Pay Dirt

In the highly scrutinised realm of philanthropy, organisations are turning to an aggressive class of research firms to ensure donations are scandal-free.

By Mary Holland 28/03/2025

For decades, the Sackler family bestowed tens of millions of dollars on hallowed universities and museums in the United States, the UK, Europe and Asia. Their philanthropy extended to Harvard, Yale, Princeton, Peking University, the Metropolitan Museum of Art, the Guggenheim Museum, the American Museum of Natural History, the Louvre, the British Museum, the Tate, the Victoria and Albert Museum and the Serpentine, to name a few.

As recognition for the billionaire pharmaceutical clan’s largesse, their name was plastered on galleries, wings and rooms housing valuable artworks and artifacts—until, that is, information about the source of one branch’s wealth came to light: they owned and operated Purdue Pharma, maker of Oxycontin, the highly addictive supernova painkiller regarded as the kick-starter of the opioid crisis, which has claimed the lives of almost a million people in the US.

When the media caught wind of the connection, activists erupted, appalled that sites of art, culture and higher learning would take what they considered to be blood money. Most memorable were the demonstrations led by artist Nan Goldin, where pill bottles were strewn down the iconic spiral ramp of the Guggenheim and prescription slips littered the floor of the Sackler Wing at the Met, home of the ancient Egyptian Temple of Dendur. As pressure mounted, these prestigious institutions were forced to address the tainted funds. The Louvre caved first, removing the dynasty’s name from the Sackler Wing of Oriental Antiquities. Soon after, the V&A, the Met, the Guggenheim and others followed suit.

The very public renunciation sent shock waves through the world of philanthropy, and both donors and institutions reeled. Though benefactor scandals were not unheard of, there’d never been a reckoning quite like this one. In the past, it had been easy for museums, universities and other nonprofits to turn a blind eye to the origins of their funding. The prevailing mindset was: if the cause was worthy, did it really matter where the money came from? But attitudes were changing, and respected institutions suddenly faced unprecedented scrutiny and challenges to their fundraising practices, as scandal after scandal made headlines: Jeffrey Epstein, Harvey Weinstein, Varsity Blues, Sam Bankman-Fried, Bill Cosby and even fallen cycling hero Lance Armstrong, who sat on the board of the Aspen Art Museum. Suddenly, trustees needed to concern themselves with not only the size of a donor’s check but also whether the signature on it would end up sullying the institution’s name.

Enter a new class of due-diligence companies. Though prospect vetting has been part of fundraisers’ duties for a while, investigating people willing to give an organisation money has never been so comprehensive. It’s typically those signing the checks who’ve enlisted consultants to tell them exactly where, how and by whom their hard-earned cash should be spent. Now, these firms are flipping the script by assisting museums, universities and other nonprofits in putting donors under a microscope, trawling their pasts for everything from criminal connections to money laundering to legal compliance—and even grey areas such as political associations and distasteful, if legitimate, business interests.

When Dan Secretan launched Xapien back in 2018, he thought its primary focus would be in financial services thanks to his background in financial crime, including anti-money laundering, know-your-customer, and transaction monitoring. Having worked with banks that frequently dug into their clients’ histories, Secretan knew there was a need. But after doing some market tests and speaking to a friend—the head of due diligence at Cambridge University, who recognised a gap—he quickly saw the potential to apply his expertise to the philanthropy sector. Xapien, which uses an AI tool that gathers background research on individuals, can provide valuable data in a matter of minutes. It’s based on large-scale investigation platforms for law enforcement, which one of Secretan’s partners, Shaun O’Mahony, had been building. “They’ve been using open-source intelligence to understand people for many years,” says Secretan, who took a bet on this branch of AI when it was in its infancy.

