These Next-Gen Supersonic Jets Want to Replace the Concorde. Will They Ever Take Off?

Skeptics think not, but a core of true believers are inching forward with new designs and test flights.

By J. George Forant 14/06/2024

To dig into the state of supersonic flight these days is to invite an unlikely conversation about cell phones. Three out of five experts in the field compared the smartphone of 20 years ago with a future generation of jets that hope to blow past Mach 1.

“Think of the original iPhone. In those early days, it made huge leaps every year. That’s where we are with supersonic,” says Blake Scholl, CEO of Boom. “Tech advances in S-curves. Products go through periods of slow development, then rapid improvement, then level off again to incremental gains.”

The Concorde, the world’s only commercial supersonic jet, was the big, clunky plastic phone that the very wealthy first had in their cars, while the new breed of supersonic jet is a flip phone with a keyboard that, according to supersonic’s believers, will eventually morph into the sleek, multifunction supercomputer that has become so affordable that it’s available to almost everyone.

“It’s taken longer than we would’ve hoped, but there will absolutely be supersonic flight,” says Vik Kachoria, the CEO of Spike Aviation. “We think supersonic will offer a lot of value and will be very useful.”

Not everyone shares his certitude.

Boom’s Overture commercial jet touts supersonic’s potential, but faces multiple hurdles.
Boom Aerospace

“If you go back and look it up, starting from the ‘90s, proponents of supersonic flight say it is always 10 years away,” says Brian Foley, a business aviation industry consultant. “Why 10 years? Probably because it’s a number that’s not too distant, but far enough that when the time comes, no one will remember all the promises you made and failed to deliver on.”

One hopeful, Aerion, which counted Boeing and Lockheed Martin as investors, shuttered in 2021 after nearly 20 years of planning for its next-generation AS2 supersonic business jet. If any private company had the potential create a new commercial supersonic reality, it seemed to be Aerion. The backers invested billions and hired top aerospace engineers to work on the minutia of flight beyond Mach 1.0, or 1234 kph.

Then, out of the blue, the company shut down because it couldn’t secure long-term investors who believed in supersonic’s potential. “They had put together amazing talent,” said aviation consultant Rollie Vincent, who did some work for Aerion, shortly after the closure. “The number of PhDs per square foot was off the charts,” he said. “But they weren’t building things. They were trying to refine design and purify aerodynamics. At some point, everybody, including investors, want to see real parts.”

Aerion’s AS2 was the poster child of a potentially successful supersonic jet. After 20 years, the company abruptly folded.
Aerion

Boom, now leading a handful of private supersonic aircraft developers, seemed to realise early that it needed hardware to demonstrate its progress. The company launched its XB-1 demonstrator jet on March 22. Its initial flight topped out at less than 240 knots, but for the first time since the Concorde, a non-military plane built for supersonic speed executed a successful flight. If future test flights progress as projected, the XB-1 could make a run at the sound barrier within a year. And the company’s 150,000-square-foot production facility in Greensboro, N.C., is on schedule to open in late ‘24.

Not far behind, NASA’s X-59 experimental craft should make its first flight later this year. The jet, a product of the QueSST project, represents the government’s attempt to reduce the sonic boom, a key development for supersonic’s commercial future, since it’s illegal to break the sound barrier over land in the U.S. and most other countries.

“The key to lowering the boom is in shaping the airplane and the wing, smoothing them out so the shock waves don’t combine,” says Dave Richwine, deputy project manager for technology on the X-59. “NASA is working at a fundamental level and, hopefully, the industry will bring it all together.”

Mitigating sonic booms is the primary focus of supersonic builders.
Getty

There are signs that approach is working. Spike has absorbed much of NASA’s work while modifying and applying the theories to a larger craft, its 12- to 18-seat business jet called the Diplomat, which won’t launch until at least 2026. Like the X-59, it aims to reduce the boom by manipulating and flattening the sonic waves so they’re directed upwards and largely cancel each other out. The goal is a sonic “thump” or a ground-level sound of roughly 75 decibels perceived, akin to a closing car door.

