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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Inside Loro Piana’s First Sydney Boutique

A first Australian address brings the Italian house’s textile-led approach to retail full circle.

By Horacio Silva 26/03/2026

On the fourth floor of Westfield Sydney, near the Castlereagh and Market Street entrance—in the space formerly occupied by Chanel—Loro Piana has opened its first Australian boutique. It is a significant address change for that corner of the mall, and a meaningful one for the Italian house, which has sourced Australian merino wool for decades but until now had no retail presence here.

The facade is understated—creamy, tactile, more about texture than theatre. Inside, the store unfolds across a single, expansive level divided into distinct men’s and women’s wings. The separation is clear without being heavy-handed: womenswear leads from soft accessories and leather goods into ready-to-wear, while menswear occupies its own assured territory, with tailoring and outerwear given proper breathing room. Footwear (supple loafers, luxurious slides, pared-back sneakers) is particularly strong, and the sunglasses are a quiet standout: mineral-toned frames with a disciplined elegance that feels entirely of the house.

That same restraint carries into the interiors, where the surfaces do much of the talking. Walls are wrapped in the company’s own linen and cashmere; carpets are custom, dense underfoot, softening the acoustics and the pace. Oak and carabottino wood add warmth without fuss; marble accents introduce a cool counterpoint. The effect is a composed space calibrated around material, proportion and restraint.

The Spring 2026 collection now in store underscores that sensibility. Silhouettes are elongated and fluid; cashmere, silk and featherweight merino move in sandy neutrals, creams and muddied earth tones, with flashes of marigold and pale turquoise breaking the calm. Tailoring is softly structured and projects confidence without aggression. Leather goods arrive in buttery skins that feel almost pre-lived, as though time has already worked its magic.

What distinguishes Loro Piana, particularly in a market that has grown noisier by the season, is its refusal to perform luxury in an obvious register. There are no oversized insignias telegraphing allegiance. Instead, the status is encoded in fibre count, in hand-feel, in how a coat hangs from the shoulder. It assumes the wearer knows and, crucially, does not need to announce it.

Sydney’s luxury landscape has matured in recent years; global houses no longer test the waters but commit to them. Yet Loro Piana’s arrival feels different. It is not trend-driven expansion but material logic. For a country whose sheep stations have long contributed to the house’s fabric story, this boutique reads almost as a thank-you note written in cashmere.

 

Photography: Courtesy of Loro Piana.

 

 

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This Stylish, Water-Resistant Dopp Kit Might Be the Last One You Ever Buy

Patricks’s limited-edition wash bag is designed to keep liquids in and out, so it can come along wherever your travels take you.

By Justin Fenner 11/03/2026

If all you’re going to do is look at it, a leather Dopp kit from a fashion house is a fine choice. But if you take travelling seriously—and do it often, for business, pleasure, or both—such a bag will inevitably end up blemished with droplets of water or stained by errant flecks of toothpaste. Get stuck with a cavalier team of baggage handlers, and it can even get soaked in your favourite fragrance or anti-ageing serum.

But Patricks, the high-performance Australian grooming brand stocked in Harrods and Bergdorf Goodman, has a solution. Its limited-edition bathroom bag, called BB1, is purpose-built to protect everything inside and out. Conceived by industrial designer George Cunningham with brand founder Patrick Kidd, the cuboid design is executed in a water-resistant recycled nylon you can rinse clean. It’s lined with a thin layer of shock-absorbing foam to safeguard your products, but if a bottle somehow gets cracked in transit, the two-way water-resistant zippers and sealed seams (which keep liquids from seeping in or out) ensure that whatever leaks won’t ruin your cashmere. Inside, two dual-sided zippered compartments are ideally sized to fit toothbrushes, razors, and other small essentials.

And though its clean lines and rugged construction make it undeniably masculine, its greatest feature is borrowed from women’s makeup bags. Like the best of these, BB1 unzips to lie flat, giving you unobstructed access to everything inside. Well, you and the 999 other gentlemen who move fast enough to snag one. $289

Courtesy of Patricks

1. Hanging Loop 

The G-hook system isn’t just a stylish handle: You can also use it to hang the bag from a hook or secure it to your carry-on.

2. Two-Way Zipper

The closures are water-resistant in both directions, meaning liquids won’t get in or out.

3. Fold-flat Construction

BB1 opens to 180 degrees, letting you scan its 4.2-litre capacity at a quick glance.

4. Technical-Fabric Shell

The durable recycled-nylon is easy to maintain and woven to survive splashes and leaks from your go-to products.

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You Can Now Place Bets on the Future Prices of Rolex Models

And which models will get discontinued next, thanks to a new collaboration between Kalshi and Bezel.

By Nicole Hoey 11/03/2026

You can bet on pretty much anything these days, from when Taylor Swift and Travis Kelce will get married to who will be the next James Bond—and now that includes the Rollies on your wrist, or on your wishlist.

Prediction market platform Kalshi, regulated in the U.S., and luxe watch marketplace Bezel have teamed up on a new platform called Watch Futures that allows users to splash down cash on where they think the prices of a particular luxe timepiece are going, whether that’s a Rolex Submariner or a coveted Patek Philippe, Time & Tide reported.

