Robb Review: Bang & Olufsen’s Wireless Beolab 28 Loudspeakers

Stylish, well-connected and essentially future-proof, these speakers sound stellar.

By Robert Ross 05/05/2021

If there has been a bit of digital ink spilled on Bang & Olufsen lately, it’s because the Danish consumer-electronics manufacturer has been particularly busy creating new products for the design-conscious music lover. That a lot of hi-fi gear has a decidedly generic appearance—with form following function and looks be damned—is apparent from a stroll through the pages of any audio journal or a visit to one of the few (bless them) brick-and-mortar audio stores still standing. But companies like Bang & Olufsen recognise that great sound, refined aesthetics and responsible manufacturing can all go hand-in-hand.

Bang & Olufsen’s latest loudspeaker is the Beolab 28, whose appearance is anything but speaker-like. With nary a square edge to be found, much less a box, think instead of a column, about nine inches in diameter and 137cm, optically floating above a truncated cone that sits on the floor or mounts to a wall. The speaker is supported by an external backbone that conceals cables and makes the column appear as if it’s levitating in air.

Bang & Olufsen's Beolab 28 loudspeakers mounted to a living-room wall.

Bang & Olufsen’s Beolab 28 loudspeakers mounted to a living-room wall. Photo: Courtesy of Bang & Olufsen.

For listeners accustomed to seeing traditional loudspeakers—usually large, veneered boxes the size of a steamer trunk—the Bang & Olufsen Beolab 28 is a liberation from the stylistic and technical constraints that accompany most audio and home-theatre systems. Employing luxury materials like anodized aluminium, fine wood and fabric has been a hallmark of Bang & Olufsen designs for decades. Authenticity is a benchmark of the company’s design process too, not just in the attention paid to details, but in its aim for sustainable manufacturing practices and product support for loudspeakers, electronics and turntables that are often decades old.

The industrial design of the Beolab 28 was carried out in collaboration with NOTO, an independent firm in Cologne, Germany, working under the direction of Kresten Bjørn Krab-Bjerre, creative director of design at Bang & Olufsen. For Krab-Bjerre, inspired design begins with a functional, fast and unlabored prototyping process, and then becomes fleshed out as engineers and creatives collaborate to refine the concept.

So, while some companies begin by developing elaborate full-scale models, that process can limit freedom, almost obliging teams to accept costly, labour-intensive models as a fait accompli, according to Krab-Bjerre, simply because so many resources went into producing them. On the other hand, using utilitarian materials like cardboard and construction paper allows much more freedom to explore a greater variety of designs and fast-track development, arriving at a solution that can then be advanced to prototype stage. Conveniently, the Bang & Olufsen design studios are located roughly 164 feet from the company’s Factory 5 in Steuer, Denmark, a welcome proximity given the extensive manufacturing capabilities that put the firm at the forefront of aluminium forming and anodizing.

We spoke via Zoom to Heidi Hausted Fredberg, senior product manager at Bang & Olufsen, who explained that while the design of the Beolab 28 appears simple, the process of making it is anything but, the tall cylinder of the speaker enclosure being spun while the conical foot is expanded, reduced and finally pressed into shape. The aluminium components of the speaker—anodized in house—are available in natural silver, black anthracite or bronze tone, while speaker covers (grills) can be specified in natural fabric (grey or grey mélange) or, alternately, in wood.

The wood, available in light oak, oak, smoked oak and walnut finishes, is provided by Bjerrum Nielsen, a local, family owned supplier from whom Bang & Olufsen has sourced wood since 1949. Authentic, indeed. And as with so many of Bang & Olufsen’s components, the Beolab 28 loudspeakers—priced per pair at $14,750 and $16,500 with fabric or wood grilles, respectively—offer a bit of entertainment beyond their sonic attributes. The speaker covers, which conceal the drivers when the speaker is not in use, automatically open like curtains when playing, their width dependent on the listening mode selected for either narrow or broad sound dispersion—about which, more later.

