Robb Read: Recasting Retail In A Post-Pandemic Landscape

How the look and feel of shopping in stores is fast evolving in both temporary and permanent ways.

By David Moin & Wwd Staff 27/05/2020

Here’s the dilemma: Certain Covid-19-related adaptations to the retail setting might or might not be relevant in the future. It all depends on the impact of the pandemic on shopping behaviour and whether it lasts a year, two years — or much longer. That means retailers must be innovative, agile and resourceful to navigate the challenges posed by the global health crisis and its accompanying economic fallout.

In any case, the playbook for store design and the shopping experience is being rewritten by the coronavirus, forcing retailers to make immediate adaptations for social distancing and sanitising, while accelerating changes already in motion, such as buy online, pickup in-stores or curbside, and showrooming.

We asked experts in brick-and-mortar retail design to discuss their visions for the store of the future, whether it’s retrofitting for right now, or dramatically rethinking the space for the next generation. For many, it’s all about merging hospitality and retail, increased web functionality to link shoppers to inventory in local stores, easily cleanable surfaces, modified customer traffic flow, open spaces with less inventory on the selling floor, shopping by appointment, and flexible fixtures so product displays and shops-in-shop can be readily assembled and disassembled like stage sets.

Peter Marino

Peter Marino  Manolo Yllera/Courtesy Photo

Peter Marino, architect

“A condominium project I’m working on specifies an elevator with voice command, so you don’t have to touch anything metallic. It’s very eerie. It’s the touching aspect that’s questionable. The reason people go to stores is presumably to touch and try on the merchandise. I think it’s going to take a while to regain confidence in that.

“I think we’ll want everything more modern. I don’t want doorknobs to enter a fitting room — we should just be able to push the door. There will be a lot less touching of metal and small items, but architecturally the changes are not very much.

“After the Depression of 1929 and 1930, everything became simpler. All those gorgeous luxury apartments by Rosario Candela on Park Avenue were suddenly being built with no oak libraries, no oak trim around windows. There will be a significant drop in the use of luxurious finishes. It’s not appropriate in the face of so many deaths and so much monetary loss. Everything we’re doing or planning on will be much simpler, more elegant; we’re even sardonically referring to it as ‘coronavirus aesthetic.’

“I’ve always liked doing very sensual, textured walls. But you don’t want people touching walls anymore, and people don’t want to. There will be a much simpler approach. Certainly less sensual, potentially a little simpler for trends in the next three to five years.

“Recently, I’ve been using cheerful colours including yellow, orange and bright burnt amber for retail. I think that happiness factor will not change. People need to be cheered up.” — Miles Socha

Norman Roberts

Norman Roberts

Norman Roberts, design director, FRCH Nelson

“We are only partway into this so we don’t really know the long-term and short-term impacts are,” said Roberts. “But we do know that retailers will have to really satisfy customers when they come into the store. The hurdles to get people in become even greater than before.”

Roberts envisions retailers creating more space to give shoppers elbow room and easier navigation, adapting the brick-and-mortar experience to accommodate those shoppers who want to come and go quickly, and those who prefer to leisurely browse through.

“People will have different comfort levels,” observed Roberts, noting that some shoppers will be anxious in a large busy space and will want to get in and out fast; others will feel comfortable, and potentially shop like they did before.

“Part of this will revolve around communication and a lot of signage about express lanes, or full-service lanes — formats we have seen in gas stations and fast food. Retailers must have multiple ways to engage. You could easily drop a self-checkout into any shopping environment. But you have to do a good job of communicating. You will see a lot more overt signage in stores, around the health precautions being taken and informing people about shopping options. This will impact the aesthetics of the space.”

Roberts said retailers in the future will create more spacious environments, and retrofit by reducing the number of fixtures, displaying less merchandise, and even bringing some of what the store offers inside, to outdoor settings. “I could see retail starting to push out to the parking lots and sidewalks, restaurants extending outside, and stores opening up a little more to engage with consumers who don’t want to go into the stores.

“I can see fixtures coming out to the street, and pop-ups in parking lots, depending on the season and climate. People are going to want space and fresh air. One of the big unknowns is HVAC systems. What role will mechanicals plays in the store of the future? There is really not much information on the role they play in spreading the virus.

“Aesthetics-wise, retail is moving to a ‘less is more’ philosophy. Spaces will be minimal, simpler and flexible with open floor plans without designated aisles. An uncluttered, simple space feels comforting, from a cleanliness perspective, and it’s easier to clean. There are a lot of stores that have don’t have the right infrastructure. They need more flexibility.

“On a psychological level, for people coming out of their cluttered, chaotic homes, it’s going to feel very satisfying. You want a big, open floor plan so you can move around, and if you have aisles, you can add directional decals,” so people move in the same direction to facilitate socially distancing.

Furthermore, “A minimal, simple space will be a much better canvas to communicate information on safety, distancing, cleaning, how you check out, where to find men’s clothing, where to find the fitting rooms. There are a lot of new ideas retailers will have to communicate to people.”

With the fitting rooms, “Retailers must make them comfortable. It’s also all about sanitation. A lot of fitting rooms are not very well lit and feel a little icky.”

There’s also a bad feeling around cash, that it can transfer the virus. People no longer like to touch money, or stand at the checkouts where people interact in close proximity, Roberts said. “The use of self- and mobile checkouts is going to accelerate. But self-checkouts need to be easier to use.”

With the country in recession, “retailers are going to have to be very efficient with their dollars,” said Roberts. “A lot of what retail design firms do is retrofitting” rather than completely renovating or overhauling the box.

“We also have to keep in mind that with the recession in general, there is a self-consciousness around flamboyance and extravagance. We are entering a minimalist time. Ten years ago, we saw that happen. The merchandise radically changed. People became self-conscious about being too flashy about what they bought and wore. It’s like what happened during the Great Depression. It killed a lot of Roaring Twenties flamboyance.” — David Moin

Ron Radziner

Ron Radziner  Courtesy Photo

Ron Radziner, design partner, Marmol Radziner 

“Retail will become even more gallery-like. You see the item of clothing but there is only one piece, or one of each colour hanging, and if you want to try that on, the staff will go grab your size, and put it in the dressing room.

“My sense is the whole dressing room experience will also become more important. You could go online, to Tom Ford, and say, ‘hey I’d like to try on that suit, these shirts,’ and then you have an appointment and they have it ready for you, so there are fewer people in the same space at the same time. Maybe it’s your salesperson stepping into what the clothes look like on you, and you do your whole transaction from there.

“In most cases, when you go into The Row or Tom Ford, even James Perse, there aren’t that many people in the store anyway. So to imagine a transformation like this doesn’t seem that hard. The store doesn’t have to get bigger, there will just be a little less open shopping space, and a bit more on the dressing room side. You’d create a better fitting room experience that doesn’t have the narrow hall with a bunch of rooms, but is something more gracious. You may see another person as you go in and out but barely, you’re within your great room, maybe it becomes three to four times the size it is now.