Exosonic, which is developing unmanned supersonic drones for military training and a 70-seat passenger jet, expresses a similar goal on sound, and is part of the group rallying to change the current law. Instead of a speed limit, builders want a sound limit, so it doesn’t matter how fast a plane flies, so long as it doesn’t rattle the windows of the houses it passes over.

Boom is less preoccupied with noise. Scholl says at some point, a standard will be issued and Boom will meet it. For now, the company plans to address the issue by only going supersonic over the ocean. Over land its planes, says Scholl, will operate 20 percent faster than current commercial jets.

NASA’s X-59 experimental aircraft plans to turn sonic booms into much quieter sonic thumps.
NASA

In theory, Boom’s XB-1 will eventually lead to the Overture, the 64- to 80-seat commercial aircraft the company plans to build once it dials in the technology. American, Japan Air, and United have all put in non-refundable preorders of Overtures, and Scholl hopes the plane will be flying with passengers by 2030.

“We’re very engaged with the FAA and we’ve already received our G1 certification,” Scholl explains. “It’s a long list of boxes we have to check, as it should be, but we’re locked in on the needs and all we have to do is meet them.”

All these supersonic projects feature a modified delta wing and a long, tapered nose that gives the craft a more futuristic, streamlined profile than the Concorde. Aesthetically, the designs are attractive, but they also make it impossible for pilots to see, a problem solved by a system of cameras mounted on the exterior. The XB-1 includes an augmented reality overlay with guidance for the pilots.

Facing critics and shortfall in development funds, Boom CEO Blake Scholl remains a cheerleader for supersonic’s potential.
Boom Aerospace

Spike, which has a longer development timeline, eliminated almost all the windows on the body, replacing them with hi-definition flat screens that run the length of the cabin, on which they can project the exterior view—or a movie or “anything you can put on a computer screen,” says Kachoria.

The Spike chief executive compares the Diplomat to a Gulfstream, with a customisable interior and the option of plush, oversized seats, and Exosonic too plans a business jet version, with three suites, executive seating, and full-recline chairs. Across the supersonic category, weight limitations will reduce the capacity for the kinds of comforts found in typical first-class service, but other considerations will, presumably, make up for any lack of poshness and interior space. “Instead of getting upgraded to business class, someone might get upgraded to supersonic,” says Kachoria. “You won’t have fancy plates, but you’ll arrive at your destination in half the time.”

Foley, who did market research on supersonic jets when he was employed at Dassault Falcon and has worked with Spike, remains skeptical. He forecasts a market of about 300 jets for private owners, or about 30 planes a year for 10 years: “Is that even enough for an engine manufacturer to participate?”

Spike’s concept of its jet interior.
Spike Aerospace

Apparently not. When Aerion shut down, GE Aerospace halted three years of development of the Affinity supersonic engine designed to power Aerion’s AS2. GE, along with major engine builders Pratt & Whitney, Rolls-Royce, Honeywell Aerospace and Safran all passed on developing an engine for Boom, according to AIN.

That left the company with no option but to form an alliance that included Florida Turbine Technologies, GE Additive and StandardAero to invent a propulsion solution, an engine called the Symphony.

“Designing an engine is no easy task, especially from scratch, and it’s potentially a multibillion-dollar exercise beyond designing the plane,” Foley told Robb Report a year ago.

Sustainability remains a concern for observers. The Concorde burned four times as much fuel as the 747.
Getty

Despite that, Boom has built the XB-1 and taken it to the sky. “The technology and supply chain exist,” says Scholl. “There’s no fundamental new science—every key technology in this airplane has already flown before.”

In early 2021, Subaru, Mitsubishi Heavy Industries, and several other companies formed Japan Supersonic Research with a goal of having an SST passenger jet by 2030. They partnered with the Japan Aerospace Exploration Agency and have access to JAXA research going back to 1997. Shigeya Watanabe, deputy director, recently told Aero Society it was working on improving current technologies as well as developing more sustainable propulsion technologies.

