By the numbers, this year’s Monaco Yacht Show was a strong one: 120 superyachts, 50 world premieres and a lineup of spit-shined custom vessels valued at just north of $7.5 billion. The gaggle of 90-plus-metre gigayachts that have occupied center stage in past years (and have been forced to dock along the far quayside walls) were notably missing, with the largest vessel at the event being Benetti’s 106-metre Mar after the owner of the 118-metre Breakthrough decided to use the high-tech vessel for late-season cruising.
Despite a shortage of the big boys, there were highly anticipated yachts that did not disappoint. The late Giorgio Armani’s 78-metre Admiral 72 showcased the designer’s last project, while the interior of the 80-metre Feadship Valor proved to be a work of art. Benetti announced two new yachts—the 78-metre B.Now 52M and the 58-metre B.Loft 58M—that will push that builder’s design forward.
Oceanco also grabbed headlines by signing a contract with Lloyd’s Register during the show for the classification and certification of a 130-metre yacht, which will be the largest ever built the Dutch shipyard. It was one of multiple innovations announced by the yacht builder, whose new owner, Gabe Newell, made an appearance via video link to a group of journalists to affirm that the yard’s “ambitious next chapter” would include pushing forward on technology, innovation, and sustainability.
Other new launches, from Nautor Swan’s 128 to the Maoira Exuma 36, caught the eyes of our editors as we moved from yacht to yacht. Here, in no particular order, are our show favourites and those we can’t wait to see after they splash in the next year or two.
Photo : Feadship
Feadship ‘Valor’
It takes valor (pun intended) to build a yacht that holds its own in both design and sustainability, but that’s what American billionaire David MacNeil, founder and CEO of WeatherTech, pulled off with his zero-emission explorer, Valor. The 80-metre Feadship was the talk of Port Hercule, not least for its dreadnought bow and battleship-gray hull. Chatter also focused on the imposing vessel’s lighter footprint driven by Feadship’s hybrid diesel-electric, solar and battery-powered propulsion system, which earned Valor a YCM Explorer Award for technological innovation. The closely guarded Bannenberg & Rowel interior features a heavy use of marble and brass, from floor inlays to door trims and a substantial beach club with fold-down side platforms, a beauty salon that doubles as a sick bay with a separate HVAC system, and a dedicated battery-charging block (to mitigate the risk of fire from lithium batteries). Other key features include stainless-steel sun awnings on the owner’s and bridge deck aft, capable of holding a 1.5-metre snow load and a central staircase made from 48,001 individual pieces—the 1 isn’t a typo. That was final parts count.
Photo : Tecnomar
Lamborghini by Tecnomar 101
Arguably the most exciting announcement at Monaco, at least for sportscar lovers, was the Lamborghini by Tecnomar 101. The new 30-metre, expected to launch in 2027, builds on the success of the Lamborghini 63, with a very similar look but proportionately scaled to look like the world’s most stylish weekend cruiser. The boat will be powered by three MTU 16V 2000 M96L engines for a combined output of approximately 5,667kW. With surface drives, the hull should reach 45 knots and deliver a friendly cruise of about 35 knots. The design cues come from Lambo’s supercar world, including sharp lines, hexagonal inlays, Y-shape lighting motifs, signature colour palettes and detailing reminiscent of the Fenomeno and the recently revealed Temerario. The interior can be customised to the owner’s wishes.
Photo : Picchiotti
Picchiotti Gentleman 24M
This 24-metre is the smallest in Picchiotti’s Gentleman Runabout series and could easily have been overshadowed in Monaco if it weren’t for its timeless design, courtesy of Italian maestro Luca Dini, spliced with a raft of modern technology, including hybrid propulsion. The use of polished mahogany against a navy-blue hull and the white superstructure gives the boat a refreshing nautical appeal. Inside, colonial wood paneling, stitched leather blinds, stainless-steel trim and a brown leather wheelhouse with a mahogany wheel serves 1960’s glamour, or what Dini describes as a “John F. Kennedy style.” A key feature is the double-height salon with floor-to-ceiling windows. The petite model was inspired by two owners who “have 50-metre yachts but want a smaller boat that they can drive with their family without having a lot of crew.” It remains to be seen which one of these yachtsmen will snap up the first hull.