“We did the first stores for Vince, and that’s different; it’s really nice stuff, but it’s more stuff. I wonder if stores like that or a bookstore are going to have to say the direction of traffic is this way, like Ikea. It will be about guiding people visually with how the shelving and the fixturing is set up. And certainly, in offices and restaurants, too, it’s about spacing between tables and counters. In L.A. we have lower density, but it will be especially difficult in a place like New York, where space is more of a premium.” — Booth Moore

OMA worked on the Galleria Gwanggyo, which opened earlier this year.

OMA worked on the Galleria Gwanggyo, which opened earlier this year.  Courtesy Photo

Chris van Duijn, partner, OMA

Shopping time slots. Open floor plans. One-way aisles. Less merchandise and subdivided stores for easier maneuvering. These are some of the adaptations stores are, and will be, making, according to van Duijn.

After the shutdown, people will be more inclined to enter stores with long sightlines and full overviews for a direct path to what they want, rather than going through narrow spaces putting people in close proximity to each other. Shopping malls and developers could incorporate social distancing by dividing one store into two to easily organize the goods on display.

“If you look at retail from where you are today, you could imagine less quantity, less occupancy [for shoppers], less physical interaction, less social, less vertical and maybe more quality and a more personal experience.

“How this works in the long term, I am a bit sceptical that people will really change their habits too much,” van Duijn said. “People are social animals and I can see them going back to their original habits.”

The OMA partner noted that in Asia, where shopping malls and stores have reopened, people wear masks and “that’s basically it.” Whereas in Europe, there will be greater physical change to stores, with layouts and how people circulate. “In Asia, the masks basically compensate for the social distancing. People are used to them. In Europe, it’s still very new. There is not that level of comfort with masks that there is in social distancing. It will be interesting to see how this behaviour affects the coronavirus infections again and whether there will be more waves.”

Given the need for social distancing, the social aspect of shopping is changing. Consumers may not bring family members or friends along. “It’s no longer a social experience that you enjoy and hang out,” van Duijn said.

Having designed The Galleria, a department store that opened in late March outside of Seoul in Gwanggyo, the OMA partner said changes have not been requested. At this point, the pandemic has changed consumer behaviour and the number of goods being produced and those factors may change retail layouts, he said.

“Brands will probably produce fewer goods. Some of the luxury brands have already said that for 2020, we won’t do any more. We will see you back in 2021,” he said.

With fewer designs and less production, developers, department stores, specialty stores and shopping malls will need to adapt, van Duijn said. “What’s interesting is the urge to buy things became much less in a very natural way. People, obviously, shop more online. That’s logical. But you shop for what you need and not so much for fun. Morally and ethically, that is good but at the moment that will not help our economic system. There will be many victims there.” — Rosemary Feitelberg

Glenn and George Yabu Pushelberg of Yabu Pushelberg

Glenn Pushelberg and George Yabu of Yabu Pushelberg  Courtesy Photo


Glenn Pushelberg and George Yabu, Yabu Pushelberg

Pushelberg: “As a result of social distancing, the scale of stores will remain large or grow larger, made possible by what will be affordable real estate. In a multibrand store, I believe there will be more compartmentalization, going from room to room in a graceful way that simultaneously controls traffic and creates intimate brand experiences. La Samaritaine, a department store we designed for LVMH in Paris, is by circumstance well suited for this new future of retail. The aisles aren’t deep, and they don’t have the traditional floor plates of a department store. Aisles are narrow as a result of the heritage atrium building that houses the store. Subsequently, traffic flows in an upward ring, moving guests vertically from one shopping area to the next.

“At the end of the day, retail is a form of entertainment. It’s an opportunity for something experiential, and I believe there will be a cautious movement back to retail as a form of entertainment.

“It won’t be the speed of shopping or the efficiency of it, it will be the form of it. There have been some retailers such as Maison Kitsune, for example — they’ve built a café, where they produced the music. To me, the next step is a place you can sit down and have lunch, buy the music, leisurely look at the clothes or have the clothes come to you in a larger restaurant.

“Restaurants in their traditional sense aren’t going to work well either because people will need to be spread out, but if you can add more experiences and add on to the purchases, you can actually make something that works. To me, there will be more blending.”

Yabu: “People want to return to stores and make purchases knowing how and why something was made the way it was. Perhaps at some point with the way real estate will be changing, allowing for more expansive retail spaces, the start-to-end experience can be a little more drawn out and people can also experience the craftsmanship behind what they’re purchasing in this multifaceted destination.

“Years ago, we were working on the VIP rooms for some of the Louis Vuitton shops and they took us through their workshops, and to us, the workshops were fascinating. I was almost expecting a store or restaurant to be part of the workshop. To me, that whole thing can be combined.

“We designed a store for Lane Crawford in Beijing for a family looking to essentially create their own small-scale shop in the sense that it would allow for semi-private shopping. Even though the store was open to the public, there were times the client wanted the option to invite friends to shop without other guests sharing the space. We created subtle ways of closing off shopping areas with the use of folding doors, similar to those which may be found in a graceful European home. You get a sense that there’s a room beyond where you stand; however, you must be invited to enter. A similar concept could be put in place moving forward to orchestrate traffic flow whilst still enhancing the shopping experience.” — M.S.

Robin Kramer

Robin Kramer

Robin Kramer, founder, Kramer Design Group

“Everything that would have happened in the next three to five years will be happening in the next three months. The health crisis is definitely causing people to be much more creative, to think outside the box, and not hold onto old thought processes. But what makes retail great are the simple things we need to go back to — great merchants, great assortments, edited fleets.

“My company has always been focused on the customer experience, and now it’s how you make the consumer feel comfortable going into a store, touching things, trying on things. You have to be incredibly creative to offer new solutions without losing your brand image, whether it’s curbside pickup or logistics, how do we stand out and do it through the lens of the brand? Curbside pickup at a grocery store needs be very quick and efficient. At Bottega Veneta, it might be very different, involving more customer service, a deeper thought process.

“With the beauty store for the future, how do you look at testing and servicing customers in something as intimate as beauty? We are working on a new concept for a multibrand retailer which will contain beauty, wellness and health.

“Even in ready-to-wear, the opportunity is service. Bergdorf Goodman can take high-end service and personal shopping to a whole new level.

“Jewelry is ripe for the next innovation. No one’s reinvented the jewellery store format. It’s something we are looking at — how you change the jewellery experience. It’s not enticing to go into a store and be limited by that caseline. It’s been too precious of an experience. High end needs to be more accessible without losing its sophisticated appeal.

“There is also an opportunity for merchants to bring travel to the consumer. Remember when it was a big event to go to Bloomingdale’s, and see how products from different countries, like India, permeated every department in the store? With less travelling now, merchants should be creative by bringing the world to you through their merchandising.

“We can already see as Europe reopens that people still want to shop in stores. Precautions like masks, hand sanitizer, distancing will be put in place, though people will still want to touch and try on.”

Among Kramer’s recommendations for the store of the future:

• Edit and focus assortments so shoppers don’t have to plow through tons of products.

• With checkouts, the more touch-less the better.

• For dealing with taking clothing off the selling floor for cleaning, keep more stock in storage and less up front, and have sufficient service for retrieving what’s requested in short order.

• “Inspire” customers to buy beauty online and encourage trying new products at home. Offering a discount on the next beauty product ordered would help.

