Robb Interview: Mate Rimac, CEO Bugatti Rimac

The Croatian entrepreneur and Rimac founder is driving the historic French marque – and wider auto industry – into the future.

By Ben Oliver 22/12/2021

Mate Rimac sat at a table, facing a camera. To his right was Oliver Blume, the CEO of Porsche, and to his left its finance chief, Lutz Meschke. They were about to host a video conference to announce the deal to merge Bugatti, for which Porsche has responsibility within the vast Volkswagen Group, with Rimac’s eponymous start-up hypercar maker. A small number of journalists from the business media joined Robb Report on the call, among them the Financial Times and Bloomberg. Blume and Meschke were dressed in sober business attire, as you’d expect of German C-suite executives making a major announcement to the world’s press, and they sat stiff and upright. But as the 33-year-old Rimac relaxed into his chair, his sneakers emerged from beneath the table, followed by a pair of bare legs. The wunderkind of the hypercar world was about to be handed control of one of its most fabled marques, and he’d chosen to wear shorts for the occasion.

Rimac doubtless meant no disrespect, but his casual dress served as useful visual shorthand for a transfer of power extraordinary even by the turbulent standards of the supercar industry. Stewardship of arguably the world’s most prestigious marque, founded 112 years ago by one of the great automotive auteurs and maker of some of the most beautiful, powerful cars ever to grace the road, was passing from Europe’s largest manufacturing company to a start-up that began in a tiny nation 12 years ago by someone then barely out of his teens. Later that evening there would be a glossy event livestreamed from the spectacular 14th-century Lovrijenac fortress perched high over beautiful, ancient Dubrovnik and the opal waters of Croatia’s Adriatic coast. Rimac (his name is pronounced MAH-tay REE-mats) leapt on stage to acknowledge the significance of what was happening and the responsibility he was assuming. He was now wearing a well-cut suit but still kept the sneakers.

Sports Cars on Track

From left: A Porsche Taycan Cross Turismo, a Rimac Nevera and a Bugatti Chiron Pur Sport, a fitting troika. Rimac Automobili

Despite his youth, Rimac is already acknowledged by his peers as one of the preeminent modern supercar makers, a successor to Ettore Bugatti alongside Horacio Pagani, Christian von Koenigsegg and Gordon Murray. The club of engineers who have created the cars and companies that carry their names from scratch is exclusive, and Rimac had only officially joined it when the Bugatti deal was announced in early July. The Rimac Nevera, his first proper production electric hypercar, was tested by Robb Report and a handful of other media in June, and customer deliveries are just starting.

But Rimac is already an established player. While developing his own hypercar, he has built a multibillion-dollar business supplying his high-performance electric-propulsion technology to at least 15 major carmakers, including Ferrari, Aston Martin, Mercedes and Rimac’s fellow auteur Christian von Koenigsegg. Porsche and Hyundai are not only customers but also investors with significant equity stakes, and Pininfarina likes the Nevera so much that it’s using the car as the basis of its new 1400kW Battista. His business has grown so fast that Rimac simply hasn’t had time to get his own hypercar on sale until now.

The optics of the Bugatti-Rimac merger may seem odd at first, but the logic is indisputable. A new generation of electric Bugattis needs a transcendent level of performance, but Volkswagen has lost the will to fund it. Big car companies can spend like the US military. Analysts estimate that VW has invested at least approx. $3.2 billion in Bugatti since it took control in 1998 and lost around $6.86 million on every Veyron sold. It spent about $575 million creating the Chiron from the bones of the Veyron, and sources close to the deal say VW expected to spend the same again electrifying this 16-year-old platform.

Rimac is said to have offered to develop an all-new Chiron successor for around $330 million. Rather than write a check for that sum, VW proposed a merger. No cash is believed to have changed hands. The new Bugatti-Rimac will be 55 per cent owned by the Rimac Group and 45 per cent by Porsche, on behalf of Volkswagen. For now, the two brands will continue to be designed and built separately: Bugattis in Molsheim, France, and Rimacs from 2023 at its new campus headquarters near Zagreb.

