Norbert Stumpfl: The Thinking Man’s Designer

The man behind Brioni’s re-emergence as the arbiter of elegance. And his timing is impeccable.

By Kareem Rashed, Photography By Ilaria Magliocchetti Lombi 14/10/2021

Norbert Stumpfl is standing on a rooftop terrace off Rome’s Piazza Navona on a scorching summer day, surveying the ancient cityscape with the critical eye of a designer. “Rome has a lot of beauty,” the Austrian-born transplant, who has also lived for long stretches in both London and Paris, concedes. But, unusually, he finds that the bounty of classical wonders can grow a bit stale: “They don’t really change a lot.” After all, it’s not called the Eternal City for nothing.

The Italian capital’s immutable nature may be its defining feature, but Stumpfl has brought seismic change to at least one Roman landmark. Since taking the helm as Brioni’s creative director in 2018, he has dusted off the colossus of Italian tailoring and steadily, subtly—but firmly—imbued it with new life. Rather than simply strip it down to studs and rebuild it without a thought for its place in history, as one of his predecessors attempted with disastrous consequences, he has faithfully restored the brand, managing to make elegance relevant for today.

“I want to innovate and continue the story a little bit, because I think there is so much there,” says the 44-year-old designer, who helped revive moribund menswear lines at Lanvin and Balenciaga. Speaking in a hushed tone almost drowned out by the cacophony of the streets below, Stumpfl may be reserved but he doesn’t lack nerve. At a time when four-figure sneakers and haute couture hoodies are luxury fashion’s North Star, understatement is a statement in itself.

His designs, combining exceptional craftsmanship with a casual, toss-it-on attitude, bridge the ever-widening gap between traditional tailor shops and what’s coming down the runway, speaking to both worlds without conforming to either. From double-breasted suits rendered with all the softness of pyjamas to precisely cut safari shirts in sumptuous silk twill, Stumpfl’s modernised wardrobe staples have won rave reviews from critics and attracted an influx of new patrons.

“Ten years ago, men like our clients had many more rules to follow,” he says. “I don’t think a 50-year-old needs to look like he’s not modern anymore.” The brand may be best known for outfitting masters of the universe in quintessential power suits, but Stumpfl is keenly aware that, today, power isn’t defined by a roped shoulder and a Windsor knot.

“If I just did classic men’s clothes, in the end, it gets boring,” Stumpfl says. Though acknowledging that exquisite tailoring is and always will be Brioni’s MO, he notes, “I don’t want to find myself at some point when fashion moves on and the lifestyle of our clients moves on.”

Stumpfl’s own outfit epitomises sartorial power circa 2021: what appears to be a standard work shirt, albeit a very handsome one, is crafted from a double-faced Super 150s wool-and-silk suiting textile, which is meticulously split by hand to become airy and lightweight before being fashioned into a shirt—a process that Stumpfl notes is even more complex than constructing one of the brand’s suit jackets. Paired with linen trousers in a matching shade of cadet blue, it’s worn with all the ease of an old T-shirt.

“It’s all about this personal luxury, which people don’t see but gives you a kind of comfort,” Stumpfl says, describing both his own style and his vision for the brand. “Something which doesn’t shout, but you still know it’s there.”

Stumpfl was installed at Brioni after the house had endured a particularly rocky period. In 2012 descendants of the company’s founders sold it to Kering, owner of perpetually buzzy labels such as Gucci and Balenciaga. Brioni then went through a string of four design directors in five years, with results ranging from snoozy to shocking. Justin O’Shea, a design novice and street-style fop who’d been handed the reins in 2016, notoriously recruited Metallica as the poster stars for his rocker-infused revamp. During his tenure, O’Shea managed to entirely reshape the brand in a play for millennial hype: the classic looping script logo was replaced with a punky Gothic font, the wood-panelled boutiques were transformed with Instagram-friendly marble and chrome, and the clothes skewed more pimp than presidential (think red satin shirts, crocodile coats and an abundance of chinchilla). This “new” Brioni survived for only six months, but it very publicly exposed the brand’s identity crisis.