• Create areas for service that provide privacy; fitting rooms must be as comfortable as  possible. — David Moin

Joan Insel

Joan Insel  Courtesy Photo

Joan Insel, vice president of brand strategy and customer insights, CallisonRTKL

“We are in the improvisation phase. This is a very dynamic and fluid environment.”

Retailers, she said, while beginning to adapt their store environments to new health requirements and precautions to reduce the risk of being infected and encourage shopping “also have to think about long-term strategies. Stores really need to be flexible and agile to be ready for a lot of change. From an aesthetic point of view, retail design will certainly have to make people feel safe and secure. Emotions are paramount right now. How do you make employees and customers feel safe?

“You are going to need more space, and to reduce the number of fixtures. We are starting to ask the question of what is the purpose of each space. In the past, we wanted people to linger and create a community.” Now, at least until there’s a vaccine for COVID-19, a degree of separation, social distancing, prevails.

“There is this whole idea of spatial repurposing — parking lots that transform some space into pop-ups or drive-in movie theatres, or event spaces where you stay in your car. Mall parking lots are huge and can repurpose a vast amount of space.” That could involve more personal service by employees greeting customers in their cars, at a distance, Insel added.

“With drive-through experiences, how can we make them more of an opportunity for a specific brand, whether it’s REI, Nike or Nordstrom,” among the retail clients that CallisonRTKL has been working with, along with Tiffany & Co., Burberry, Louis Vuitton, Target, Cotopaxi, böhme, Citi, Toys ‘R’ Us, and ABC-Mart Grand Stage. CallisonRTKL was a design partner for Nordstrom’s Manhattan flagship on 57th Street in Manhattan, working in conjunction with Nordstrom’s design team.

“Density used to be a good word. Now it’s a bad word. Who’s driving downtown anymore? Smaller stores is also where we are heading towards. It’s already been happening. Small is the new big, so you can go to where the customer is and not necessarily having the customer come to where you are.”

Among Insel’s other recommendations and considerations for operating and adapting the retail setting:

• Showrooming, so there’s more space and less inventory on the floor to facilitate social distancing.

• Have fixtures that can be lowered from the ceiling or raised, depending on the product display. Fixtures should be portable, and packable, to readily assemble and take down fashion presentations and exhibits  “almost like stage set design.”

• Flexible floor formats, without carpet pads, so areas can be easily enlarged or downsized depending on selling trends.

• Redirect traffic and customer flow, determine what occupancy levels seem safe.

• Integrate voice command like Alexa or Siri and mobile apps to get directions to the items or department you want, to limit meandering through the store. The technologies could also be used to request services, or adjust fitting room lighting.

• Virtual, augmented and mixed reality to see how you look in different outfits or cosmetics without trying anything on or applying any makeup.

• Contactless payments, such as Alipay.

• Automatic doors. — D.M.

Coren Sharples

Coren Sharples  Courtesy Photo

Coren Sharples, a founding principal, SHoP Architects

For the store of the future, establishing a sense of community and personalized experiences are increasingly important, said Sharples. “We don’t need a physical space to sell things. Obviously, we’re doing this all the time without a physical space. We can move volume online, through Amazon — anyone can do that. We need physical spaces to have the experiences. Stores are really going to be much more about places where you can connect and strengthen relationships and experiences.”

One of her projects, The Company Building at 335 Madison Avenue in Manhattan, is being renovated and repositioned as a tech hub for start-ups. Located a few blocks from Grand Central Station, The Company Building once housed the two-floor Daffy’s off-price store, which was “walled off from the rest of the building,” Sharples said. The new retail component, which is the next phase of the development, will be easily accessible.

Rather than target a big-box tenant, a marketplace is being created. “The idea is that this is an extension of the start-up community in the building,” Sharples said. “We completely opened it up to the lobby and added an extra floor, so it’s part of the experience of the building.” The space could be used by start-ups for product demos, focus groups or pop-up shops. “It’s about community, small-scale, adaptability and low-barrier entry,” Sharples said. — Rosemary Feitelberg

 

Mike Riggs  Riggs,Mike & Jenna

Mike Riggs, managing director of retail, IA Interior Architects

“From what we’ve heard from our clients, it’s not necessarily a revolution at retail. It’s probably going to be an evolution of those changes that were already needed. Most of the plans we’ve seen from retailers are table stakes — enhanced cleaning, no touch, identifying those who may or may not have the disease, social distancing, spacing, occupancy, how many people you can have in the store. Materiality will likely be more considered,” to identify what the virus lingers on. “I think [store experiences] will be driven less by regulations and more by consumer behaviour. “Concepts we have been talking a lot about leading up to well before COVID-19, I see it really taking hold now — retail brands connecting to the consumer within the physical store environment by evolving more from consuming goods to doing good — this brand altruism. For both Nike and REI, it does affect the design of the store. Maybe we find areas that speak to the community with some celebration of their guests in the locale or region,” who get involved in making a difference in the community. “Having these [aspects] in their environments allows consumers to embrace their tribal tendencies, the desire to be together, to do something good and to be able spread the word of that same goodness.

“There are some real positives that can come from this [pandemic] as opposed to how we are going to be six feet apart from one another in a bubble spraying our hands with bleach every five minutes.”

Also for the store of the future, “VIP experiences might be the norm. Appointment-based shopping and how that might extend and be less elite,” said Riggs.

And for those picking up online orders in the store or curbside, “It will be interesting to see how that all plays out. It’s growing but very slowly in my opinion. There is this idea of people still wanting social interaction and to see other people. The pickup at the curb I think will have a limited lifespan. There are a lot of specialty retailers dependent on impulse shopping. So how do you create an in-store experience that allows people to maybe surveil what is immediately adjacent to the entry and allows guests to see much of the store presentation, while picking up [online orders] in store. How do you make that bridge from pickup to browsing?”

With the retail box, “It used to be about big and small versions. I see extended versions in different, regionalized ways, connecting to different levels of interest in different formats. Focus on these five things that are really important” to a particular community, said Riggs. “I do think people in this COVID-19 current state, just need to be out and to connect. The more retailers create really unique, compelling formats, the more likely they will make that happen. Consumers are going to be really demanding, post-COVID-19, from an emotional standpoint.” — D.M.

Barbara Bestor

Barbara Bestor  Courtesy Photo

 Barbara Bestor, principal, Bestor Architecture

“We were doing retail concepts for big sports retailers, and they are seeing their stores less as stores and more as places you see sanitized samples, then go home and have the goods shipped to you. It also wouldn’t be hard for a smaller store and would allow you to not stock as much. The whole trend for larger retailers to stuff everything full, and always have 30 sizes of everything [displayed], that’s probably long gone.

“You will have a little more of a concierge aspect to retail, too, where it’s someone’s job to put the sample that’s been tried on away somewhere for 24 hours, so you would need space for racks that are time-stamped. There’s going to need to be more room for infrastructure for people spritzing down and cleaning, a little more like food retail where you have to obey certain retail codes.

