The Smart, Quiet, Utterly Bizarre Future Of The Luxury Car

Artificial intelligence and fast, cheap algorithmic design will transform the automobile—and it will only get weirder from there.

By Josh Condon 15/04/2020

For as long as anyone could remember, a car was a car was a car. And then, one day, it wasn’t.

Which is to say the notion of an automobile going back a hundred years—a multi-box design on four tires, with a wheel and pedals, aimed by people and powered by orderly little explosions—has been upended by a maelstrom of globalisation, technological revolution, environmental reckoning and a wholesale assault on the ownership model. Such extreme disruption has unleashed a rapid evolution of the automotive species, with strange creatures now roaming the roads: Rolls-Royce SUVs and silent, battery-powered Croatian hyper-cars; Cybertrucks and fin-shaped hatchbacks with gullwings and brains big enough to take the wheel for a spell. It’s like looking around one day and realizing some dogs are now the size of horses and chirp, while others have opposable thumbs, sonar and definite opinions on Brexit.

Take the luxury car. Not long ago the term meant something fairly specific: a large, imperious saloon with a respectably immoderate gas-burning engine and a leathered and carpeted backseat with ample space for raising a family. Now it’s as formless and atomised as the rest of the sprawling luxury universe, which includes collectible sneakers and stiff, terrifying plastic Japanese teddy bears and feeling very ashamed of your jet. Tesla’s austere, vegan-friendly robots are the must-have choice for the Silicon Valley set even as six-figure SUVs proliferate like 2000kg bunnies in the exurbs. Meanwhile, a younger generation of buyers appreciates zero-emissions vehicles but would really rather the automobile had the good sense to go away entirely, like voice mail.

Yet there are signs the automotive industry is finally coalescing around an idea of what a car will be in the future—and down that road lies an interesting potential detour: The luxury car, instead of simply representing a pricier version of whatever the car du jour is, branches off into something else entirely. For the first time ever, a difference not just of degree but of kind, transformed by three interconnected forces: artificial intelligence, the rise of niche manufacturing and increasing rarity.

Aston Martin

New technology will create streamlined cockpits, like in Aston Martin’s Lagonda All-Terrain Concept. Courtesy of Aston Martin

Artificial Intelligence

Two major technological revolutions are shaping the car of the future: electrification and autonomy.

Electric vehicles (EVs) will eventually win out not simply because of an increased focus on sustainability, or because Tesla made them sexy, but because they provide undeniable benefits for an industry that’s become overwhelmingly consolidated, inextricably globalised and massively regulated—and because EVs ultimately pair better with self-driving technology.

Wide-scale EV adoption not only alleviates regulatory headaches over what’s being spewed from the tailpipe—EVs have no spew, and no tailpipes—but the cars are also simpler to manufacture and suited to the type of modular architecture now favoured by the world’s largest automakers, in which a few platforms underpin a wide variety of vehicles. (The Volkswagen Group, which owns 12 brands across seven countries, produces more than 30 different models on its MQB platform alone, from sports cars to minivans.) Plus, the world’s largest car market, China, is pushing a blistering rate of battery-powered EV adoption—more than a million electric and hybrid-electric cars sold in 2018—with Europe, the third-largest market, attempting to keep pace. Regardless of whether the US intends to continue its retrograde love affair with fossil fuels, an increasingly climate-minded global market will ensure the automobile’s plugged-in future.

As for self-driving technology, it’s anyone’s guess when it becomes a widespread consumer reality; it’s not just a question of technological capability but a complex matrix involving legislation, infrastructure and liability. Meanwhile, everyone from Samsung to Uber is spending astonishing amounts of money to ensure a front-row seat whenever the show starts.

“Without a doubt, on our road map is to have privately owned vehicles enabled with our technology,” says Adam Frost, chief automotive and corporate development officer at Waymo, formerly the Google Self-Driving Car Project, now its own entity within Google’s parent company, Alphabet. “And our partners are obviously very interested in that. We’re in discussions with them around, ‘What is that product?’”

Rolls-Royce

Rolls-Royce says its 103EX Concept will be “as unique as your own fingerprint.” Courtesy of Rolls-Royce

But the day when you can Netflix and chill in your Level 4 autonomous ride is years, if not decades, away. For now, companies like Waymo, Cruise and Argo AI have partnered with (or been bought by) automakers to develop fleets of L4-equipped taxis that operate within the confines of certain test cities: Waymo runs autonomous Chrysler Pacifica minivans in parts of Phoenix, while Argo has AI-equipped Fords operating in Palo Alto, Detroit and Pitts- burgh. These vehicles rely on information from onboard hardware such as cameras, sensors, radar and a laser-based system called LIDAR, plus incredibly detailed 3-D maps.

“We make a Waymo-specific map,” Frost says. “It’s a very deep understanding of the physical environment. It uses a high-definition mapping system that understands where hills are. It can see stop signs, it knows where the traffic lights are, where the lane markings are. It even has the curb edge captured.”

According to Alex Roy, a journalist for The Drive who writes frequently about automation and is an investor in the AV space, the industry’s “geofenced” operating areas and automotive-technological partnerships hint at how the technology could roll out for personally owned autonomous vehicles.

“The artificial intelligence stack has to be taught anew in each city,” Roy says. “You start with one city, then you add more cities, and then, eventually, those cities can be connected. It’s service coverage, like a cell-phone map.” At some point, Roy says, AV companies will have to compete for personal-vehicle customers in overlapping markets. That could mean choosing a Ford over an Audi based partly on the brand, specifications and range of its autonomous technology, like choosing a mobile phone based not just on features like screen size and operating system but service area and call quality. A vehicle’s tech capabilities (autonomous and otherwise) will increasingly become distinct vehicle features, like the engine or stereo system, upgradable for those who want the latest and best—and not just the tech itself, but how it’s deployed.