That Brad Pitt is now the face of the label says all one needs to know about Brioni in the Stumpfl era. After years of the actor politely declining the company’s advances, he reached out after seeing Stumpfl’s new direction to commission a bespoke tuxedo. Pitt went on to collaborate with Stumpfl on BP Signature, a spring ’21 capsule collection of his favourite pieces—washed-silk utility jackets, a cashmere polo, a re-creation of the tux he wore to accept his Oscar for best supporting actor in 2020—and provided the designer with one of his proudest moments since taking the job.

Brad Pitt, winner of Best Actor in a Supporting Role for “Once Upon a Time…in Hollywood”, poses in the press room during 92nd Annual Academy Awards.

During the photoshoot for the collection’s ad campaign, Pitt’s assistant summoned Stumpfl into the actor’s dressing room. “It was like, ‘Hmm, what did I do wrong?’ ” the designer recalls. “Then he’s like, ‘Norbert, I wanted to tell you: since I’m wearing Brioni, I look great but I feel amazing. I just wanted to thank you for doing these kinds of clothes.’ I was crying!”

Stumpfl displays an earnest wonderment at where he’s found himself, revealing glimpses of the boy who grew up on a farm in Austria. “I was a little bit of an outsider . . . not like the other boys who were more into football,” he says. “I always knew I would leave eventually.” Fate provided his ticket out.

A school close to Stumpfl’s home happened to have a vocational program dedicated to tailoring. He enrolled at 13 years old out of convenience and fell in love with the craft of menswear. At the same time that he was making his own suits to wear to school, Stumpfl began idolising the agenda-setting designs of Helmut Lang and Jil Sander. He tracked down the closest boutique selling Lang and took a job nearby, saving his wages to buy a Lang of his own. After moving to upstate New York to sharpen his English (and sneaking down to Manhattan to go clubbing), Stumpfl landed in London to attend Central Saint Martins, the influential design school.

“One of the first things I remember being amazed by was Norbert’s wardrobe. It was impeccable,” says fellow designer Daphne Karras, who met Stumpfl when they were students and has been his wife for 14 years. “He always had this taste of classic modernity; from the moment I met him, that aesthetic was there.”

Danielle Scutt, another classmate, similarly recalls being stunned to see Stumpfl show up one day with a Cartier Pasha on his wrist: “I mean, we were students! And then he has this watch with a sapphire on it?” As Karras points out, “He worked every weekend for this. His love of beauty wasn’t handed to him. It’s something he educated himself on. He really found pleasure in discovering this universe.”

Stumpfl says he’s always been enamoured of “extreme luxury”. He still wears that Pasha and has added further blue-chip timepieces to his collection, such as an early Audemars Piguet Royal Oak and a 1960s Heuer chronograph. A self-professed minimalist, he is diligent about buying only pieces with staying power, from Arne Jacobsen chairs to Ellsworth Kelly lithographs. It’s this obsession with quality that first led him to Brioni, becoming a customer before he would make the house his home.

From the beginning, Stumpfl’s tailoring background made him stand out from the fashion pack. While at Saint Martins, a friend working at Alexander McQueen called him when, the night before a campaign shoot, all of the clothes had to be taken down in size. Stumpfl delivered, and McQueen, himself a Savile Row alumnus, was so impressed that he enlisted Stumpfl to tailor pieces for his infamous runway shows.

Soon after completing school in 2005, Stumpfl was tapped by Lanvin creative director Alber Elbaz to be the number two on the team relaunching the brand’s menswear. The late Elbaz—whose womenswear was celebrated for being as wearable as it was imaginative—taught Stumpfl the importance of always staying grounded in reality.

“He would always tell me: ‘A lot of designers are making things that, in terms of food, would be like foie gras on top of caviar with mozzarella—really good ingredients but too much,’” Stumpfl recalls.

He left Lanvin in 2014 to head up Balenciaga’s menswear during Alexander Wang’s tenure. After two years, Wang was traded out and Stumpfl worked briefly with Demna Gvasalia, then moved to Louis Vuitton under Kim Jones, who’d been impressed by Stumpfl’s student designs when he was a visiting tutor at Saint Martins. Before Jones moved to Dior, he connected Stumpfl with Haider Ackermann, Berluti’s recently appointed creative director. “It was a breath of serenity when he entered,” says Ackermann, describing Stumpfl’s precision and “immaculate proportions” as his greatest talent. “He’s quiet but he’s confident, and that’s what luxury is about . . . this elegance o discretion.” Beautiful as Berluti was under them, fashion’s musical chairs struck again after barely one year.