A detail of the Bang & Olufsen Beolab 28 loudspeaker with a fabric grille.

The Beolab 28 with fabric speaker covers. Photo by Jeppe Sørensen, courtesy of Bang & Olufsen.

Wireless and adaptive, the Beolab 28 requires no interconnects or source cables, only an AC cord to power the internal electronics. The adaptive part of the sonic equation means that Bang & Olufsen’s latest generation of Adaptive Room Compensation (ARC) circuitry tailors bass response to the room, based on speaker position. Because ARC can compensate for the attenuation of low frequencies that occurs when loudspeakers are placed in free space without adjacent wall boundaries to reinforce them, users have almost unlimited freedom to situate the Beolab 28 where they look best within a space and still enjoy full-range reproduction.

When the recording calls for it, those low frequencies are substantial and go from 27 Hz up to 200 Hz, when the single 6.5-inch woofer, employing a ferrite magnet and a coated paper cone, bows out and lets the three full-range drivers take over the heavy lifting. These 3-inch transducers, which use neodymium magnets and paper cones, cover the lion’s share of the audio spectrum. In the spirit of an omnidirectional design, one driver is frontally placed circa ear level, with an additional driver on the left and right side, above and below the centre driver. A single 1-inch tweeter, using a neodymium magnet and a textile dome, is situated above the full-range centre driver and carries on business from 4,000 Hz up to 23,000 Hz.

The strength of the Beolab 28 is its ability to be enjoyed over a wide listening area; not truly omnidirectional like an MBL or Ohm loudspeaker, but capable of presenting a coherent and realistic soundstage without screwing one’s head into a vise and sitting still. After all, these speakers are meant to be lived with.

A detail of the Bang & Olufsen Beolab 28 loudspeaker with a wood grille.

Wood speaker covers are available in light oak, oak, smoked oak and walnut finishes. Photo by Jeppe Sørensen, courtesy of Bang & Olufsen.

That versatility is a result of the speaker’s Beam Width Control, which optimises the listener experience depending on setting. In the Narrow directivity mode, the three full-ranges are used from 200 Hz to 4,000 Hz, so driver output favours a listener sitting in front of the speakers, without the interference of side and rear wall reflections. This is where “serious” listening will be done, and the Beolab 28 rewards just that. In Wide mode, the sonic stage diffuses to maintain a natural tonal balance to the side or when moving about the room, as one might experience in a social setting with more than a listener or two. Here, the front-mounted full-range is still used from 200 Hz to 4,000 Hz and the side-mounted full-ranges are used all the way up to 15,000 Hz, albeit at a lower level at the higher frequencies. They can also play loud—110 dB—in part because of the driver’s high sensitivity and the dedicated Class D amplification within each speaker enclosure. The woofer is powered by a 225 w amp, and each full-range driver by its own dedicated 100 w amp, with another 100 w amp for the tweeter. At about 41 pounds apiece, each Beolab 28 is easy to move around, allowing experimentation with room placement and letting the piano movers take the day off.

We visited the new Bang & Olufsen store to spend a day listening to the Beolab 28. Impeccably designed and furnished, the store features the full range of Bang & Olufsen products in addition to offering mid-century lighting masterpieces from Scandinavian designers like Arne Jacobsen and Louis Poulsen. Additionally, the space incorporates Mikodam architectural acoustic wall panels that complement contemporary interiors, unlike most of the effective but aesthetically compromised alternative treatments in foam, fabric and wood.

The bottom of the Bang & Olufsen Beolab 28 loudspeaker mounted to a wall.

An example of how the Beolab 28’s column and cone can be attached to vertical surfaces. Photo by Jeppe Sørensen, courtesy of Bang & Olufsen.

The Beolab 28s were presented in a dedicated listening room that was fairly “live,” with wood floors and good rear-wall acoustic damping. Spaced about eight feet apart and within 24 inches of the rear wall, the loudspeakers had a Beovision Harmony TV situated in between (the TV’s own speakers were disabled). While nothing but an empty wall between speakers is generally preferred for dedicated two-channel listening, it’s reasonably expected that most users will incorporate video into the environment.

