Superyachts To The Rescue

An innovative Great Barrier Reef eco-project is challenging pre-conceptions of Australia’s natural wonder—and the people who monitor it.

By Stephen Corby 28/04/2023

If you picture marine biologists, in particular reef scientists, as those sporting beaded brows and salty sour mouths mumbling dire predictions of demise and death, then you’re doing it wrong. In fact you should be picturing ordinary folk looking extraordinarily happy, luxuriating over lychee martinis on the Sky Deck of a superyacht after a hugely rewarding day of Great Barrier Reef research, citizen scientist style.

But before we discuss how you, too, can help save one of the planet’s most important ecosystems while enjoying a dreamscape holiday, we need to talk about the Reef and reports of its imminent death.

Yes, there have been mass-bleaching incidents—including two large-scale events in 2016 and 2017—and, while it’s a little more complex than, say, a crop dying because climate change delivered a scorching summer, there’s no doubt these are events of acute concern. So too attacks by the “cockroaches of the sea”, Crown of Thorns Starfish (COTS).

But the Barrier Reef, our Reef, is the size of Germany, larger than Japan, and is made up of more than 3000 individual reefs stretching for 2300km off our northern coastline—a distance longer than the entire US west coast. Furthermore, and most strikingly, just 5 per cent of the Great Barrier Reef is regularly surveyed, 40 per cent of it never properly examined. Which means we actually don’t really know what’s going on beneath. Not yet.

Only five percent of the Reef is regularly surveyed; 40 percent is never properly examined. Photo: Damian Bennett

It’s within this context that amateur scientists come in. And it’s here, within this framework that Robb Report recently joined the Citizens Of The Great Barrier Reef team on board the superyacht Beluga—a 35m luxury vessel comprising staterooms, top-deck hot tub and seven full-time staff, including a mixologist and chef (gifted to a level that impressed the hard-marker of our team, Mark LaBrooy, chef and co-owner of the respected Three Blue Ducks group).

Citizens of the Great Barrier Reef (CGBR) was built by CEO Andy Ridley. If Ridley’s name ring with certain familiarity it’s because he’s the same the man who conceived, and made a global success of, Earth Hour, which now has supporters in 190 countries. He launched CGBR in Sydney in 2017 to tackle the problem of the Reef’s scale by using what any yachtie will tell you is the best kind of boat—someone else’s.

Beluga has won awards for its work in ocean conservation. Photo: Damian Bennett

“After the bleaching events in 2016 and 2017, there was a big crisis meeting in Cairns and what came out of that was a need to do broad-scale reconnaissance, to help us identity key source reefs—the healthy ones that can reboot those around them—and to get a vision of what’s happening down there on a yearly basis,” explains Ridley. “The hardest thing about that is getting boat time, it’s very expensive, so how do you build a billion-dollar research program when you don’t have a billion dollars? Well, you use everyone else’s boats, and everyone else’s time.

And so the idea of a motley flotilla or vessels was formed. “To survey as much of the Reef as possible, everything from tug boats to tourist dive boats, to superyachts.”

Ridley makes the idea seem simple, obvious even, but then how do you get people to avail their boats, brains and time for free, particularly a boat like Beluga, which charters from $27,000 a day?

This is Ridley’s gift. He’s not just good with ideas (he was originally going to call Earth Hour “The Big Flick”, and the idea was to turn off all the lights in Sydney except those at Prime Minister John Howard’s Kirribilli address; it eventually grew to more than 5000 cities globally). And while not a scientist, he is a kind of alchemist—capable of taking someone’s interest in conservation and turning it into gold.

Mark LaBrooy being taken out on a Swift boat. Photo: Damian Bennett

Beluga is owned by Sandrina Postorino—an angel investor, environmental warrior and deeply passionate diver—and her husband, Chris Ellis, who interestingly, given the mission here, is the co-founder of Excel Coal.

When Ridley approached Postorino in 2020 when conducting the first ever Great Reef Census—which involved anyone who wanted to help snapping photos of the Reef and uploading them—she was on board immediately.