Although he has been a repeat victim of the industry’s insatiable appetite for novelty, Stumpfl doesn’t harbour any bitterness. But he was weary enough to turn down several offers, uninterested in attempting to create next season’s hottest sneaker. When Brioni came calling, however, it instinctively felt like a match.

Founded in 1945, Brioni pioneered menswear as we know it. The Roman tailoring firm was the first to put men on the catwalk, in 1952, thumbing its nose at the industry’s sobriety and giving men permission to have fun with fashion. Press at the time heralded Brioni as menswear’s Dior, its influence as widespread as the French couturier’s New Look was for women. As guys traded in their fatigues for body-skimming suits, Brioni became the bellwether for a new breed of male refinement.

“The founders were using fabrics that were unheard of in menswear,” says Stumpfl, an astute student of the archives. “It was completely going in a different direction of what was happening at the time . . . almost like Demna at Balenciaga, something really on the edge,” he continues, referencing Balenciaga’s current creative director, a primary architect of the high-fashion hoodie craze.

While such enfants terribles claimed the mantle of cool, Brioni’s early reputation for trendsetting settled into one for beautifully made, if a bit uninspired, business suits. In today’s fashion landscape, a bastion of tailored sophistication risks going the way of the frock coat, but, perhaps counterintuitively, taking over a collection in crisis has its appeal. “It’s kind of nice to step into these companies where people don’t expect anything of you,” Stumpfl says, comparing Brioni’s muddled identity to Lanvin’s dormant menswear before he started. “You see the change that you can bring as a designer.”

Stumpfl has not only righted the ship, he’s steered it into new waters. Fitting bespoke clients in London last year, he was surprised to find guys as young as 19 coming in alongside the captains of industry he’d expected. Perhaps more impressively, a range of equally successful women have joined the ranks of Brioni shoppers since Stumpfl took charge. “He brings a nobility to Brioni,” says Ackermann, who notes that Stumpfl has a knack for making “the perfect piece”, such as Pitt’s tuxedo.

Heady as Brioni’s wares may be, Stumpfl isn’t too precious about them—a point that has been underscored by his fashion-week presentations. For his spring 2020 collection that was revealed to the media a year earlier, he staged an assortment of tableaux with mannequins cheekily acting out a day in the life of the Brioni man, from soaking in a bath drawn by a woman wearing boxers, to crashing on the couch after a black-tie gala, with numerous high jinks in between.

“He’s practical but he has a more playful, fun side,” says Mattias Karlsson, a stylist who’s known Stumpfl since his Saint Martins days and has worked on every Brioni presentation since the designer started. “When we’re working, it’s very spontaneous. It’s a joyful process.” Avoiding self-serious fashion shows with Adonises strutting down a catwalk is very much intentional. Stumpfl sees it as a typically Italian attitude: “They just put the clothes on and go on with their life. The clothes can be a little creased, it doesn’t matter.”

It’s Stumpfl’s lack of pretension that gives once-buttoned-up Brioni a sense of levity and, more vitally, modernity. “I have both sides in me,” the designer reflects, his measured expression curling into a grin. “I’m quite quiet and traditional, but then on the other side, I’m also quite fearless.”

The latter has been most apparent in Stumpfl’s eccentric eveningwear, such as the 24-karat-gold-plated tuxedo that Leslie Odom Jr. sported at this year’s Academy Awards. While it may seem counter to the subtle elegance of his daywear, Stumpfl points out that avant-garde dinner jackets are what first put Brioni on the map: “Having this history, I’m allowed to dare.”

That tuxedo is one of countless examples of the painstaking textile development that has become Stumpfl’s signature. (The electromagnetic technology that yielded the gilded yet supple fabric has been employed by only one other firm: the Vatican.) Karras, who is now a consultant designing Brioni’s knitwear and serving as Stumpfl’s unofficial right hand in R&D, says that although he favours classic silhouettes, “where he gets really creative is in how things are made. He’s almost working more as an architect than a designer.”