Rimac Automobili Campus

The Rimac campus, set to be completed in 2023 outside the Croatian capital of Zagreb, will be the company’s global headquarters. Rimac Automobili

Rimac is putting only his hypercar-making business into the new joint venture. His fast-growing operation supplying high-performance EV power trains and other equipment to the global carmakers is a separate business: Rimac Technology, solely owned by Rimac Group. Only 150 Neveras will be made, and Bugatti currently builds fewer than 100 cars each year. Even when the combined Bugatti-Rimac is at full production, the venture will account for only 15 to 20 per cent of Rimac Group turnover. Rimac Technology will make up the rest, and it’s about to grow rapidly. It has contracts in place to supply major premium carmakers with components and complete power trains for the high-performance variants of their pure-electric models. With volumes of up to 100,000 each year, it’s a huge leap in scale for Rimac. Your next car might not be a Nevera, but there’s a chance it will have Rimac tech on board.

Rimac remains the largest shareholder in the Rimac Group, with a 37 per cent stake. The latest funding round is believed to value the group in the mid-single-digit billions, giving him a nominal net worth of around $2.7 billion. In addition to Porsche AG’s 45 per cent stake in Bugatti-Rimac, Porsche’s venture-capital arm owns 24 per cent of Rimac Group, giving Porsche indirect majority ownership of Bugatti-Rimac. But Porsche is clear that there is no combination of voting rights, no de facto or de jure control, and that having Rimac as CEO of all three companies is one of the reasons it wanted the deal. “As a shareholder we want a real entrepreneur as CEO,” Blume says. “It is our clear strategy to pass operational control to Mate.”

Rimac Nevera Assembly Line

The new Rimac Nevera assembly line in Croatia, where Rimac Group is based. Rimac Automobili

Perhaps most strikingly, the deal means that despite that storied history, a 10-figure investment by VW over 23 years of ownership and hundreds of Veyrons and Chirons delivered, Bugatti is valued at less than Rimac’s Nevera-making operation alone, which is only just beginning to deliver customer cars. The reason is simple: Bugatti is almost worthless without the ultrahigh-performance electric power train it will need in the EV age.

Volkswagen doesn’t want to make the investment required to develop one. Rimac has one already. Without it, VW was seriously considering putting the Bugatti brand into cold storage.

Even by the hyper-compressed standards of the young entrepreneurs remaking the modern world, this has been a wild few months for Mate Rimac. First the launch of the Nevera in June, then the Bugatti announcement in early July and, later that same month, marriage to his childhood sweetheart. Then a tour of the US, starting in Los Angeles and Pebble Beach in August, to meet not only customers for his approx. $3.29 million Nevera but also Bugatti’s established clientele, who might be a little wary of both the brand’s transition to electric propulsion and its youthful new boss. Next he headed back to Zagreb to complete the transfer of power from Bugatti’s current CEO, the urbane Stephan Winkelmann, who also heads Lamborghini. Then he’ll continue the process of creating a successor for the Chiron.

“This year, just as you say, it’s like everything is coming together. It’s just f—— insane for me,” he tells me from New York. I’ve spoken with him several times over the past, mad few months: first spending a relaxed couple of days with him on the bleak but beautiful Croatian island of Pag, where he launched the Nevera, and later on that conference call. He looks tired now, after his fierce travel schedule. But he is typically generous with his time, disarmingly honest, asking questions as well as answering them, and generally personable, approachable, funny and human: atypical, perhaps, for a tech entrepreneur.

Every cent of that $2.7 billion net worth is self-made. Rimac was born in Bosnia to an ethnically Croatian family of migrant construction workers, a tradition of exodus accelerated by the vicious conflict that raged as Yugoslavia disintegrated. Rimac moved to Germany at age 2 and then to an independent Croatia in his early teens, where he was teased for his hick Bosnian accent. But his talent for electronic engineering was spotted and encouraged by a teacher, and by age 18 he had registered a couple of patents and won a national prize for an early example of wearable tech: a “glove” that recognized hand gestures and could be used instead of a mouse. It’s still on display in a cabinet at Rimac’s HQ.