“Another thing is materiality. We can do some things with terrazzo, and other surfaces that are more solid and cleanable than wood — stuff you can wipe down. A lot of the work we have been doing is third-wave coffee shops, that might translate into other retail. It would seem to be better in general for health if things are concrete and metal. There’s going to be an innate psychological aspect, the idea that your design looks safe, and feels clean and uncluttered. They say the roots of International Style and European Modernism was a reaction to the first Spanish flu, and the idea of the sanitized hospital as opposed to the slums of Paris, I would see how that would come back as a design style that reads as hygienic. One good example is the new Webster store in L.A. by David Adjaye. It’s all pink concrete and looks like it could be hosed down.

“Also, openness — it’s already a huge design trend. I don’t know how much indoor malls will survive, but I could see more tearing the roof off.  I could also see more local delivery, a local boutique could drive around the neighbourhood with a dress mobile! That’s something Amazon can’t do.” — B.M.

Shayne Brady pictured at Bob Bob Cité in London, which he designed last year.

Shayne Brady pictured at Bob Bob Cité in London, which he designed last year.  Courtesy of BradyWilliams

Shayne Brady, cofounder, BradyWilliams

“We are going to see a shift towards an even more personalized service with stores offering customers reassurance that their needs and concerns are being heard, while also offering a luxury experience to entice them to come into the store, not just shop online. Retailers will need to offer the usually exclusive one-on-one consultations to a broader audience in order to create a more customer-focused, brand-facing experience.

“We can imagine brands will offer a by-appointment-only service with slots allocated through mobile apps. This is where the digital and physical collide to allow people to immerse themselves in the brand, engage with customer service and experience the products.

“The introduction of private or semi-private rooms could be created through removal of traditional open floor plans, moving the product from the shop floor into individual categorized capsules. In our forward-thinking vision we have come up with perfectly spaced consultation rooms that allow customers and staff to be safely placed, while the introduction of partial screens means there is still a sense of interaction and personalization.

“As we come out of lockdown, an important factor is to strive for a greener, more sustainably aware world. The planet has started to slowly reset elements during lockdown and the need to continue this is of paramount importance. This is certainly something that brick-and-mortar retail destinations need to consider in our new world. 

“Locally sourced materials will be key; designers should be sourcing materials from accredited suppliers to ensure we are giving back and not further harming the planet, whilst also ensuring that we are careful that the emissions produced in the manufacturing processes of the materials is also not causing further damage. 

“Customers will likely crave interaction and the elevated service that only comes from shopping in real life. However, there will also be a sense of caution and safety that retailers will need to offer, whilst not making spaces feel clinical or losing the brand identity. The key to successful luxury retail is the total immersion of a customer within the brand. There are ways to do this through the addressing of all our senses, including smell, within the store, the careful choice of materials and a sense of craft to represent the overall ethos of the brand. 

“I’ve always been an avid fan of how a certain smell can immerse someone in a fond memory or evoke a certain feeling. Often brands will have their own synonymous smell and so by ensuring that using diffusers to permeate the air, a memory is created in the sensory brain of our bodies. This will also enforce the brand and elevate the overall experience, again encouraging people to step out from behind their screens and into the shop. 

“Retailers must vitally consider using materials that prevent the spread of germs. A key point in all our designs is the front-door handle which sets the tone for the design. Moving forward, we recommend using metal door handles in a copper alloy as this material helps to reduce the spread of germs, protecting customers. Also, we think nonporous and lacquered materials, that allow for frequent and more easy cleaning, will be key. 

“In our imaginary accessories store, we have developed a concept of personal shopping meets online shopping. Set in the likes of Dover Street Market, we have created the idea of an indulgent model of personalised capsule pods. Designed to allow a customer to safely experience all that a brand has to offer, these immersive pods would be filled with a thoughtfully chosen aroma and indulgent yet nonporous materials would be used. 

“We want to instil an old-school sense of craftsmanship. Retailers should look to turn their backs on the hype of mass purchasing whilst encouraging customers to buy key items. This needs to be reflected in the interiors, which should feel crafted and bespoke, using pieces that will be purchased as an heirloom. 

“Floor staff, whilst protected behind a privacy screen, will still have clear interaction as they assist customers in choosing items from the dramatic vertical conveyor belts behind — we love the idea of the machine at work juxtaposed with the craft of the capsule.

“We have imagined integrated safe-deposit boxes lining the walls, allowing customers to peruse sunglasses while the sales staff can safely unlock each remotely, allowing a customer to experience and try them on.

“In our forward-thinking approach to retail, we are elevating shopping to a piece of theatre, whilst keeping customers and staff safe and reassured.” — Samantha Conti

Silvia Kuhle

Silvia Kuhle  Courtesy Photo

Silvia Kuhle, cofounder, Standard Architecture

“It will probably look different for different levels of clients, depending on if it’s a store for a broader public versus a more high-end, couture or home store. If it’s broader, a lot of browsing would happen online, and inventory will be closer linked to your local store, so you don’t just browse online general merch, but make a basket of things to try on from whatever your local store has, then make an appointment. That could happen even in stores that exist now. If you cut out browsing, you can still service a lot of people in stores you have.

“While you have some stores that are completely open, others like to create rooms within the store, and each one has a different environment or decoration, so you are in an evening area or men’s or beachwear area. Maybe each area is just for one person or one group, to ensure safe browsing, and you’d walk in a circle through all the rooms —like Ikea but in a much nicer way. If you feel like you are by yourself, you feel OK browsing around.

“I could also see high-end stores becoming about personal shopper appointments where you are the only one in the store. Changing rooms have to be cleaned after every shopper. Everyone will need a washer/dryer in their space, and maybe you pick up your own personal mat or cushion (they already do that at the gym), in addition to a branded mask and gloves, when you enter the store.

“And the store experience will have to be linked in an intelligent way with the Internet, maybe with a chat feature that doesn’t just go to someone in a call centre, but a person in your closest store.” — B.M.

Pamela Shamshiri

Pamela Shamshiri  Dewey Nicks/Courtesy Photo

Pamela Shamshiri, cofounder, Studio Shamshiri

“I think people are going to consume less, but specialty and high end will continue and the retail experience will be more about visiting ateliers and studios by appointment. We were already moving toward everything feeling residential, at least I was, but it will just be that next layer of privacy and point of view that’s more curated and personal and has less volume of people.

“It may take longer to shop, for special orders and for things to arrive, but maybe that will make things more coveted. As for design elements, I think a kitchen and living room, more bespoke interiors, a whole world where you can spend hours and hours, then buy things, more like a merging of hospitality and retail, like an artist studio visit and by the way, the bread was so good. You can relax and take your time. I just finished [L.A. jewellery designer] Sonia Boyajian’s store and her concept was by appointment, where you can see everything being made. It’s like a small factory.” — B.M.

Torquil McIntosh and Simon Mitchell, cofounders of Sybarite in London.

Torquil McIntosh and Simon Mitchell, cofounders of Sybarite in London.  NOAH SHELDON

Torquil McIntosh and Simon Mitchell, cofounders, Sybarite

In the immediate aftermath of COVID-19, stores will need to initially allow more space per customer to anticipate…what they will need to feel comfortable in their own skins and secure within the given environment again. Retailers should consider social distancing within the stores and embrace it as a positive, change the store layout to create pockets, meaning that larger volumes of people can filtrate and shop at ease. You could really fly with this concept and create bursts of experiences along the way.