Photo : Nautor Swan
Nautor Swan Alloy 44
At Monaco, Nautor Swan announced details about its new Alloy 44 sailing yacht, which signals a new chapter for the Finnish shipyard. At 44-metres, the sailing supermaxi is the first in the brand’s history to be built entirely from aluminum. Designed in collaboration with Malcolm McKeon Yacht Design, the Alloy 44 promises a rare balance of power and refinement, with a hull optimised for stiffness-to-weight efficiency and speed. The use of alloy also allows for deeper customisation. McKeon’s design has kept the Alloy 44 unmistakably Swan—defined by a graceful sheerline, low deckhouse, and a sense of proportion. It promises to be a breakthrough design when it hits the water.
Photo : Cantiere delle Marche
Cantiere delle Marche ‘RJ’
If Björk designed a superyacht interior, it might look a bit like RJ. The Icelandic singer’s eccentric style wasn’t part of the owner’s brief, but RJ’s Japanese-inspired décor created by Italian designer Achille Salvagni brings a whimsical and subdued psychedelic touch: mushroom lamps that morph from resin sideboards, circular rippled ceilings with “water drop” lighting, a sculptural central staircase that feels like the inside of a whale and a reading nook in the owner’s ensuite. Untreated wood surfaces, save for resin-infused parchment walls, are paired with marble ensuites where the basins and vanity units are sculpted from single blocks. “The owners wanted a cultural space to host their Asian art collection, so I came up with the idea of a wooden Japanese box to create a subtle, natural environment where organic elements occasionally break free,” Salvagni told Robb Report.
Photo : Admiral Yachts
Admiral Armani 72
The first superyacht from Admiral’s 72-metre Giorgio Armani-designed series, Admiral Armani 72m, was undoubtedly one of the most anticipated yachts at the show. The late fashion designer’s signature is evident across the interior and exterior, from door handles carved into the shape of his logo to the litany of loose furniture from the Armani Casa collection. “Ninety percent of this yacht was designed by Armani, with 10 percent input from us,” Mattia Sala, a yacht and interior designer with the Italian Sea Group, told Robb Report, on the collaboration. Dark wood flooring, gold coffee tables, white leather and crystal chandeliers bring an opulent hotel vibe to the otherwise cavernous interior, including a 120-bottle wine cellar in the main salon.
Photo : Custom Line
Custom Line Saetta 128
Custom Line’s new Saetta 128 is another boat we can’t wait to see when it’s delivered next year. The 128 is the first of Custom Line’s reimagined “Saetta” (translating to lightning bolt) planing line and will be a striking design change for the Italian yard. SY Design did the exterior and interiors are by Antonio Citterio Patricia Viel. Its profile is uncharacteristic for Custom Line—lean, glass-rich and muscular—which has skewed towards more conventional designs over the years.
A fully opening sky lounge will connect interior and exterior living spaces, while the dual-mode transom integrates a floodable garage and beach club into one seamless unit. The main deck houses the owner’s suite, with four guest cabins below and quarters for eight crew. The 128, powered by twin MTU 16V 2000 M96L engines, will have a projected cruise speed of 19 knots, with a range of 1,000 nautical miles at 11 knots. It should be an exciting departure for one of the Ferretti Group’s top-performing brands.
