Robb Report’s definitive shoe guide

Here’s everything you need to know about your favorite accessory—from the essential styles to the best bespoke brands.

By Phoebe Neuman 09/09/2018

Any well-heeled gentleman knows that shoes make the man. The right footwear can exude elegance, infuse a splash of personality, or give that formal suit a sporty spirit. And while enthusiasm for everyone’s favourite accessory runs deep, how much do you really know about shoes? Below, we test your knowledge, breaking down the 10 styles that should form the quite literal stepping stones of every well-rounded collection. From settling the difference between an oxford and a brogue once and for all to hashing out the history of some of our favourite pairs to slip on, consider this your cheat sheet to all things shoes.

We also list our favourite bespoke purveyors, because sometimes even the best brands (don’t worry — we’ve listed those, too) can’t satisfy your exacting tastes. So, read on to discover our definitive shoe guide. Apologies to your wallet in advance.

Oxfords

Berluti Oxfords Photo: Courtesy Berluti

A basic black pair of oxfords will take you far in this life. The lace-up style has been a go-to dress shoe since the courtiers at Scotland’s Balmoral castle first wore it in the late 18th century. It was then incorporated into the student uniforms at Oxford University, lending it the name it carries today. Classically sleek, they are characterised by shoelace tabs called eyelets that are attached under the vamp (the section of the shoe’s upper stretching from the toe to about the middle of the foot) — anything attached above is classified as the oxford’s slightly more casual cousin, the derby. It bears repeating that you can’t go wrong with classic black leather — which, if the style features minimal detailing, will pair easily with everything from tuxedos to dark trousers. A pair with a toe cap (the seam that bridges across the shoe at the widest part of your foot) would look right at home in the C-suite.

Brands to Know: Despite the shoe having a distinctly British heritage, brands based on the continent often do it best. Look to Berluti for oxfords with minimal seaming, which allows their beautifully patinaed leather to take center stage. For a dose of personality, lace up a pair from Corthay, as many of the brand’s already unique styles can be customised with unique leather finishes and dandy laces.

Brogues

George Cleverly Brogues Photo: Courtesy George Cleverly

Though “brogue” conjures up a very specific type of shoe — think oxfords with intricately decorated uppers — the term actually refers to a technique by which leather is perforated with tiny holes, often arranged in flowing patterns that mirror the geometry of the foot. Today, broguing is typically used to give any shoe, from your standard lace-ups to chunky Chelsea boots, some aesthetic kick. But the technique has humble roots: it was originally devised in the 18th century to allow water to drain from the shoes of those slogging through the marshy Scottish and Irish terrain. The style remained the domain of country houses until the early 1900s, when the then Prince of Wales was spotted wearing them while out playing a round of golf. From there, it inched its way into the workday wardrobe of those whose feet were planted firmly on dry ground, adding an artistic element when wearing more demure suits or dressing up dark denim.

Brands to Know: Family-owned brand George Cleverly has a range of brogue styles, but it does formal-leaning brogues especially well. Go for the signature chisel-toe shape to add a bit of masculine edge to the model, or lace up a pair of the brand’s classic wing tips (a swooping line of perforations that forms a “W” just below the toes). Santoni offers styles with a bit of a subversive twist — think ombré leathers and styles that feature perforations almost all the way through, a wink to the shoe’s origins.

Monk Straps

Santoni Monk Straps Photo: Courtesy Santoni

Likely developed by monks (hence the name) as an alternative to sandals once winter set in, these buckled shoes have come a long way since their medieval origins. Today, they are a more sophisticated alternative to the oxford and have the uncanny ability to look either sharp or relaxed, depending on the materials with which they are made. Single-buckle models in richly polished leather are a stylish way to step out of the formal-shoe norm, and they look especially powerful when paired with a double-breasted suit or sleek shawl-collared tuxedo. Their double-buckled brothers appear slightly more casual, especially when they are made of buttery-soft suede, and can work nicely with both more relaxed suits — think slim-fitting gray or unstructured navy — and jeans.

Brands to Know: When it comes to a classic single- or double-buckle monk strap, you can’t go wrong with a pair from John Lobb or Ralph Lauren. Both brands carry styles that will pull their weight in your closet for years to come, the former made with a sharp British sensibility and the latter with an ever-so-slightly more relaxed American flair. If you crave something a little bit bolder, Santoni’s colorful styles (which can be customized by pairing together whatever two leathers your heart desires for the upper and the straps) are playful without losing an ounce of refinement.

Loafers

Gucci Loafers Photo: Courtesy Gucci

Originally worn by Norwegian fishermen, the blueprint for today’s loafer was almost simultaneously co-opted by preppy American co-eds and the English upper crust in the late 1920s as the casual shoe of choice (sneakers, after all, had only just been invented). Gucci helped elevate the style when it introduced the now-iconic horsebit loafer in 1953 — spawning generations of copycats and countless knockoffs. Over half a century later, the Italian brand still makes the classic style, though it and many others have also branched out into thoroughly unstuffy versions of the often WASP-y style. Socks are no longer required (though that debate still rages on with surprising intensity), and modern variations done in an unexpected color, punched up with often over-the-top embellishments, or made even easier to slip on with step-down backs offer playful ways to dress up your nine-to-five.

Brands to Know: Besides Gucci’s sweeping range of loafers both classic and decidedly not, almost every brand does loafers well. Tod’s is another classic option — its soft Gommino driving shoe walks the line between true loafer and dressed-down moccasin, though it also does more traditional loafers well. Salvatore Ferragamo does, too, offering a range of variations on the classic horsebit embellishment.