Sustainability was a non-issue when the Concorde first took off in 1969. It burned four times more fuel than a 747 on a Paris-New York flight. Fifty-five years later, it’s now a core challenge for aviation, especially supersonic aircraft. Environmental scientists Anastasia Kharina and Tim MacDonald wrote in a study for the International Council on Clean Transportation that “commercial SSTs could be three times as fuel intensive per passenger as comparable subsonic aircraft.”

Spike Aerospace is considering hydrogen power to align with sustainability initiatives in commercial aviation.
Spike Aerospace

Boom and Exosonic hope to solve the green issue by designing their engines to run on 100-percent sustainable aviation fuel (SAF) while Spike is exploring electric and hydrogen. “The technology for design is so much faster now,” says Kachoria in discussing the engineering challenges. “We can make modifications and see the result onscreen in seconds. They built the Concorde with slide rules and drafting paper and did 10 total iterations. We can do 1,000 simulations in a few hours.”

Kachoria sees supersonic’s potential upside as 900 or more planes over 20 years going to a mix of high-net-worth individuals, fractional leasing services, and airlines. Scholl is even more bullish. “Our ultimate goal is to have supersonic flights on all routes for all passengers,” he says. “These planes will create their own need. As soon as people see others crossing the Pacific in four hours, they’ll say, ‘Why are we sitting in this metal tube for so long when we don’t have to?’”

If Boom and the other supersonic builders succeed, how long will it be before someone is asking a similar question about their jets? Destinus and Hermeus are also aviation start-ups, and they’re developing hypersonic jets that will travel at up to five times the speed of sound.

Lack of interest from aircraft engine manufacturers has forced Boom to develop its own engine.
Boom Aerospace

Pipe dreams or the birth of a new era in flight? The outcome could depend, as Aerion found out, on whether the manufacturers can find the start-up funds, amounting to many billions, for a viable niche in commercial and business aviation. “Never say never,” says analyst Foley. “But these things tend to move at the speed of money, and investors don’t seem to have the risk appetite.”

This article was originally published in Robb Report US.

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Watches & Wonders 2024 Showcase: Hermès

We head to Geneva for the Watches & Wonders exhibition; a week-long horological blockbuster featuring the hottest new drops, and no shortage of hype.

By Josh Bozin 24/07/2024

With Watches & Wonders 2024 well and truly behind us, we review some of the novelties Hermès presented at this year’s event.

HERMÈS

Hermes Cut

Moving away from the block colours and sporty aesthetic that has defined Hermès watches in recent years, the biggest news from the French luxury goods company at Watches & Wonders came with the unveiling of its newest collection, the Hermès Cut.

It flaunts a round bezel, but the case middle is nearer to a tonneau shape—a relatively simple design that, despite attracting flak from some watch aficionados, works. While marketed as a “women’s watch”, the Cut has universal appeal thanks to its elegant package and proportions. It moves away from the Maison’s penchant for a style-first product; it’s a watch that tells the time, not a fashion accessory with the ability to tell the time.

Hermès gets the proportions just right thanks to a satin-brushed and polished 36 mm case, PVD-treated Arabic numerals, and clean-cut edges that further accentuate its character. One of the key design elements is the positioning of the crown, boldly sitting at half-past one and embellished with a lacquered or engraved “H”, clearly stamping its originality. The watch is powered by a Hermès Manufacture movement H1912, revealed through its sapphire crystal caseback. In addition to its seamlessly integrated and easy-wearing metal bracelet, the Cut also comes with the option for a range of coloured rubber straps. Together with its clever interchangeable system, it’s a cinch to swap out its look.

It will be interesting to see how the Hermès Cut fares in coming months, particularly as it tries to establish its own identity separate from the more aggressive, but widely popular, Ho8 collection. Either way, the company is now a serious part of the dialogue around the concept of time.

hermes.com

Read more about this year’s Watches & Wonders exhibition at robbreport.com.au

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Celebrating Neil Perry, Our Culinary Master 2024

Celebrating Neil Perry, our Culinary Master 2024.

By Robb Report Team 22/07/2024

Tickets to Culinary Masters, our annual culinary extravaganza—feting the country’s standout chef, in a once-in-a-lifetime, money-can’t-buy experience—are now available for sale.