Google computer

Part of Google’s advanced quantum computer. Courtesy of Google

Consider that, by design, autonomous vehicles are unlikely to ever truly flaunt the speed limit like a human would, no matter how much open road lies ahead. That means, during the period when roads are shared by both human-driven and autonomous machines, getting anywhere faster than the posted limit in an AV might require the opening of a wallet instead of a throttle.

“Luxury cars that have been upgraded in the system as ‘priority vehicles’ could be allowed to travel much faster and overtake nonpriority cars,” Roy says. “For a price.”

And that’s to say nothing of in-cockpit technology. The crazed rush to develop self-driving capability kicked open the auto industry’s door to Big Data. Now comfortably inside, Amazon, Apple and Google have no intention of ceding a massive captive audience—more than 80 million new vehicles were sold worldwide in 2018 alone—that will soon have to figure out what to pay attention to inside a car once driving has been scratched off the list. Ordering the luxury vehicle of the future might entail ticking boxes for gaming and entertainment packages that include the latest Fortnite release and an Amazon Prime video subscription, or a health package with integrated real-time biometric monitoring.

If that sounds far away, that’s because it is. But Big Data is changing the possibilities around the luxury car in more tangible ways, and some of the most incredible are happening right now.

Niche Manufacturing

“To create a vehicle at the moment, whether it’s a run of one or a hundred or a hundred thousand, the investment needed in tooling and man-hours is astronomical,” says Felix Holst, chief product officer and founding partner of Hackrod, a start-up that explores radical new manufacturing applications in the automotive space. “As 3-D printing and robotic metal forming and all sorts of other advanced, automated manufacturing techniques come online, it has the power to put the consumer in touch with manufacturing—in effect, mass manufacturing in the quantity of one.”

Hackrod

The algorithmically generated chassis design for Hackrod’s La Bandita roadster.

This is the bleeding edge of automotive production. Even Tesla’s heavily automated Fremont factory, a vast California facility where whirring robots press and laser and lift car bodies 15 feet onto a rail system with the ease of placing a can of soup on a shelf, relies on an essentially traditional manufacturing process: Designers sketch cars, engineers model and refine the design, and people and machines assemble the parts. But Holst and Hackrod cofounder Mouse McCoy saw that a convergence of advanced technologies—artificial intelligence, virtual reality, algorithmic design, 3-D printing—could flatten the process in the same way that music software like GarageBand turned the labour-intensive process of making an album into something replicable by a bored teenager in his bedroom. Holst, a former vice president for design at Hot Wheels, says the goal was to imagine “whether three kids in their garage could start a car company.”

The result was Hackrod’s La Bandita roadster, built on a chassis conceived not by engineers but by a machine-learning algorithm and brought to life by advanced manufacturing processes.

“It’s generative design,” says Holst. “Which is basically, set your needs and parameters for what you’re trying to achieve and allow cloud processing to give you an optimised structure that solves for those needs.” This type of algorithmic software can already tackle complex engineering problems, such as an engine swap. When staggeringly powerful quantum computers become widely available (as of this writing, there are reportedly only 11 examples online around the world), such calculations could be computed across infinite parallel universes just for fun.

The implications for vehicle customization are astounding, especially in a future of simplified electric vehicles. A customer could buy a modular EV “skateboard”—a flat row of batteries on motorized running gear—then commission a boutique manufacturer to algorithmically generate a body design to exact performance and safety specifications, crash-tested in virtual reality and printed over the course of days or even hours, and entirely unconstrained by needs like a driver’s seat or a windshield you can see out of.

“We build the entire automotive experience around a steering wheel and pedals, so all cars have a similarity to them,” says Frost. “When you think 30 years down the track, and the Waymo [autonomous] driver being an enabler, it becomes a blank sheet.”

Rolls-Royce

Interior of Rolls-Royce concept Courtesy of Rolls-Royce

And creativity need not stop at the vehicle manufacturing. The interior and exterior could be painstakingly hand-finished using a combination of high-tech and old-school techniques, like contemporary resto-modifiers do today with classic cars. That could mean everything from 3-D-printed seats, designed using personalized body mapping and upholstered by hand, to a carbon-fibre rear wing re-created to the exact, laser-scanned dimensions of the ’95 Le Mans–winning McLaren F1 GTR.

“We really are on the cusp of some very dramatic shifts,” says Holst. “There is a view of the future that is very like the golden age of coachbuilding.”

To make such bespoke vehicles self-driving, imagine AI software and sensor hardware bundled together as an off-the-shelf automotive component the same way you can buy a Ford crate engine or parking sensors from Amazon. Waymo already sells its LIDAR scanning tech to nonautomotive customers, while San Diego– based Comma.AI offers a $930 device called the Eon DevKit, which uses a camera and the brand’s open-source software to enhance the driver- assistance systems of numerous vehicles across brands, like an aftermarket Tesla Autopilot.

Such bespoke and well-equipped machines will not come cheap; they will be the wild exceptions among a herd of increasingly homogenized commuter shuttles—until, of course, they’re not. Citing huge demand for mass-market but customisable 3-D-printed gear from Nike and Adidas, Holst suggests such cars “will very quickly be for the everyman.”

And when such dream machines become available to the masses, where will the luxury car go from there?

The Tesla Cybertruck

Tesla’s Cybertruck brings the post-apocalyptic future to the present day. Tesla

Rarity

There is a future––far away and hardly guaranteed, but possible—in which your average car is nothing but a whizzing electric box powered through inductive charging by the very roads on which it expertly drives itself. A luxury version of such a car is easy to imagine: Just make the box bigger and more sumptuous, an autonomous transport the size of a rock band’s touring bus lavishly appointed by the great interior designers of the time, hung with art and plied with every amenity from sleeping quarters and a gym to climate-controlled wine storage.