Actor Lori Loughlin and her husband, fashion designer Mossimo Giannulli (second from right), were among those who pleaded guilty in the Varsity Blues scandal, which put the connection between money and admissions in the spotlight. John Tlumacki/The Boston Globe via Getty Images

In the past, prospect research was a laborious task that required scouring libraries and public records. As the internet grew, information became more available, bringing with it an enormous bank of data. But for many, vetting the source behind each and every donation just wasn’t financially feasible; while anyone can do a Google search, it can be both limiting and overwhelming. “The information is out there, but it’s very hard to find it, distill it and make use out of it,” says Secretan. “We wanted to take all the research and knowledge but apply it with a commercial lens to organisations, charities and universities—because everybody needs to know who their third parties are.” Today, Xapien’s clients include the University of Pennsylvania, Tufts University, the University of Michigan, and, in the UK, King’s College London and the University of Manchester.

Penn—the colloquial name for the University of Pennsylvania—began using Xapien in 2023 after hearing about it from another university. Kathleen Martino, a senior prospect analyst at the Ivy League school, says that although the technology isn’t foolproof—it does better with Western-sounding names, for example, than Asian or Arabic ones—Xapien has made her research both faster and more thorough. She describes it as a one-stop shop.

“The wonderful thing about Xapien is it’s doing a function that we used to have to do step-by-step,” she explains. Rather than searching everything separately—lists of sanctioned individuals, criminal records, the subject’s charitable foundations and such—Martino can pull together a comprehensive report with Xapien, which she then hands off to a development officer. At that point, if there are red flags, “there is actually a committee process that senior leadership and potentially even legal get involved in where it will be discussed as to what is the reputational risk to the university.” Take into account that Penn does such checks not only on donors but also on nominees for boards, adviserships, and the like, and it becomes apparent what a heavy lift it can be.

Institutions concerned about donor or board-member scandals making headlines are turning to companies such as Xapien and Wealth-X that specialise in deep-dive background checks. Supplied

“If a university says, ‘We are going to look at everyone we partner or work with,’ it takes a lot of work,”  says David Garcia, director of non-profits at Altrata, parent company of Wealth-X, which services nonprofits and commercial businesses alike. “We’ll outsource it for you,” he says, adding that instead of AI, the data is mined by a comprehensive team of researchers.

Wealth-X launched 14 years ago with three people out of a WeWork; it now has some four million profiles of wealthy individuals in its database. During Garcia’s decade-long stint advising companies, he claims to have helped avert countless PR nightmares. He remembers taking meetings with clients in Washington, DC, who were intent on naming Elizabeth Holmes from Theranos to their board of directors. The fraud scandal that sent her to prison had yet to break, but Garcia’s team had already raised red flags as doubts about the tech had emerged. “There was a certain period where everyone in DC was saying, ‘We want to have her on the board’,” says Garcia. “She [had been] on the cover of all these magazines, she was a viral person, so everyone wanted to get in on that. They’re the flavour of the month,” he adds, but “when you look a little deeper, it gets murky.”

Garcia was able to advise his clients against engaging with Holmes. Others weren’t so savvy: the Harvard Medical School Board of Fellows reportedly rushed through its nominating process to offer her a seat. The morning of her first board meeting, The Wall Street Journal’s exposé of Theranos’s business practices broke.

Ironically, on the same trip when Garcia helped the clients dodge the Holmes bullet, he saw someone removing a Sackler plaque from a building. “Ten years ago, you could accept a gift from a shady person and you could turn a blind eye,” he says. “There wasn’t [a lot of ] activism.”

Beyond reputational harm, dabbling with unsavoury donors can mean losing out on future funding. “If you’re associated with someone who is controversial or has legal issues, which is happening so much more today, your big donors could stop donating,” Garcia says. Or, maybe worse, “your other donors could push back, and your leadership could come under pressure from the press.”