While Stumpfl expected some of the more outré pieces, such as a dinner jacket in an opulent floral jacquard, to be eye candy for store windows, he reports that the item sold out—and this was during the height of the pandemic. Explaining the allure of this particular piece—its fabric is woven on a Venetian loom dating back to the 17th century, requiring three months of milling to produce enough yardage for a single jacket—Stumpfl visibly tears up.

“It was, like, 20 tailors around, looking at this jacket being made, and they were like, ‘Wow, this is Brioni,’” the designer says. “This is what I love.”

At Stumpfl’s home, an appreciation for craft, both old and new, extends to all corners of his life. The wisteria-clad townhouse in Rome’s bohemian Monti district combines ancient architecture with sleek midcentury furnishings in the same unfussy style that marks his creations. In bare feet, the designer glides about the open kitchen, vetoing candles for the table setting while preparing a simple supper of pasta with fresh tomatoes like a true Italian. (The chocolates served for dessert show he hasn’t lost his Austrian sweet tooth.)

Modernist that he is, Stumpfl still marvels at the beauty he encounters on his daily walk to Brioni’s headquarters—passing the majestic fountains of Piazza della Repubblica and the gilded mosaics of Santa Maria Maggiore—saying, “Sometimes I feel like I’m on a holiday which continues.”

After more than a decade in Paris, Stumpfl has come to appreciate the relaxed pace of Roman life. “It’s like a little village,” he says. “It kind of suits me now.” And although he’d been concerned about relocating his two daughters, they’re happy to have traded a concrete playground in the Marais for the gardens of Villa Borghese. (“Every day, they come home dirty—like, full of mud.”)

While this is the first time that Stumpfl and Karras have been on the same design team, it’s something of a reunion—the couple met sharing a worktable at school. “She’s somebody who I can trust completely. I think she’s much more talented than I am,” he says. “Because there is a lot of stress, if you can trust someone a hundred percent, you have more eyes on everything.”

But that’s not to say Stumpfl doesn’t have deep respect for the wealth of knowledge in Brioni’s atelier. “He’s really a collaborator,” Karras says of his leadership. “When he likes something, he likes it. And if he doesn’t, he doesn’t. But even when he disagrees with you, he’s doing it in a way that’s soft and considerate and eloquent.”

Stumpfl is just as exacting when he’s off duty—he can spend hours tending to his orchids or his aquarium. The meditative upkeep of bonsai is a particular passion; he purchased one upon his arrival in Italy and, after three years of careful monitoring to ensure it would survive sweltering Roman summers, he only recently allowed himself to buy another. (“Super nerd!” he exclaims.) Discussing his horticultural pursuits, the otherwise sedate Stumpfl is as animated as he is when detailing technical tailoring feats. It makes sense: the invisible artistry of bonsai pruning isn’t all that different from the stealth luxury he’s brought to Brioni.

“I want people to recognise a Brioni man on the street and say, ‘Oh, he looks great,’ but they shouldn’t know it’s Brioni,” he says, in what marketing executives everywhere would see as blasphemy. Stumpfl is an adherent to the if-you-know-you-know school of chic, favouring clothing that is most appreciated by wearing it. “These guys don’t need to say they’re in Brioni—they’re not choosing it for that.”

He’s aware that the brand’s exquisitely understated offerings—and dizzyingly high prices—are not for everyone, and he wants to keep it that way. “It might be completely different from what my colleagues, other designers, are thinking,” he says, acknowledging that an instantly identifiable product is the Holy Grail for most brands—even Hermès has its Birkins. That might be the conventional logic, but “I’m the opposite.” Quiet as he may be, Stumpfl’s strategy has been validated. He has seen Roman style and conquered it.

This piece comes from the new Spring Issue – on sale now. Get your copy or subscribe hereor stay up to speed on all things with Robb Report’s weekly luxury insights.

ADVERTISE WITH US

Subscribe to the Newsletter

Stay Connected

You may also like.

Escape from the Ordinary

Ponant, the luxury cruise line known for its meticulously planned itineraries and high-end service, ups the ante on their upcoming European Journeys that promise an unrivalled exploration of the Mediterranean.