You can also place a wager on which models might be discontinued, as well as any future launches from the top watchmakers on the new platform; with Watches and Wonders coming up, it’s certainly a well-timed launch that could see a lot of activity as a slew of new releases are announced at the event.

Watch Futures is all based on Beztimate, Bezel’s system (once used only internally) to help it accurately calculate the market price of a timepiece. It draws data from real-time transactions, live bids, verified sales, and other market offers to spawn its own series of independent valuation models to establish a watch’s value. From there, it’s up to bettors to place their wagers, and then the platform will showcase any price fluctuations or other updates as time goes on.

This new platform could have some pretty large implications for the watch industry.  As any horological savant would know, the internet and collectors alike are constantly chattering about which models are on the way out or when a certain timepiece of the moment’s time in the limelight will fade, of course, having a large impact on the prices of said model. And now, a Watch Futures user can have a direct stake in where a model is headed—and if they own said timepiece, it can be a protection from dwindling values on the marketplace, say, if a user places a bet on their model losing value and that actually comes to fruition.

To see Watch Futures in real time (and scope out how some pieces in your collection are faring), you can use the Kalshi app or its website.

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Mauve on Up

Brisbane boutique stay Miss Midgley’s offers a viscerally human experience—especially if you dig pink.

By Horacio Silva 17/12/2025

On a sun-bleached corner of Brisbane’s New Farm, where the scent of frangipani mingles with the clink of coffee cups, stands a building that has lived more lives than most people. Once a premier’s residence, an orphanage, a hospital and a private school, the 160-year-old stone structure now finds itself reborn as Miss Midgley’s—a boutique stay that teaches a masterclass in how to make heritage feel modern.

Designed and run by architect-mother-daughter duo Lisa and Isabella White, Miss Midgley’s captures the cultural confidence of a city in bloom. Nowhere is that new confidence more visible than along James Street—the leafy, slow-burn heart of the city’s fashion and dining scene—where Miss Midgley’s sits quietly at the edge, its shell-pink façade glowing in the subtropical light.

Built of Brisbane’s rare volcanic tuff, the building’s soft mauves and pinks are more than aesthetic; they are its identity. Locals still remember its 1950s incarnation as the Pink Flats, and the Whites have honoured that legacy with a contemporary blush-toned exterior, chosen to harmonise with the stone’s peachy undertones. Inside, those hues continue in dusty terracottas, russets and the faint shimmer of brass tapware. “Design can’t afford to be for the sake of fashion,” Isabella White has said. “It has to respond to what’s in front of you.”

That sentiment is tangible in every corner. Five apartments, each with their own idiosyncratic floor plan, occupy the building. Ceilings bloom with heritage plasterwork, 19th-century wallpaper fragments have been preserved in the kitchens, and tiny hand-painted notes left by the architects point out original quirks: a misaligned beam here, a hidden archway there. It’s a kind of adult treasure hunt for design lovers, where discovery feels personal and unforced.

Even the picket fence, a heritage requirement, has been reimagined in corten steel—a sly nod to regulation turned into sculpture. It’s this blend of reverence and rebellion that gives Miss Midgley’s its edge: heritage without starch, nostalgia without sentimentality.

True to Brisbane’s easy elegance, luxury here is measured not in marble or minibar but in proportion, privacy, and personality. Each apartment—from the Drawing Room and the Assembly Hall to the Principal’s Office—is a self-contained sanctuary with its own kitchen, large bathroom and outdoor space. The ground-floor units open onto leafy courtyards and welcome small dogs; upstairs, the larger suites spill onto verandahs shaded by jacarandas.

At the heart of the property lies a solar-heated pool hemmed with tropical greenery and fringed umbrellas—more mid-century Palm Springs than colonial Brisbane. Around it, guests share a petite laundry, a communal library and that rarest of urban luxuries: a car park per apartment. The atmosphere is quietly collegiate—a handful of travellers who might nod to each other on the stairs but otherwise inhabit their own creative bubbles.

The hotel’s namesake, Annie Midgley, lends the project both its name and its spirit. An ambidextrous artist and teacher, she famously instructed two students at once, writing with both hands simultaneously—a fitting metaphor for the dual vision the Whites bring to the building: one hand rooted in history, the other sketching toward the future. “Not famous, yet known,” goes the property’s understated tagline—and indeed, Miss Midgley’s has quietly become that most desirable of addresses: the one whispered about by people who know.

Sustainability isn’t an accessory here; it’s structural. The adaptive reuse of the heritage building is its boldest environmental act. Solar panels power the property; an electric heat pump warms the pool; recycled decking and tiles frame the courtyard. The metre-thick tuff walls regulate temperature naturally, and the amenities follow suit—refillable bath products, biodegradable pods, Seljak blankets spun from textile off-cuts, and compendiums wrapped in Australian-made kangaroo leather. It’s slow luxury in the truest sense.

In a world of carbon-copy hotels, Miss Midgley’s feels deeply human—a place where history isn’t curated behind glass but lives in the warmth of stone and the flicker of afternoon light. The lesson it offers is simple and resonant: that the most elegant modernity often comes not from reinvention, but from listening to what’s already there.

 

 Miss Midgley’s

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