After Florida A&M University prematurely publicised a mammoth US$237.75 million (around $378 million) donation—the largest in any HBCU’s history—and it subsequently failed to materialise, the university president resigned under a cloud, as did the vice president for advancement. A third-party investigation found that staff felt pressured to ignore red flags. Eager for the game-changing gift, the president Larry Robinson is said to have told them “not to mess this up”. The report didn’t mince words about the allegedly less-than-altruistic motives of the donor, a hemp farmer named Gregory Gerami who’d previously withdrawn an eight-figure pledge to another school: being associated with an institution of higher learning conveys a sheen of trustworthiness and credibility.

There’s also the issue of money spent making the scandal go away. “That’s where I think the due diligence of looking into who your donors are is also important,” says Austin Vogt, prospect researcher for Mercy for Animals, a Xapien client. Crisis-management PR can create a huge financial strain on organisations. “You may be accepting money, but then you would have to spend money after the fact,” says Vogt.

Garcia has seen many instances in which, much like what happened with the Sackler family, donations have been given back or plaques have been removed from walls. Ideally, the institution has all the facts before depositing the check. He cites the example of a wealthy family from Asia who wanted to donate to an American campus in exchange for naming a building after a family member. Tasked by the university to delve deeper, Wealth-X found that the family was linked to fraud some 50 years prior, which was enough to convince the school to pass. “If you’re super-prominent, like an Ivy, you are under so much scrutiny,” says Garcia. Reputationally challenged donors have always been around, but in the 21st century, fundraisers increasingly must also contend with deep-fake donors. One Wealth-X client, Garcia says, was recently approached by someone who wanted to give a six-figure sum to a nonprofit that supports people in need of food and shelter. After some preliminary research, the client grew concerned the offer was too good to be true and enlisted Wealth-X, which determined that a photograph the donor sent of himself with the King of Spain was fake. “The real photo has a different person in it,” says Garcia, explaining that the faux donor was either photoshopped in or created by AI So why would someone manufacture a fake philanthropist? According to Garcia, either they were just messing around or they were attempting to launder money. “There’s not a lot of history of money laundering with not-for-profits, but you could give a big gift and then pull it back, and then it’s clean, right?”

 

A nonprofit also risks embarrassment if it accepts money from an entity that doesn’t align with its cause. “On the corporate side, we do have certain industries with whom we will not work,” says Luciana Bonifacio, chief development officer at Save the Children. “We would not engage with a tobacco company, right? So [there have been] situations like that, when we have turned donations away.” When it comes to individuals, it gets a bit murkier, and Bonifacio doesn’t think the same lens can be applied: can you hold someone accountable if they were once a senior executive for a company that runs counter to your mission, or if they pooled a stock fund where the questionable company is just one percent of their entire portfolio? While the well-known charity doesn’t have the capacity to comb through every donation, it will vet benefactors making significant contributions or who will be visible supporters. For the most part, Bonifacio says, donations come from high-net-worth individuals who sincerely want to add value to an organisation with a strong and positive purpose.

Good intentions aren’t necessarily enough to salvage a relationship. Greg Ratliff, senior vice president of advisory services at Rockefeller Philanthropy Advisors, which counsels individuals as well as foundations, says the group turned away a donor who wanted to create an anti-vaccination project at the height of Covid. Even when he worked at the Gates Foundation, he says, some organisations declined the mega-funder’s checks if they couldn’t agree on direction.

Museums and universities tend to have broader aims and constituencies than issue-focused nonprofits. Even so, in recent years, more and more donors and board members have been targetted. At the Museum of Modern Art, private equity magnate Leon Black decided not to stand for re-election as board chair after coming under fire for his ties to Jeffrey Epstein, the financier and convicted sex offender, but remains on the board. Warren B. Kanders resigned as vice chair of the Whitney Museum after repeated protests over his ownership of Safariland, a company that produces tear-gas canisters and other supplies used by the military and law enforcement. After Harvey Weinstein was outed as a serial sexual assaulter—but before he was criminally convicted—the University of Southern California bowed to backlash and rejected a US$5 million (around $7.95 million) pledge from the Hollywood power broker to create an endowment for female filmmakers.