Photo : Damen Yachting
Damen ‘After You’
The owner of Damen Yachting’s first Xplorer 60 clearly has a sense of humour. Anyone who asks about the yacht’s name will be told “I named it After You.” The clever name may be a novelty, but the yacht itself is a serious design that centers around exploration, as evidenced by its Ice Class D hull classification (for light-ice conditions) and a crow’s nest observation deck for spotting wildlife. Based on the same Azure Yacht Design platform as the Xplorer 58 Pink Shadow and Xplorer 77 La Datcha, the 60-metres After You has an interior by H2 Yacht Design with closed-bridge wings that give the captain full visibility from the forward bridge through to the aft. “From an operational point of view, this feature is only typically seen on larger polar explorer vessels,” Damen’s senior design and proposal engineer, Massimiliano D’Ottavo, told Robb Report during a tour. Swinging nest chairs on the exterior decks, an abundance of mirrors and a multitude of marble in the six guest suites bring style to the substance.
Photo : Damen
Damen Support Vessel ‘Emotional’
Commissioned by the same owner as the Xplorer 60 After You, and sharing a similar playful take on its name, the 53-metre Emotional is the ultimate shadow vessel. It’s also a non-negotiable add-on to the After You charter package. The fourth hull in Damen Yachting’s YS53 series is built to cater for toys, crew, and equipment that the owner “doesn’t want” aboard his more than capable mothership. The 13-tonne crane can lift a 13-metre Wajer tender and comes as standard, as do the vessel’s two anchors. Flexibility is the key to the design, with an aft deck that can hold a submersible, seaplane, containerised pool, as well as serve as a touch-and-go helideck.
Photo : Benetti Yachts
Benetti ‘Lady Estey’
Lady Estey, the first hull in Benetti’s new B.Now 67M with Oasis Deck series, is a delicious recipe of custom interior design served up on a proven platform. Key features include the lower deck gym with sea views, a spa pool (one of three) on the hidden observation deck atop the yacht, and a dedicated owner’s deck with a forward suite, office and private aft salon. Bold, blue-veined marble and soft velvet furnishings bring pops of colour to an otherwise all-wood “beach chic” interior and exterior—including sycamore, ebony, wenge, ziricote and macassar—echoing the owner’s original request for a Gatsby-like design.
Photo : Bilgin Yachts
Bilgin ‘Al Reem’
Al Reem, the third and final of the Bilgin 263 series, is a great example of how breathtaking a yacht’s interior can be when stepping aboard in real life, as opposed to just shuffling through online images. The interior by H2 Yacht Design is subdued, with a neutral colour pallate, matte timbers and cream-leather wall panels, but other features like bespoke glass and veined marbles add to its sense of elegance. The designers get high marks for the full-beam owner’s suite with its own terrace and Jacuzzi, as well as features like the movie theater, beach club, and elevator. But this writer’s favourite was the circular staircase that extends from the top deck down. It has a glass centerpiece with whimsical looking glass “leaves,” and is capped by a plunge pool at the top that sends dappled light downwards. A very impressive way to wrap up the series.
Photo : Benetti Yachts
Benetti B.Now 52M
When Benetti showed off its upcoming B.Now 52M at Monaco, it didn’t just announce a new design. It went into great detail about how that 52-metre was very different than the B.Now 50M it was replacing. It even took journalists aboard a 50M with charts that highlight the differences. The 52M delivers not just 2 extra metres, but a reimagined blueprint of space, light and flow. Foremost among its innovations is the Oasis Deck, which has grown by roughly 30 percent in footprint compared to the 50M. The deck measures about 102 square metres, featuring a larger pool with a retractable cover—a design twist that allows it to transform into a platform over the water. But inside is where the big differences lie. The 52M has a continuous 48-metre sightline from stern to bow terrace, via an interior that has done away with an external starboard corridor and created what Benetti calls a glass-walled “flow.” The owner’s suite on the upper deck has also been reimagined. By removing an external staircase, the upper deck now hosts an exclusive 109-square-metre zone divided between private terrace and master cabin. If the 50M was the first chapter, the 52M is the highly anticipated sequel.
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.
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?
Colorado’s barely known San Juan Mountains do a fine line in bespoke skiing experiences, luring alpine-sports cognoscenti and billionaire thrill-seekers alike.
“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.
A modern classic in the making, combining naturally aspirated power with elegant restraint to deliver performance that feels as refined as it is visceral.
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.
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.
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.
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.