Smoking Slippers

Christian Louboutin Smoking Slippers Photo: Courtesy Christian Louboutin

Made famous by men who have little else in common — namely, the Pope and Hugh Hefner — smoking slippers, obviously, represent very different things to different people. The former inherited the red velvet slippers he wears as part of a centuries-old uniform, while the latter used them to leverage his personal strain of louche interests into a full-blown cultural movement. Either way, the style, which originally was worn inside with a pipe in hand by the likes of Prince Albert, quickly became a sexy replacement for buttoned-up oxfords or monk straps for a certain kind of rakish man. They have become a common black-tie option over the past 50 years, but even the most demure pairs still make a serious style statement when paired with an expertly tailored tuxedo or denim.

Brands to Know: For a model like the ones that Prince Albert would have slipped on before his evening scotch, look to Larusmiani’s selection of classic velvet slippers, which come in a range of colors. Jimmy Choo and Christian Louboutin do the modern, more opulent version of the shoe extremely well — with options ranging from silky satin outfitted with tassels to eye-catching slippers adorned with limited-edition and, for some, highly collectable patterns.

Lace-Up Boots

Bally Lace-Up Boots Photo: Courtesy Bally

Though lace-up boots have been worn by nomads, knights, and workmen for centuries, the history of the style is muddled at best. What is sure, however, is that Prince Albert once again played a role in turning the previously purely practical shoe into one of the most popular styles of the day when he commissioned a pair of lace-up boots that would keep him dry while walking around the grounds of Balmoral castle, while being fashionable enough to also wear inside. The style immediately took off, with men pairing sleek versions of the boot with their best suits. And while we would certainly recommend adding a dress boot to your wardrobe (keep it classic with a rich black leather pair), you’re likely to get much more mileage out of a pair that sticks closer to the original’s workwear roots. Look for one that mixes form with function, marrying thick soles that will keep you high and dry on even the slickest of days, with uppers that feature elevated details like broguing or softly pebbled leather.

Brands to Know: Swiss brand Bally got its start in the 1850s making finely crafted shoes, and lace-up boots were reportedly some of the first styles the house made. Today, you still can’t go wrong with one of its designs — the label makes both dressier styles inspired by Prince Albert and mountain-ready pairs. English shoemakers Edward Green and Grenson also make sturdy lace-ups that are still sharp enough to pair with wool trousers for winter days at the office.

Chelsea Boots

Saint Laurent Chelsea Boots Photo: Courtesy Saint Laurent

Another style that we can thank Victorian England for, Chelsea boots — characterised by their stretchy side panels, snug fit, and low heel — were originally commissioned by Queen Victoria, who wanted a pair of shoes she could easily slip on and off. A century or so later, the swinging Mods that would hang out in London’s Chelsea neighborhood revived the previously stuffy style as part of their rock-and-roll uniform (the style also appeared, most visibly, on the Beatles), a connotation that the boots haven’t yet shaken. Pair them under a suit for a subtle kick of personality on your nine-to-five, or with dark denim and your favorite vintage band T-shirt on casual days.

Brands to Know: Saint Laurent’s lineup of sleek — and often racy — Chelsea boots are your best bet if you are looking for a pair that fully embraces the style’s rock-and-roll roots. Church’s also makes Chelsea boots that nod to this side of the style’s history, embellishing its designs with subtle brogues and rendering them in rich suede. Berluti does them well, too, highlighting their classic minimal construction with ultrafine leather.

Sneakers

Feit Sneakers Photo: Courtesy Feit

No shoes inspire devotees quite like sneakers do. Invented in 1917 by Converse (the brand’s iconic low-top is widely regarded as the first modern sneaker), the athletic style quickly became a favourite casual shoe. It wasn’t until the late 1980s with the explosion of Nike’s Air Jordan into mainstream culture that the shoes became the full-on style statement they are today — inspiring collectors to line up for hours to get their hands on a pair and driving up resale prices for those who couldn’t get them in store to dizzying heights. Luxury brands quickly capitalised on this new market, drumming up versions of the athletic shoe elevated by buttery-soft leather or downright flashy details. Today, you can get away with a sneaker just about anywhere — though we’d suggest leaving your flashy collector’s pieces for the weekend and sticking to sharp leather styles at the office (which are best paired with pants that are ever-so-slightly cropped).

Brands to Know: Besides the classics — think Nike Air Force 1s or Adidas’ Stan Smiths — you can’t go wrong with a pair of sneakers from Harrys of London or Feit. The former takes classic shapes and renders them in candy-coloured leather, while the latter makes its minimal creamy white, tan, or all-black pairs out of single pieces of leather. On the designer front, Gucci’s Ace sneaker has become one of the brand’s most easily recognisable designs, thanks to its perfectly punchy green-and-red-stripe detailing.

Espadrilles

Tom Ford Espadrille Photo: Courtesy Tom Ford

Characterised by their soft canvas uppers and jute rope soles, espadrilles have been worn for nearly a millennium in the Basque and Catalan regions of France and Spain. The casual slip-on was made famous by Pablo Picasso and Salvador Dalí, who were often photographed wearing them in the 1940s as a nod to their Catalan heritage (which, at the time, was a visual code for their anti-Franco politics), quickly becoming part of the mainstream fashion thanks to its casual but not overly dressed-down look. The style was first elevated by Yves Saint Laurent, who partnered with Lorenzo Castañer (whose namesake brand still makes the style today) to make a pair that swapped standard canvas for luxe silk. That said, you don’t need silk to elevate the humble style, as today many designers do versions in more practical leather and suede that are equally chic.

Brands to Know: When it comes to adding a luxe twist to the classically casual style, brands like Tom Ford and Brunello Cucinelli do it well — both rendering the shoe in soft suede, often in a large variety of colours (though we’re partial to pairs done in neutrals like navy, tawny brown and yellow). Spanish leather brand Loewe also makes some of the best designer versions, leveraging the history of the shoe playfully.

