Best in Show

Landmark anniversaries, a trend toward smaller sizing, new riffs on old favourites—here’s everything worth making time for from Watches and Wonders 2026

By Randy Lai 08/08/2026

Against a backdrop of continued tensions in the Persian Gulf and a cost-of-living crisis at home, it’s understandable why some consumers have chosen to read headlines into their appraisal of the luxury watch industry. But this April in Geneva—site of the annual Watches and Wonders megashow—the mood among exhibitors, journalists and horology enthusiasts on the ground remained one of cautious optimism.

Attendance at the fair was up by about 9 percent, reaching a record 60,000 visitors during the event’s week-long run. Clearly, despite strong economic and geopolitical headwinds, an appetite for quality timepieces remains.

Another explanation for this optimism boils down to the passage of history. Luxury watchmakers seldom, if ever, forego an opportunity to celebrate an anniversary, and this year a cavalcade of serious milestones has encouraged them to do so en masse. The industry’s single largest showcase of five-to-six-figure watches seemed an appropriate forum.

Patek Philippe’s Celestial Sunrise/Sunset Ref. 6105G- 001 brings the changing rhythms of Geneva’s sky to the wrist.

Leading this conversation, as usual, were Rolex and Patek Philippe—respectively Switzerland’s first- and third-biggest watch brands. The latter celebrates 50 years of its emblematic Nautilus this year, marking that occasion with a duo of new variations, including a 38mm model in platinum ($175,750): a winking reference to the design circa 1980. Meanwhile, Rolex went big with messaging around its Oyster case. As much of a technical breakthrough as a product range, it’s widely considered one of the brand’s greatest innovations of the last 100 years, making possible robust, waterproof timepieces equally at home on mountaintops and beneath vast ocean depths. Today, every watch that leaves the Crown’s assembly line is technically an ‘Oyster Perpetual’—two words you’ll find printed on the dial beneath the ‘ROLEX’ signature, steadfast and seldom remarked upon.

Of course, numerous brands without the benefit of a bumper anniversary still managed to make a mark with their new releases—from remarkable engineering feats to fan favourites in hitherto unexplored sizes.

Variations on a Theme

On the heels of the Nautilus’s 50th anniversary, Vacheron Constantin is throwing a similarly notable birthday bash for the Overseas: its signature range of sport-inspired travel watches, first launched in 1996. A new ultra-thin automatic movement, debuting in the guise of a 39.5mm limited edition, was among the biggest updates—alongside the reveal of four dual-time models that connoisseurs will recognise. Nicknamed the ‘Cardinal Points’ ($62,000), they are based on the much-loved prototype Overseas worn by Cory Richards during his Mt. Everest ascent in 2019.

Vacheron Constantin expanded the Overseas.

Now production-ready, in terrestrial colours of blue, brown, white and green, they are a masterclass in reconciling the contradictory. The fully titanium construction, quick-set date and 150-metre water resistance are serious ‘tool watch’ credentials, rendered uniquely luxe by Vacheron Constantin’s meticulous hand-finishing.

More than that, the Cardinal Points effectively combine three watches for the price of one, thanks to an intuitive “Easy-Fit” system allowing the titanium bracelet to be swapped on the fly for accompanying rubber and fabric straps. In summary: a watch that transcends dress codes.

Working in a similar register—ultra-thin sports watches equally at home in elegant settings —is Chopard. The family-owned jeweller’s Alpine Eagle has made significant gains over the last seven years, as evidenced by concurrent additions to the ‘Extra-Plat’ (hence ‘XP’) portion of the collection this year.

Chopard refined the Alpine Eagle XP

Purists will reach for the 41mm ‘Mountain Glow’ ($47,700), decorated in a champagne-hued ivory dial that accentuates the watch’s distinctive texture. For a fistful more dollars, there’s also a ‘Wood Shades’ version in solid rose gold ($139,000). Constructed using Chopard’s signature Ethical Gold, and measuring a near-universal 8mm thick, it’s among the most lavish expressions of the Alpine Eagle design to date—minus the usual, gem-encrusted suspects.

Likewise, Piaget arrived at Watches and Wonders with one of the most striking jewel-free sports watches at the entire show. The fourth entry in the revived Polo 79 range, this sodalite model ($156,000) is the first to feature a dial fashioned from ornamental stone. Otherwise, it’s technically identical to the white-gold Polo 79 from last year. Where that version conjures the sensation of wearing Fort Knox, the introduction of ornamental stone transforms it into a miniature Blue Mosque.