“Smart retailers [will] allocate time and funds to reevaluate and reassess store strategies and store experiences and make them more exceptional, more of a spectacle. If they are able to implement them in time for their reopening, they will reap the rewards. In addition, self-quarantining will bring a renewed passion for real-life experience and occasion rather than the comparable flatness of e-commerce. This will be a cue for visual merchandising.

“There will be a shift in the importance of cultivating homegrown support and celebrating niche producers. A sense of rediscovery is what lies ahead. The restrictions that have been experienced with global travel have resulted in an invigorated resourcefulness. There will also be newfound respect for the products themselves and the ability to view them in an environment away from ‘home.’

“Customers will, most likely, become more discerning post-COVID-19. Stores will need to work hard to offer something that is radically different to digital since the world has become accustomed to it during these pandemic days. Customer service will need to be on tap to match client expectations and over and above e-commerce levels. 

“Brands and retail designers are always looking at better ways of communicating their brand offerings, and it is likely that COVID-19 would have propelled them into looking into this with a heightened and more accelerated incentive. Seamless shopping experiences where hygiene and tech are expertly designed into the environment are always top priority, although the boundaries are always looking to be pushed. 

“Innovation and purposeful design will be front of mind and emphasized post-COVID-19, as will dedicating more surface area to a smaller edit of products that can be viewed in a different way, rather than packing in larger quantities of goods. Storytelling and sense of place can never be underestimated. 

“Luxury stores are always changing to create newness. COVID-19 will mean that retailers will look at how to future-proof environments. Agility in thinking, in business, in design and in luxury is the key to the survival of the fittest and the bravest. Luxury goods will continue to focus on experiences, the storytelling aspect around purpose and values, heritage and authenticity in order to remain relevant. 

“Customers will want to buy into something which clearly demonstrates source and accountability and responsibility amongst brands. The phenomenon and the intricate subtleties of experience, sensation, touch is everything. There will be a need for the experiential, with more space and fewer products. 

“Stores will be looking to curate an experience that is remarkable and that resonates well beyond the store itself. The store acts as a catalyst, a platform. 

“The allure of the brick-and-mortar experience is essential as the differentiator and acts to promote brand solidity. The goods and physical environment are designed to make one feel good and therefore hold more currency than ever, something to covet and look forward to.”

There will be “a blurring of boundaries between straight retail acquisition and retail acquisition surrounded by a level of theatre in terms of exhibition/art installations, dining, drinking and sleeping. Case in point is SKP-S, Beijing, a collaboration between Sybarite, SKP and Gentle Monster where art installations and Future Farms and space tunnels weave their way around the forward-thinking curation of products.

“Retailers should reveal what they would usually hide — prove that they are the best in air quality and ventilation with a filtering [system], for instance. Display the air renewal system in a glass box, akin to an installation, for all to see in plain sight as a focus point — make it part of the experience. 

“Allow people to be able to check and follow it — the ultimate in transparency. Air filtering should be a core consideration; this should be increased in line with the medical industry with the certification to boot. A small sacrifice in surface floor area which could be retrofitted into an existing A/C system. This could become the USP of a given store. Health is the ultimate luxury.” — S.C.

Geraldine Wharry

Geraldine Wharry

Geraldine Wharry, futurist, designer and educator

“There is a type of a state of panic right now. People want answers — immediate answers. There are no easy answers in terms of retail unfortunately and the gatherings of people. [Retailers need to] focus on the difference between short-term measures to prevent the spread of the virus and to protect consumers and workers, and then long-term solutions that would benefit the already struggling retail landscape. [That could] possibly be considering more sustainable solutions, experience and wellness.”

While heatmap cameras, motion sensors for doors and digital try-ons may be increasingly used for health precautions for shoppers, Wharry spoke repeatedly about how retailers need to also take a long view about the future of retail.

“The store of the future is a store that will hold stock in a very intelligent way. It will be highly personalized and focused on the social experience rather than just selling goods. Everyone can get that online,” she said.

She pointed to the customized selection made possible by Nike Live’s “Nike by Melrose,” a fusion of an online and offline store. Wharry noted how shoppers were required to sign up for the Nike Plus app to unlock services and perks in the store. By doing so, Nike learned about each customer’s shopping behaviour and preferences, and stock was adjusted accordingly, Wharry said. That eliminated the need for overstock or regular sales, she said.

Wharry also singled out, The Westfield London’s Trending Store, a pop-up that used AI to analyze social media data to extrapolate the top 100 fashion items. Each morning a team of stylists culled the trending items from retail stores in the mall. “Data and analytics will be really great to help have a real curation of a store. People are not going to want to spend hours in a store. They will want to know what they’re coming for — potentially in the beginning until things get back to normal.” — R.F.

Lewis Taylor, design director, David Collins Studio

“Retail spaces will inevitably need to work harder in terms of their design, materiality and the narrative that these things create to engage with their customers. Before the current pandemic, customers had become more demanding of brands and more critical of any perceived lack of authenticity, and this will continue.

“Customers will want to feel that their personal privacy, safety and security is continually being managed as the situation changes going forward, and again, what is the right fit in one territory may not work in another.  It goes without saying that very visible, and brand-appropriate hand-sanitizing stations should be available in all stores, and the measures put in place with regard to social distancing will need to be in line with local regulations. This will need to be managed with very well-considered, in-store customer services and ‘hospitality’ – not just the staff the customer engages with on their journey through the store, but potentially the visibility of temperature checkers, of hygiene staff, and how they are dressed, or re-positioned within the store experience. How does a brand express that cleaning is of paramount importance ensuring that it is brand-appropriate and not alarmist?  Similarly, how do you demarcate social distancing without destroying the design integrity of the store?

“There will inevitably be an increase in personal and private shopping experiences that may allow for use of VIP fitting changing rooms or private spaces within stores that can be managed with a well-considered hospitality strategy.  These relationships have always been key, and were a large consideration when David Collins Studio designed global retail roll-outs for brands Alexander McQueen, Jimmy Choo and de Grisogono, building the ceremony of service into the design and functionality of the store experience.  David Collins Studio designed a private bridal space for the Jimmy Choo Townhouse on Bond Street, and VIP fitting rooms at Harrods in both men’s and women’s wear departments at Harrods, and these stores that have the luxury of these spaces will be able to build them into their private shopping experiences.  Brands that already manage their brand story, store design, sales strategy, and have a robust CRM database will have a head start here.

“Pinch-points within stores will need to be considered in terms of the customer journey and managing the use of escalators and lifts.  A lot of these considerations will be easier to implement within luxury stores rather than in high street stores, which are potentially more dependent on high traffic.

“Beyond COVID, the retail landscape has been changing for a while, with a more demanding customer seeking more authentic and well-considered shopping experiences in return for their brand loyalty. This situation might further push forward the sustainability agenda as a heightened sense of risk or threat permeates society and the economy, but ultimately if brands stick to what they do well, collaborate with the best teams, deliver the best in terms of design, craft and operations, and continue to invest in building a community within their your client base, they will survive and succeed.”

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Home is Where the Art Is

Six standout Australian galleries to know now.