Sandals

Bottega Veneta Sandals Photo: Courtesy Bottega Veneta

Likely the first kind of shoe that our ancestors ever slipped on, sandals, with their simple, flat soles and straps, have a history that can be traced back thousands of years. They’ve come in and out of fashion for men — and are often seen as only acceptable if you’re going to spend all day lounging by the pool. That said, having a solid pair of slides that can take you from the beach to the bar is an essential (even if you’ll only ever wear them on vacation), and there are plenty of pairs ranging from simple to statement-making. Look for a style that provides more coverage with wide, criss-crossing leather straps, or lean into the shoe’s Grecian roots by buckling on a pair that would look right at home on the shores of ancient Mykonos.

Brands to Know: Though you can’t go wrong with a pair of plain leather slides, Bottega Veneta often carries styles that feature luxe upgrades — think intricately woven intrecciato leather straps. Ralph Lauren and Jimmy Choo both also carry solid options, often leaning sportier (and therefore all the better for the pool) thanks to their squishy rubber soles and wide, single straps.

Best Bespoke Shoemakers

Atelier sur Mesure Bottier Photo: Courtesy Berluti

Many of the brands mentioned above have histories rooted in bespoke — after all, it was primarily how shoes were made until the invention of mass manufacturing just over a century ago. The following eight labels all carry the torch of the bespoke shoe, proving that age-old cobbling techniques still hold water in the modern world — especially when they can allow you to build the shoes of your dreams.

Stefano Bemer

Florentine cobbler Stefano Bemer has been a well-kept secret of some of the world’s best-dressed men since the 1980s. Today, the brand — which can craft everything from sharp split-toe loafers to special-order sneakers in everything from calfskin to stingray — is quietly expanding, introducing ready-to-wear styles in case you just can’t wait the 20 weeks to have your bespoke creations delivered.

John Lobb

British brand John Lobb has been making fine bespoke shoes for more than 150 years, outfitting everyone from princes (the house holds a Royal Warrant) to Aristotle Onassis in its supple monk straps and oxfords. Orders are crafted over the course of nearly a year and require at least three fittings to ensure the fit and aesthetic are exactly right. Once that pair of exotic-skin derbies are in your closet, you can expect to get at least 20 years’ worth of wear out of them.

Corthay

Certainly not for sartorial wallflowers, Parisian atelier Corthay specializes in bespoke shoes with personality in spades — oxfords rendered in subtly patinaed maroon leather and electric-blue suede tasseled loafers, or really anything else you can dream up. Founder Pierre Corthay was awarded the prestigious Maître d’Art by the French government in 2009 and is the only men’s bootmaker to ever earn the designation.

George Cleverly

Though known for shoes with a powerful chisel-toe shape, George Cleverly can craft styles to almost any C-suite exec’s taste (though the brand also counts rock stars and media moguls as some of its devoted clients). The process still employs traditional techniques of bespoke shoemaking used in the early 19th century, and fitters travel around the world constantly to take measurements and deliver shoes to clients that can’t make it to the brand’s London headquarters.

Gaziano & Girling

Out of their Savile Row and New York City outposts, the experts at Gaziano & Girling spin classic styles — sleek oxfords, single monk straps and lace-up ankle boots — into highly personal creations. In a process that can take up to 16 months, the cobblers will source that perfect snakeskin to use as an accent, carefully position brogues to flatter the individual lines of your foot, and spend countless hours working the patina of the leather until it is exactly what you want it to be.

Roberto Ugolini

The craftsmen at Roberto Ugolini, located just off the Piazza San Spirito in Florence, have put the city’s leather-working tradition to highly individualized use. Specialising in shoes with creative flair, the brand can craft everything from patent-leather and Bordeaux suede oxfords that perfectly pair with your favourite tuxedo, to mixed-media monk straps that complement ornate brogue detailing with pared-back twill.

Berluti

Though the Parisian house has leveraged modern technology to make many of its shoes customisable with the click of a few buttons, Berluti still operates a traditional bespoke service out of its boutiques around the world. Master shoemakers will help clients pick styles, soles and leathers that best fit their specific lifestyle and personal tastes and will then let them run wild with design elements — selecting patinas, designating elements to be tattooed, or choosing accents of exotic skins, all of which are sourced with respect to preserving endangered species.

Casa Fagliano

Based out of Hurlingham, Argentina, the experts at family-owned Casa Fagliano have upheld aristocratic traditions of bespoke polo boots since 1892. Today the house sends its fitters and cobblers around the world to fit clients attending the most prestigious polo matches, taking orders for everything from lace-up ankle boots to sleek, knee-high leather riding boots. If you are not an expert rider, the brand has also leveraged its boot-making heritage into sturdy, precisely designed oxfords, monk straps and derbies.

ADVERTISE WITH US

Subscribe to the Newsletter

Stay Connected

You may also like.

Here’s What Goes Into Making Jay-Z’s $1,800 Champagne

We put Armand de Brignac Blanc de Noirs Assemblage No. 4 under the microsope.

By Mike Desimone And Jeff Jenssen 23/04/2024

In our quest to locate the most exclusive and exciting wines for our readers, we usually ask the question, “How many bottles of this were made?” Often, we get a general response based on an annual average, although many Champagne houses simply respond, “We do not wish to communicate our quantities.” As far as we’re concerned, that’s pretty much like pleading the Fifth on the witness stand; yes, you’re not incriminating yourself, but anyone paying attention knows you’re probably guilty of something. In the case of some Champagne houses, that something is making a whole lot of bottles—millions of them—while creating an illusion of rarity.

We received the exact opposite reply regarding Armand de Brignac Blanc de Noirs Assemblage No. 4. Yasmin Allen, the company’s president and CEO, told us only 7,328 bottles would be released of this Pinot Noir offering. It’s good to know that with a sticker price of around $1,800, it’s highly limited, but it still makes one wonder what’s so exceptional about it.

