paradis: a wall designed to resemble an ordinary continuation of the street through the use of trompe-l’œil painting. The illusion concealed the obstruction, making the street appear to extend farther than it actually did. A surviving historical photograph records an artist working on this painted perspective.

The use of such a technique is a fascinating reminder that wartime defences did not always resemble conventional fortifications. Concealment, deception and the manipulation of what an approaching person could see could be as important as the physical barrier itself.

The precise circumstances and date of the barricade shown in the accompanying photographs deserve to be considered alongside the relevant local records. Nevertheless, the images provide an unusually direct connection between the familiar streets of modern Nice and the city’s wartime landscape.

For anyone who knows Rue Paradis as a luxury shopping destination, the transformation is extraordinary. A street now associated with desirable possessions and international brands once formed part of a city struggling to control access and protect itself during a period of occupation and conflict.

A City Under Occupation

The German occupation brought a particularly brutal chapter to Nice.

The round-ups of Jewish residents and refugees were among the darkest events in the city’s history. The Hôtel Excelsior, close to the railway station, became a centre for the processing of Jewish people arrested by Brunner’s unit before their transfer to Drancy and subsequent deportation.

At the same time, networks of local people worked to protect those in danger. Among them were Moussa Abadi and Odette Rosenstock, whose clandestine rescue network helped save hundreds of Jewish children by arranging hiding places with families and religious institutions.

Their work demonstrates that the history of wartime Nice was not only one of persecution and fear, but also of courage, solidarity and resistance.

The city’s eventual liberation came in August 1944. On 28 August, an uprising against the German occupation broke out in Nice. Members of the French Resistance, supported by civilians, fought at strategic locations throughout the city. Barricades were erected, access routes were blocked, and fighting took place in several neighbourhoods.

German forces withdrew, and Nice was liberated.

The city’s wartime history therefore encompasses several different uses of barricades and defensive obstacles: measures imposed by occupying forces, fortifications designed to defend strategic positions, and barricades constructed by the Resistance during the struggle for liberation. Establishing the exact circumstances of an individual barrier is important, because these structures could serve very different purposes at different moments in the conflict.

The photographs of Rue Paradis are especially valuable in this respect. They give readers a visual starting point for investigating the street’s precise role in the city’s wartime defences and provide a tangible link to a period that can otherwise seem distant from the Riviera we know today.

What Happened to Louis Vuitton During the War?

An obvious question follows: what happened to the Louis Vuitton boutique during those years?

The store had been operating in Nice since 1908, but the precise wartime history of its original premises at 12 Avenue de Verdun remains unconfirmed in the historical material consulted for this article.

There is currently no verified evidence establishing whether the shop remained open throughout the occupation, temporarily closed, suffered damage or had its premises or merchandise requisitioned. It would be tempting to connect the barricaded streets directly to the boutique’s experience, but the available evidence does not establish such a link.

What can be said is that the business was operating in a city whose commercial life was profoundly affected by war. International travel was disrupted, occupation authorities controlled movement, shortages affected daily life, and the persecution of Jewish people transformed the lives of thousands of residents and refugees.

The distinction matters. A historical account should not confuse the documented experience of a city with assumptions about the fate of a particular business. The wartime story of the Nice boutique remains an avenue for further research, including examination of corporate archives, contemporary commercial directories and local administrative records.

There is, however, an interesting comparison elsewhere in the company’s history. Louis Vuitton’s historic London premises at 149 New Bond Street were requisitioned during the Second World War and were never subsequently operated by the company again. That episode is documented, but it should not be taken as evidence that the same thing happened in Nice.

From Avenue de Verdun to the Corner of Rue Paradis

The Louis Vuitton boutique eventually moved from its original Avenue de Verdun address to the corner of Avenue de Suède and Rue Paradis during the 1960s, bringing the shop closer to the seafront.

The company had entered a very different era. Postwar travel, international tourism and the expansion of luxury retail were reshaping the Riviera. Nice was rebuilding its international reputation, and the streets around its central shopping district increasingly reflected the changing expectations of affluent visitors and residents.