By Belinda Aucott-christie 26/03/2025

Australia’s gallery scene is booming. More galleries than ever before are going on the road to participate in art fairs in scene that is rapidly maturing. Meet the passionate local owners from around Australia who are energising the creative milieu with the abstract, the edgy, the Indigenous and the generally astounding.

Hugo Michell Gallery

The district may not roll off the artistic tongue like Paris’s Montmartre or London’s Shoreditch, and yet the prim hedges of Adelaide’s Beulah Park suburb provide cover to a stealth powerhouse of the Australian contemporary art movement, tucked away in a charming, blink-and-you’ll-miss-it converted Victorian workers’ cottage. Since 2008, the Hugo Michell Gallery has unflappably carried the torch for established and emerging acts with equal fidelity, across a broad sweep of mediums from photography to printmaking, textile to ceramic. “We try not to get caught up in the hype and handle each artist we represent with the nuance required for promoting their work,” says Michell, currently counting 28 artists on his books. One notable on this year’s busy docket is Melbourne-based Richard Lewer, a social realist—already snapped up by the National Galleries of Australia and Victoria, no less—who for a month from April 10th will probe the uneasy relationship between crime, sport and religion. While comfortable in the skin of his homely suburban bolthole, Michell is not averse to braving the rigours of the Australian art fair circuit (“They’re a bit of a circus, but who doesn’t love a circus?) and often undertakes house visits to acquaint himself with the whims of new customers. “One of the things that gives me the most joy is building a collection for a client,” he says. “We have worked with for 16 years, tailoring and sourcing works for them.” More proof that you don’t need a headline location to generate the biggest stories.
hugomichellgallery.com

Cassandra Bird Gallery

The art sphere often challenges the myth that married partners should not become gallerists—see Iwan and Manuela Wirth of Hauser & Wirth fame, among other examples. And so it is that Cassandra Bird and husband Fabian Jentsch are rapidly cementing a reputation as one the Australian art scene’s supercouples with their 2023-acquired Potts Point space, an expansive four-level heritage terrace fizzing with congeniality, making visitors feel like they have popped to a friend’s (expertly curated) home for elevenses. Which is no great shock: the property doubles as the duo’s own home. Bird brings a wealth of experience, and a hefty contacts book, thanks to long, respected stints in the Big Apple and Berlin, and nine years at Sydney’s RoslynOxley9 Gallery; Jentsch, meanwhile, is an experienced artist, exhibition maker and set designer. “We try to enthuse people, get them excited as we are about those we work with,” says Bird. Meander across the property’s wooden floorboards—perhaps diverting for a chat in the communal courtyard that doubles as a social hub and ideas-exchange forum—and you will enter the realm of Perth-born graphic painter Jedda Daisy-Culley, who has a hallway and wall dedicated to her work; venture upstairs and deep dive into locally based experimental photographer Laura Moore; head into the basement and peruse the collective works the Tennant Creek Brio, out of Warumungu Country in the Northern Territory. All 24 of the gallery’s artists unite under the theme of timelessness. “We are into investigating quality and showing transformational and breakout work from artists,” says Jentsch. “The work we choose must have something that is strong value for us.” Here’s to the sanctity of marriage.

cassandrabird.com

D’lan Contemporary

It speaks volumes for the international reach of Indigenous art that D’lan Contemporary opened an outpost in New York long before expanding the gallery beyond its Melbourne roots to set up shop in Sydney. Then again, founder and director D’lan Davidson is not afraid of expanding his frontiers as a means of hawking Australia’s most vital cultural outpourings; in 2016, he left the Sotheby’s Australia auction house, where he was ensconced as head of aboriginal art, to launch D’lan Contemporary as the go-to gallery for secondary market First Nations art; and he recently travelled to Maastricht in the Netherlands for the prestigious European Fine Arts Foundation Art Fair, promoting a series of Western Arnhem bark paintings and works by Paddy Bedford, Emily Kame Kngwarreye, Rover Thomas and other. Closer to home, Davidson has surrounded himself with a team brimming with the requisite Indigenous art smarts, including chief curator and gallery director Luke Scholes. From May 8th-July 4th, the Significant exhibition, a mainstay of the Melbourne gallery for the past ten years, will show across all three of D’lan Contemporary’s locations. “Our exhibitions and all our advocacy work seek to further support and develop the burgeoning global interest in Australian First Nations art and artists,” says Scholes. As if further proof were needed of its commitment, the gallery donates 30 percent of its profit back to artists and their communities. Bravo.

dlancontemporary.com.au

N.Smith Gallery

Enter Nick Smith’s compact office and you notice how the walls are studded by the artworks of those he represents; this is a man, you feel, who has a more intimate connection to his stable than the average gallery chief—an instinct confirmed upon discovering that he has invested his entire life savings into the Surry Hills space. When we meet, Smith’s whiteboard is teeming with collaborative projects, hinting heavily at the kind of edgy, thought-provoking artists that his outfit—comprised of five full-time staff—is renowned for nurturing. “It’s constant, but amazing,” says Smith in his typically reserved manner, more studious scientist than reengage gallerist. “I wanted to contribute to culture in my own way.” The gallery’s current ascension allays any empathetic fears of impending financial doom. This past February, Smith—who cut his teeth at Philip Bacon Galleries in Brisbane and Sydney’s Sullivan+Strumpf—collaborated with the Australian High Commission in India to represent Darrell Sibosado at India Art Fair ’25, and throughout the year will be partnering with the Sydney chapter of Soho House to host a series of private viewings and artist studio visits. Even so, he now splits his time equally between private and public projects, often mentoring artists at all stages of their creative journeys. “It’s that forward momentum. It’s that feeling of progressions and going somewhere that I love,” says Smith. Indeed, the only way is up.

nsmithgallery.com

Palas

It is hard—nay, almost impossible—to imagine Palas founders Tania Doropoulos and Matt Glenn frantically trying to scoop up whoever is flavour of the month on Sydney’s perennially shifting art circuit. Here are young gallery partners prone to a slower, more considered approach, instead recruiting a tight roster of internationally famed artists, and choosing to nurture relationships that have been years, sometime decades, in the making. Case in point: video performance maestro Shaun Gladwell, who represented Australia at the 2007 Venice Biennale (a 20-year affiliate), and Melbourne-based artist and noise-musician Marco Fusinato (15 years), who also flew the artistic green and gold at the same festival in 2022. Add to that list Canadian multi-media artist Tamara Henderson and Irish sculptor Eva Rothschild, currently working out of London, and it is clear Palas have a formidable roll call to lean on. “We’re investing a huge amount of time into their processes as art makers,” says Doropoulos. “And I think by extension, we’ve got really good working relationships with other galleries throughout the world.” For its founders, the Palas gallery—which opened in Sydney’s resolutely hipster Waterloo suburb just over a year ago with a silkscreen painting medley by the aforementioned Fusinato—is somewhat of a flag-planting endeavour on home soil: both earned a certain amount of their stripes overseas—Doropoulos as former artistic director of Frieze London and Frieze Studios, and Glenn at Sadie Coles HQ, also in the British capital. Australian art disciples will no doubt be praying for a long domestic residency.