Known by its nickname, Ace of Spades, for its distinctive and decorative metallic packaging, Armand de Brignac is owned by Louis Vuitton Moët Hennessy and Jay-Z and is produced by Champagne Cattier. Each bottle of Assemblage No. 4 is numbered; a small plate on the back reads “Assemblage Four, [X,XXX]/7,328, Disgorged: 20 April, 2023.” Prior to disgorgement, it spent seven years in the bottle on lees after primary fermentation mostly in stainless steel with a small amount in concrete. That’s the longest of the house’s Champagnes spent on the lees, but Allen says the winemaking team tasted along the way and would have disgorged earlier than planned if they’d felt the time was right.

Chef de cave, Alexandre Cattier, says the wine is sourced from some of the best Premier and Grand Cru Pinot Noir–producing villages in the Champagne region, including Chigny-les-Roses, Verzenay, Rilly-la-Montagne, Verzy, Ludes, Mailly-Champagne, and Ville-sur-Arce in the Aube département. This is considered a multi-vintage expression, using wine from a consecutive trio of vintages—2013, 2014, and 2015—to create an “intense and rich” blend. Seventy percent of the offering is from 2015 (hailed as one of the finest vintages in recent memory), with 15 percent each from the other two years.

This precisely crafted Champagne uses only the tête de cuvée juice, a highly selective extraction process. As Allen points out, “the winemakers solely take the first and freshest portion of the gentle cuvée grape press,” which assures that the finished wine will be the highest quality.  Armand de Brignac used grapes from various sites and three different vintages so the final product would reflect the house signature style. This is the fourth release in a series that began with Assemblage No. 1. “Testing different levels of intensity of aromas with the balance of red and dark fruits has been a guiding principle between the Blanc de Noirs that followed,” Allen explains.

The CEO recommends allowing the Assemblage No. 4 to linger in your glass for a while, telling us, “Your palette will go on a journey, evolving from one incredible aroma to the next as the wine warms in your glass where it will open up to an extraordinary length.” We found it to have a gorgeous bouquet of raspberry and Mission fig with hints of river rock; as it opened, notes of toasted almond and just-baked brioche became noticeable. With striking acidity and a vein of minerality, it has luscious nectarine, passion fruit, candied orange peel, and red plum flavors with touches of beeswax and a whiff of baking spices on the enduring finish. We enjoyed our bottle with a roast chicken rubbed with butter and herbes de Provence and savored the final, extremely rare sip with a bit of Stilton. Unfortunately, the pairing possibilities are not infinite with this release; there are only 7,327 more ways to enjoy yours.

Buy the Magazine

Subscribe today

Stay Connected

Bill Henson Show Opens at Roslyn Oxley9 Gallery

Dark, grainy and full of shadows Bill Henson’s latest show draws on 35 mm colour film shot in New York City in 1989.

By Belinda Aucott-christie 20/04/2024

Bill Henson is one of Australia’s best-known contemporary photographers. When a show by this calibre of artist opens here, the art world waits with bated breath to see what he will unveil.

This time, he presents a historically important landscape series that chronicles a time in New York City that no longer exists. It’s a nostalgic trip back in time, a nocturnal odyssey through the frenetic, neon-lit streets of a long-lost America.

Known for his chiaroscuro style, Henson’s cinematic photographs often transform his subject into ambiguous objects of beauty. This time round, the show presents a mysterious walk through the streets of Manhattan, evoking a seedy, yet beautiful vision of the city. 

Bill Henson Untitled, 1989. Archival inkjet pigment print 127 x 180 cm Edition of 5 + 2AP Courtesy of Roslyn Oxley Gallery
Installation shot of Bill Henson’s show,’The Liquid Night’ at Roslyn Oxley9 Gallery.

Relying on generative gaps, these landscapes result from Henson mining his archive of negatives and manipulating them to produce a finished print. Sometimes, they are composed by a principle of magnification, with Henson honing in on details, and sometimes, they are created through areas of black being expanded to make the scene more cinematic and foreboding. Like silence in a film or the pause in a pulse, the black suggests the things you can’t see. 

Bill Henson, Untitled, 1989 Archival inkjet pigment print 127 x 180 cm Edition of 5 + 2AP Courtesy of Roslyn Oxley9 Gallery
Bill Henson, Untitled, 1989 Archival inkjet pigment print 127 x 180 cm Edition of 5 + 2AP Courtesy of Roslyn Oxley9 Gallery
Bill Henson Untitled, 1989 Archival inkjet pigment print 127 x 180 cm Edition of 5 + 2AP Courtesy of Roslyn Oxley9 Gallery

Henson’s illustrious career has spanned four decades and was memorably marred by controversy over a series of nude adolescent photographs shown in 2008, which made him front-page news for weeks. This series of portraits made Henson the subject of a police investigation during which no offence was found. 

In recent years, Henson has been a sharp critic of cancel culture, encouraging artists to contribute something that will have lasting value and add to the conversation, rather than tearing down the past.

Untitled 2/1, 1990-91 from the series Paris Opera Project type C photograph 127 x 127 cm; series of 50 Edition of 10 + AP 2

His work deals with the liminal space between the mystical and the real, the seen and unseen, the boundary between youth and adulthood.

His famous Paris Opera Project, 1990-91, pictured above, is similarly intense as the current show, dwelling on the border between the painterly and the cinematic.

Bill Henson’s ‘The Liquid Night’ runs until 11 May 2024 at Roslyn Oxley9 Gallery.

Roslyn Oxley9 Gallery, 8 Soudan Ln, Paddington NSW; roslynoxley9.com.au 

Buy the Magazine

Subscribe today

Stay Connected

Watch of the Week: the Piaget Altiplano Ultimate Concept Tourbillon

The new release claims the throne as the world’s thinnest Tourbillon.

By Josh Bozin 19/04/2024

Piaget, the watchmaker’s watchmaker, has once again redefined the meaning of “ultra-thin” thanks to its newest masterpiece, the Altiplano Ultimate Concept Tourbillon—the world’s thinnest tourbillon watch.

In the world of high-watchmaking where thin is never thin enoughlook at the ongoing battle between Piaget, Bulgari, and Richard Mille for the honours—Piaget caused a furore at Watches & Wonders in Geneva when it unveiled its latest feat to coincide with the Maison’s 150th year anniversary.