The present boutique is located at 2 Avenue de Suède, at the corner of 1 Rue Paradis. French business records identify a registered establishment at the current address dating from 30 September 1988, although that registration date does not establish the precise opening date or prove uninterrupted occupation from the 1960s.

The distinction between the three dates is worth preserving: Louis Vuitton first opened in Nice in 1908; the shop reportedly moved to its present location during the 1960s; and the current establishment has a documented registration dating from 1988.

Together, these milestones trace a remarkable commercial history spanning the Belle Époque, two world wars, the postwar revival of tourism and the modern luxury-shopping era.

Looking Beyond the Shopfront

There is something compelling about discovering how much history can be concealed behind an ordinary walk through a city.

A visitor standing outside Louis Vuitton today sees an elegant boutique in one of Nice’s established luxury shopping streets. A century ago, the company’s first local shop was already serving the needs of travellers arriving on the Riviera. During the Second World War, the same part of the city existed within a very different reality, when access routes could be barricaded, military positions established and streets transformed by occupation and conflict.

The contrast is particularly striking when photographs from the period are placed alongside images of the street today. The architecture may remain recognisable, but the meaning of the place has changed dramatically.

Rue Paradis is now associated with shopping, craftsmanship and the international appeal of Nice. Its wartime barricade recalls a time when the city’s streets were also strategic spaces, where movement could be restricted and the outcome of a conflict could be felt at street level.

The Louis Vuitton boutique’s history in Nice is therefore about more than a luxury brand’s longevity. It provides a starting point for exploring the city’s transformation over more than a century: from the Riviera’s golden age of travel to occupation and liberation, and finally to the prosperous international destination that residents and visitors recognise today.

The next time you pass the corner of Avenue de Suède and Rue Paradis, it is worth remembering that the history of this location extends well beyond its shop windows. Beneath the familiar signs of modern luxury lies a story of changing times, a city at war and streets whose past can still be glimpsed through the photographs that survived.

Joelle’s Art Salon Exposition No. 1: A New Artistic Gathering Comes to Nice

 

Nice’s contemporary art scene will gain a new gathering this month as Joelle’s Art Salon Exposition No. 1 brings together an international group of artists for an exhibition at NEO VogelART in the city’s Port district.

Organised by Joelle Meissner, the inaugural salon will take place from 16 to 29 October 2026 at NEO VogelART LAB, 6 bis rue Lascaris, Nice.

The exhibition is intended to be more than simply a display of individual works. NEO describes the first salon as an initiative organised by Meissner that brings together different forms of artistic expression while creating a living space around art, encouraging encounters, exchange and sharing.

Meissner herself has issued a warm invitation to the Riviera’s artistic community and the public:

“I warmly invite you to Joelle’s Art Salon Exposition No. 1.”

That personal invitation is very much in keeping with the idea of an art salon — a gathering built around artists, conversation and creative exchange as much as the works themselves.

Opening Night with Soprano Magdalena Motyl

The official opening will take place on Friday, 16 October from 6:00 p.m. to 9:00 p.m.

Adding a live performance element to the evening will be Magdalena Motyl, soprano lyrique. The opening programme will also feature an address by Laurence Navalesi.

The combination of visual art and live performance is particularly appropriate for the salon concept. Rather than treating the gallery simply as a place to view paintings, the evening creates an opportunity for different artistic disciplines to intersect.

For visitors, the vernissage promises to be a distinctly social occasion, bringing artists, collectors, art lovers and the wider Nice cultural community together at the beginning of the exhibition.

An International Group of Artists

The salon brings together an impressive and diverse list of artists:

Joana Bruno, Tom Bühren, Robert Cadière, Kiddy Citny, Diane Detalle, Ayse Domeniconi, Harald Gottschling, Julia Heine-Saabel, Mireille Khazaka, André Laurenti, Linda Leeb, Lo Graf von Blickensdorf, MULIA, Jacques Savino, Marcela Svaton, Silva Usta, Tatiana Yastrebova and Eliel.