But in this same obscure tomorrow there’s another version of the luxury car, one which is considered an astonishing oddity to behold—outlandish, anachronistic, perhaps even deliberately provocative. That car will look, nearly exactly, like the car of today: an utterly servile box and tires, with a steering wheel and pedals, powered by the crude liquefied remains of dinosaurs.

The automobile may be rolling toward an electrified, customizable, self-driving future, but technology trends toward the efficient and the democratic—two qualities the luxury market can’t abide. Just consider the story of the “quartz crisis,” which almost killed off the luxury watchmaking industry as we know it.

In the waning days of the 1970s, the entire horological industry decided it had seen the future, and that future ran on batteries. Quartz-powered watches were more accurate, more reliable and far cheaper to produce than complex mechanical movements. Everyone from Rolex to Patek Philippe embraced the brave new world; brands across Switzerland destroyed their watchmaking machinery, the old ways unceremoniously discarded in heaps of suddenly obsolete tooling.

Bentley concept

Bentley EXP 100 GT concept car Courtesy of Bentley

Then, eventually, the fever waned. Luxury buyers were no longer enamoured of simplicity and efficiency. They wanted instead to absorb themselves in the complex, inefficient, labour-intensive products of human industry, as they did with their architecture and wines and bespoke suits. Powered once again by intricate mechanical movements, the luxury watchmaking industry eventually regrew itself into a multibillion-dollar industry that shows no signs of slowing.

There is no such mass-market future for the loud, brainless, gas-powered automobile, especially when fossil fuel may cost as much as gold and legislation and liability have driven human-powered cars from the road in the name of safety. And as congestion pricing and subscription-based automotive services conspire to hollow out the middle-class ownership model, “the luxury of private ownership is about to become far more rare, especially in cities,” says Alex Roy, with future roads populated by vehicles paid for “by the minute or mile.”

But for those collectors who can afford to house and feed and maintain a fussy, demanding, extravagant curiosity, the reward will be a direct link to one of humankind’s greatest achievements, a remarkably robust and sometimes dazzling beast of burden on whose back we built the modern world.

One will need more than access to gasoline and a dying breed of knowledgeable mechanics. An archaic automobile kept alive in a distant future will require space to roam. And in a world of whizzing boxes depositing us like pre-sorted mail, what savage freedom it will be to take off toward nowhere and let the thing bellow and fart and run where you tell it, as fast as you dare. They’ll call it senselessly dangerous and heretically backward—the kind of outmoded, mostly illegal fun available only to historical reenactors and the very rich.

Which is to say, according to Roy, “the best way to ensure you’ll be able to drive in the autonomous future is to own the road you’re driving on.”

 

This story comes from our latest Autumn 2020 issue. To purchase a copy or to sign up to an annual subscription of Robb Report Australia & New Zealand click here. To stay in touch with all the latest news click here.

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Home is Where the Art Is

Six standout Australian galleries to know now.

By Belinda Aucott-christie 26/03/2025

Australia’s gallery scene is booming. More galleries than ever before are going on the road to participate in art fairs in scene that is rapidly maturing. Meet the passionate local owners from around Australia who are energising the creative milieu with the abstract, the edgy, the Indigenous and the generally astounding.

Hugo Michell Gallery

The district may not roll off the artistic tongue like Paris’s Montmartre or London’s Shoreditch, and yet the prim hedges of Adelaide’s Beulah Park suburb provide cover to a stealth powerhouse of the Australian contemporary art movement, tucked away in a charming, blink-and-you’ll-miss-it converted Victorian workers’ cottage. Since 2008, the Hugo Michell Gallery has unflappably carried the torch for established and emerging acts with equal fidelity, across a broad sweep of mediums from photography to printmaking, textile to ceramic. “We try not to get caught up in the hype and handle each artist we represent with the nuance required for promoting their work,” says Michell, currently counting 28 artists on his books. One notable on this year’s busy docket is Melbourne-based Richard Lewer, a social realist—already snapped up by the National Galleries of Australia and Victoria, no less—who for a month from April 10th will probe the uneasy relationship between crime, sport and religion. While comfortable in the skin of his homely suburban bolthole, Michell is not averse to braving the rigours of the Australian art fair circuit (“They’re a bit of a circus, but who doesn’t love a circus?) and often undertakes house visits to acquaint himself with the whims of new customers. “One of the things that gives me the most joy is building a collection for a client,” he says. “We have worked with for 16 years, tailoring and sourcing works for them.” More proof that you don’t need a headline location to generate the biggest stories.
hugomichellgallery.com

Cassandra Bird Gallery

The art sphere often challenges the myth that married partners should not become gallerists—see Iwan and Manuela Wirth of Hauser & Wirth fame, among other examples. And so it is that Cassandra Bird and husband Fabian Jentsch are rapidly cementing a reputation as one the Australian art scene’s supercouples with their 2023-acquired Potts Point space, an expansive four-level heritage terrace fizzing with congeniality, making visitors feel like they have popped to a friend’s (expertly curated) home for elevenses. Which is no great shock: the property doubles as the duo’s own home. Bird brings a wealth of experience, and a hefty contacts book, thanks to long, respected stints in the Big Apple and Berlin, and nine years at Sydney’s RoslynOxley9 Gallery; Jentsch, meanwhile, is an experienced artist, exhibition maker and set designer. “We try to enthuse people, get them excited as we are about those we work with,” says Bird. Meander across the property’s wooden floorboards—perhaps diverting for a chat in the communal courtyard that doubles as a social hub and ideas-exchange forum—and you will enter the realm of Perth-born graphic painter Jedda Daisy-Culley, who has a hallway and wall dedicated to her work; venture upstairs and deep dive into locally based experimental photographer Laura Moore; head into the basement and peruse the collective works the Tennant Creek Brio, out of Warumungu Country in the Northern Territory. All 24 of the gallery’s artists unite under the theme of timelessness. “We are into investigating quality and showing transformational and breakout work from artists,” says Jentsch. “The work we choose must have something that is strong value for us.” Here’s to the sanctity of marriage.