“Initially, Chris was very sceptical… There’s a lot of other groups that basically portray the Great Barrier Reef as being dead, completely dead, and so he said, ‘I’m going to get even less charters by participating’,” recalls Postorino.

“But once he started talking to me, he realised Andy was not like that, that the idea was to get a snapshot of what is actually happening, establishing a baseline, so it wasn’t biased one way or the other. And so he sort of reluctantly agreed to it.”

Postorino says that if it was solely her decision, she’d avail their stunning superyacht for more than half of every year: “We need to raise awareness. You need to tell people that there’s a big problem, but we also need more data, and in that way I think Citizens is very good at keeping a balance and providing hard facts.”

That initial involvement led to Beluga winning BOAT International‘s Ocean Awards “Yacht of the Year”, which recognises vessels, and their owners, that demonstrate a commitment to ocean conservation.

That initial Great Reef Census surveyed 115 reefs using Beluga and 30 other boats and produced 14,000 images. Census 2, in 2021, used 65 boats to cover 315 reefs and produced more than 45,000 images.

Once again, Ridley was faced with the problem of scale—experts had worked hard to get through the initial batch of images, using them to make maps of where the Reef was struggling, flourishing or under attack from COTS, but the data had now exploded.

Technology and computing outfit Dell was talked into developing an AI program that could do image analysis—with 90 per cent accuracy. To check that data, the Citizens project then enlisted school children, running a program held across six schools in Queensland and one in NSW where students were given iPads and asked to analyse the imagery.

“We were expecting each kid to do maybe five images, and we had 350 students involved, and they just blew us away, as they analysed more than 24,000 images—one kid did 920 on his own,” says Ridley. “The headmaster at Cairns High went into the detention room and found kids doing reef analysis, and not as a punishment, but because they loved it.”

Moves are under way to take the school program global, even though the AI is constantly getting better at its job, having been fed more than 60,000 new images from Reef Census 3 (covering more than 630 reefs, using 95 boats).

Robb Report’s Stephen Corby talks to Citizens recruit Nicole Senn, with Ridley and LaBrooy. Photo: Damian Bennett

We joined the team on Beluga for the final three days of surveying of that Census and across some previously uncharted reefs a few hours out of Port Douglas.

After sitting through a PowerPoint presentation about Citizens (during which we all tried hard not to be distracted by either the aquatic views or the fact that we were sitting in a superyacht lounge the more often found within a Point Piper mansion), the Census process and our part in it—point GoPro camera at coral, shoot, repeat every five fin kicks until you have 30 photos—we are shown on a map how our teams will survey four sides of each reef to get as full a picture as possible.

It’s all starting to feel like work, or at least the kind of industrious science you might have done at school—until we hit the Swift boats. Here, the idea that it will be in any way arduous evaporates like the salt spray on your face as you zip low across water that’s as impossibly blue as a 7/11 Slurpee.

Lighting the horizon with a sub-surface glow are the reefs we’re here to investigate. The transition moment—as your mask splashes into the water—feels like seeing for the first time after being blindfolded for a week. Broiling blue surface turns to inky green, streaked with sunbeams lighting up a world that feels like Shinjuku Station for fish. The coral itself is a feast of shape, texture and wafting wonder, but it’s the living things that are the burning stars in this damp universe, proliferating in such numbers and variation as to dazzle a brain and camera.

Robb Report participated in 15 dives across three days. Photo: Damian Bennett

The “five fin flips” rule had to be introduced after the first Census when it became obvious that people were just taking photos of all the exciting things they saw, rather than shooting a whole area, be it good and bad.

Across our 15 dives we saw some spectacularly alive reefs, some disturbingly patchy ones and a few that looked like those empty enclosures at zoos sporting signs that read: “this environment is being reimagined”. Overall, however, the Reef looked and felt like a vast bounty of wonder—something we really should do everything we can to protect.