The breadth of names reflects the international character of NEO’s programme and of the contemporary art community developing around the venue.

Several of the participating artists have previously been associated with exhibitions at NEO, making this salon part of an ongoing network of artistic relationships rather than an isolated event.

For Meissner, however, this exhibition represents something slightly different: she is stepping into the role of organiser and host, bringing artists together under the banner of her own salon.

Joelle Meissner and the Riviera

Meissner is an established presence within the contemporary art community of the French Riviera.

Her practice is strongly associated with expressive colour, gesture and the human figure. Her work has been described in terms of emotional expression and an exploration of the relationship between colour, intuition and the inner world.

There is also a particularly interesting historical connection to Nice surrounding her work. Meissner has worked from a studio with a connection to Henri Matisse, adding another intriguing layer to her relationship with a city whose artistic history has attracted painters and creators for generations.

Her work has appeared in exhibitions in Monaco and Nice, including programmes involving other artists who will participate in the October salon.

In 2025, for example, Meissner participated in the Art Comité Monaco programme with Le Cri, a large acrylic work. She has also participated in exhibitions at NEO, including Art to the Rhythm of the Waves.

The October salon therefore represents both a continuation of Meissner’s own artistic presence on the Riviera and a new chapter in her involvement with the wider creative community.

NEO: a Fitting Home for a New Art Salon

The venue itself has an interesting story.

NEO – art & culture lab x VogelART is located at 6 bis rue Lascaris, in Nice’s increasingly vibrant Port district. The venue is close to Place Garibaldi, Place du Pin, the harbour and the Musée d’Art Moderne et d’Art Contemporain.

NEO grew out of VogelART Edition’s earlier pop-up exhibitions in Nice. Those projects began in 2022 and were followed by further pop-ups in 2023, eventually leading to the creation of a permanent cultural space.

The venue occupies a former workshop used for producing advertising panels and neon signs. After extensive renovation, it became a more than 300-square-metre industrial-style cultural space. Even the name NEO pays homage to the building’s neon-sign history while signalling its new life as a centre for contemporary art and culture.

That industrial, flexible environment lends itself particularly well to a project such as Joelle’s Art Salon, where painting, performance, literary events and other forms of artistic expression can coexist.

More than an Exhibition

There is also a literary component to the programme.

On Wednesday, 28 October, the salon will host a presentation of a book by Larissa Kikol, scheduled for 6:00 p.m. to 7:00 p.m., adding another dimension to the programme.

This is perhaps where the idea behind Joelle’s Art Salon becomes most apparent. The project isn’t being positioned solely around selling or displaying artworks. It is creating a space where artists, music, literature, conversation and audiences can overlap.

That approach has a particular resonance on the French Riviera, where the history of artistic salons, studios and informal creative communities is almost as important as the museums and major institutions.

Visit Joelle’s Art Salon Exposition No. 1

The exhibition runs from 16 to 29 October 2026.

Joelle’s Art Salon Exposition No. 1
NEO art & culture lab x VogelART
6 bis rue Lascaris
06300 Nice

Opening reception:
Friday, 16 October 2026
6:00 p.m. – 9:00 p.m.

Performance:
Magdalena Motyl, soprano lyrique

Exhibition:
16–29 October 2026
Open from 3:00 p.m. to 7:00 p.m.

The salon offers a chance to see a substantial group of contemporary artists in one setting while also experiencing something that can sometimes be missing from the conventional gallery experience: the sense of an artistic community actually coming together.

And with Joelle Meissner taking the initiative to bring that community together, the first edition of the salon could mark the beginning of an interesting new addition to Nice’s already remarkably diverse cultural calendar.

From Hitchcock to The White Lotus: Is Cinema Changing the French Riviera?

 

The French Riviera has been a movie star in its own right for more than a century.

Long before The White Lotus, Emily in Paris or the latest Hollywood productions arrived, the Côte d’Azur had already been attracting some of the biggest names in cinema. Alfred Hitchcock brought Cary Grant and Grace Kelly here for To Catch a Thief, while James Bond turned Villefranche-sur-Mer, Monaco and the surrounding coastline into an international backdrop. Films such as Dirty Rotten Scoundrels, Ronin, Never Say Never Again and GoldenEye followed, each presenting a slightly different version of the Riviera to audiences around the world.