Rimac liked cars as much as gadgets and bought a battered BMW 3 Series, as it was the cheapest way to get a rear-wheel-drive car that he could race and drift. His best friend, Goran, inadvertently gave a multibillion-dollar business its start when he blew the BMW’s engine, prompting its 20-year-old owner to combine his two passions and replace the gas engine with an electric motor. It worked okay but not well enough for Rimac, who pulled it out again and tinkered with it, beginning a constant process of obsessive iterative improvement over 13 years, which he admits drives him and his staff crazy but has now resulted in his owning the best high-performance EV propulsion tech in the world. And most of Bugatti.

I ask him to define what makes Rimac stand apart—what has brought so many established carmakers to Croatia in search of a way to make a fast EV quickly?

“Look at the Nevera,” he says. “Almost everything in it was developed internally. This is what makes us different. There is no other car company that has developed so many things in a car by themselves. And the second thing is execution. There are many other start-ups working on their cars. Many of them have existed longer than us, and all of them have more funding than us. But we are the first after Tesla who finished the car and started production. Execution is everything.

“And we do it for a fraction of the cost of others. It’s not because Croatian salaries are lower. It’s because we do things very differently from the other carmakers. And lastly, of course, it’s performance. There’s nobody even close to us.”

Rimac Nevera Monocoque

The Rimac Nevera monocoque, the biggest and stiffest single piece of carbon fibre in the automotive industry. Rimac Automobili

This is demonstrably true. In August a Nevera was independently tested at the Famoso dragstrip in California. The Bugatti Chiron Sport held the previous world production-car acceleration record, covering the quarter-mile in 9.4 seconds. The 1427kW Nevera ate up Famoso’s sticky tarmac in just 8.582 seconds at a terminal velocity of 268km/h. That 0.8 second difference is a lifetime in these matters: Now combustion engines will never catch up. The Tesla Model S Plaid faced off against the Nevera in three races a few days later and, though it also beat the Chiron’s time, as promised, with a top time of 9.272 seconds, it was a long way behind the Nevera.

The Nevera’s stellar price automatically puts it in the beyond-premium segment of the car market, and while it’s surprisingly comfortable and practical for something with such terrifying performance, it was never intended to be a luxury good. Bugatti is different, though, and this young, egalitarian, unpretentious electronic engineer is now in control of one of the world’s great luxury brands. The glamour of running a marque like Bugatti and delivering a luxury customer experience doesn’t seem to drive him; the question of whether he has plans to reinvent super-premium motoring as comprehensively as he has reinvented electric performance cars remains.

“For me, it’s more about cars and ecology,” he says. “For the Nevera, luxury was not really a concern: It’s more about tech and performance. Luxury is much more important to Bugatti. That’s why I think the two brands can coexist. Over the last 20 years, no other car had Bugatti’s performance. That’s what made them special. Then came craftsmanship, quality and details, but number one was performance. But now performance is increasingly commoditized. You have a five-seat sedan like the Model S being faster-accelerating than pretty much anything else on the road. So what puts you at the top of the pyramid in the future? Is it really just performance?

“Of course we’ll still do hypercars for Bugatti. We are working on a Chiron successor. But looking at Bugattis of the past, there haven’t been only sports cars. When performance alone is no longer the top selling point, what puts you at the pinnacle? Is it still a two-seat, rear-engine hypercar? Or might there be something else? There’s an opportunity for Bugatti in the future to have very interesting cars that are completely different to other models on the market, while Rimac remains a maker of very high-performance sports cars. But we haven’t figured that out ourselves yet.”

The details haven’t been officially confirmed, but there will be two all-new Bugattis engineered by Rimac before 2030. The first will be a 1491kW, two-seat hybrid hypercar, due around 2025. The Chiron’s 8.0-litre W-16 engine shorn of its four turbos will make half of that power and a Rimac electric-drive system the rest. Next comes a pure EV by 2030. From his hints, we may reasonably expect a four-door grand coupe to differentiate it from future Rimacs and to continue where Bugatti’s fabulous but ill-fated Royale of the 1930s left off.