It’s something Mark LaBrooy—a keen spear fisherman who can do incredible things with a given catch—is passionate about. “You come out into these environments and it’s pure escapism from the pace of the world that we live in. And I’ve been coming up here for years, and now you’re starting to see that our world is having an influence on this world, it’s not separate, it’s interconnected,” says LaBrooy.

“In my time, I’ve seen areas of the reef die and coral bleaching, I’ve seen those big graveyards of coral.  So I love what Citizens is doing, it’s so community focused, and I think the more you can showcase and engage with your environment, the more you turn people into advocates for protecting it.”

Another Reef regular who’s passionate about the need for more research is Ross Miller, the skipper of Aroona, another superyacht that’s repeatedly donated its time and resources to Citizens and the Census. “We’ve definitely lost reef in some areas but there’s also a lot of regrowth in other areas,” offers Miller. “So it’s the kind of thing that’s very hard to explain in a newspaper article, which is why they often miss the mark.

Miller and Aroona— a 22-metre vessel operating out of Yorkley’s Knob, Far North Queensland—have been traversing and exploring these waters for two decades. “We’re always exploring new reefs but now we’re not just doing it to see what it’s like, through the Census we’re doing research for the scientists that help manage it.

“I’ve got some clients who’ve been coming up here for six years, they’re not scientists but they’re just passionate about understanding the Reef and they’ve come up to be part of the Census for the past two years, and probably 90 per cent of the new sites we went to were looking fantastic.”

Miller adds that many of his clients are now also involved. “They feel like they don’t want to be just on holiday, they want to be supporting something, it’s this kind of ‘meaningful tourism’ that really adds an extra layer to their experience.”

Photo: Damian Bennett

Andy Ridley, of course, will take whatever help he can get as he continues to chip away at a job that seems almost implausibly large and impossibly important.

“I think our greatest achievement so far has been that we’ve become hugely helpful in guiding the COTS boats on where to go, there are about a dozen of them, funded by various agencies, and they go out diving and inject the COTS with vinegar to kill them. It’s a tough job because they’re like the cockroaches of the sea, so hard to kill, and  just bump a bit off and it will fall to the bottom and regenerate into a whole new starfish,” he explains. “In the past, those boats were going out and surveying, trying to find the COTS, now we can tell them the areas they don’t need to look and save an enormous amount of time and money.”

As a life-long conservationist with a restless mind, Ridley is also looking beyond Citizens to what the model he’s established could achieve elsewhere. “The way we look at it is it’s almost a pilot project for how we could do massively scaled-up conservation, with a big reliance on technology and an even bigger reliance on people giving their time,” he says. “What conservation has historically done is said, ‘give us your money and we’ll go and do it’. This model is different, it still needs money but not as much, it’s more about ‘we want your time, and we want your brain and we’d like your boat’.

“So our list of demands is quite high, but people seem to want to be more legitimately part of the effort, rather than just handing over cash.”

citizensgbr.org

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Omega Just Unveiled 9 Watches in Its New Constellation Observatory Collection

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

By Nicole Hoey 31/03/2026

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

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

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

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

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

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

 

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

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

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

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In Search of White Gold

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

By Craig Tansley 18/05/2026

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

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

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

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

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

Carving clouds in Silverton backcountry terrain.

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

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

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

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

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

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

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

Thelma Hut, in the San Juan National Forest.

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

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

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

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

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

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

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

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

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Best Combustion Supercar: Ferrari 12Cilindri Spider

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

By Vince Jackson 20/04/2026

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

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

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

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

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

The Numbers

Engine: 6.5-litre V12

Power: 610kW

Torque: 678 Nm

Transmission: 8-speed dual-clutch auto

0-100 km/h: 2.95 seconds

Top speed: 340 km/h

Price: From $886,800

Photography by SONDR.
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High and Low

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

By Tori Latham 12/05/2026

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

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

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

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

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

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

The menu’s croque monsieur

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

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

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

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

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

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

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

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

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

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

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

Photography by Tori Latham

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

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Going For Gold

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

By Rachel Gallaher 18/05/2026

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

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

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

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

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

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

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