But there is another part of this story that sometimes gets overlooked: French cinema has been filming here for generations too. The Riviera is not simply a playground for Hollywood. It is deeply woven into French cinema and television, from Jean Vigo’s À propos de Nice to Jean Dujardin’s Brice de Nice, Nicolas Bedos’ Mascarade and more recent productions such as Tout pour Agnès. The region has also provided locations for numerous French films and television productions.

Having lived and worked on the Riviera, I find that history particularly interesting because these productions are not simply something I read about after the fact. They are part of the environment around me, and increasingly, I see how that cinematic history affects the way visitors experience the region.

The Riviera has Always Understood The Power of the Camera

There is something almost inevitable about the relationship between the French Riviera and cinema. The Mediterranean, the architecture, the old ports, grand hotels, villas, mountains, winding coastal roads, beaches, palm trees and historic towns provide an extraordinary collection of natural film sets.

Within a relatively small geographical area, a production can move from an urban environment in Nice to a luxury hotel in Cannes, a medieval village in the hills, the glamour of Monaco or the spectacular coastline around Villefranche-sur-Mer and Saint-Jean-Cap-Ferrat.

What interests me most, however, is not simply that these places look beautiful on screen. It is what happens afterwards. I have seen firsthand how a film or television series can change the way someone experiences a place. Visitors arrive with a completely different awareness of a street, a hotel, a harbour or a particular view because they have already encountered it through a movie or television programme.

That is the phenomenon often described as screen tourism or “set-jetting”. A television series or movie can turn an ordinary street, restaurant, hotel, beach or square into somewhere that viewers suddenly feel they know. On the Riviera, that effect is particularly powerful because so many locations already have decades of cinematic history behind them.

For me, one of the pleasures of living and working here is being able to connect those dots for people. I might be walking somewhere with a client and mention that a particular scene was filmed nearby, or explain why a certain hotel has appeared on screen. Suddenly, what was simply another beautiful location becomes part of a much larger story.

Then came Emily in Paris

Emily in Paris demonstrated just how powerful that connection can be. Although the series is obviously associated with Paris, its move south for episodes created another level of interest in the Côte d’Azur, including Saint-Tropez and Saint-Jean-Cap-Ferrat.

I have seen this personally through my American clients. A significant number of them have specifically wanted to visit locations where particular scenes were filmed. They were not simply interested in seeing Nice, Monaco or Saint-Jean-Cap-Ferrat; they wanted to see that particular street, that particular hotel or sit on a beach that had a particular view because they had already experienced it through a television screen.

I even remember one client being offered a rental property and gently declining it because, in her words, it simply wasn’t “Emily in Paris enough.” I remember that because it was funny, but it also told me something about how powerful these productions can be. For some visitors, the visual identity of a television show can actually influence what they want their experience of the Riviera to feel like.

That is a very different kind of tourism from simply ticking destinations off a list.

Now The White Lotus has Arrived

The arrival of The White Lotus takes this to another level. Season 4 has been filming on the French Riviera during 2026, including Cannes and Saint-Tropez, and I have followed this production with considerably more interest than I normally would because of my own connection to the region and because I had some insight into the location-selection process before filming began.

Just before The White Lotus season 4 arrived on the Riviera, I was privy to information relating to potential locations, what the production was looking for and why certain locations were ultimately considered unsuitable. I found that process fascinating. From the outside, it is easy to imagine that a production simply arrives somewhere beautiful and starts filming, but there is obviously much more to it than that. Practical considerations, visual requirements, access, logistics and the story itself all have to come together.

In the end, I think the production made some very good decisions about where it filmed. Of course, the real test will come when the series is released and audiences around the world suddenly recognise these places. That is when the effect on tourism will become much more interesting to watch.