Rimac will be involved in every aspect of their design. While his fellow Croat Adriano Mudri heads the company’s design department and Rimac’s specific expertise is in electric power trains, he obsesses over every aspect of his car’s design in the broadest sense.

 

 

Rimac Nevera Chassis

The hypercar’s 4-motor drivetrain and 120 kwh battery pack. Rimac Automobili

“With a car, everything is important,” he says. “I define every little detail. The company is still very dependent on me for that, but I don’t think that’s good. I think that’s a personal failure.”

It’s clearly the cars, their design and engineering, and the environment that enthuse him. And given the tiny volumes in which his own cars will be made, his attention may begin to turn to some unexpected new projects where the ecological benefit is greater.

“I love hypercars. I love doing this stuff,” he says. “But in reality, it has a low impact on society. Electrification is an important step, but on its own it’s not going to save the world. I believe there are much bigger levers. In automotive terms, the big impact comes from new mobility, and we want to be a significant part of it. It doesn’t mean that we will stop doing what we are doing now, but for the last few years we’ve been working on a robot taxi service and the whole ecosystem around it. I don’t want to say too much about it. I’d rather do it and then show it. But you’ll see it early next year.”

His fellow supercar auteurs may be glad to see Rimac’s intellect and energy distracted by more pedestrian projects, though at this level there’s little conventional rivalry: Many of their customers can simply buy every model that interests them, and the marques are as likely to collaborate as compete. “It has been amazing to follow and support Mate’s rise,” says Christian von Koenigsegg, whose Regera uses Rimac’s batteries. “He has stayed true to his calling since a young age. For sure it was a big bet for us to trust such a young company and founder as a supplier. Neither Mate nor myself are traditional engineers, as we don’t have academic engineering backgrounds, but are more self-taught. I even think this might be a prerequisite for what we do as we are less limited in our thinking, and by working together we showed the big boys there is a new era coming.

“Bugatti always prided itself on being a part of a large group,” he continues. “We at Koenigsegg have always taken pride in standing on our own two feet. Now Bugatti has been taken over by a similar company with a similar philosophy to us, so now the extreme-sports car producers are more stand-alone than before. That’s a big shift. It’s interesting how the world changes.”

The world might be moving Rimac’s way, but there’s still risk. Those big contracts and the Bugatti deal make funding easy now, but he has to scale up fast, delivering power trains in far higher volumes than before and to perfect, German premium-marque quality levels from job one. By his own admission, he also has to make the business less dependent on him and maintain the energy and agility of a start-up while acquiring the scope of a proper, grown-up business. As even Elon Musk can attest, that’s not easy.

From New York, Rimac tells me that he has been looking at the stock tickers in Times Square and thinking again about an IPO. He doesn’t want to do it until he is shipping Neveras, fulfilling those new bigger contracts, has built his $240 million campus headquarters near Zagreb for the 2,500 employees he will have by 2023 and has revenues in the approx. $822 million range, which will happen rather earlier.

He wonders if he made a mistake in not going public sooner. “This is my first job, you know?” he says. “I don’t know how many things I’m doing good, or how many things I’m doing very badly. I guess there must be both.” Given Rimac’s current valuation of around $8.23 billion, and potentially much more if the robotaxi bet comes in, his investors and the major carmakers seem to think he’s doing okay. Maybe he’ll wear shorts when he finally rings the Nasdaq opening bell.

ADVERTISE WITH US

Subscribe to the Newsletter

Stay Connected

You may also like.

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.

 

Buy the Magazine

Subscribe today

Stay Connected

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.

Buy the Magazine

Subscribe today

Stay Connected

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.

Buy the Magazine

Subscribe today

Stay Connected

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.

Buy the Magazine

Subscribe today

Stay Connected

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.

Buy the Magazine

Subscribe today

Stay Connected