The first impression is that the sonic weight and corporeality of the Beolab 28 system is far greater than their delicate appearance would suggest. Partly due to its relatively small size, and operating in a ported enclosure, the down-firing woofer delivers articulate, fast and impactful bass without overhang, and is optimally integrated with the rest of the drivers. In the spirit of many Bang & Olufsen speakers since the first Beolab Penta of 1986, the Beolab 28s are narrow, with no baffle to greatly affect horizontal dispersion. With the cluster of full-range drivers and adjacent tweeter, imaging and placements of instruments and voices is fairly specific, and their height is not exaggerated.

The ability to project a broad and immersive soundstage is impressive, especially with soundtracks and in Wide mode. Most auditioning was done in Narrow mode, where acoustic and even electronic jazz had appropriate scale, and high-energy instruments like Miles Davis’ trumpet and John Coltrane’s sax achieved realistic levels and scale. Choral work, like Ockeghem’s Missa Pro Defunctis, recorded with simple microphone placement in great acoustic spaces, rendered individual voices with detail and precision. Playing Bach’s Cello Suite No. 1, Rostropovich and his solo instrument were life-sized and rendered with corporeal substance.

While not the very last word in transparency and speed, as is an electrostatic or Magnepan-style planar/ribbon, the Beolab 28 loudspeakers present well-rounded capability and ingratiating design that makes them ideal for a “real-world” listening environment, and doubly so for home-theatre application. Audiophiles with a wide range of musical tastes will find these very satisfying loudspeakers, indeed.

Bang & Olufsen's Beolab 28 loudspeakers.

The versatile Beolab 28 allows for numerous arrangement combinations. Photo: Courtesy of Bang & Olufsen.

The company’s most advanced connected speaker, the Beolab 28 will likely be used for streaming music. Listeners can use their mobile device and stream directly, using AirPlay 2, Chromecast, Spotify Connect, Bluetooth and the B&O app. Automatic software updates will make them compatible with Beolink Multiroom, and any of the Bang & Olufsen TVs—with their jewellike screens—is a recommended paring.

Auxiliary sources like CD and LP can be used via traditional inputs at the rear of the speaker, a turntable requiring phono preamplification ahead of the analog input. The speaker does have a mind of its own: proximity sensors bring it to life and initiate access to the built-in Bang & Olufsen Radio or Spotify playlists. Any of the company’s remote controls will operate the system, as will smart devices via the B&O app. A Bang & Olufsen remote control is a luxury, and reminds one of the difference between holding and using a beautifully designed, precision device compared to the plastic throw-away remotes that have littered landfills for decades.

Apropos of which, planned obsolescence is not a part of the Bang & Olufsen design brief. These products are built to last, and if needed, repair or upgrade. I continue to enjoy a few now-collectible products from the company that I purchased new—in some cases decades ago. So, with the new Beolab 28, its internal connectivity module has more than sufficient processing power to download performance updates and features as they become available. If future advances demand greater capacity—or unlikely repairs—the module can be replaced to keep step with technology, rendering the speaker essentially future-proof.

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Escape from the Ordinary

Ponant, the luxury cruise line known for its meticulously planned itineraries and high-end service, ups the ante on their upcoming European Journeys that promise an unrivalled exploration of the Mediterranean.

By Robb Report Team 19/02/2024

Not all cruises are created equally. Ponant, the luxury cruise line known for its meticulously planned itineraries and high-end service, ups the ante on their upcoming European Journeys that promise an unrivalled exploration of the Mediterranean. From the stunning Amalfi Coast to the pristine Greek Islands, the narrow Corinth Canal to the picturesque Dalmatian coast, historic Istanbul and beguiling Malaga, each destination is a unique adventure waiting to be unravelled. With Ponant, these aren’t just locations on a map; they’re experiences that come alive with the intimate knowledge and insight that their expert guides provide.