cassandrabird.com

D’lan Contemporary

It speaks volumes for the international reach of Indigenous art that D’lan Contemporary opened an outpost in New York long before expanding the gallery beyond its Melbourne roots to set up shop in Sydney. Then again, founder and director D’lan Davidson is not afraid of expanding his frontiers as a means of hawking Australia’s most vital cultural outpourings; in 2016, he left the Sotheby’s Australia auction house, where he was ensconced as head of aboriginal art, to launch D’lan Contemporary as the go-to gallery for secondary market First Nations art; and he recently travelled to Maastricht in the Netherlands for the prestigious European Fine Arts Foundation Art Fair, promoting a series of Western Arnhem bark paintings and works by Paddy Bedford, Emily Kame Kngwarreye, Rover Thomas and other. Closer to home, Davidson has surrounded himself with a team brimming with the requisite Indigenous art smarts, including chief curator and gallery director Luke Scholes. From May 8th-July 4th, the Significant exhibition, a mainstay of the Melbourne gallery for the past ten years, will show across all three of D’lan Contemporary’s locations. “Our exhibitions and all our advocacy work seek to further support and develop the burgeoning global interest in Australian First Nations art and artists,” says Scholes. As if further proof were needed of its commitment, the gallery donates 30 percent of its profit back to artists and their communities. Bravo.

dlancontemporary.com.au

N.Smith Gallery

Enter Nick Smith’s compact office and you notice how the walls are studded by the artworks of those he represents; this is a man, you feel, who has a more intimate connection to his stable than the average gallery chief—an instinct confirmed upon discovering that he has invested his entire life savings into the Surry Hills space. When we meet, Smith’s whiteboard is teeming with collaborative projects, hinting heavily at the kind of edgy, thought-provoking artists that his outfit—comprised of five full-time staff—is renowned for nurturing. “It’s constant, but amazing,” says Smith in his typically reserved manner, more studious scientist than reengage gallerist. “I wanted to contribute to culture in my own way.” The gallery’s current ascension allays any empathetic fears of impending financial doom. This past February, Smith—who cut his teeth at Philip Bacon Galleries in Brisbane and Sydney’s Sullivan+Strumpf—collaborated with the Australian High Commission in India to represent Darrell Sibosado at India Art Fair ’25, and throughout the year will be partnering with the Sydney chapter of Soho House to host a series of private viewings and artist studio visits. Even so, he now splits his time equally between private and public projects, often mentoring artists at all stages of their creative journeys. “It’s that forward momentum. It’s that feeling of progressions and going somewhere that I love,” says Smith. Indeed, the only way is up.

nsmithgallery.com

Palas

It is hard—nay, almost impossible—to imagine Palas founders Tania Doropoulos and Matt Glenn frantically trying to scoop up whoever is flavour of the month on Sydney’s perennially shifting art circuit. Here are young gallery partners prone to a slower, more considered approach, instead recruiting a tight roster of internationally famed artists, and choosing to nurture relationships that have been years, sometime decades, in the making. Case in point: video performance maestro Shaun Gladwell, who represented Australia at the 2007 Venice Biennale (a 20-year affiliate), and Melbourne-based artist and noise-musician Marco Fusinato (15 years), who also flew the artistic green and gold at the same festival in 2022. Add to that list Canadian multi-media artist Tamara Henderson and Irish sculptor Eva Rothschild, currently working out of London, and it is clear Palas have a formidable roll call to lean on. “We’re investing a huge amount of time into their processes as art makers,” says Doropoulos. “And I think by extension, we’ve got really good working relationships with other galleries throughout the world.” For its founders, the Palas gallery—which opened in Sydney’s resolutely hipster Waterloo suburb just over a year ago with a silkscreen painting medley by the aforementioned Fusinato—is somewhat of a flag-planting endeavour on home soil: both earned a certain amount of their stripes overseas—Doropoulos as former artistic director of Frieze London and Frieze Studios, and Glenn at Sadie Coles HQ, also in the British capital. Australian art disciples will no doubt be praying for a long domestic residency.

palas-inc.com

Coma

If Sotiris Sotiriou’s consciously balanced ensemble of black Saint Laurent suit, single gold chain and flash of bare chest are anything to go by, the Coma gallery founder wields a sharp eye—a handy attribute to have when your career depends on identifying aesthetic clout, what hits and what doesn’t. From humble beginnings in 2016 in a subterranean road space next to Elvis Pizza on Sydney’s New South Head Road, his enterprise gradually flowered, first to East Sydney, then Chippendale, before fully blooming at his current space in up-and-coming Marrickville, in what was once a coffee factory. The predominantly light-industrial area has witnessed around half a dozen new gallery debuts in recent years, and Coma’s door-fling, filled as it was with hip young Inner West couples sourcing bold, ambitious art for their homes and offices, suggests Sotiriou has timed his arrival to perfection. February’s opening exhibition was hosted by Australian (but Santa Fe based) figurative painter Justin Williams, whose approach riffs on the folkloric traditions of Russian and Polish art, rich with symbolism and psychological details; this work forms a striking counterpoint to the abstract expressionism of other Sotiriou recruits, such as Zara June Williams and her partner Jack Lanagan Dunbar. The Coma head honcho, who had a spell selling to wealthy clients at Nanda Hobbs, says that private clients now make up most of his customer base. This year, as he prepares to attend three international art fairs, he estimates his artistic head count to increase by 30 percent. He can, no doubt, also point you in the direction of a fine tailor.

comagallery.com

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Car of the Year

Always an unmissable highlight of the automotive calendar, Robb Report ANZ’s annual motoring awards set a new benchmark among glorious Gold Coast tarmac.