Piaget refreshed the iconic Polo 79 with a striking stone dial.

At Hublot, a similar mood of iterative improvement could also be detected. For 2026, the makers of the Big Bang leaned into an exhaustive line extension, adding five core references to the eponymous collection. The ceramic variations are all priced identically ($37,300), complemented by titanium ($35,500) or a ‘Magic Gold’ riff ($65,800) Hublot has engineered to be completely scratchproof.

Hublot advanced the Big Bang.

Much like Vacheron, the big leap here is technical. All of the new ‘Reloaded’ Big Bangs house the Unico, Hublot’s in-house flyback chronograph, rendered sportier than ever by an updated open-work architecture. Assuming 44mm doesn’t sound like too much watch, then a dive into the realm of Panerai is recommended.

The Italian marque chose to burnish its commercial appeal by going back to basics, launching five new takes on the Luminor, all inspired by Panerai’s historical partnership with the Italian navy.

Panerai returned to basics with a streamlined new Luminor collection inspired by its military heritage.

The aptly named Luminor and Luminor ‘Destro’ ($14,300) offer ambidextrous modernisations of Panerai divers from the mid-20th century. The left-hander is particularly spartan, foregoing even sub-seconds so that its blue ‘sandwich’ dial remains the main attraction. These entry-level references are joined by the ‘8 Giorni’ ($17,700), named for the watch’s eight-day power reserve.

Two supersized releases round out Panerai’s line-up. Both measuring 47mm, they include a classical evocation of the original Luminor, albeit with a grained cream dial ($19,500), as well as a limited edition in forged titanium ($37,000) — a first for the collection.

Turning down the Volume

While Hublot and Panerai continue to work with the larger-than-life form language that has been instrumental to their success over the past 20 years, we’d be remiss not to acknowledge that downsizing seems prevalent across a range of other brands at this year’s shows.

One of the more critically acclaimed examples is the Saxonia Annual Calendar (POA), which revives a beloved A. Lange & Sӧhne model of the 2010s in a newly compact package. Now sitting pretty at 36mm, in rose or white gold, this latest release makes the German watchmaker’s characteristically erudite aesthetic wearable among a vast swathe of collectors.

A. Lange & Söhne’s 36mm Saxonia Annual Calendar brings one of the maison’s beloved 2010s references back in quieter proportions.

Signature Lange details, like the outsized 12 o’clock date, are integrated holistically. No single element, be it alpha hands or pyramid-tipped indices, undermines the wearability of the watch as a whole package. Refined and classical in execution, it slips comfortably beneath the cuff (and under the radar) due to its 9.8mm thickness—an effortless rebuke to the idea that German watchmaking must be big, dramatic, and manifestly complicated.

Whereas the 36mm Saxonia Annual Calendar feels like a watch that has existed in the Lange catalogue since time immemorial, Bvlgari’s latest Octo Finissimo is the release that fans have been waiting and vocally clamouring for.

One of the few truly original watchmaking designs of the modern era, the Octo Finissimo had previously been offered in 40mm sizing—curtailing its relevance among thin-wristed collectors. This year, Bvlgari has finally come correct with a 37mm version, distilling the distinctive cuff-like proportions of the Octo Finissimo to a new format.

Bvlgari’s new 37mm Octo Finissimo proves that smaller can be just as compelling.

Even more impressive are the lengths the brand has gone to, speaking technically, to enable this new size. Inside the 37mm case beats an improved micro-rotor movement. Decorated with sunray finishing, it boasts a true 72-hour power reserve—half a day more than its bigger sibling. The signature titanium ($26,900) is joined by a variation in satin-polished yellow gold ($77,200): an option that, it’s worth repeating, will put this on the radar of shoppers more au fait with Bvlgari’s high jewellery universe.

Conversely, Rolex chose to inject freshness into a familiar format, reimagining the 34mm and 28mm versions of its Oyster Perpetual—firm fashionista favourites—in noble metals. Part of a wider push around the Oyster case’s centennial, they are the first modern Rolexes of such compact stature, to fuse lacquered dials with an exclusively gold construction.