By Robb Report Team 19/02/2024

Not all cruises are created equally. Ponant, the luxury cruise line known for its meticulously planned itineraries and high-end service, ups the ante on their upcoming European Journeys that promise an unrivalled exploration of the Mediterranean. From the stunning Amalfi Coast to the pristine Greek Islands, the narrow Corinth Canal to the picturesque Dalmatian coast, historic Istanbul and beguiling Malaga, each destination is a unique adventure waiting to be unravelled. With Ponant, these aren’t just locations on a map; they’re experiences that come alive with the intimate knowledge and insight that their expert guides provide.

Ponant’s luxury cruises are renowned for their individuality, with no two journeys the same. This is not by chance. Itineraries are scrupulously designed to ensure that each passenger is left with a feeling of having embarked on a journey unlike any other.

Athens-Venise. Photograph by N.Matheus. ©PONANT

In 2025, their fleet will set sail for a combined 56 departures from March to October, exploring the dreamy locales of Greece and the Greek Islands, Malta, Italy (including Venice and Sicily), Croatia, France, Turkey, Spain and Portugal. These European Journeys offer an intimate encounter with the Mediterranean, its people and culture. As you cruise in luxury, you’ll dive deep into the heart of each destination, exploring historic sites, engaging with locals, sampling scrumptious cuisine and soaking in the vibrant atmospheres.

The company’s small, sustainable ships, which can accommodate from as few as 32 to 264 guests, have the exclusive ability to sail into ports inaccessible to larger cruise liners, affording privileged entry into some of the world’s most treasured alcoves. Picture sailing under London’s iconic Tower Bridge, crossing the Corinth Canal, or disembarking directly onto the sidewalk during ports of call in culturally rich cities like Lisbon, Barcelona, Nice and Venice, among others.

Photo by Tamar Sarkissian. ©PONANT

This singular closeness is further enriched by destination experts who unravel the tapestry of each locale’s history and traditions.

Onboard their luxurious ships, every guest is a VIP and treated to refined service and amenities akin to sailing on a private yacht. Whether at sea or ashore, their destination experts guarantee a fascinating experience, immersing you in the rich cultural and historical diversity of each region.

Indulge in the finest gastronomy at sea, inspired by none other than gastronomic virtuoso and Ponant partner, Alain Ducasse. Each voyage offers an expertly crafted dining experience, from a-la-carte meals with perfectly matched wines by the onboard Sommelier at dinner and lunch, to a French-inspired buffet breakfast, featuring all the favourite pastries, fresh bread and quality produce.

Chef Mickael Legrand. Photograph by NickRains. ©PONANT

For a more intimate discovery, consider Le Ponant, with its 16 high-class staterooms and suites—perfect for private charter—sailing eight exclusive routes between Greece and Croatia, offering guests unparalleled experiences both onboard and ashore. Ponant’s commitment to crafting unforgettable experiences extends beyond itineraries. Aboard their ships, the luxury is in every detail. Unwind in opulent cabins and suites, each offering private balconies and breathtaking views of the azure water and destinations beyond.

Ponant’s upcoming European Journeys are more than just cruises—they’re your passport to a world of cultural immersion, historical exploration, and unrivalled luxury. Don’t miss this opportunity to embark on the voyage of a lifetime: the Mediterranean is calling.

To book European 2025 sailings visit au.ponant.com; call 1300 737 178 (AU) or 0800 767 018 (NZ) or contact your preferred travel agent.

 

Buy the Magazine

Subscribe today

Stay Connected

Saint Laurent Just Opened a New Bookstore in Paris. Here’s a Look Inside.

The chic new outpost is located on the city’s arty Left Bank.

By Rachel Cormack 14/02/2024

Saint Laurent is taking over even more of Paris.

The French fashion house, which only just opened an epic new flagship on Champs-Élysées, has launched a chic new bookstore on the Left Bank. Located in the 7th arrondissement, Saint Laurent Babylone is a mecca of art, music, literature, and, of course, fashion.

The new outpost is a tribute to the connection that Yves Saint Laurent and partner Pierre Bergé had to the Rue Babylone, according to Women’s Wear Daily. (In 1970, the pair moved to a 6,500-square-foot duplex on the street.) It is also inspired by the house’s original ready-to-wear boutique, Saint Laurent Rive Guache, which opened in the 6th arrondissement in 1966.