By Horacio Silva 24/03/2025

Over two unforgettable days, our motoring sages and VIP guests embarked on an exhilarating journey from Surfers Paradise to Brisbane and back again—traversing an irresistible selection of terrain in our exotic rides, from deserted rainforest-lined b-roads to testing mountain switchbacks with dizzying—sometimes heart-in-mouth—views over the southern Queensland peninsula. And as befitting an event starring the crème de la crème of auto marques, we did so while savouring the best in luxury and gastronomy—capped off with an extraordinary superyacht experience at Sanctuary Cove.

 

The ten contenders for the Car of the Year were not the only dream machines on show. The first day’s adventure kicked off at the Langham Hotel and included a midday pit stop at the glorious Beechmont Estate, where our fleet of drivers were greeted by a stunning array of vintage cars exhibited in a concours d’elegance-style display.

 

Concours d’elegance-style vintage car show at the Beechmont Estate.

The sumptuous feast for the eyes on offer at Beechmont, a quaint country village located between the Lamington Plateau and Tamborine Mountain, was followed by a meal for the ages prepared by executive chefs Chris and Alex Norman at the property’s hatted restaurant, The Paddock.

 

Fine dining at The Paddock.

Then, itching to remount our steeds, it was time to hit the road again, with our drivers—all sporting Onitsuka Tiger’s new driving shoes—hightailing it to Brisbane and The Calile Hotel, a property which has been scooping accolades like Jay Leno collects supercars.

 

Rolls-Royce Spectre

After some much needed relaxation by the pool, that evening the drivers and press were joined by local luminaries in the hotel’s private dining room. Over an extravagant banquet they got to compare notes on marvels of engineering and design that they’d had the chance to pilot all day. They were also treated to a showcase of spectacular Jacob & Co. timepieces and Hardy Brothers jewellery and an elegant sufficiency of 40-year Glenfiddich whiskey served in gold cups worth $60,000 a pop. It made for animated discussions and more than a little impromptu shopping.

Rivera Yachts 6800 Sport Yacht Platinum Edition

And did we mention the luxury yacht experience? After a full itinerary of adventures on the road, the day ended with an invigorating late-afternoon of luxuriating aboard two new Riviera Yacht releases—the 6800 Sport Yacht and the 585 SUV—where our intrepid drivers and assorted press got to literally and figuratively take their hands off the wheel and make a case for their car of the year. As the forthcoming pages attest, they were more than spoiled for choice. But who would take centre stage on the winners’ podium?

OVERALL WINNER

Rolls-Royce Spectre

 

BEST SPORTS CAR

Aston Martin Vantage

 

BEST LUXURY HYBRID

Bentley Flying Spur

 

BEST PERFORMANCE SUPERCAR

McLaren 750S

 

BEST ROADSTER

Mercedes-AMG SL634MATIC+

 

BEST CAR DESIGN

Maserati GranTurismo

 

BEST ELECTRIC PERFORMANCE CAR

Porsche Taycan Turbo S

 

BEST SUV

Ferrari Purosangue

Cruise along to robbreport.com.au/events for more supercars and luxury motoring.

 

Judges sample luxury Jacob & Co. timepieces.

 

 

Aston Martin Vantage

 

 

Graceful egress in Onitsuka Tiger’s driving shoes.

 

The Porsche Taycan retains a timeless demeanour in any company.

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Cool as Ice

Mercedes-Benz’s CEO Ola Källenius is expert at racing a nearly four-tonne truck across a frozen lake. Can he steer the marque’s EV-focused future as adeptly?

By Ben Oliver 26/03/2025

Ola Källenius is standing in a cold, bare workshop just south of the Arctic Circle in his native Sweden. A heavily disguised prototype of the new electric G-Class SUV—not yet launched when we meet—has just returned from high-speed, low-grip testing on tracks cut into the frozen lakes nearby and is being hoisted into the air on a hydraulic lift for inspection. As it drips meltwater onto the concrete floor, Källenius, CEO of the Mercedes-Benz Group, eats his lunch (today, a premade sandwich and a carton of juice) and speaks in fluent German to the mostly Austrian engineers who spend months in this bleak locale ensuring that the company’s new models can cope with the types of conditions in which vanishingly few customers will ever actually drive. They discuss the truck’s handling on ice and the progress of its test program. Källenius compliments them on the car’s dynamics—how stable it remained even at speed, how safe he felt driving it—and asks them how long they’re here.

“There are some harsh realities to this job, and to the car industry,” he tells me later. “But this is what I love doing: spending time with our designers, or driving with you on an ice-lake in Sweden, or talking to these engineers. I wanted to congratulate them on what they’ve achieved. We get to enjoy a nice couple of days here, but they’re here for a long time.”

At 193 cm, Källenius might tower over most of them physically, but there’s nothing in his demeanor that hints at the disparity in their corporate statuses. Nor is this the kind of place you’d expect to find the head of one of the world’s great luxury brands: a man paid roughly $22 million last year to lead the 166,000 employees of a company valued at around $75 billion, whose founder, Carl Benz, invented the motor car and whose genuinely iconic logo has graced the nose of everything from popemobiles and Lewis Hamilton’s Formula 1 racer to the most expensive automobile ever sold at auction. In a recent report, investment analysts Bernstein described Mercedes-Benz under Källenius’s reign as a “four-wheeled cash-generation machine”.

Cold-weather testing.
Courtesy of Mercedes-Benz

But the celebrated car marques are not like luxury brands that make watches or couture or accessories or Champagne. Look beyond the alluring badge and bodywork for a moment: the objects Mercedes-Benz and its rivals produce are insanely complex, ever-changing and hugely capital-intensive—and must succeed in an utterly cutthroat market. Their impact on the environment and the economy has always made them perennial hot-button issues politically. But the electrification of the automobile has put these companies in the geopolitical crosshairs like never before, as governments swap tariffs and risk a global trade war to ensure that they keep their respective shares of the car industry, even as it undergoes an unprecedented transformation.