Rolex’s 28mm Oyster Perpetual proves the case for smaller watches.

The larger of the two ($63,750) combines a blue stone face with 34mm of Everose, Rolex’s proprietary rose gold recipe that is treated for “unfading radiance” with trace amounts of palladium. For something a bit brasher, the 28mm release pairs complements its yellow gold case with a green dial — the ultimate accessory at your next Socceroos game.

As with everything that Rolex does, God is in the details. Beyond chic colour combos, both these teeny-tiny gold watches have been decorated with an all-over satin finish. On the wrist, each emanates a soft, diffused glow; conferring an air of casualness, and thus wearability, that is always welcome in the Australian market.

Inner Workings

A wider variety of products and a greater emphasis on wearable sizing appeared to be the big themes of 2026. Nonetheless, a handful of brands managed to stake a claim to cultural relevance through good old-fashioned innovation.

Going into this year’s Jaeger-LeCoultre presentation, numerous insiders were already aware of the revamped Master Control collection. The brand’s sporty, heritage-inspired range gains a trio of ‘Chronometre’ models that catapult the Master Control into the 21st century, the most talked-about of which is a pink-gold perpetual calendar (POA) first teased on the wrist of Robert Pattinson in April.

Classical watchmaking, modern precision: Jaeger-LeCoultre’s Master Control Chronometre Perpetual Calendar.

The watch’s size and integrated bracelet design have been discussed ad nauseam, but it is the ‘Chronometre’ designation most likely to hold the attention of those passionate about performance. The calendar movement powering this release has been tested in accordance with the standards of the Official Swiss Chronometer Testing Institute, as well as against an in-house regime known as HPG (“High Precision Guarantee”).

Jaeger-LeCoultre introduced the latter to complement the limitations of COSC testing. Whereas COSC focuses on function and accuracy under fairly static conditions, watches bearing the HPG hallmark must undergo a three-day assessment “designed to replicate the rigours of everyday life”. Mind you, few of us are routinely subjected to 50G of multidirectional shock in our day-to-day lives. Yet it’s reassuring to know that the Master Control Chronometre can withstand it.

For innovation with a more visually dynamic expression, we finally turn our attention to Parmigiani Fleurier. Under the leadership of CEO Guido Terrini, the Tonda collection has become a fulcrum for the brand’s thoughtful, quietly sophisticated vision of fine watchmaking. New to the collection for 2026 is the Chronographe Mystérieux ($71,400), aptly named for its poetic reimagining of the chronograph complication.

At first glance, the Chronographe Mystérieux appears to be a simple three-hand watch.

An extrapolation of the concept first explored with the 2022 Tonda GMT, the Mystérieux looks, upon first inspection, like an elegant three-handed sports watch. Press the push piece subtly integrated at the 7:30 position, however, and a second set of gold hour and minute hands springs into action, conveniently hidden behind the first whenever the chronograph function isn’t activated.

Two pushes suspend the watch’s chronograph function, while another causes the second set of hands to instantaneously retreat from view. This impressive disappearing act is made possible by complex engineering. The Mystérieux movement, developed in-house, utilises a triple-clutch system that enables the watch’s five hands to run separately or in perfect unison, eliminating the need for time scales or sub-dials that disturb the dial’s clean, coherent appearance.

It’s an inspired subversion of traditional watchmaking — and proof that even the oldest of ‘dogs’ (in this case rattrapante chronographs) still have a few tricks left to learn.

This article appears in the Winter 2026 issue of Robb Report Australia & New Zealand. Click here to subscribe.

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Omega Just Unveiled 9 Watches in Its New Constellation Observatory Collection

The line-up shows up a bevy of metals and colours, too, as well as two new calibres.

By Nicole Hoey 31/03/2026

Omega’s latest watch is in a universe of its own.

The Swiss watchmaker just unveiled its new Constellation Observatory Collection today, the next step in its Constellation lineage and the first two-hand hour and minute timepieces to ever earn Master Chronometer certification. And if you were paying attention to any of the dazzling watches spotted at the Oscars this year, you would’ve caught a glimpse of the new line already: Sinners star Delroy Lindo rocked one of the models on the Academy Awards red carpet, giving us a pre-release preview of the collection.