Ponant’s luxury cruises are renowned for their individuality, with no two journeys the same. This is not by chance. Itineraries are scrupulously designed to ensure that each passenger is left with a feeling of having embarked on a journey unlike any other.

Athens-Venise. Photograph by N.Matheus. ©PONANT

In 2025, their fleet will set sail for a combined 56 departures from March to October, exploring the dreamy locales of Greece and the Greek Islands, Malta, Italy (including Venice and Sicily), Croatia, France, Turkey, Spain and Portugal. These European Journeys offer an intimate encounter with the Mediterranean, its people and culture. As you cruise in luxury, you’ll dive deep into the heart of each destination, exploring historic sites, engaging with locals, sampling scrumptious cuisine and soaking in the vibrant atmospheres.

The company’s small, sustainable ships, which can accommodate from as few as 32 to 264 guests, have the exclusive ability to sail into ports inaccessible to larger cruise liners, affording privileged entry into some of the world’s most treasured alcoves. Picture sailing under London’s iconic Tower Bridge, crossing the Corinth Canal, or disembarking directly onto the sidewalk during ports of call in culturally rich cities like Lisbon, Barcelona, Nice and Venice, among others.

Photo by Tamar Sarkissian. ©PONANT

This singular closeness is further enriched by destination experts who unravel the tapestry of each locale’s history and traditions.

Onboard their luxurious ships, every guest is a VIP and treated to refined service and amenities akin to sailing on a private yacht. Whether at sea or ashore, their destination experts guarantee a fascinating experience, immersing you in the rich cultural and historical diversity of each region.

Indulge in the finest gastronomy at sea, inspired by none other than gastronomic virtuoso and Ponant partner, Alain Ducasse. Each voyage offers an expertly crafted dining experience, from a-la-carte meals with perfectly matched wines by the onboard Sommelier at dinner and lunch, to a French-inspired buffet breakfast, featuring all the favourite pastries, fresh bread and quality produce.

Chef Mickael Legrand. Photograph by NickRains. ©PONANT

For a more intimate discovery, consider Le Ponant, with its 16 high-class staterooms and suites—perfect for private charter—sailing eight exclusive routes between Greece and Croatia, offering guests unparalleled experiences both onboard and ashore. Ponant’s commitment to crafting unforgettable experiences extends beyond itineraries. Aboard their ships, the luxury is in every detail. Unwind in opulent cabins and suites, each offering private balconies and breathtaking views of the azure water and destinations beyond.

Ponant’s upcoming European Journeys are more than just cruises—they’re your passport to a world of cultural immersion, historical exploration, and unrivalled luxury. Don’t miss this opportunity to embark on the voyage of a lifetime: the Mediterranean is calling.

To book European 2025 sailings visit au.ponant.com; call 1300 737 178 (AU) or 0800 767 018 (NZ) or contact your preferred travel agent.

 

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Saint Laurent Just Opened a New Bookstore in Paris. Here’s a Look Inside.

The chic new outpost is located on the city’s arty Left Bank.

By Rachel Cormack 14/02/2024

Saint Laurent is taking over even more of Paris.

The French fashion house, which only just opened an epic new flagship on Champs-Élysées, has launched a chic new bookstore on the Left Bank. Located in the 7th arrondissement, Saint Laurent Babylone is a mecca of art, music, literature, and, of course, fashion.

The new outpost is a tribute to the connection that Yves Saint Laurent and partner Pierre Bergé had to the Rue Babylone, according to Women’s Wear Daily. (In 1970, the pair moved to a 6,500-square-foot duplex on the street.) It is also inspired by the house’s original ready-to-wear boutique, Saint Laurent Rive Guache, which opened in the 6th arrondissement in 1966.

The exposed concrete in contrasted by sleek marble accents. SAINT LAURENT

With a minimalist, art gallery-like aesthetic, the space is anchored by a hefty marble bench and large black shelves. The raw, textured concrete on the walls is juxtaposed by a soft blue and white rug, a wooden Pierre Jeanneret desk, and sleek Donald Judd stools.