Piaget
Piaget

Piaget claims that the new Altiplano is “shaped by a quest for elegance and driven by inventiveness”, and while this might be true, it’s clear that the Maison’s high-watchmaking divisions in La Côte-aux-Fées and Geneva are also looking to end the conversation around who owns the ultra-thin watchmaking category.

The new Altiplano pushes the boundaries of horological ingenuity 67 years after Piaget invented its first ultra-thin calibre—the revered 9P—and six years after it presented the world’s then-thinnest watch, the Altiplano Ultimate Concept. Now, with the release of this unrivalled timepiece at just 2mm thick—the same as its predecessor, yet now housing the beat of a flying tourbillon, prized by watchmaking connoisseurs—you can’t help but marvel at its ultra-thin mastery, whether the timepiece is to your liking or not.

Piaget
Piaget

In comparison, the Bulgari Octo Finissimo Tourbillon was 3.95mm thick when unveiled in 2020, which seems huge on paper compared to what Piaget has been able to produce. But to craft a watch as thin and groundbreaking as its predecessor, now with an added flying tourbillon complication, the whole watchmaking process had to be revalued and reinvented.

“We did far more than merely add a tourbillon,” says Benjamin Comar, Piaget CEO. “We reinvented everything.”

After three years of R&D, trial and error—and a redesign of 90 percent of the original Altiplano Ultimate Concept components—the 2024 version needs to be held and seen to be believed. The end product certainly isn’t a watch for the everyday watch wearer—although Piaget will tell you otherwise—but in many ways, the company didn’t conjure a timepiece like the Altiplano as a profit-seeking exercise. Instead, overcoming such an arduous and technical watchmaking feat proves that Piaget can master the flying tourbillon in such a whimsical fashion and, in the process, subvert the current state-of-the-art technical principles by making an impactful visual—and technical—statement.

The only question left to ask is, what’s next, Piaget?

Piaget
Piaget

Model: Altiplano Ultimate Concept Tourbillon 150th Anniversary
Diameter: 41.5 mm
Thickness: 2 mm (crystal included)
Material: M64BC cobalt alloy, blue PVD -treated
Dial: Monobloc dial; polished round and baton indices, Bâton-shaped hand for the minutes Monobloc disc with a hand for the hours
Water resistance: 20m

Movement: Calibre 970P-UC, one-minute peripheral tourbillon
Winding: Hand-wound
Functions: hours, minutes, and small seconds (time-only)
Power reserve: 40 hours

Availability: Limited production, not numbered
Price: Price on request

 

Buy the Magazine

Subscribe today

Stay Connected

Polar Opposites

A journey north to one of the harshest, remotest spots on Earth couldn’t be more luxurious. 

By Michael Verdon 18/04/2024

A century ago, an expedition to the North Pole involved dog sleds and explorers in heavy, fur-lined clothes, windburned and famished after weeks of trudging across ice floes, finally planting their nations’ flags in the barren landscape. These days, if you’re a tourist, the only way to reach 90 degrees north latitude, the geographic North Pole, is aboard Le Commandant Charcot, a six-star hotel mated to a massive, 150-metre ice-breaking hull. 

My wife, Cathy, and I are among the first group of tourists aboard Ponant’s new expedition icebreaker, the world’s only Polar Class 2–rated cruise ship (of seven levels of ice vessel, second only to research and military vessels in ability to manoeuvre in Arctic conditions). Our arrival on July 14 couldn’t be more different from explorer Robert Peary’s on April 6, 1909. On that date, he reported, he staked a small American flag—sewed by his wife—into the Pole, joined by four Inuits and his assistant, Matthew Henson, a Black explorer from Maine who was with Peary on his two previous Arctic expeditions. (Peary’s claim of being first to the Pole was quickly disputed by another American, Frederick Cook, who insisted he’d spent two days there a year earlier. Scholars now view both claims with skepticism.) 

Our 300-plus party’s landing, on Bastille Day, features the captain of the French ship driving around in an all-terrain vehicle with massive wheels and an enormous tricolour flag on the back, guests dressed in stylish orange parkas celebrating on the ice, and La Marseillaise, France’s national anthem, blaring from loudspeakers. After an hour of taking selfies and building snow igloos in the icescape, with temperatures in the relatively balmy low 30s, we head back into our heated sanctuary for mulled wine and freshly baked croissants. Mission accomplished. Flags planted. Now, lunch. 

As a kid, I was fascinated by stories of adventurers trying to reach the North Pole without any means of rescue. In the 19th century, most of their attempts ended in disaster—ships getting trapped in the ice, a hydrogen balloon crashing, even cannibalism. It wasn’t until Cook and Peary reportedly set foot there that the race to the North Pole was really on. Norwegian Roald Amundsen, the first to reach the South Pole, in 1911, is credited with being the first to document a trip over the North Pole, which he did in 1926 in the airship Norge. In 1977, the nuclear-powered icebreaker Arktika became the first surface vessel to make it to the North Pole. Since then, only 18 other ships have completed the voyage. 

Le Commandant Charcot

Visiting the North Pole seemed about as likely for me as walking on the Moon. It wasn’t even on my bucket list. Then came Le Commandant Charcot, which was named after France’s most beloved polar explorer and reportedly cost about US$430 million (around $655 million) to build. The irony of visiting one of the planet’s most remote and inhospitable points while travelling in the lap of luxury doesn’t escape me or anyone else I speak with on the voyage. Danie Ferreira, from Cape Town, South Africa, describes it as “an ensemble of contradictions bordering on the absurd”. Ferreira, who is on board with his wife, Suzette, is a veteran of early-explorer-style high-Arctic journeys, months-long treks involving dog sleds and real toil and suffering. He booked this trip to obtain an official North Pole stamp for an upcoming two-volume collection of his photographs, Out in the Cold, documenting his polar adventures. “Reserving the cabin felt like a betrayal of my expeditionary philosophy,” he says with a laugh. 