The exposed concrete in contrasted by sleek marble accents. SAINT LAURENT

With a minimalist, art gallery-like aesthetic, the space is anchored by a hefty marble bench and large black shelves. The raw, textured concrete on the walls is juxtaposed by a soft blue and white rug, a wooden Pierre Jeanneret desk, and sleek Donald Judd stools.

The wares within Saint Laurent Babylone are the most important part, of course. Curated by Saint Laurent’s creative director Anthony Vaccarello, the collection includes everything from photos by British artist Rose Finn-Kelcey to books published by Saint Laurent itself. Some tomes on offer are so rare that white gloves are required for handling.

The store also offers an enviable selection of records that are no longer being pressed. Highlights include Sade’s Promise, Kate Bush’s Hounds of Love, and the debut studio album of electronic band Kraftwerk.

Other notable items on the shelves include Leica cameras, chocolates made in collaboration with pastry chef François Daubinet, prints by Juergen Teller, and brass skull sculptures. You’ll also find an assortment of YSL merch, including pens, lighters, and cups.

To top it off, Saint Laurent Babylone will double as an event space, hosting live music sessions, DJ sets, book readings, and author signings over the coming months.

Saint Laurent’s latest endeavor isn’t exactly surprising. With Vaccarello at the helm, the Kering-owned fashion house has entered new cultural realms. Only last year, the label established a film production company and debuted its first movie at Cannes.

The space is fitted with a Pierre Jeanneret desk and Donald Judd stools.
SAINT LAURENT

Perhaps Saint Laurent film reels and movie posters will soon be available at Babylone, too.

Buy the Magazine

Subscribe today

Stay Connected

The Best Watches at the Grammys, From Maluma’s Jacob & Co. to Jon Batiste’s Vacheron Constantin

Music’s biggest names sported some outstanding watches on Sunday evening.

By Rachel Mccormack 08/02/2024

Weird yet wonderful watches punctuated this year’s Grammys.

The woman of the moment, Taylor Swift, who made history by winning Album of the Year for an unprecedented fourth time, wore an unconventional Lorraine Schwartz choker watch to the annual awards ceremony on Sunday night. That was just the tip of the horological iceberg, though.

Colombian singer-songwriter Maluma elevated a classic Dolce & Gabbana suit with a dazzling Jacob & Co. Astronomia Tourbillon and a pair of custom, diamond-encrusted Bose earbuds, while American musician Jon Batiste topped off a stylish Versace ensemble with a sleek Vacheron Constantin Overseas Tourbillon. Not to be outdone, rapper Busta Rhymes busted out a rare Audemars Piguet Royal Oak for the occasion.

There was more understated wrist candy on display, too, such as Jack Antonoff’s Cartier Tank LC and Noah Kahan’s Panerai Luminor Quaranta BiTempo.

For the rest of the best watches we saw on the Grammys 2024 red carpet, read on.

Maluma: Jacob & Co. Astronomia Tourbillon

Maluma busted out some truly spectacular bling for this year’s Grammys. The Colombian singer-songwriter paired a classic Dolce & Gabbana suit with a dazzling Jacob & Co. Astronomia Tourbillon and a pair of custom, diamond-encrusted Bose earbuds. The sculptural wrist candy sees a four-arm movement floating in front of a breathtaking dial adorned with no less than 257 rubies. For added pizzaz, the lugs of the 18-karat rose-gold case are invisibly set with 80 baguette-cut white diamonds. Limited to just nine examples, the rarity is priced at $1.5 million.

Asake: Hublot Big Bang Essential Grey

Nigerian singer-songwriter Asake may not have won the Grammy for Best African Music Performance for “Amapiano,” but did wear a winning Hublot Big Bang at Sunday’s proceedings. Released in 2023, the Essential Grey model is made purely of titanium for a sleek, uniform feel. The 42 mm timepiece was limited to just 100 pieces and cost $37,000 a pop.

John Legend: Audemars Piguet Royal Oak Selfwinding

Multihyphenate John Legend wore a legendary Audemars Piguet with silky Saint Laurent on Sunday evening. The self-winding Royal Oak in question features a 34 mm black ceramic case, a black grande tapisserie dial, and striking pink gold accents. The watchmaker’s signature is also displayed in gold under the sapphire crystal. The piece will set you back $81,000.