Developed at Omega’s new Laboratoire de Précision (its chronometer testing lab open to all brands), the collection houses a set of nine 39.4 mm watches. The watches underwent 25 days of scrutiny there, analysed via a new acoustic testing method that recorded every sound emitted from the timepiece to track irregularities, temperature sensitivities, and more in the name of all things precision. (Details such as water resistance and power reserve are also thoroughly examined.) This meticulous process is all in the name of snagging that Master Chronometer label, meaning that the timepiece is highly accurate and surpasses the threshold for ultra-high performance. The Constellation Observatory Collection has now changed the game, though, thanks to its lack of a seconds hand.

A watch from the Constellation Observatory Collection, with the Observatory dome on display. Omega

“Until now, precision certification has required a seconds hand,” Raynald Aeschlimann, president and CEO of OMEGA, said in a press statement. “The development of a new acoustic testing methodology has made that requirement obsolete. It is this breakthrough that has enabled us to present the Constellation Observatory, the first two-hand watch to achieve Master Chronometer certification.”

In addition to notching its place in history, the collection also debuted a new pair of movements: the Calibre 8915 and the Calibre 8914, each perched on a skeletonised rotor base. The former’s Grand Luxe iteration will appear on the 950 Platinum-Gold model in the collection, which offers up that base in 18-karat Sedna Gold alongside a Constellation medallion in 18-karat white gold with an Observatory dome done in white opal enamel surrounded by stars. The second Calibre 8915, the Luxe, will find its home on the other precious-metal models in the line, either made with the brand’s 18-karat Sedna, Moonshine, or Canopus gold seen across the case, the hand-guilloché dial, and, of course, the movement itself. (Lindo chose to rock the Moonshine Gold on Moonshine Gold iteration, priced at approximately $86,000, for Sinners‘s big night at the Oscars.) As for the Calibre 8914, it can be found in the collection’s four steel models.

 

Omega Constellation Observatory Collection
A look at a gold case-back from the collection. Omega

Each model is a callback to myriad design features on past Omega models. That two-hand dial, for one, comes from the 1948 Centenary (the brand’s first chronometer-certified automatic wristwatch), while the pie-pan dial (seen in various blue, green, and golden hues throughout the line) and that Constellation medallion caseback both appear on watches from 1952. The star adorning the space above 6 o’clock also harks back to 1950s timepieces from Omega. And to finish off the look, you can opt for alligator straps in a variety of colours, or perhaps a gold iteration to match the precious-metal models; the brick-like pattern on the 18-karat Moonshine bracelet was also inspired by Omega watches from the ’50s.

We’ll have to keep our eyes peeled for any other Constellation Observatory timepieces (or any other unreleased models from the brand) at the rest of the star-studded events headed our way this year—perhaps the Met Gala?

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In Search of White Gold

Colorado’s barely known San Juan Mountains do a fine line in bespoke skiing experiences, luring alpine-sports cognoscenti and billionaire thrill-seekers alike.

By Craig Tansley 18/05/2026

“Though no one currently on staff is at liberty to say, billionaire actor Tom Cruise is a very average heli-snowboarder. But although no one currently on staff is at liberty to say, Amazon CEO Jeff Bezos—the world’s second richest human—makes up for Cruise’s inability with his off-piste prowess. The pair have been clients of Telluride Helitrax, a heli-skiing outfit operating in the backcountry behind Telluride Mountain Resort, in remote south-west Colorado, since 1982. My source, a former guide who prefers to remain anonymous, admits he’s entertained a host of household-name One Percenters over the years.”

“Power billionaires aren’t going to the popular resorts any more,” he reveals over a happy-hour drink at a Telluride bar. “Luxury skiing these days, it’s all about exclusivity. No one with any clout shares snow, and at every resort, no matter how fancy, you have to share the slopes. But nowhere is more exclusive than the backcountry. That’s your billionaire’s playground. And no backcountry is more exclusive than San Juan backcountry.”

Conditions match those found in Alaska, according to those in-the know.

Which is precisely why I am here. Australia’s considerable brigade of free-spending, snow-crazed executives may jet off to Vail and Aspen each northern winter for thrills, but it turns out some of the world’s most choicest ski experiences have been right under their noses—only a short helicopter ride, car journey or private jet flight from said resorts.