The fact that Robb Report ANZ has chosen legendary Australian chef Neil Perry as its Culinary Master 2024 should surprise exactly no-one.

As a chef, restaurateur and television presenter Perry has reframed this country’s gastronomy scene for over four decades and remains as relevant as ever.

His neighbourhood restaurant Margaret has reinvigorated Double Bay in the last year and earned him a host of new accolades, including the third best steakhouse in the world—and the best in Australia. More recently, Perry was honoured with the World’s 50 Best Restaurant Awards ‘Icon’ at a ceremony held in Las Vegas.

We are thrilled to celebrate Perry’s landmark-year accomplishments, at Song Bird, his hotter-than-Hades new Cantonese restaurant in Double Bay, in an extraordinary night honouring culinary excellence and the best of luxury in Sydney’s Eastern Suburbs. A night not to be missed.

Details as follows:
Date: Tuesday 17th September 2024
Arrival: 6.30 pm for sit down 7.00 pm
Address:  Song Bird, 24 Bay St, Double Bay, NSW
Dress Code: Cocktail
Price: $660 (includes a $50 donation to ASX Refinitiv Charity Foundation)

Since 1998 ASX Refinitiv Charity Foundation has raised more than $40 million for Children’s, Medical Research and Disability charities doing incredible work every day.
I look forward to welcoming you in person and sharing a memorable evening together.

Horacio Silva
Editor-In-Chief

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Living La Vida Lagerfeld

The world remembers him for fashion. But as a new tome reveals, the iconoclastic designer is defined as much by extravagant, often fantastical, homes as he is clothes.

By Zarah Crawford 22/07/2024

“Lives, like novels, are made up of chapters”, the world-renowned bibliophile, Karl Lagerfeld, once observed. 

Were a psychological-style novel ever to be written about Karl Lagerfeld’s life, it would no doubt give less narrative weight to the story of his reinvigoration of staid fashion houses like Chloe, Fendi and Chanel than to the underpinning leitmotif of the designer’s constant reinvention of himself. 

In a lifetime spanning two centuries, Lagerfeld made and dropped an ever-changing parade of close friends, muses, collaborators and ambiguous lovers, as easily as he changed his clothes, his furniture… even his body. Each chapter of this book would be set against the backdrop of one of his series of apartments, houses and villas, whose often wildly divergent but always ultra-luxurious décor reflected the ever-evolving personas of this compulsively public but ultimately enigmatic man.

With the publication of Karl Lagerfeld: A Life in Houses these wildly disparate but always exquisite interiors are presented for the first time together as a chronological body of work. The book indeed serves as a kind of visual novel, documenting the domestic dreamscapes in which the iconic designer played out his many lives, while also making a strong case that Lagerfeld’s impact on contemporary interior design is just as important, if not more so, than his influence on fashion.

In the studio at the back of the Librarie 7L, Paris, in 2008 — a bookshop established by Lagerfeld himself.

In fact, when the first Lagerfeld interior was featured in a 1968 spread for L’OEil magazine, the editorial describes him merely as a “stylist”. The photographs of the apartment in an 18th-century mansion on rue de Université, show walls lined with plum-coloured rice paper, or lacquered deepest chocolate brown in sharp contrast to crisp, white low ceilings that accentuated the horizontality that was fashionable among the extremely fashionable at the time. Yet amid this setting of aggressively au courant modernism, the anachronistic pops of Art Nouveau and Art Deco objects foreshadow the young Karl’s innate gift for creating strikingly original environments whose harmony is achieved through the deft interplay of contrasting styles and contexts.

Lagerfeld learned early on that presenting himself in a succession of gem-like domestic settings was good for crafting his image. But Lagerfeld’s houses not only provided him with publicity, they also gave him an excuse to indulge in his greatest passion. Shopping!

By 1973, Lagerfeld was living in a new apartment at Place Saint–Sulpice where his acquisition of important Art Deco treasures continued unabated. Now a bearded and muscular disco dandy, he could most often be found in the louche company of the models, starlets and assorted hedonistic beauties that gathered around the flamboyant fashion illustrator Antonio Lopez. Lagerfeld was also in the throes of a hopeless love affair with Jacques de Bascher whose favours he reluctantly shared with his nemesis Yves Saint Laurent.