The wares within Saint Laurent Babylone are the most important part, of course. Curated by Saint Laurent’s creative director Anthony Vaccarello, the collection includes everything from photos by British artist Rose Finn-Kelcey to books published by Saint Laurent itself. Some tomes on offer are so rare that white gloves are required for handling.

The store also offers an enviable selection of records that are no longer being pressed. Highlights include Sade’s Promise, Kate Bush’s Hounds of Love, and the debut studio album of electronic band Kraftwerk.

Other notable items on the shelves include Leica cameras, chocolates made in collaboration with pastry chef François Daubinet, prints by Juergen Teller, and brass skull sculptures. You’ll also find an assortment of YSL merch, including pens, lighters, and cups.

To top it off, Saint Laurent Babylone will double as an event space, hosting live music sessions, DJ sets, book readings, and author signings over the coming months.

Saint Laurent’s latest endeavor isn’t exactly surprising. With Vaccarello at the helm, the Kering-owned fashion house has entered new cultural realms. Only last year, the label established a film production company and debuted its first movie at Cannes.

The space is fitted with a Pierre Jeanneret desk and Donald Judd stools.
SAINT LAURENT

Perhaps Saint Laurent film reels and movie posters will soon be available at Babylone, too.

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The Best Watches at the Grammys, From Maluma’s Jacob & Co. to Jon Batiste’s Vacheron Constantin

Music’s biggest names sported some outstanding watches on Sunday evening.

By Rachel Mccormack 08/02/2024

Weird yet wonderful watches punctuated this year’s Grammys.

The woman of the moment, Taylor Swift, who made history by winning Album of the Year for an unprecedented fourth time, wore an unconventional Lorraine Schwartz choker watch to the annual awards ceremony on Sunday night. That was just the tip of the horological iceberg, though.

Colombian singer-songwriter Maluma elevated a classic Dolce & Gabbana suit with a dazzling Jacob & Co. Astronomia Tourbillon and a pair of custom, diamond-encrusted Bose earbuds, while American musician Jon Batiste topped off a stylish Versace ensemble with a sleek Vacheron Constantin Overseas Tourbillon. Not to be outdone, rapper Busta Rhymes busted out a rare Audemars Piguet Royal Oak for the occasion.

There was more understated wrist candy on display, too, such as Jack Antonoff’s Cartier Tank LC and Noah Kahan’s Panerai Luminor Quaranta BiTempo.

For the rest of the best watches we saw on the Grammys 2024 red carpet, read on.

Maluma: Jacob & Co. Astronomia Tourbillon

Maluma busted out some truly spectacular bling for this year’s Grammys. The Colombian singer-songwriter paired a classic Dolce & Gabbana suit with a dazzling Jacob & Co. Astronomia Tourbillon and a pair of custom, diamond-encrusted Bose earbuds. The sculptural wrist candy sees a four-arm movement floating in front of a breathtaking dial adorned with no less than 257 rubies. For added pizzaz, the lugs of the 18-karat rose-gold case are invisibly set with 80 baguette-cut white diamonds. Limited to just nine examples, the rarity is priced at $1.5 million.

Asake: Hublot Big Bang Essential Grey

Nigerian singer-songwriter Asake may not have won the Grammy for Best African Music Performance for “Amapiano,” but did wear a winning Hublot Big Bang at Sunday’s proceedings. Released in 2023, the Essential Grey model is made purely of titanium for a sleek, uniform feel. The 42 mm timepiece was limited to just 100 pieces and cost $37,000 a pop.

John Legend: Audemars Piguet Royal Oak Selfwinding

Multihyphenate John Legend wore a legendary Audemars Piguet with silky Saint Laurent on Sunday evening. The self-winding Royal Oak in question features a 34 mm black ceramic case, a black grande tapisserie dial, and striking pink gold accents. The watchmaker’s signature is also displayed in gold under the sapphire crystal. The piece will set you back $81,000.