And of course, the cars need to be remade, too. Add the impact of electrification to Källenius’s own manifesto for Mercedes-Benz, and this storied marque is likely to change more in the next decade than it did in the previous 138 years. “It’s a once-in-a-century transformation,” he says. “We are reinventing our original invention.”

So who is the guy steering Mercedes through this tumult? What’s his plan? And what cars will he give us? Källenius has sat for plenty of interviews in his five years as CEO (his second five-year term is set to conclude in 2029), but this is the first time that he has offered anything more. Robb Report was invited to spend the weekend with him in Arjeplog, the tiny northern-Swedish town whose population swells fourfold each winter as the global car industry descends to test its secret new models on the area’s frozen lakes. Spy photographers abound, but to reduce the chance of its future lineup being scooped, Mercedes rents its own private expanse of sheet ice from a local landowner. I watch Källenius as he test-drives the electric G at his empire’s oddest and most northerly outpost, meets local staff and records social-media footage. He drives some other, more secret new electric AMGs that I am definitely not allowed to see, whose debuts are much further off and which, when not on the ice, remain hidden beneath their heavy covers outside the workshop.

Out on Mercedes-Benz’s private frozen expanse.
Courtesy of Mercedes-Benz

Källenius has a reputation for being fearsomely intelligent, rational and efficient, but also not the type of hyper-alpha asshole who too often comes to lead a carmaker. Over the weekend, I see that sharpness not just in the logic of his answers, but in the nuance of the English prose, as perfect as his German, in which he delivers them.

I’m not sure I’d want those piercing blue eyes and that high-wattage intellect turned on me in a meeting if I didn’t have my numbers straight, but his non-asshole character dominates. It comes through in the easy egalitarianism he displays with the engineers in the workshop, or how he notices and thanks waitstaff, or the way he’s enjoying a casual dinner and a beer with a long table of employees of all stripes when I first arrive at the unglamorous Silverhatten hotel where he’s staying—a glorified bunkhouse for the United Nations of engineers and test-drivers who flock here. This is clearly a leader who sees the obligations of his office as clearly as its privileges: an attitude underpinned by a natural Nordic modesty and reserve.

SNOW DAY | After a session of cold-weather testing, the SUV gets an inspection.
Courtesy of Mercedes-Benz

“I guess your personality is something that forms in younger years, and I’m not sure you can fundamentally change it,” he tells me over coffee one morning. “There is a Swedish core in the way I act, and maybe most Swedes are not kick-the-door-down types. I believe this should be true for anybody who is at Mercedes or has the privilege to lead Mercedes: We are custodians of that star for a brief moment. It’s my job to hand it over safe and in better condition. The person is not the brand.”

Perhaps not, but the brand will look very different by the time this person is done with it in 2029. And you can add loyalty to that list of his qualities: Källenius has never worked anywhere else, having joined Mercedes-Benz in 1993 straight out of the Stockholm School of Economics, where he founded an American football team called the Traders, for which he was captain of the offense. True to form, he studied tapes of the Chicago Bears and New England Patriots in order to write the team playbooks. At Mercedes, he was a finance guy at first; an early posting took him to Alabama, to help set up the Mercedes factory in Tuscaloosa, where he became—and remains—a Crimson Tide fan.

In 2003, at the age of just 34, he was put in charge of the Mercedes-Benz SLR McLaren supercar project; two years later, he was given control of Mercedes-Benz High Performance Powertrains, the firm’s in-house Formula 1 engine-maker. After a year as vice president and CEO of Mercedes-Benz US International back in Tuscaloosa, he was recalled to Germany in 2010 to become vice president and managing director of AMG, Mercedes’s high-performance road-car division. Then came two board positions to prove his breadth of ability—sales and marketing, followed by research and development—before he ascended to the top job in 2019 at the age of 50.

The electric G-Class we’re about to drive together (now officially if awkwardly named the “G580 with EQ Technology”) is a neat encapsulation of many of the things Källenius has tried to do at Mercedes. First, it’s an EV, which fits his initial plan to make everything electric—“where market conditions allow”—by 2030. Second, it’s expensive, with a starting price in the US of $161,500 (around $257,000, though likely to cost more in Australia). Another critical if controversial part of his manifesto is to shift Mercedes upmarket; he spun off the truck business early and is currently in the process of dropping high-volume, low-margin models including the A- and B-Classes. And lastly, he wants new models to still feel like Mercedes vehicles, even if the design that underpins them is radically different from what came before. And the G-Wagen—with its gloriously anachronistic overengineering that you can feel and hear every time you clunk a door shut—epitomises the Mercedes ethos whether the vehicle is gas or electric.

Other new Mercedes EVs go much further in their innovation, gaining greater advantage from their electric drivetrains given that they were designed as EVs from the outset. They use Mercedes’s new MB.OS operating system with built-in AI and receive fresh design cues inside and out—not least the mad, vast, almost full-width hyperscreen user interface—rather than the same upright, rectilinear lines first sketched out to suit the needs of farmers and soldiers when the G-Class was introduced 45 years ago

But as shorthand for old Merc meeting new, the electric G is perfect, and it’s pleasing to be driven in it by the CEO on whose watch it was conceived and executed. “Yes, this is an electric G,” he says as he drifts it across the glassy frozen lake, “but it’s 100 percent G. The most important box for any G-Class to tick is the Schöckl mountain in Austria, to earn that Schöckl-proven plaque they all have. I did five trips up and down it in the electric G in the autumn, and not only can it do the Schöckl, I felt it could do the Schöckl best of all.”