palas-inc.com

Coma

If Sotiris Sotiriou’s consciously balanced ensemble of black Saint Laurent suit, single gold chain and flash of bare chest are anything to go by, the Coma gallery founder wields a sharp eye—a handy attribute to have when your career depends on identifying aesthetic clout, what hits and what doesn’t. From humble beginnings in 2016 in a subterranean road space next to Elvis Pizza on Sydney’s New South Head Road, his enterprise gradually flowered, first to East Sydney, then Chippendale, before fully blooming at his current space in up-and-coming Marrickville, in what was once a coffee factory. The predominantly light-industrial area has witnessed around half a dozen new gallery debuts in recent years, and Coma’s door-fling, filled as it was with hip young Inner West couples sourcing bold, ambitious art for their homes and offices, suggests Sotiriou has timed his arrival to perfection. February’s opening exhibition was hosted by Australian (but Santa Fe based) figurative painter Justin Williams, whose approach riffs on the folkloric traditions of Russian and Polish art, rich with symbolism and psychological details; this work forms a striking counterpoint to the abstract expressionism of other Sotiriou recruits, such as Zara June Williams and her partner Jack Lanagan Dunbar. The Coma head honcho, who had a spell selling to wealthy clients at Nanda Hobbs, says that private clients now make up most of his customer base. This year, as he prepares to attend three international art fairs, he estimates his artistic head count to increase by 30 percent. He can, no doubt, also point you in the direction of a fine tailor.

comagallery.com

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Car of the Year

Always an unmissable highlight of the automotive calendar, Robb Report ANZ’s annual motoring awards set a new benchmark among glorious Gold Coast tarmac.

By Horacio Silva 24/03/2025

Over two unforgettable days, our motoring sages and VIP guests embarked on an exhilarating journey from Surfers Paradise to Brisbane and back again—traversing an irresistible selection of terrain in our exotic rides, from deserted rainforest-lined b-roads to testing mountain switchbacks with dizzying—sometimes heart-in-mouth—views over the southern Queensland peninsula. And as befitting an event starring the crème de la crème of auto marques, we did so while savouring the best in luxury and gastronomy—capped off with an extraordinary superyacht experience at Sanctuary Cove.

 

The ten contenders for the Car of the Year were not the only dream machines on show. The first day’s adventure kicked off at the Langham Hotel and included a midday pit stop at the glorious Beechmont Estate, where our fleet of drivers were greeted by a stunning array of vintage cars exhibited in a concours d’elegance-style display.

 

Concours d’elegance-style vintage car show at the Beechmont Estate.

The sumptuous feast for the eyes on offer at Beechmont, a quaint country village located between the Lamington Plateau and Tamborine Mountain, was followed by a meal for the ages prepared by executive chefs Chris and Alex Norman at the property’s hatted restaurant, The Paddock.

 

Fine dining at The Paddock.

Then, itching to remount our steeds, it was time to hit the road again, with our drivers—all sporting Onitsuka Tiger’s new driving shoes—hightailing it to Brisbane and The Calile Hotel, a property which has been scooping accolades like Jay Leno collects supercars.

 

Rolls-Royce Spectre

After some much needed relaxation by the pool, that evening the drivers and press were joined by local luminaries in the hotel’s private dining room. Over an extravagant banquet they got to compare notes on marvels of engineering and design that they’d had the chance to pilot all day. They were also treated to a showcase of spectacular Jacob & Co. timepieces and Hardy Brothers jewellery and an elegant sufficiency of 40-year Glenfiddich whiskey served in gold cups worth $60,000 a pop. It made for animated discussions and more than a little impromptu shopping.

Rivera Yachts 6800 Sport Yacht Platinum Edition

And did we mention the luxury yacht experience? After a full itinerary of adventures on the road, the day ended with an invigorating late-afternoon of luxuriating aboard two new Riviera Yacht releases—the 6800 Sport Yacht and the 585 SUV—where our intrepid drivers and assorted press got to literally and figuratively take their hands off the wheel and make a case for their car of the year. As the forthcoming pages attest, they were more than spoiled for choice. But who would take centre stage on the winners’ podium?

OVERALL WINNER

Rolls-Royce Spectre

 

BEST SPORTS CAR

Aston Martin Vantage

 

BEST LUXURY HYBRID

Bentley Flying Spur

 

BEST PERFORMANCE SUPERCAR

McLaren 750S

 

BEST ROADSTER

Mercedes-AMG SL634MATIC+

 

BEST CAR DESIGN

Maserati GranTurismo

 

BEST ELECTRIC PERFORMANCE CAR

Porsche Taycan Turbo S

 

BEST SUV

Ferrari Purosangue

Cruise along to robbreport.com.au/events for more supercars and luxury motoring.

 

Judges sample luxury Jacob & Co. timepieces.

 

 

Aston Martin Vantage

 

 

Graceful egress in Onitsuka Tiger’s driving shoes.

 

The Porsche Taycan retains a timeless demeanour in any company.

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Cool as Ice

Mercedes-Benz’s CEO Ola Källenius is expert at racing a nearly four-tonne truck across a frozen lake. Can he steer the marque’s EV-focused future as adeptly?

By Ben Oliver 26/03/2025

Ola Källenius is standing in a cold, bare workshop just south of the Arctic Circle in his native Sweden. A heavily disguised prototype of the new electric G-Class SUV—not yet launched when we meet—has just returned from high-speed, low-grip testing on tracks cut into the frozen lakes nearby and is being hoisted into the air on a hydraulic lift for inspection. As it drips meltwater onto the concrete floor, Källenius, CEO of the Mercedes-Benz Group, eats his lunch (today, a premade sandwich and a carton of juice) and speaks in fluent German to the mostly Austrian engineers who spend months in this bleak locale ensuring that the company’s new models can cope with the types of conditions in which vanishingly few customers will ever actually drive. They discuss the truck’s handling on ice and the progress of its test program. Källenius compliments them on the car’s dynamics—how stable it remained even at speed, how safe he felt driving it—and asks them how long they’re here.

“There are some harsh realities to this job, and to the car industry,” he tells me later. “But this is what I love doing: spending time with our designers, or driving with you on an ice-lake in Sweden, or talking to these engineers. I wanted to congratulate them on what they’ve achieved. We get to enjoy a nice couple of days here, but they’re here for a long time.”

At 193 cm, Källenius might tower over most of them physically, but there’s nothing in his demeanor that hints at the disparity in their corporate statuses. Nor is this the kind of place you’d expect to find the head of one of the world’s great luxury brands: a man paid roughly $22 million last year to lead the 166,000 employees of a company valued at around $75 billion, whose founder, Carl Benz, invented the motor car and whose genuinely iconic logo has graced the nose of everything from popemobiles and Lewis Hamilton’s Formula 1 racer to the most expensive automobile ever sold at auction. In a recent report, investment analysts Bernstein described Mercedes-Benz under Källenius’s reign as a “four-wheeled cash-generation machine”.

Cold-weather testing.
Courtesy of Mercedes-Benz

But the celebrated car marques are not like luxury brands that make watches or couture or accessories or Champagne. Look beyond the alluring badge and bodywork for a moment: the objects Mercedes-Benz and its rivals produce are insanely complex, ever-changing and hugely capital-intensive—and must succeed in an utterly cutthroat market. Their impact on the environment and the economy has always made them perennial hot-button issues politically. But the electrification of the automobile has put these companies in the geopolitical crosshairs like never before, as governments swap tariffs and risk a global trade war to ensure that they keep their respective shares of the car industry, even as it undergoes an unprecedented transformation.