Packed into the ultra-rugged southern end of the Rocky Mountains, the San Juans are a little chunk of the Swiss Alps in the US—young, ridiculously spectacular formations known for their steep slopes, deep powder snow and Disney-esque triangular peaks, all bathed in 300-plus days of sunshine a year. And the region is augmented by unique, and select, backcountry options that rival anything currently in the upscale ski orbit.

Carving clouds in Silverton backcountry terrain.

Case in point: North America’s highest skiing setting, Silverton Mountain. Located in the heart of the San Juans, outside the tiny town of Silverton, the 4,111 m peak boasts 736 hectares of chair-accessible terrain set among what is reputedly the deepest, steepest snow in the nation. It also offers a further 10,000 hectares of private terrain, serviced by heli-ski operation Heli Adventures. This is the Shangri-La of skiing: every slope connoisseur has heard of it, though most wonder if it actually exists.

We arrive via the treacherous Million Dollar Highway, where a disturbing lack of guard rails sometimes causes travellers to plummet into the valley floor (the death toll, grimly, averages eight people per year). Silverton Mountain was bought in 2023 by Heli Adventures’ young co-founders Andy Culp and Brock Strasbourger. While private punters can book the hill in its entirety, starting from around $14,000 per day, plus extra for single heli-skiing runs, the destination is also open to the public from Thursdays to Saturdays through winter.

“Silverton is a bastion for the pure ski experience,” Culp says. “All that corporate consolidation that happened when ski resorts all over the world developed condos and real estate and got super-busy… well, it never happened here. You’re able to access Alaska-like terrain from an old rickety chairlift, but you’re an hour’s drive from a pretty major airport [Montrose]. And you can access snow that’s even better than most heli-skiing straight off your lift.”

There’s no radio-frequency lift passes when I arrive. In fact, I don’t get a lift pass at all. A discarded school bus doubles as the “second chairlift”; it picks me up and returns me to a yurt which serves as a restaurant and bar. “There’s a time and a place to hang out at The Little Nell [Aspen’s legendary après-ski bar] and the world doesn’t need more of that,” Culp says. “This is the new luxury. We also run a heli-ski business out of Aspen [Aspen Heli-Skiing] but this is where we come. You can’t put a price tag on what we have here.”

I drive away from the mountain, back along the perilous Million Dollar Highway, park my car and disappear into the San Juan National Forest with guide Kaylee Walden. This white-coated outback between Silverton and Ouray, dubbed “the Switzerland of America”, offers swathes of primo backcountry skiing terrain. The ski touring here is often likened to Europe’s iconic Haute Route—an emblematic trail between Mont Blanc and the Matterhorn.

The operator Mountain Trip offers a Colorado version of that feted circuit, on a multi-day traverse between secluded huts. All in all, there’s nearly 8,000 km² of national forest and 2,500 hectares of wilderness to explore, frequented only by the occasional intrepid enthusiast.

A wood-burning sauna is being prepared as I arrive at Thelma Hut, 4,500 m above sea level. Traditionally, US Forest Service huts were humble affairs, with rudimentary bunks, self-service kitchens, and food supplies brought in by skiers. This evening, however, a chef is preparing local bison across from an open fireplace as the sun sets through a floor-to-ceiling window against a horizon of white mountains. As he works, I walk out into the snow to study the twilight sky; beaming planets shine down on me, necklaces of tiny stars sparkle.

Thelma Hut, in the San Juan National Forest.

Back down to earth, upon my return to “civilisation”, we take a two-hour car ride to Telluride, probing through the San Juans. The small town is picture-postcard pretty, wedged at the end of a box canyon surrounded by Colorado’s tallest waterfalls, and hosts the highest concentration of 4,000-m-plus peaks in the state. Most of its buildings are on the National Register of Historic Places, including a bank that was robbed in 1889 by the outlaw Butch Cassidy.

While the locale offers everything from luxurious on-mountain dining options to 7-km-long runs, it’s the heli-ski enterprise that’s lured me. Telluride Helitrax holds sole rights to over 500 km² of completely deserted ski terrain, a few minutes’ flying time from town. The company runs a range of Eurocopters which guests can charter into Colorado’s best alpine basins, cirques and couloirs. “The range mightn’t be as expansive as Alaska,” says Telluride Helitrax program director Joseph Shults. “But the views, the terrain, the snow depth and quality is as good.”