Hôtel Pozzo di Borgi, from 1977.

He painted the rooms milky white and lined them with specially commissioned carpets—the tawny patterned striations of which invoked musky wild animal pelts. These lent a stark relief to the sleek, machine-age chrome lines of his Deco furnishings. To contemporary eyes it remains a strikingly original arrangement that subtly conveys the tensions at play in Lagerfeld’s own life: the cocaine fuelled orgies of his lover and friends, hosted in the pristine home of a man who claimed that “a bed is for one person”.

In 1975, a painful falling out with his beloved Jacques, who was descending into the abyss of addiction, saw almost his entire collection of peerless Art Deco furniture, paintings and objects put under the auctioneer’s hammer. This was the first of many auction sales, as he habitually shed the contents of his houses along with whatever incarnation of himself had lived there. Lagerfeld was dispassionate about parting with these precious goods. “It’s collecting that’s fun, not owning,” he said. And the reality for a collector on such a Renaissance scale, is that to continue buying, Lagerfeld had to sell. 

Of all his residences, it was the 1977 purchase of Hôtel Pozzo di Borgo, a grand and beautifully preserved 18th-century house, that would finally allow him to fulfill his childhood fantasies of life in the court of Madame de Pompadour. And it was in this aura of Rococó splendour that the fashion designer began to affect, along with his tailored three-piece suits, a courtier’s ponytailed and powdered coif and a coquettish antique fan: marking the beginning of his transformation into a living, breathing global brand that even those with little interest in fashion would immediately recognise.

Place Saint-Sulpice apartment from 1972. At his work station with on the table, his favourite Lalique crystal glass, complete with Coca-Cola.

Lagerfeld’s increasing fame and financial success allowed him to indulge in an unprecedented spending frenzy, competing with deep-pocketed institutions like the Louvre to acquire the finest, most pedigreed pearls of the era—voluptuously carved and gilded bergères; ormolu chests; and fleshy, pastel-tinged Fragonard idylls—to adorn his urban palace. His one-time friend André Leon Talley described him in a contemporary article as suffering from “Versailles complex”. 

However, in mid-1981, and in response to the election of left-wing president, François Mitterrand,  Lagerfeld, with the assistance of his close friend Princess Caroline, became a resident of the tax haven of Monaco. He purchased two apartments on the 21st floor of Le Roccabella, a luxury residential block designed by Gio Ponti. One, in which he kept Jacques de Bascher, with whom he was now reconciled, was decorated in the strict, monochromatic Viennese Secessionist style that had long underpinned his aesthetic vocabulary; the other space, though, was something else entirely, cementing his notoriety as an iconoclastic tastemaker.

Monaco apartment, purchased in 1981: Lagerfeld sits at a tale by George Snowden, with Riviera chairs by Michele de Lucchi. On the table, a cup and sugar bowl by Matteo Thun, flanked by sculptural Treetops lamps by Ettore Sottsass.

Lagerfeld had recently discovered the radically quirky designs of the Memphis Group led by Ettore Sottsass, and bought the collective’s entire first collection and had it shipped to Monaco. In a space with no right angles, these chaotically colourful, geometrically askew pieces—centred on Masanori Umeda’s famous boxing ring—gave visitors the disorientating sensation of having entered a corporeal comic strip. By 1991, the novelty of this jarring postmodern playhouse had inevitably worn thin and once again he sent it all to auction, later telling a journalist that “after a few years it was like living in an old Courrèges. Ha!”

Reverse view of the Monaco living room, featuring Masanori Umeda’s boxing ring and George Snowden’s armchair. Against the back wall the Carlton bookcase by Ettore Sottsass.

In 1989, de Bascher died of an AIDS-related illness, and while Lagerfeld’s career continued to flourish, emotionally the famously stoic designer was struggling. In 2000, a somewhat corpulent Lagerfeld officially ended his “let them eat cake” years at the Hôtel Pozzo di Borgo, selling its sumptuous antique fittings in a massive headline auction that stretched over three days. As always there were other houses, but now with his longtime companion dead, and his celebrity metastasising making him a target for the paparazzi, he began to look less for exhibition spaces and more for private sanctuaries where he could pursue his endless, often lonely, work.