Jon Batiste: Vacheron Constantin Overseas Tourbillon

American musician Jon Batiste received four nominations but no wins at this year’s Grammys. The “Butterfly” singer can take solace in the fact that he looked ultra-sharp in Versace and Vacheron Constantin. A tribute to the spirit of travel, the Overseas Tourbillon features a 42.5 mm white-gold case, a bezel set with 60 baguette-cut diamonds, and a blue dial featuring a dazzling tourbillon cage inspired by the Maltese cross. Price upon request, naturally.

Fireboy DML: Cartier Santos

Fireboy DML’s outfit was straight fire on Sunday night. The Nigerian singer paired an MCM wool jacket with a Van Cleef & Arpels bracelet, several iced-out rings, and a sleek Cartier Santos. The timepiece features a steel case, a graduated blue dial with steel sword-shaped hands, and a seven-sided crown with synthetic faceted blue spinel.

Noah Kahan: Panerai Luminor Quaranta BiTempo

Best New Artist nominee Noah Kahan wore one of Panerai’s best new watches to Sunday’s festivities. The Luminor Quaranta BiTempo features a 40 mm polished steel case and a black dial with luminous numerals and hour markers, a date display at 3 o’clock, and a small seconds subdial at 9 o’clock. The timepiece can be yours for $14,000.

Busta Rhymes: Audemars Piguet Royal Oak Offshore

Legendary rapper Busta Rhymes busted out a chic Audemars Piguet for this year’s Grammys. The Royal Oak Offshore Chronograph in question is distinguished by a 42 mm rose-gold case and a matching pink méga tapisserie dial with an outer flange for the tachymeter scale. The face is fitted with three black subdials, large black numerals, and a black date display at 3 o’clock. You can expect to pay around $61,200 for the chronograph on the secondary market.

Jack Antonoff: Cartier Tank Louis Cartier

Producer of the year Jack Antonoff took to the red carpet with a stylish Cartier on his wrist. The Tank Louis Cartier in question appears to be a large 33.7 mm example that features an 18-carat rose-gold case, a silvered dial with black Roman numerals and blued steel hands, a beaded crown set with a sapphire cabochon, and a brown alligator strap. It’ll set you back $19,900.

Buy the Magazine

Subscribe today

Stay Connected

This 44-Foot Carbon-Fiber Speedboat Can Rocket to 177 KMPH

The new Mayla GT is available with a range of different powertrains, too.

By Rachel Cormack 03/02/2024

We knew the Mayla GT would be one of the most exciting boats at Boot Düsseldorf, but a deep dive into the specs shows it could be downright revolutionary.

The brainchild of German start-up Mayla, the 44-footer brings you the blistering performance of a speedboat and the luxe amenities of a motor yacht in one neat carbon-fiber package.

Inspired by the go-fast boats of the 1970s and ‘80s, the GT sports an angular, retro-futuristic body and the sleek lines of a rocket ship. Tipping the scales at just 4500 kilograms, the lightweight design features a deep-V hull with twin transversal steps and patented Petestep deflectors that help it slice through the waves with ease. In fact, Mayla says the deflectors decrease energy usage by up to 35 percent while ensuring a more efficient planing.

The range-topping GT can reach 185 kph. MAYLA

The GT is also capable of soaring at breakneck speeds, with the option of a gas, diesel, electric, or hybrid powertrain. The range-topping GTR-R model packs dual gas-powered engines that can churn out 3,100 hp for a top speed of more than 100 knots (185 kph). At the other, more sustainable end of the spectrum, the E-GT is fitted with an electric powertrain that can produce 2,200 horses for a max speed of 50 knots. The hybrid E-GTR pairs that same electric powertrain with a 294 kilowatt diesel engine for a top speed of 60 knots (111 km/h/69 mph). (The GT in the water at Boot sported two entry-level V8s good for 650 hp and a top speed of over 70 knots.)