Then, like the rest of us, he embraces the contradictions. “This is like the first time I saw the raw artistry of Cirque du Soleil,” he explains. “Everything is beyond my wildest expectations, unrelatable to anything I’ve experienced.”

One of the ship’s scientists tests the ice with a passenger.

The 17-day itinerary launches from the Norwegian settlement of Longyearbyen, Svalbard, the northernmost town in the Arctic Circle, and heads 1,186 nautical miles to the North Pole, then back again. As a floating hotel, the vessel is exceptional: 123 balconied staterooms and suites, the most expensive among them duplexes with butler service (prices range from around $58,000 to $136,000 per person, double occupancy); a spa with a sauna, massage therapists, and aestheticians; a gym and heated indoor pool. The boat weighs more than 35,000 tons, enabling it to break ice floes like “a chocolate bar into little pieces, rather than slice through them”, according to Captain Patrick Marchesseau. Six-metre-wide stainless-steel propellers, he adds, were designed to “chew ice like a blender”. 

Marchesseau, a tall, lanky, 40-ish mariner from Brittany, impeccable in his navy uniform but rocking royal-blue boat shoes, proves to be a charming host. Never short of a good quip, he’s one of three experienced ice captains who alternate at the helm of Charcot throughout the year. He began piloting Ponant ships through drifting ice floes in Antarctica in 2009, when he took the helm of Le Diamant, Ponant’s first expedition vessel. “An epic introduction,” Marchesseau calls those early voyages, but the isolated, icebound North Pole aboard a larger, more complicated vessel is potentially an even thornier challenge. “We’ll first sail east where the ice is less concentrated and then enter the pack at 81 degrees,” he tells a lecture hall filled with passengers on day one. “We don’t plan to stop until we get to the North Pole.” 

Around us, the majority of the other 101 guests are older French couples; there are also a few extended families, some other Europeans, mostly German and Dutch, as well as 10 Americans. Among the supporting cast are six research scientists and 221 staff, including 18 naturalist guides from a variety of countries. 

The first six days are more about the journey than the destination. Cathy and I settle into our comfortable stateroom, enjoy the ocean views from our balcony, make friends with other guests and naturalists, frequent the spa, and indulge in the contemporary French cuisine at Nuna, which is often jarred by ice passing under the hull, as well as at the more casual Sila (Inuit for “sky”). There are the usual cruise events: the officers’ gala, wine pairings, daily French pastries, Broadway-style shows, opera singers and concert pianists. Initially, I worry about “Groundhog Day” setting in, but once we hit patchy ice floes on day two, it’s clear that the polar party is on. The next day, we’re ensconced in the ice pack. 

Veterans of Arctic journeys immediately feel at home. Ferreira, often found on the observation deck 15 metres above the ice with his long-lensed cameras, is in his element snapping different patterns and colours of the frozen landscape. “It feels like combining low-level flying with an out-of-body experience,” he says. “Whenever the hull shudders against the ice, I have a reality check.” 

Spotting a small colony of penguins. IMAGE: Ponant

“I came back because I love this ice,” adds American Gin Millsap, who with her husband, Jim, visited the North Pole in 2015 aboard the Russian nuclear icebreaker Fifty Years of Victory, which for obvious reasons is no longer a viable option for Americans and many Europeans. “I love the peace, beauty and calmness.” 

It is easy to bliss out on the endless barren vistas, constantly morphing into new shapes, contours and shades of white as the weather moves from bright sunshine to howling snowstorms—sometimes within the course of a few hours. I spend a lot of time on the cold, windswept bow, looking at the snow patterns, ridges and rivers flowing within the pale landscape as the boat crunches through the ice. It feels like being in a black-and-white movie, with no colours except the turquoise bottoms of ice blocks overturned by the boat. Beautiful, lonely, mesmerising. 

Rather than a solid landmass, the Arctic ice pack is actually millions of square kilometres of ice floes, slowly pushed around by wind and currents. The size varies according to season: this past winter, the ice was at its fifth-lowest level on record, encompassing 14.6 million square kilometres, while during our cruise it was 4.7 million square kilometres, the 10th-lowest summer number on record. There are myriad ice types—young ice, pancake ice, ice cake, brash ice, fast ice—but the two that our ice pilot, Geir-Martin Leinebø, cares about are first-year ice and old ice. The thinness of the former provides the ideal route to the Pole, while the denseness of the aged variety can result in three-to-eight-metre-high ridges that are potentially impassable. Leinebø is no novice: in his day job, he’s the captain of Norway’s naval icebreaker, KV Svalbard, the first Norwegian vessel to reach the North Pole, in 2019. 

Atlantic puffin, typically seen along the coast of Svalbard.

It’s not a matter of just pointing the boat due north and firing up the engine. Leinebø zigzags through the floes. A morning satellite feed and special software aid in determining the best route; the ship’s helicopter sometimes scouts 65 or so kilometres ahead, and there’s a sonar called the Sea Ice Monitoring System (SIMS). But mostly Leinebø uses his eyes. “You look for the weakest parts of the ice—you avoid the ridges because that means thickness and instead look for water,” he says. “If the ‘water sky’ in the distance is dark, it’s reflecting water like a mirror, so you head in that direction.” 

Everyone on the bridge is surprised by the lack of multi-year ice, but with more than a hint of disquietude. Though we don’t have to ram our way through frozen ridges, the advance of climate change couldn’t be more apparent. Environmentalists call the Arctic ice sheet the canary in the coal mine of the planet’s climate change for good reason: it is happening here first. “It’s not right,” mutters Leinebø. “There’s just too much open water for July. Really scary.” 