I am particularly curious about this because I have already seen what happened with Emily in Paris. I know from my own clients that people will go looking for these places. They will want to stand where a character stood, have a drink in the same sort of setting, stay in a similar hotel or simply photograph the view they saw on television.

And Now We have the New Ocean’s Eleven

Then there is the new, currently untitled Ocean’s Eleven prequel starring and directed by Bradley Cooper and also starring Margot Robbie. Filming has taken place in several locations around the Riviera, including Monaco and Villefranche-sur-Mer, with activity also taking place in Nice.

I have found this particularly interesting because you cannot really separate the production from the everyday life of the Riviera when you are actually here. You see the filming activity, hear about the locations being used and suddenly recognise somewhere familiar as the backdrop for a major international production.

For me, that is one of the most enjoyable aspects of living here. The Riviera is not some distant film set that you visit once and leave. These are places that people actually live in, work in and visit every day, and then occasionally the cameras arrive and you see them presented in an entirely different way.

There is also something wonderfully appropriate about Ocean’s Eleven returning to this part of the world beyond the storyline. The Riviera has long been associated with glamour, wealth, sophisticated hotels, casinos, beautiful cars, yachts and a certain amount of intrigue. In cinematic terms, it almost feels as though the location was waiting for a film like this.

But it isn’t just Hollywood

This is where I think the conversation sometimes becomes too focused on Hollywood. From my perspective, French cinema is just as important to understanding the relationship between the Riviera and the screen.

French productions have been using these locations for generations, and many of the films and television programmes made here are much more closely connected to the character and history of the region than an international production can ever be. The Riviera has been used for French comedies, dramas, historical stories, crime series and television productions, and those productions are part of the cultural fabric of the region.

That is important to me because I don’t see the current influx of international productions as something that has suddenly put the Riviera on the cinematic map. The map was already there.

Hollywood is simply adding another layer.

So, is Hollywood Changing the Riviera?

Personally, I don’t think it is.

At least, that isn’t what I see from where I stand.

The Riviera doesn’t need Hollywood to make it beautiful. It doesn’t need The White Lotus to make Cannes glamorous, Emily in Paris to make Saint-Tropez attractive or Ocean’s Eleven to make Monaco fascinating. Those places had their own identities long before the cameras arrived.

What I do think these productions are doing is enhancing the Riviera’s visibility.

I see that through the people I meet and work with. I see it in the questions clients ask, the locations they want to visit and sometimes even the type of property they want to rent. I have had clients arrive with a list of places they recognise from television or movies. They don’t necessarily know the history of those locations yet, but they have already formed an emotional connection with them because they have seen them on screen.

And that can be a wonderful starting point.

The region has been breaking tourism records in recent years, but I also think the way people discover and experience the Riviera is changing. Visitors are increasingly spreading their trips beyond the traditional summer months, with spring and autumn becoming particularly attractive when the weather can still be wonderful and prices can be considerably more appealing than during the height of summer.

Film and television are another piece of that puzzle. They search for it, then perhaps start looking at flights and hotels. For some people, that curiosity eventually develops into an interest in renting or even buying property here.

I find that connection fascinating because it is something I can observe directly rather than simply speculate about.

There is Something Special about Recognising a Filming Location

Personally, this is probably the part I enjoy most.

Even after all these years, I love walking down a street or passing a building and knowing that a famous film or television programme was shot there. I love being able to tell clients that a particular hotel appeared in a movie, that a street was used for a particular scene or that a harbour has a cinematic history of its own.

But what makes it even more interesting is that the location usually has a history that goes far beyond the production.

A film may introduce someone to a hotel, but then they learn who built it. A television series may make someone curious about a harbour, and suddenly they are interested in the history of the town. A movie may lead someone to a particular street, and once they are there, they start noticing the architecture, the people and the stories that existed long before the cameras arrived.

I see that reaction in people. They become intrigued, and often they start asking questions. Sometimes they go away and do a deep dive into the history of a place that they might otherwise have simply walked past.

That, to me, is where cinema can be particularly valuable.

It gives people a reason to look more closely.