His next significant house was Villa Jako, named for his lost companion and built in the 1920s in a nouveau riche area of Hamburg close to where he grew up. Lagerfeld shot the advertising campaign for Lagerfeld Jako there—a fragrance created in memorial to de Bascher. The house featured a collection of mainly Scandinavian antiques, marking the aesthetic cusp between Art Nouveau and Art Deco. One of its rooms Lagerfeld decorated based on his remembrances of his childhood nursery. Here, he locked himself away to work—tellingly—on a series of illustrations for the fairy tale, The Emperor’s New Clothes. Villa Jako was a house of deep nostalgia and mourning.

But there were more acts—and more houses—to come in Lagerfeld’s life yet. In November 2000, upon seeing the attenuated tailoring of Hedi Slimane, then head of menswear at Christian Dior, the 135 kg Lagerfeld embarked on a strict dietary regime. Over the next 13 months, he melted into a shadow of his former self. It is this incarnation of Lagerfeld—high white starched collars; Slimane’s skintight suits, and fingerless leather gloves revealing hands bedecked with heavy silver rings—that is immediately recognisable some five years after his death.

The 200-year-old apartment in Quái Voltaire, Paris, was purchased in 2006, and after years of slumber Lagerfeld—a newly awakened Hip Van Winkle—was ready to remake it into his last modernist masterpiece. He designed a unique daylight simulation system that meant the monochromatic space was completely without shadows—and without memory. The walls were frosted and smoked glass, the floors concrete and silicone; and any hint of texture was banned with only shiny, sleek pieces by Marc Newson, Martin Szekely and the Bouroullec Brothers permitted. Few guests were allowed into this monastic environment where Lagerfeld worked, drank endless cans of Diet Coke and communed with Choupette, his beloved Birman cat, and parts of his collection of 300,000 books—one of the largest private collections in the world.

Metal-base on a platform covered with chocolate brown carpet. Stratified leather headboard attributed to Eugène Printz.

Lagerfeld died in 2019, and the process of dispersing his worldly goods is still ongoing. The Quái Voltaire apartment was sold this year for US$10.8 million (around $16.3 million). Now only the rue de Saint-Peres property remains within the Lagerfeld trust. Purchased after Quái Voltaire to further accommodate more of his books—35,000 were displayed in his studio alone, always stacked horizontally so he could read the titles without straining his neck—and as a place for food preparation as he loathed his primary living space having any trace of cooking smells. Today, the rue de Saint-Peres residence is open to the public as an arts performance space and most fittingly, a library.

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Watch This Space: Mike Nouveau

Meet the game-changing horological influencers blazing a trail across social media—and doing things their own way.

By Josh Bozin 22/07/2024

In the thriving world of luxury watches, few people own a space that offers unfiltered digital amplification. And that’s precisely what makes the likes of Brynn Wallner, Teddy Baldassarre, Mike Nouveau and Justin Hast so compelling.

These thought-provoking digital crusaders are now paving the way for the story of watches to be told, and shown, in a new light. Speaking to thousands of followers on the daily—mainly via TikTok, Instagram and YouTube—these progressive commentators represent the new guard of watch pundits. And they’re swaying the opinions, and dollars, of the up-and-coming generations who now represent the target consumer of this booming sector.

MIKE NOUVEAU

@mikenouveau

Mike Nouveau

Can we please see what’s on the wrist? That’s the question that catapulted Mike Nouveau into watch stardom, thanks to his penchant for highlighting incredibly rare timepieces across his TikTok account of more than 400,000 followers. When viewing Nouveau’s attention-grabbing video clips—usually shot in a New York City neighbourhood—it’s not uncommon to find him wrist-rolling some of the world’s rarest timepieces, like the million-dollar Cartier Cheich (a clip he posted in May).