SLIP ’N SLIDE | Mercedes-Benz and other carmakers bring their secret new models to frozen northern locales every winter. Courtesy of Mercedes-Benz

His stints at AMG, in Formula 1, and with McLaren have turned this “spreadsheet guy” into a skilled driver, though most Swedes seem to have the ability to safely slide a car on ice coded into their DNA. Even with the G sideways at around 110 km/h, a plume of snow and ice billowing high behind it, Källenius has enough spare mental-processing capacity to adjust the screen settings while telling a funny story about the very first time an electric G even crossed his mind.

He was at the Detroit Auto Show in 2018, when the company was first showing the revised G-Class. Arnold Schwarzenegger came to the unveiling and asked Källenius’s predecessor, Dieter Zetsche, if an electric version was in the cards. “Dr. Zetsche said, ‘Yes, of course,’ Källenius recalls. “I was head of R & D at the time, and one of my colleagues turned to me and said, ‘Do we even have an electric G in the plan?’ I said that I guessed we did now.”

Those less keen on electric cars than Arnie and Ola might be pleased by the fact that the ambition to be battery-only by 2030 has fizzled fast. Mercedes now predicts that EVs and plug-in hybrids will account for only half of its sales by the late 2020s, and the company is refreshing its range of gas engines to keep them relevant and selling deep into the 2030s. This is a systemic issue and no reflection on Mercedes products; Källenius has always averred “where market conditions allow”, and market conditions currently don’t. But the retreat is still slightly awkward.

N THE DRIVER’S SEAT | Källenius at the wheel
Courtesy of Mercedes-Benz

“The early adopter phase is over,” he tells me. “Now we need to convince every customer. I think it would be a mistake to say, ‘Okay, electric is growing a bit slower, let’s sit back, wait, and not do anything.’ Because if you put product into the market that is so convincing that most customers go, ‘Yeah, maybe I didn’t have iPhone 1, but iPhone 4 looks pretty good,’ you can get very quick, even exponential growth. And if you were the one that said, ‘I’m not going to set sail here; let’s wait and see what the weather does,’ all the other boats would be out on the ocean, and you’d miss the race.”

But if buyers are going to be sold on EVs by the technology rather than by brand power, what does Mercedes’ 138 years of history count for? With customers attracted to new EV marques that are able to innovate unconstrained by precedent—and one of those brands having a market cap 7.5 times that of Mercedes, despite selling a few hundred thousand fewer cars per year—does heritage become a liability rather than an asset?

“We also do unconventional things,” Källenius insists. “With blow-your-mind–type features like the crazy hyperscreen in the EQS and the EQE, a lot of people are looking at Mercedes who perhaps didn’t look before. We are one of the biggest automotive sponsors in e-sports. Formula 1 is off the charts; 53 percent of F1 fans are between 15 and 35, and 37 percent are women. When we do crazy things like the G-Class collaborations with Moncler or the late Virgil Abloh, you go beyond the traditional auto crowd to one that buys from other luxury brands. My test is if one of my kids sends me a picture and goes, like, ‘Dad, what is this?’ I got their attention.”

I wonder how the former finance guy now handles running one of the world’s great luxury brands and to whom he looks for inspiration. He acknowledges that he meets with Bernard Arnault at LVMH and Jean- Frédéric Dufour at Rolex but is coy about the nature of their discussions.

“We also reach out to people in other luxury businesses to understand how they think,” Källenius notes. “I had the good fortune to meet Brunello Cucinelli, and he invited me down to Solomeo, the hamlet which he has helped to restore. It’s one of the most beautiful villages I’ve ever seen. I learned a lot about fabrics, quality, stealth luxury, sometimes not emphasising the brand so much. A fine gentleman like that has a very clear understanding of what luxury means in his business. We brought some secret new-vehicle designs to show him and to get his input.”

The CEO talking with writer Ben Oliver.
Courtesy of Mercedes-Benz

“Maybe you can’t compare a high-intensity, high-engineering, high-capital-investment good like a car to a piece of clothing,” he adds. “They are different businesses. But good chefs eat in each other’s restaurants even though they have a totally different style of cooking, just to see what the others are doing. But when you go back into your kitchen, you’re still the chef, and you put together the recipe.”

I sense a slight frustration from the hyperrational Swede—perhaps that he believes he has gotten the recipe right but has to wait a bit longer for diners’ tastes to catch up. In many cases, judged on any objective criteria, the new Mercedes EVs will be the best cars the company has ever made, including the electric G. The customers, though, are as busy trying to get their heads around this brave new world as the automotive CEOs are.

“This is definitely the most transformative decade since the inception of the company,” Källenius agrees. “But we’ve always done this. The Swabian engineers who founded Mercedes didn’t look at the horseshoe and think, ‘How do we make this lighter to make the horse run faster?’ They wanted to get the horse out of the equation and do something new. That attitude hasn’t changed. We’ve always looked through the windscreen, not in the mirror.”

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Men at Play

Two restless entrepreneurs build a Belizean island paradise especially for those “aha! moments”.

By Katie Kelly Bell 26/03/2025

Though he’s supposed to be in what he calls his “play years” now, Knoxville-based real-estate entrepreneur Steve Hall still finds himself working on vacation. After a trip to Belize, he got the itch to build something new and started meeting with developers. Hall hit it off with David Keener, CEO and owner of Vision Properties, and together they acquired an isolated tract on Placencia Caye, a private island just five minutes by boat from the mainland.

After two and a half years of work, they’ve recently started welcoming guests to Prana Maya, a secluded, wellness-focused retreat that enjoys expansive views of the Caribbean Sea, the island’s lagoon and the Maya Mountains. “We designed everything to inspire people,” Hall says of the property. “Every aspect of the resort is intentional. Every service we offer is designed to create that ‘aha! moment’ that will rock someone’s world.”