Aaron Horvath, a sociologist and research scholar at the Stanford Center on Philanthropy and Civil Society, points to the case of Jeffrey Epstein, who tried to evade publicity—but maintain prestigious ties to MIT—by being listed as Anonymous on the roster of donors. “If you look at the Epstein gift to the MIT Media Lab, it raises a lot of questions about who we are taking money from,” he says. “I think people are more conscious of that now. There’s a broader critique going on in society about philanthropy, and I think that’s getting carried into the university. Places that might previously have skated by without much attention are now realising: we should probably draw up policy for how we’re going to deal with this kind of thing, or who we’re going to take money from. Stanford just kind of has its hat in its hand and is open to lots of philanthropy,” he adds. “There [are] serious questions to be raised about that.”

With donations becoming something of a minefield, more benefactors are seeking counsel. In order to mitigate any bad run-ins for her clients, Danielle Oristian York, executive director and president of 21/64, a company that advises multigenerational philanthropists, encourages them to find organisations that align with their values and to be clear on what their mission and vision are. “We call it their philanthropic identity,” she says.

It’s an important starting point, because not every situation is black-and-white. “I think there’s a need for conversation rather than cancelling,” she adds. “How do we have a conversation with the funder to understand their perspective and intention?” Even if an organisation does not initially condone a donor’s business record, there could be room to make a positive impact. In the past few years, she has also noticed a willingness from young givers to be more mindful in their philanthropic choices. “The way that wealth was created in previous generations can be seen as tainted or bad,” she says. “With new stewardship or leadership, generational wealth is now being repurposed for good.”

The same can be said for corporate foundations, where ethics can be nuanced. “We often work with corporations that are interested in addressing challenges in their supply chain and in their production process,” says Ratliff, from Rockefeller Philanthropy Advisors. He points to the Tiffany & Co. Foundation, an organisation that puts a lot of focus on land reclamation by restoring sites the company has damaged. “They’ve created amazingly beautiful parks around the world, but it’s in acknowledgement of what mining does and that the raw material for their goods and services are mined.”

Though much of the demand for consultants such as Xapien and Wealth-X may be motivated by the instinct for self-preservation, the simple act of vetting more benefactors, no matter how small their contributions, not only weeds out dirty donors but potentially gains more from the clean ones. Prospect research helps paint a better picture of the donor all-around—their hobbies, how much they’ve given to various causes, their liquid assets. “[You] might not think twice about that $25 donation, but in reality, they may be a very lucrative business owner or they may come from a very wealthy family,” says Vogt. “That $25 may actually turn into $25,000 or $250,000 or $2 million down the road.”

And it’s not just donees that benefit from all this scrutiny. For potential donors, being put under a microscope at the outset means they can minimise the risk of being embarrassed down the line. Because there are few things more humiliating than watching your name being chiselled off the walls of an illustrious institution.

With additional reporting by Mark Ellwood 

Lead illustration: Boston Courthouse: Michael Dwyer/AP; Armstrong: Alexandre Marchi/Gamma-Rapho/Getty Images; Weinstein: Julia Nikhinson/Getty Images; Holmes: Jessica Rinaldi/ The Boston Globe/Getty Images; Cosby: Brendan Smialowski/Getty Images; Huffman and Macy: Joseph Prezioso/AFP/Getty Images; Oxy Dollars: Erik McGregor/Lightrocket/Getty Images; Protestors: Michael A. McCoy for the Washington Post/Getty Images; USC Pennant: Patrick T. Fallon for the Washington Post/Getty Images; Bankman-Fried: Michael M. Santiago/Getty Images; Epstein and Met: Getty Images

 

ADVERTISE WITH US

Subscribe to the Newsletter

Stay Connected

You may also like.

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?

Stay Connected

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.

Stay Connected

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.
And the Winners Are:

Stay Connected

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.

Stay Connected

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.

Stay Connected