Jon Batiste: Vacheron Constantin Overseas Tourbillon

American musician Jon Batiste received four nominations but no wins at this year’s Grammys. The “Butterfly” singer can take solace in the fact that he looked ultra-sharp in Versace and Vacheron Constantin. A tribute to the spirit of travel, the Overseas Tourbillon features a 42.5 mm white-gold case, a bezel set with 60 baguette-cut diamonds, and a blue dial featuring a dazzling tourbillon cage inspired by the Maltese cross. Price upon request, naturally.

Fireboy DML: Cartier Santos

Fireboy DML’s outfit was straight fire on Sunday night. The Nigerian singer paired an MCM wool jacket with a Van Cleef & Arpels bracelet, several iced-out rings, and a sleek Cartier Santos. The timepiece features a steel case, a graduated blue dial with steel sword-shaped hands, and a seven-sided crown with synthetic faceted blue spinel.

Noah Kahan: Panerai Luminor Quaranta BiTempo

Best New Artist nominee Noah Kahan wore one of Panerai’s best new watches to Sunday’s festivities. The Luminor Quaranta BiTempo features a 40 mm polished steel case and a black dial with luminous numerals and hour markers, a date display at 3 o’clock, and a small seconds subdial at 9 o’clock. The timepiece can be yours for $14,000.

Busta Rhymes: Audemars Piguet Royal Oak Offshore

Legendary rapper Busta Rhymes busted out a chic Audemars Piguet for this year’s Grammys. The Royal Oak Offshore Chronograph in question is distinguished by a 42 mm rose-gold case and a matching pink méga tapisserie dial with an outer flange for the tachymeter scale. The face is fitted with three black subdials, large black numerals, and a black date display at 3 o’clock. You can expect to pay around $61,200 for the chronograph on the secondary market.

Jack Antonoff: Cartier Tank Louis Cartier

Producer of the year Jack Antonoff took to the red carpet with a stylish Cartier on his wrist. The Tank Louis Cartier in question appears to be a large 33.7 mm example that features an 18-carat rose-gold case, a silvered dial with black Roman numerals and blued steel hands, a beaded crown set with a sapphire cabochon, and a brown alligator strap. It’ll set you back $19,900.

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This 44-Foot Carbon-Fiber Speedboat Can Rocket to 177 KMPH

The new Mayla GT is available with a range of different powertrains, too.

By Rachel Cormack 03/02/2024

We knew the Mayla GT would be one of the most exciting boats at Boot Düsseldorf, but a deep dive into the specs shows it could be downright revolutionary.

The brainchild of German start-up Mayla, the 44-footer brings you the blistering performance of a speedboat and the luxe amenities of a motor yacht in one neat carbon-fiber package.

Inspired by the go-fast boats of the 1970s and ‘80s, the GT sports an angular, retro-futuristic body and the sleek lines of a rocket ship. Tipping the scales at just 4500 kilograms, the lightweight design features a deep-V hull with twin transversal steps and patented Petestep deflectors that help it slice through the waves with ease. In fact, Mayla says the deflectors decrease energy usage by up to 35 percent while ensuring a more efficient planing.

The range-topping GT can reach 185 kph. MAYLA

The GT is also capable of soaring at breakneck speeds, with the option of a gas, diesel, electric, or hybrid powertrain. The range-topping GTR-R model packs dual gas-powered engines that can churn out 3,100 hp for a top speed of more than 100 knots (185 kph). At the other, more sustainable end of the spectrum, the E-GT is fitted with an electric powertrain that can produce 2,200 horses for a max speed of 50 knots. The hybrid E-GTR pairs that same electric powertrain with a 294 kilowatt diesel engine for a top speed of 60 knots (111 km/h/69 mph). (The GT in the water at Boot sported two entry-level V8s good for 650 hp and a top speed of over 70 knots.)

The GT is suitable for more than just high-speed jaunts, of course. The multipurpose cockpit, which can accommodate up to eight passengers, features a sundeck with sliding loungers, a wet bar and BBQ, and a foldaway dining table for alfresco entertaining. Further toward the stern, a beach club sits atop a garage with an electric transom door.