The property includes seven three- and four-bedroom villas featuring locally carved wooden doors. The breezy, secluded structures are sited to prioritise views of the water, and each has its own plunge pool. Rooms at the Inn—a collection of 10 airy, light-filled suites—face the ocean. Each guest has an assigned butler, and every bed at the resort is fitted with a custom grounding mat, designed to replicate a connection with nature; some studies suggest they promote mental and physical well-being. 

Belize’s tropical landscape is the catalyst for getting outdoors. Its unique saltwater flats give sport-fishing aficionados a bucket-list opportunity: catching what the International Game Fishing Association calls the Grand Slam—permit, tarpon and bonefish—all in one day. So Hall and Keener recruited High Adventure Company, a global outfitter with 30 years of guiding expertise, to take guests on exclusive angling excursions. The resort will also offer cave-tubing, jungle-trekking, zip-lining and diving trips.

The resort is a high-end haven for committed fishermen; its bars and restaurants use produce from a private 10-acre farm.
Courtesy of Prana Maya

If you’re in search of less rugged activities, head to the spa and wellness centre. The design team placed it on prime real estate: the Inn’s top floor, which has 360-degree water views and 5 m ceilings. Here, you’ll find a yoga studio, five private treatment rooms and a sound-therapy space. You can also enjoy Prana Maya’s private beach, the only sandy stretch on the island that isn’t shared with another property.

At The Grill, the open-air restaurant, executive chef Liesel Kirste cooks with indigenous ingredients—many sourced from the resort’s four-hectare farm. The menu includes elevated fare such as locally caught lobster, grilled and served over fresh pasta. Even components of more casual dishes are made from scratch: at the Island Club—with its outdoor kitchen, lawn games and forthcoming palapa-shaded pickleball court—the ketchup and mayonnaise are made in-house. That gives the culinary team the flexibility to design a bespoke menu, upon request, to suit your nutritional needs.

The property occupies the northern tip of Placencia Caye, five minutes via boat from the mainland. Courtesy of Prana Maya

Ultimately, Prana Maya is the expression of a million small details (down to the reef-safe spa products, curated by a Belizean supplier) and the location’s natural majesty. “When you get out to the island site, see the spectacular views of the Caribbean, turn another direction and see the beauty of the Maya Mountains, it is such an awesome and almost overwhelming feeling,” Hall says. One he is determined to share with everyone who visits.

Top image: Benedict Kim/Courtesy of Prana Maya

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How to Use Your Dress Watch to Nail Casual Style This Autumn

The dress watch is back and more laid-back than ever. Here’s how to rock your Cartier and Piaget pieces with casual looks

By Paige Reddinger 24/03/2025

After the seemingly never-ending hype around steel sports watches, dress watches have been making a comeback. But it’s not just the average 42 mm dress watch that’s sparking interest (although, those too, are in the running), but also funky vintage diamond-accented timepieces or small-sized, almost feminine pieces are trending. Recently, actor Paul Mescal was spotted on the red carpet of the Annual Academy Museum Gala wearing a Cartier Tank Mini with his tux, while sports legend Dwyane Wade wore a 28 mm diamond Tiffany & Co. Eternity watch with his black tie ensemble to the same event. While these guys were wearing dress watches in their intended setting, here we show you how to make a dress watch work for casual weekend wear too.

Try dabbling in unexpected pairings like an army green Ghiaia safari jacket with a vintage Chopard Happy Diamonds timepiece or Breguet Classique Ref. 7147 (the ultimate dressy timekeeper) with a Louis Vuitton sweatsuit and a Brioni overcoat. Anything goes these days and the more unexpected the timepiece, the stronger the statement. It’s good news all around—for your wardrobe and your investments in the vault.

Above: Blancpain 39.7 mm Villeret Ultraplate in 18-karat red gold, $69,675; Tod’s faux-shearling and denim jacket, $5,6859; Tom Ford cashmere and silk turtleneck, $2,535.

PHOTOGRAPHED BY MATALLINA. WATCH EDITOR, PAIGE REDDINGER. FASHION DIRECTOR, ALEX BADIA. STYLE EDITOR, NAOMI ROUGEAU.

Jaeger-LeCoultre 40 mm Reverso One Duetto Jewellery in 18-karat pink gold and diamonds, $79,560. Right: Chopard 32 mm vintage Happy Diamonds in 18-karat white gold and diamonds, $19,930, analogshift.com; Ghiaia cotton safari jacket, $1,426; Eton cotton T-shirt, 358; Hermès denim trousers, $1,674.

Audemars Piguet 34 mm vintage automatic ultrathin watch in 18-karat white gold and diamonds, $9,300, classicwatchny.com. Right: Cartier 41.4 mm Tortue in platinum, $35,600, limited to 200; Gabriela Hearst hand-knit cashmere sweater, $2,500; Officine Générale cotton-poplin shirt, $315.

Breguet 40 mm Classique Ref. 7147 in 18-karat white gold, $37,468; Brioni wool and cashmere overcoat, $12,233, and silk knit crewneck sweater, $2,224; Louis Vuitton wool track pants, $2,120, and wool hooded jacket, $5,002. Right: Patek Philippe 39 mm Calatrava Ref. 6119R-001 in 18-karat rose gold, $52,791.

Piaget 45 mm Andy Warhol in 18-karat rose gold, $69,198. Right: Rolex 29 mm vintage King Midas Ref. 4342 in 18-karat yellow gold, $28,301, classicwatchny.com; Brunello Cucinelli denim shirt, $1,586; Tom Ford cotton chinos, $1,259; Berluti leather belt, $1,132.

Model: Arthur Sales
Grooming: Amanda Wilson
Senior market editor and casting: Luis Campuzano
Photo director: Irene Opezzo
Photo assistant: Alejandro Suarez
Prop stylist: Elizabeth Derwin

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