I’m staying in a privately owned three-bedroom penthouse apartment, where a helicopter takes off each morning for convenience (when I’m done carving clouds, I move a kilometre up the mountain to the seven-bedroom, three-storey mountain retreat Hood Park Haven, valued at around $42 million). Telluride Helitrax uses an abundance of drop-off locations, all above the tree line, meaning everyone from intermediates to experts can be catered for.

Telluride Helitrax offers a multitude of drop-off points.
The $42 million Hood Park Haven retreat.

During my three-day odyssey, I don’t cross a single other ski track, but it’s the peace that is most startling. In this pocket of montane paradise, there is, literally, not a single sound—a stark contrast to the whirling fury of the chopper that transports me. My experienced guide Bill Allen won’t reveal who’s come before Robb Report. “You’d know their names,” he says, grinning.

And so the San Juans remain a secret to all but a fortunate few. Of all the luxuries the ultra-wealthy enjoy in the skiing ecosphere, the promise of untouched snow is by far the most enviable. Here in Colorado is where the white gold truly lies.

Photography: Kane Scheidegger (heli-skiing); Patrick Coulie (hut); Courtesy of Colorado Tourism Office (Hood Park Haven).

This article appears in the Autumn issue 2026 of Robb Report Australia New-Zealand. Click here to subscribe.

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Best Combustion Supercar: Ferrari 12Cilindri Spider

A modern classic in the making, combining naturally aspirated power with elegant restraint to deliver performance that feels as refined as it is visceral.

By Vince Jackson 20/04/2026

In a year when carmakers of all persuasions sheepishly extended hyperbolic electric targets, it’s fitting that the monastic puritans of Maranello—who, lest we forget, won’t finally yield to the sin of battery power until October with the Elettrica—opted to make combustion their major power play.

As an uncertain future of AI omnipresence barrels towards us, the 12Cilindri—an analogue, open-topped tribute to Ferrari’s late-’60s/early-’70s grand tourer, the Daytona—represents a defiant fade into the past, a pause for breath, a fleeting return to The Good Times when nascent technology provoked excitement rather than existential dread.

Guiding this automotive nostalgia trip is, as the nomenclature suggests, a naturally aspirated 6.5-litre V12 engine, generating an unceasing wave of power as it sears towards the 9,500 rpm redline with relative nonchalance. That’s because the 12Cilindri is not a mouth-foaming attack-dog. It scales performance heights with the refinement of the finest Italian works of art; its “Bumpy Road” mode facilitates comfy al fresco GT cruising, and even the imperious powerplant is mannerly at most speeds.

For all the yesteryear romance, progressive technologies and engineering, such as a world-class 8-speed transmission, advanced electronic aids and independent four-wheel steering, are baked into the deal. The 12Cilindri’s clean, stark design somehow toggles between retro and modern; and while vaguely polarising, one can’t ignore its magnetic road presence.

In terms of aesthetics, Ferrari describes the 12Cilindri as being “ready for space”; in many ways, a fantasy vehicle that transports users to another dimension is probably what the world needs right now.

The Numbers

Engine: 6.5-litre V12

Power: 610kW

Torque: 678 Nm

Transmission: 8-speed dual-clutch auto

0-100 km/h: 2.95 seconds

Top speed: 340 km/h

Price: From $886,800

Photography by SONDR.
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High and Low

At Le Bernardin, Aldo Sohm oversees one of the most formidable cellars in fine dining. But on the beach, he’ll happily drink a cheap rosé. The world-class sommelier explains why taste—and humility—matter more than price.

By Tori Latham 12/05/2026

Aldo Sohm is one of the most accomplished sommeliers in the world. The 54-year-old Austrian heads up an oenophile’s empire on New York City’s West 51st Street, where he both serves as wine director at Michelin three-star Le Bernardin and leads his namesake wine bar, just across the road from the fine-dining institution. (He spends his time literally running back and forth between the two.) So it may come as a surprise that this man, who sips prized varietals all day, admits to the joys of a glass of Whispering Angel, a ubiquitous rosé that retails at stateside Target stores for US$22.99 (around $30) a bottle.

The context here is important; the aptly named Sohm is quick to clarify that he’s not about to start serving Whispering Angel as one of the pairings with chef Eric Ripert’s US$530 (around $750) eight-course tasting menu. But during a trip to the Caribbean for the Cayman Cookout food festival, Sohm’s wife requested a glass of rosé on the beach. When he went to fetch it, she specified that she wanted a cheap drop, not the fancy stuff that he likely would have grabbed. “I felt kind of gobsmacked, right?”