The garage has an electric transom door. MAYLA

The GT is even fit for overnight stays. Below deck lies a cabin with a double bed, sofa, wardrobe, vanity, and en suite. You can also expect a high-tech entertainment system with TVs and premium audio.

As for price, the GT with the entry-level powertrain will cost between $2.7 million and $2.9, depending on the final configuration. (You can fine-tune the layout, hull color, and interiors, naturally.) Interested buyers can set up a sea trial with Mayla, with test-drives set to begin this spring in Europe.

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Red Centre

First Nations artist Shaun Daniel Allen joins forces with Chopard to create a timepiece inspired by the Australian landscape.

By Horacio Silva 29/01/2024

Shaun Daniel Allen does not look like your typical collaborator on a prestige watch. For one, Shal, as he prefers to be known (“There are many Shauns but only one Shal,” he explains), is more heavily tattooed than your average roadie. His youthful appearance, bad-boy ink and all, belies his 38 years and leads to a disconnect. 

He recounts being recognised on the street recently by a journalist, who, unable to remember his name, shouted out, “Chopard!” “I was with a friend,” Shal says, holding court in his apartment in Sydney’s inner city, “and he’s, like, ‘What the hell? Does that happen to you often?’”

Perhaps because of his body art, he reasons, “People don’t put me and Chopard together.” It’s not hard to understand the confusion, Shal adds; even he was taken aback when Chopard reached out to him about a potential collaboration a little more than a year ago. “When I first went in to see them, I was, like, I don’t know if I’m your guy. I’m not used to being in those rooms and having those conversations.”

He’ll have to adapt quickly to his new reality. Last month Chopard released Shal’s interpretation of the Swiss brand’s storied Alpine Eagle model, which in itself was a redo of the St. Moritz, the first watch creation by Karl-Friedrich Scheufele (now Co-President of Chopard) in the late 1970s. 

Previewed at Sydney’s About Time watch fair in September, to not insignificant interest, and officially known as the Alpine Eagle Sunburnt, the exclusive timepiece—issued in a limited edition of 20—arrives as a stainless steel 41 mm with a 60-hour power reserve and a burnt red dial that brings to mind the searing Outback sun. Its see-through caseback features one of Shal’s artworks painted on sapphire glass.

When the reputable Swiss luxury brand approached Shal, they already had the red dial—a nod to the rich ochre hues of the Australian soil at different times of the day and gradated so that the shades become darker around the edges—locked in as a lure for Australian customers.

Shal was charged with designing an artful caseback and collectible hand-painted sustainable wooden case. After presenting a handful of paintings, each with his signature abstract motifs that pertain to indigenous emblems, tattoos and music, both parties landed on a serpentine image that evoked the coursing of rivers. “I have been painting a lot of water in this last body of work and the image we chose refers to the rivers at home,” he says, alluding to formative years spent at his grandfather’s, just outside of Casino.

It says a lot about Chopard, Shal points out, that they wanted to donate to a charity of his choosing. “Like everything else on this project,” he explains, “they were open to listening and taking new ideas on board and it actually felt like a collaboration, like they weren’t steering me into any corner.”

In another nice touch, a portion of the proceeds from sales of the watch will go to funding programs of the Ngunya Jarjum Aboriginal Corporation—an organisation, established in 1995 by Bundjalung elders, whose work Shal saw firsthand after the 2022 eastern Australia flood disasters ravaged their area. “Seeing Ngunya Jarjum suffer from the floods,” he says, “and knowing how much they do for the community on Bundjalung Country was heartbreaking. I want to see Bundjalung families thriving and supported.”

So what’s it been like for this booster of Australian waterways to be swimming in the luxury end of the pool? “I’ve done a few things with brands,” he offers, referring to the Louis Vuitton project earlier this year at an art gallery in Brisbane, “but nothing on this scale. It’s definitely fancier than I’m used to but I’m not complaining.” Neither are watch aficionados.

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