The Arctic ice sheet has shrunk to about half its 1985 size, and as both mariners and scientists on board note, the quality of the ice is deteriorating. “It’s happening faster than our models predicted,” says Marisol Maddox, senior arctic analyst at the Polar Institute of the Woodrow Wilson International Center for Scholars. “We’re seeing major events like Greenland’s ice sheet melting and sliding into the ocean—that wasn’t forecasted until 2070.” The consensus had been that the Arctic would be ice-free by 2050, but many scientists now expect that day to come in the 2030s. 

That deterioration, it turns out, is why the three teams of scientists are on the voyage—two studying the ice and the other assessing climate change’s impact on plankton. As part of its commitment to sustainability, Ponant has designed two research labs—one wet and one dry—on a lower deck. “We took the advice of many scientists for equipping these labs,” says Hugues Decamus, Charcot’s chief engineer, clearly proud of the nearly US$12 million facilities. 

The combined size of the labs, along with a sonar room, a dedicated server for the scientists, and a meteorological station on the vessel’s top deck, totals 130 square metres—space that could have been used for revenue generation. Ponant also has two staterooms reserved for scientists on each voyage and provides grants for travel expenses. The line doesn’t cherrypick researchers but instead asks the independent Arctic Research Icebreaker Consortium (ARICE) to choose participants based on submissions. 

Birds take flight as passengers explore on a Zodiac excursion.

The idea, says the vessel’s science officer on this voyage, Daphné Buiron, is to make the process transparent and minimise the appearance of greenwashing. “Yes, this alliance may deliver a positive public image for the company, but this ship shows we do real science on board,” she says. The labs will improve over time, adds Decamus, as the ship amasses more sophisticated equipment. 

Research scientists and tourist vessels don’t typically mix. The former, wary of becoming mascots for the cruise lines’ sustainability marketing efforts, and cognisant of the less-than-pristine footprint of many vessels, tend to be wary. The cruise lines, for their part, see scientists as potentially high maintenance when paying customers should be the priority. But there seemed to be a meeting of the minds, or at least a détente, on Le Commandant Charcot. 

“We discuss this a lot and are aware of the downsides, but also the positives,” says Franz von Bock und Polach, head of the institute for ship structural design and analysis at Hamburg University of Technology, specialising in the physics of sea ice. Not only does Charcot grant free access to these remote areas, but the ship will also collect data on the same route multiple times a year with equipment his team leaves on board, offering what scientists prize most: repeatability. “One transit doesn’t have much value,” he says. “But when you measure different seasons, regions and years, you build up a more complex picture.” So, more than just a research paper: forecasts of ice conditions for long-term planning by governments as the Arctic transforms. 

Nils Haëntjens, from the University of Maine, is analysing five-millilitre drops of water on a high-tech McLane IFCB microscope. “The instrument captures more than 250,000 images of phytoplankton along the latitudinal transect,” he says. Charcot has doors in the wet lab that allow the scientists to take water samples, and in the bow, inlets take in water without contaminating it. Two freezers can preserve samples for further research back in university labs. 

Even though the boat won’t stop, the captain and chief engineer clearly want to make the science missions work. Marchesseau dispatches the helicopter with the researchers and their gear 100 kilometres ahead, where they take core samples and measurements. I spot them in their red snowsuits, pulling sleds on an ice floe, as the boat passes. Startled to see living-colour humans on the ice after days of monochrome, I feel a pang of jealousy as I head for a caviar tasting. 

The only other humans we encounter on the journey north are aboard Fifty Years of Victory, the Russian icebreaker. The 160-metre orange- and-black leviathan reached the North Pole a day earlier—its 59th visit—and is on its way back to Murmansk. It’s a classic East meets West moment: the icebreaker, launched just after the collapse of the Soviet Union, meeting the new standard of polar luxury. 

The evening before Bastille Day, Le Commandant Charcot arrives at the North Pole. Because of the pinpoint precision of the GPS, Marchesseau has to navigate back and forth for about 20 minutes—with a bridge full of passengers hushing each other so as not to distract him—until he finds 90 degrees north. That final chaotic approach to the top of the world in the grey, windswept landscape looks like a kid’s Etch A Sketch on the chartplotter, but it is met with rousing cheers. The next morning, with good visibility and light winds, we spill out onto the ice for the celebration, followed by a polar plunge. 

As guests pose in front of flags and mile markers for major cities, the naturalist guides, armed with rifles, establish a wide perimeter to guard against polar bears. The fearless creatures are highly intelligent, with razor-sharp teeth, hooked claws and the ability to sprint at 40 km/h. Males average about three metres tall and weigh around 700 kilos. They are loners that will kill anything—including other bears and even their own cubs. Cathy and I walk around the far edges of the perimeter to enjoy some solitude. Looking out over the white landscape, I know this is a milestone. But it feels odd that getting here didn’t involve any sweat or even a modicum of discomfort. 

Kayaking around an ice floe.

The rest of the week is an entirely different trip. On the return south, we see a huge male polar bear ambling on the ice, looking over his shoulder at us. It is our first sighting of the Arctic’s apex predator, and everyone crowds the observation lounge with long-lensed cameras. The next day, we see another male, this one smaller, running away from the ship. “They have many personalities,” says Steiner Aksnes, head of the expedition team, who has led scientists and film crews in the Arctic for 25 years. We see a dozen on the return to Svalbard, where 3,000 are scattered across the archipelago, outnumbering human residents. 

The last five days we make six stops on different islands, travelling by Zodiac from Charcot to various beaches. On Lomfjorden, as we look on a hundred yards from shore, a mother polar bear protects her two cubs while a young male hovers in the background. On a Zodiac ride off Alkefjellet, the air is alive with birds, including tens of thousands of Brünnich’s guillemots as well as glaucous gulls and kittiwakes, which nest in that island’s cliffs, while a young male polar bear munches on a ring seal, chin glistening red. 