But how did someone without any previous watch experience come to amass such a cult following, and in the process gain access to some of the world’s most coveted timepieces? Nouveau admits had been a collector for many years, but moved didn’t move into horology full-time until 2020, when he swapped his DJing career for one as a vintage watch specialist.

“I probably researched for a year before I even bought my first watch,” says Nouveau, alluding to his Rolex GMT Master “Pepsi” ref. 1675 from 1967, a lionised timepiece in the vintage cosmos. “I would see deals arise that I knew were very good, but they weren’t necessarily watches that I wanted to buy myself. I eventually started buying and selling, flipping just for fun because I knew how to spot a good deal.”

Nouveau claims that before launching his TikTok account in the wake of Covid-19, no one in the watch community knew he existed. “There really wasn’t much watch content, if any, on TikTok before I started posting, especially talking about vintage watches. There’s still not that many voices for vintage watches, period,” says Nouveau. “It just so happens that my audience probably skews younger, and I’d say there are just as many young people interested in vintage watches as there are in modern watches.”

 

View this post on Instagram

 

A post shared by Mike Nouveau (@mikenouveau)

Nouveau recently posted a video to his TikTok account revealing that the average price of a watch purchased by Gen Z is now almost US$11,000 (around $16,500), with 41 percent of them coming into possession of a luxury watch in the past 12 months.

“Do as much independent research as you can [when buying],” he advises. “The more you do, the more informed you are and the less likely you are to make a mistake. And don’t bring modern watch expectations to the vintage world because it’s very different. People say, ‘buy the dealer’, but I don’t do that. I trust myself and myself only.”

Read more about the influencers shaking up horology here with Justin Hast, Brynn Wallner and Teddy Baldassare.

 

 

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This Pristine 1960 Ferrari 250 Spider Could Fetch $24 Million at Auction

The car wears the same colours and has the same engine it left the factory with.

By Bryan Hod 22/07/2024

Some Ferraris are just a little bit more important than others.

Take, for example, the 1960 250 GT SWB California that RM Sotheby’s is auctioning off during this year’s Monterey Car Week. Any example of the open-top beauty would attract interest, but this one just so happens to be the first one that was built.

The 250 is one of the most legendary series of cars in Ferrari history. Between 1952 and 1964, the company released 21 different 250 models—seven for racetracks, 14 for public roads—of which the “Cali Spider” might be the most well regarded, thanks to its potent V-12 and a Pininfarina-penned design that is one of the most beautiful bodies to grace an automobile. The roadster, which was specifically built for the U.S., made its debut in 1957 as a long-wheel-base model (LWB), but it wasn’t until the SWB model debut in 1960 that it became clear how special it was. This example isn’t just the first to roll off the line. It’s the actual car that was used to introduce the world to the model at the 1960 Geneva Motor Show.

1960 Ferrari 250 GT SWB California Spider by Scaglietti Remi Dargegen/RM Sotheby’s

Just 56 examples of the 250 GT SWB California Spider would be built by Scaglietti during the three years it was in production. The first of those, chassis 1795 GT, is finished in a glossy coat of Grigio. The two-door had a red leather interior at Geneva but was returned to the factory and re-outfitted with black leather upholstery before being delivered to its original owner, British race car driver John Gordon Bennet. Six-and-a-half decades later the car looks identical to how it did when it left the factory the second time.

In addition to its original bodywork, the chassis 1795 GT features its original engine, gearbox, and rear axle. That mill is the competition-spec Tipo 168, a 3.0-litre V-12 that makes 196.1 kW. That may not sound like much by today’s standards, but, when you consider that the 250 GT SWB California Spider tips the scales around 952 kilograms, it’s more than enough.

Remi Dargegen/RM Sotheby’s

The first 250 GT SWB California Spider is scheduled to go up for bid during RM Sotheby’s annual Monterey Car Week auction, which runs from Thursday, August 15, to Saturday, August 17. Unsurprisingly, the house has quite high hopes for the car. The car carries an estimate of between $24 million and $26 million, which could make it one of the most expensive cars ever sold at auction.

Remi Dargegen/RM Sotheby’s

Monterey Car Week

 

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