Let Them Keep Coming

The French Riviera has been appearing on cinema screens for generations. From French filmmakers and early cinema through Hitchcock and Grace Kelly, James Bond and the great Hollywood productions, and now Emily in Paris, The White Lotus and the new Ocean’s Eleven, the region continues to reinvent itself on screen without losing what makes it distinctive.

From my perspective, I don’t see these productions changing the Riviera so much as giving people another reason to discover it. The region was already beautiful, already historic and already one of the world’s great destinations. The cameras simply introduce those qualities to a new audience.

And if a television series inspires someone in Chicago to visit Cannes, a movie makes someone in Vancouver curious about Villefranche-sur-Mer, or a French production sends someone searching for the real locations around Nice, Menton or Monaco, I see that as a positive.

Because the Riviera isn’t being created by these productions. It is simply being seen by another generation.

And perhaps that is the real magic of cinema here. Long after the cameras have packed up and gone home, the locations remain. The Mediterranean is still there, the streets are still there, the hotels are still there, and the history is still there.

The difference is that now, someone thousands of kilometres away may have already fallen a little bit in love with the place before they ever arrive.

Global Gift Gala Monaco Returns to the Hôtel de Paris for an Evening of Giving

 

The French Riviera will once again provide the setting for an evening bringing together philanthropy, entertainment and international celebrity, as the second edition of the Global Gift Gala Monaco takes place on October 9, 2026, at the iconic Hôtel de Paris Monte-Carlo.

 

Among the beneficiary organisations of this year’s gala is Fight Aids Monaco, alongside the Corazones Unidos Fund and the Global Gift Foundation. The gala will provide financial support to Fight Aids Monaco, contributing to the organisation’s ongoing work in the fight against HIV and its support for people living with the virus.

 

Founded in 2004 by H.S.H. Princess Stéphanie of Monaco, Fight Aids Monaco works to improve the quality of life of people living with HIV, while also promoting prevention, testing and awareness. In Monaco, the organisation provides a confidential and supportive environment where people living with HIV can receive personal, social and, when needed, financial assistance. Its activities also extend internationally through projects supporting HIV-related initiatives in several countries. 

 

The support generated by the Global Gift Gala therefore goes beyond a single evening. Funds raised for Fight Aids Monaco help the association sustain its programmes, including direct support for people facing social or financial difficulties, prevention and awareness initiatives, and its broader commitment to fighting HIV-related stigma and isolation. Fight Aids Monaco itself identifies fundraising as an essential way of financing and maintaining these actions.

 

Taking place in the prestigious Salle Empire at the Hôtel de Paris, the evening will be presided over by Maria Bravo, philanthropist, entrepreneur and founder of the Global Gift Foundation, together with Eva Longoria, the internationally recognised actress, director and producer and Honorary President of the Global Gift Foundation.

 

The event will also bring together the worlds of luxury and philanthropy. APM Monaco, known for its contemporary jewellery and distinctive creative style, is the presenting sponsor of the gala, with the event receiving the support of CMC Consulting.

 

Adding a major musical element to the evening, internationally acclaimed singer Lara Fabian will perform live for guests. Her appearance will add an emotional and celebratory dimension to an evening ultimately centred on generosity and giving back.

 

For Fight Aids Monaco, the gala represents an opportunity to strengthen the resources available for its work and to shine a light on the continuing importance of HIV support, prevention and awareness. The organisation’s approach places particular emphasis on dignity, confidentiality, non-judgment and helping people living with HIV regain confidence and independence.

 

The Global Gift Gala Monaco takes place on Friday, October 9, 2026, at the Hôtel de Paris Monte-Carlo, Salle Empire. The evening will include a cocktail and red carpet reception, followed by dinner, live performances and a live auction. 

 

Those wishing to attend and support the beneficiary organisations can obtain participation and RSVP information through the Global Gift Foundation at +34 645 812 181 or rsvp@globalgiftfoundation.org.

 

One evening, several causes and a shared commitment to solidarity — with the proceeds helping organisations turn generosity into meaningful action.