Sohm says as we’re sitting in the tasting room at Aldo Sohm Wine Bar. “Now, rather than just criticising, I have to admit: I got out of the water, and I tried Whispering Angel, too. It was delicious.”

Aldo Sohm Wine Bar, across the street from Le Bernardin in midtown Manhattan.

Unlikely as it may be, this humility is perhaps the key to Sohm’s success. His lack of self-seriousness makes him an anomaly in the oftentimes highfalutin world of fine wine. Rather than shaming you for your preferences, Sohm will indulge your desires. Maybe, as in the case of his wife, you’re going to be right. More likely than not, you’re going to be wrong. He won’t simply tell you that, though; he’ll use his encyclopedic knowledge of wine to subtly steer you in the right direction, allowing you to come to that conclusion on your own. “You just wake up from your dream—and mistake—and realise that, ‘Oh yeah, he’s right,’” says Ripert, who has worked with Sohm for almost two decades.

Sohm intended to move to New York for only 18 months. Growing up in Innsbruck, in the Austrian Alps, he wanted to be a helicopter pilot. Like many childhood fantasies, that didn’t come to fruition, and he settled on something more practical, becoming a teacher at a hospitality school. Having overcorrected—“That was way too boring for me,” he admits—he switched to the more public-facing side of the industry, getting a job as a restaurant server. It was then, when he was about 21, that Sohm fell in love with wine. (Prior to that, he was a self-proclaimed Bacardi and coke guy.)

The menu’s croque monsieur

After studying wine on his own time, he began his formal sommelier education in 1998. He rose quickly through the ranks and was named the best sommelier in Austria in 2002, a title he defended the following two years and reclaimed in 2006. Amid that stretch, he sojourned to New York in 2004 with the goal of improving his English to compete in international competitions. It paid off: four years later, he won the top prize from the World Sommelier Association. But more than the accolades, Sohm had discovered a career. By then, he had joined Le Bernardin after stints at Wallsé, Café Sabarsky and Blaue Gans—all Austrian restaurants in Manhattan.

“Back then we had a very strong French sommelier community, and they controlled everything,” he says. “And it was an uproar because how come an Austrian sommelier came to one of the most French restaurants?” He proved his bona fides, and in 2013 Ripert and Maguy Le Coze, the co-owners of Le Bernardin, approached him with the idea of partnering with them in a wine bar. It was Ripert who suggested putting the connoisseur’s name on it.

Aldo Sohm Wine Bar debuted the following year, with a team that Sohm handpicked. Sarah Thomas was part of that opening crew, after meeting Sohm during a fateful dinner at Le Bernardin with her cousins. When her relatives divulged to him that she was a sommelier in Pittsburgh, he proceeded to serve a blind tasting to Thomas. “He didn’t say what I got right or wrong. He didn’t care about that,” she tells me. “He just wanted to hear me talk about wine, I guess. So I did.”

When he offered her a job at the end of the meal, she laughed. Sohm didn’t. Thomas promptly packed up and moved to New York. After she spent about nine months at the wine bar, Sohm promoted her to Le Bernardin, where she worked for another five years. When she decided to start her own business—Kalamata’s Kitchen, which aims to teach kids about other cultures through food—Sohm was one of her earliest investors. He may have found full-time teaching to be too banal, but it’s still a huge part of what he does now, identifying the next generation of stars and giving them the guidance to grow into their own—whether that takes them into the upper echelons of fine dining or beyond the white tablecloths altogether.

Sohm’s side hustles include a line of wineglasses, a Grüner Veltliner produced in his native Austria, and books such as Wine Simple: Perfect Pairings.

Overseeing two teams, at two very different spaces, feeds Sohm’s prodigious ambition. He’s on a mission to completely reshape the world of wine, from what’s in your glass to the glass itself to what you enjoy it with—say, Champagne with eggs. Along with his day jobs, he has partnered with the Austrian brand Zalto to create his own wineglasses. “As a sommelier, you criticise only, but you make nothing,” Sohm says. So, he also now wears the winemaker hat, producing a Grüner Veltliner under the Sohm & Kracher label, a relatively accessible quaff that’s a collaboration with his fellow countryman Gerhard Kracher. And in 2019 he added author to his résumé, releasing Wine Simple, a “totally approachable guide”, as the book’s subtitle puts it. He followed that up with Wine Simple: Perfect Pairings, to help you pick the right bottle for the right meal and the right moment.