The GT is suitable for more than just high-speed jaunts, of course. The multipurpose cockpit, which can accommodate up to eight passengers, features a sundeck with sliding loungers, a wet bar and BBQ, and a foldaway dining table for alfresco entertaining. Further toward the stern, a beach club sits atop a garage with an electric transom door.

The garage has an electric transom door. MAYLA

The GT is even fit for overnight stays. Below deck lies a cabin with a double bed, sofa, wardrobe, vanity, and en suite. You can also expect a high-tech entertainment system with TVs and premium audio.

As for price, the GT with the entry-level powertrain will cost between $2.7 million and $2.9, depending on the final configuration. (You can fine-tune the layout, hull color, and interiors, naturally.) Interested buyers can set up a sea trial with Mayla, with test-drives set to begin this spring in Europe.

Buy the Magazine

Subscribe today

Stay Connected

Red Centre

First Nations artist Shaun Daniel Allen joins forces with Chopard to create a timepiece inspired by the Australian landscape.

By Horacio Silva 29/01/2024

Shaun Daniel Allen does not look like your typical collaborator on a prestige watch. For one, Shal, as he prefers to be known (“There are many Shauns but only one Shal,” he explains), is more heavily tattooed than your average roadie. His youthful appearance, bad-boy ink and all, belies his 38 years and leads to a disconnect. 

He recounts being recognised on the street recently by a journalist, who, unable to remember his name, shouted out, “Chopard!” “I was with a friend,” Shal says, holding court in his apartment in Sydney’s inner city, “and he’s, like, ‘What the hell? Does that happen to you often?’”

Perhaps because of his body art, he reasons, “People don’t put me and Chopard together.” It’s not hard to understand the confusion, Shal adds; even he was taken aback when Chopard reached out to him about a potential collaboration a little more than a year ago. “When I first went in to see them, I was, like, I don’t know if I’m your guy. I’m not used to being in those rooms and having those conversations.”

He’ll have to adapt quickly to his new reality. Last month Chopard released Shal’s interpretation of the Swiss brand’s storied Alpine Eagle model, which in itself was a redo of the St. Moritz, the first watch creation by Karl-Friedrich Scheufele (now Co-President of Chopard) in the late 1970s. 

Previewed at Sydney’s About Time watch fair in September, to not insignificant interest, and officially known as the Alpine Eagle Sunburnt, the exclusive timepiece—issued in a limited edition of 20—arrives as a stainless steel 41 mm with a 60-hour power reserve and a burnt red dial that brings to mind the searing Outback sun. Its see-through caseback features one of Shal’s artworks painted on sapphire glass.

When the reputable Swiss luxury brand approached Shal, they already had the red dial—a nod to the rich ochre hues of the Australian soil at different times of the day and gradated so that the shades become darker around the edges—locked in as a lure for Australian customers.

Shal was charged with designing an artful caseback and collectible hand-painted sustainable wooden case. After presenting a handful of paintings, each with his signature abstract motifs that pertain to indigenous emblems, tattoos and music, both parties landed on a serpentine image that evoked the coursing of rivers. “I have been painting a lot of water in this last body of work and the image we chose refers to the rivers at home,” he says, alluding to formative years spent at his grandfather’s, just outside of Casino.

It says a lot about Chopard, Shal points out, that they wanted to donate to a charity of his choosing. “Like everything else on this project,” he explains, “they were open to listening and taking new ideas on board and it actually felt like a collaboration, like they weren’t steering me into any corner.”

In another nice touch, a portion of the proceeds from sales of the watch will go to funding programs of the Ngunya Jarjum Aboriginal Corporation—an organisation, established in 1995 by Bundjalung elders, whose work Shal saw firsthand after the 2022 eastern Australia flood disasters ravaged their area. “Seeing Ngunya Jarjum suffer from the floods,” he says, “and knowing how much they do for the community on Bundjalung Country was heartbreaking. I want to see Bundjalung families thriving and supported.”

So what’s it been like for this booster of Australian waterways to be swimming in the luxury end of the pool? “I’ve done a few things with brands,” he offers, referring to the Louis Vuitton project earlier this year at an art gallery in Brisbane, “but nothing on this scale. It’s definitely fancier than I’m used to but I’m not complaining.” Neither are watch aficionados.

Buy the Magazine

Subscribe today

Stay Connected