On this part of the trip, the expedition team, mostly 30-something, free-spirited scientists whose areas of expertise range from botany to alpine trekking to whales, lead hikes across different landscapes. The jam-packed schedule sometimes involves three activities per day and includes following the reindeer on Palanderbukta, seeing a colony of 200 walruses on Kapp Lee, hiking the black tundra of Burgerbukta (boasting 3.8-cm-tall willows—said to be the smallest trees in the world and the largest on Svalbard—plus mosquitoes!), watching multiple species of whales breaching offshore, and kayaking the ice floes of Ekmanfjorden. Svalbard is a protected wilderness area, and the cruise lines tailor their schedules so vessels don’t overlap, giving visitors the impression they are setting foot on virgin land. 

Chances to experience that sense of discovery and wonder, even slightly stage-managed ones, are dwindling along with the ice sheet and endangered wildlife. If a stunning trip to a frozen North Pole is on your bucket list, the time to go is now.

Suite bedroom with sliding doors leading to private terrace.

PARADIGM SHIP

For those studying polar ice, a berth aboard Le Commandant Charcot is like a winning lottery ticket. “This cruise ship is one of the few resources scientists can use, because nothing else can get there,” says G. Mark Miller, CEO of research-vessel builder Greenwater Marine Sciences Offshore (GMSO) and a former ship captain for the US National Oceanic and Atmospheric Administration (NOAA). “Then factor in 80 percent of scientists who want to go to sea, can’t, because of the shortage of research vessels.” 

Both Ponant and Viking have designed research labs aboard new expedition vessels as part of their sustainability initiatives. “Remote areas like Antarctica need more data—the typical research is just single data points,” says Damon Stanwell-Smith, Ph.D., head of science and sustainability at Viking. “Every scientist says more information is needed.”  The twin sisterships Viking Octantis and Viking Polaris, which travel to Antarctica, Patagonia, the Great Lakes and Canada, have identical 35-square-metre labs, separated into wet and dry areas and fitted out with research equipment. In hangars below are military-grade rigid-hulled inflatables and two six-person yellow submersibles (the pair on Octantis are named John and Paul, while Polaris’s are George and Ringo). Unlike Ponant, Viking doesn’t have an independent association choose scientists for each voyage. Instead, it partners with the University of Cambridge, the Cornell Lab of Ornithology, and NOAA, which send their researchers to work with Viking’s onboard science officers. 

The cigar lounge which also serves speciality spirits.

“Some people think marine research is sticking some kids on a ship to take measurements,” says Stanwell-Smith. “But we know we can do first-rate science—not spin.”  Other cruise lines are also embracing sustainability initiatives, with coral-reef-restoration projects and water-quality measurements, usually in partnership with universities. Just about every vessel has “citizen-scientist” research programs allowing guests the opportunity to count birds or pick up discarded plastic on beaches. So far, Ponant and Viking are the only lines with serious research labs. Ponant is adding science officers to other vessels in its fleet. As part of the initiatives, scientists deliver onboard lectures and sometimes invite passengers to assist in their research. 

Inneq, the ship’s open-air bar.

Given the shortage of research vessels, Stanwell-Smith thinks this passenger-funded system will coexist nicely with current NGO- and government-owned ships. “This could be a new paradigm for exploring the sea,” he says. “Maybe the next generation of research vessels will look like ours.”

Buy the Magazine

Subscribe today

Stay Connected

Forever Leather

Furnishings wrapped or accented with classic, cognac-coloured hide create a patina that works with any aesthetic.

By Marni Elyse Katz 17/04/2024

Onsen, Gandia Blasco

As the textile industry makes technological advances, traditional outdoor furniture made from iron, wicker and teak seems ever so throwback-y and, dare we say, inconvenient and even uncomfortable. Gandia Blasco’s Mediterranean roots and architectural approach shine in its Onsen collection of garden furniture. Luxe synthetic-leather straps wrapping a tubular stainless-steel structure paired with long-wearing cushions in a similar shade lend new life to the idea of living with leather outdoors. From about $4,425; soft mat about $620, warm mat about $810; Onsen, Gandia Blasco

Gabri, Bolzan

The pared-down, leggy look of these tripod tables packs a functional punch without foregoing refinement. Designed by Matteo Zorzenoni for Bolzan and made in Italy, the Gabri’s leather-bound frames
 with subtle topstitching and semicircular notches recall desktop accessories of an analog age. The
dark tops with touches of chalky veining are thoroughly of this century: made from neolith stone, they’re temperature-resistant and waterproof, so go ahead and place your martini where you will. Small, about $1,735; large, about $2,603; Bolzan.com

Zenius Lines Giobagnara

Giobagnara’s leather-encased Nespresso machine with vertical- or diamond-quilted detailing is genius in its unfussy application. The leather suits the product; the design channels the look of a luxury Italian sports car. The brand began with the Bagnara family producing household items in 1939, before moving into the luxury realm in the ’70s. Giorgio Bagnara changed its name to B. Home Interiors in 1999 and to the eponymous Giobagnara in 2014. If you like your home appliances with liberal leather detailing, it’s one to follow. About $7,900; Artemest.com

Vague, Tonucci Collection

Fun house–meets-Baroque in this softly symmetrical, wall-mounted mirror that playfully beckons you into another dimension (and will bounce beautiful light around the room). Designed by Viola Tonucci, who took the reins of Tonucci Collection from her father last year, the thick, leather-covered frame introduces architectural interest and a hint of levity to a room, be it traditional or modern. About $8,050; Tonucci.com

DS-707, de Sede

Given Philippe Malouin’s propensity for experimentation, it’s no wonder that Swiss furniture firm de Sede took
a whole new approach in manufacturing Malouin’s DS-707 design. He began by noodling around with foam, folding it this way and that before settling on the serpentine shape. Although the silhouette made de Sede wary—creating it required the team to manipulate leather in a manner that could leave it less supple— the project prevailed with great success. The system itself invites experimentation as customers can configure the components to their heart’s content. From $30,450; deSede.com

 

 

Buy the Magazine

Subscribe today

Stay Connected