“In wine pairings, you have three possible combinations,” Sohm says. “There’s the perfect pairing. Then sometimes you have flavours just going along… it’s like humans—they talk, they interact, but they never connect. And then there’s conflict.” It’s that first one he’s after every time.

“Sohm fell in love with wine when he was about 21. Prior to that, he was a self-proclaimed Bacardi and coke guy.”

Outside of the restaurant, the wine bar and the cellar, Sohm is an avid cyclist who owns six bikes, a number he admits is excessive—especially in New York City. Riding is what he credits with keeping him healthy, when so much of his time is spent eating and drinking—and drinking some more.

Still, despite the 18-year career at one of the world’s best restaurants, despite the top honours from his peers, despite the wine and the wineglasses and the wine books, Sohm doesn’t consider himself successful. Every day, he’s trying to figure out how he can self-correct. “I like what I do, so I go back home that night, think of things which I can improve,” he says. “I get annoyed when I make a mistake, but I improve the next day.”

His quest for perfection may never be over, but Sohm does concede that he’s happy—its own type of success. Sometimes he finds that happiness while sipping a glass of 1980 Domaine de la Romanée-Conti La Tâche, a bottle now so rare and coveted that he calls it “unattainable”. And sometimes, if to his chagrin, he finds it while drinking a mass-produced rosé on the beach.

Photography by Tori Latham

This article appears in the Autumn issue 2026 of Robb Report Australia New-Zealand. Click here to subscribe.

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Going For Gold

Available in a range of shades and intensities, this metallic tone is still a first-place choice.

By Rachel Gallaher 18/05/2026

Above: Awakening 02, Sebastien Durelli Designed exclusively for StudioTwentySeven, Sebastien Durelli’s Awakening 02 floor lamp is available in a limited run of eight examples. Handcrafted in Italy from cast patinaed bronze, the striking piece takes inspiration from the naturally sculpted landscapes of Iceland, specifically the country’s glacial lagoons. The organic boulder-esque shade is rugged and elemental—like an exploded rock wrenched apart by seismic activity—while the base is sleek and symmetrical, providing visual balance in a deep bronze finish. From around $65,300

Above: Orion, De La Espada When it comes to the Orion dining table, the draw is in the details. Designed by Anthony Guerrée for De La Espada, this piece features a central base crafted from a series of overlapping wood slats—a textured moment that creates visual equilibrium with its smooth, curved-brass counterpart. A bona fide visual anchor, the Orion can be paired with thin-framed chairs for a sneak-peek view or heftier seats that provide a surprising reveal when guests sit down to dinner. From around $20,870

Above: LS35A, Luca Stefano This showstopper by Milan-based designer Luca Stefano is all curves. A sexy lounge sofa, seen here upholstered in Pierre Frey mohair with canaletto walnut details, the LS35A is available for customisation, but we think that this mossy-gold hue is incredibly chic, evoking the muted desert tones popular during the ’60s and ’70s. Around $66,280, as shown

Above: Jazz, Tom Bensari Part of master woodworker Tom Bensari’s Manhattan collection for StudioTwentySeven, the Jazz bookcase is an ode to the designer’s love of music. With edges that curve like brass instruments and shelves that skip like riffs, this unit is meticulously hand-built in Poland from oak and olive wood, with custom veneered interiors according to the client’s preference and a glowing finish that takes on a golden tint in just the right light. Around $29,320

Above: Sleeper, Lucas Simões Last September at Christie’s in Los Angeles, Brazilian artist Lucas Simões unveiled his first furniture collection, Colendra. Presented in Lightness & Tension, an exhibition curated by roving gallerist Ulysses de Santi, Simões’s work is rooted in material exploration, as seen in the Sleeper chair, a curving steel form that suggests Brazilian midcentury modernism. A unique patina—which imparts the shimmery, rainbow-esque look of an oil slick—gives the piece a contemporary, artistic feel. Around $22,440

This article appears in the Autumn issue 2026 of Robb Report Australia New-Zealand. Click here to subscribe.

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