And of course, the cars need to be remade, too. Add the impact of electrification to Källenius’s own manifesto for Mercedes-Benz, and this storied marque is likely to change more in the next decade than it did in the previous 138 years. “It’s a once-in-a-century transformation,” he says. “We are reinventing our original invention.”

So who is the guy steering Mercedes through this tumult? What’s his plan? And what cars will he give us? Källenius has sat for plenty of interviews in his five years as CEO (his second five-year term is set to conclude in 2029), but this is the first time that he has offered anything more. Robb Report was invited to spend the weekend with him in Arjeplog, the tiny northern-Swedish town whose population swells fourfold each winter as the global car industry descends to test its secret new models on the area’s frozen lakes. Spy photographers abound, but to reduce the chance of its future lineup being scooped, Mercedes rents its own private expanse of sheet ice from a local landowner. I watch Källenius as he test-drives the electric G at his empire’s oddest and most northerly outpost, meets local staff and records social-media footage. He drives some other, more secret new electric AMGs that I am definitely not allowed to see, whose debuts are much further off and which, when not on the ice, remain hidden beneath their heavy covers outside the workshop.

Out on Mercedes-Benz’s private frozen expanse.
Courtesy of Mercedes-Benz

Källenius has a reputation for being fearsomely intelligent, rational and efficient, but also not the type of hyper-alpha asshole who too often comes to lead a carmaker. Over the weekend, I see that sharpness not just in the logic of his answers, but in the nuance of the English prose, as perfect as his German, in which he delivers them.

I’m not sure I’d want those piercing blue eyes and that high-wattage intellect turned on me in a meeting if I didn’t have my numbers straight, but his non-asshole character dominates. It comes through in the easy egalitarianism he displays with the engineers in the workshop, or how he notices and thanks waitstaff, or the way he’s enjoying a casual dinner and a beer with a long table of employees of all stripes when I first arrive at the unglamorous Silverhatten hotel where he’s staying—a glorified bunkhouse for the United Nations of engineers and test-drivers who flock here. This is clearly a leader who sees the obligations of his office as clearly as its privileges: an attitude underpinned by a natural Nordic modesty and reserve.

SNOW DAY | After a session of cold-weather testing, the SUV gets an inspection.
Courtesy of Mercedes-Benz

“I guess your personality is something that forms in younger years, and I’m not sure you can fundamentally change it,” he tells me over coffee one morning. “There is a Swedish core in the way I act, and maybe most Swedes are not kick-the-door-down types. I believe this should be true for anybody who is at Mercedes or has the privilege to lead Mercedes: We are custodians of that star for a brief moment. It’s my job to hand it over safe and in better condition. The person is not the brand.”

Perhaps not, but the brand will look very different by the time this person is done with it in 2029. And you can add loyalty to that list of his qualities: Källenius has never worked anywhere else, having joined Mercedes-Benz in 1993 straight out of the Stockholm School of Economics, where he founded an American football team called the Traders, for which he was captain of the offense. True to form, he studied tapes of the Chicago Bears and New England Patriots in order to write the team playbooks. At Mercedes, he was a finance guy at first; an early posting took him to Alabama, to help set up the Mercedes factory in Tuscaloosa, where he became—and remains—a Crimson Tide fan.

In 2003, at the age of just 34, he was put in charge of the Mercedes-Benz SLR McLaren supercar project; two years later, he was given control of Mercedes-Benz High Performance Powertrains, the firm’s in-house Formula 1 engine-maker. After a year as vice president and CEO of Mercedes-Benz US International back in Tuscaloosa, he was recalled to Germany in 2010 to become vice president and managing director of AMG, Mercedes’s high-performance road-car division. Then came two board positions to prove his breadth of ability—sales and marketing, followed by research and development—before he ascended to the top job in 2019 at the age of 50.

The electric G-Class we’re about to drive together (now officially if awkwardly named the “G580 with EQ Technology”) is a neat encapsulation of many of the things Källenius has tried to do at Mercedes. First, it’s an EV, which fits his initial plan to make everything electric—“where market conditions allow”—by 2030. Second, it’s expensive, with a starting price in the US of $161,500 (around $257,000, though likely to cost more in Australia). Another critical if controversial part of his manifesto is to shift Mercedes upmarket; he spun off the truck business early and is currently in the process of dropping high-volume, low-margin models including the A- and B-Classes. And lastly, he wants new models to still feel like Mercedes vehicles, even if the design that underpins them is radically different from what came before. And the G-Wagen—with its gloriously anachronistic overengineering that you can feel and hear every time you clunk a door shut—epitomises the Mercedes ethos whether the vehicle is gas or electric.

Other new Mercedes EVs go much further in their innovation, gaining greater advantage from their electric drivetrains given that they were designed as EVs from the outset. They use Mercedes’s new MB.OS operating system with built-in AI and receive fresh design cues inside and out—not least the mad, vast, almost full-width hyperscreen user interface—rather than the same upright, rectilinear lines first sketched out to suit the needs of farmers and soldiers when the G-Class was introduced 45 years ago

But as shorthand for old Merc meeting new, the electric G is perfect, and it’s pleasing to be driven in it by the CEO on whose watch it was conceived and executed. “Yes, this is an electric G,” he says as he drifts it across the glassy frozen lake, “but it’s 100 percent G. The most important box for any G-Class to tick is the Schöckl mountain in Austria, to earn that Schöckl-proven plaque they all have. I did five trips up and down it in the electric G in the autumn, and not only can it do the Schöckl, I felt it could do the Schöckl best of all.”

SLIP ’N SLIDE | Mercedes-Benz and other carmakers bring their secret new models to frozen northern locales every winter. Courtesy of Mercedes-Benz

His stints at AMG, in Formula 1, and with McLaren have turned this “spreadsheet guy” into a skilled driver, though most Swedes seem to have the ability to safely slide a car on ice coded into their DNA. Even with the G sideways at around 110 km/h, a plume of snow and ice billowing high behind it, Källenius has enough spare mental-processing capacity to adjust the screen settings while telling a funny story about the very first time an electric G even crossed his mind.

He was at the Detroit Auto Show in 2018, when the company was first showing the revised G-Class. Arnold Schwarzenegger came to the unveiling and asked Källenius’s predecessor, Dieter Zetsche, if an electric version was in the cards. “Dr. Zetsche said, ‘Yes, of course,’ Källenius recalls. “I was head of R & D at the time, and one of my colleagues turned to me and said, ‘Do we even have an electric G in the plan?’ I said that I guessed we did now.”

Those less keen on electric cars than Arnie and Ola might be pleased by the fact that the ambition to be battery-only by 2030 has fizzled fast. Mercedes now predicts that EVs and plug-in hybrids will account for only half of its sales by the late 2020s, and the company is refreshing its range of gas engines to keep them relevant and selling deep into the 2030s. This is a systemic issue and no reflection on Mercedes products; Källenius has always averred “where market conditions allow”, and market conditions currently don’t. But the retreat is still slightly awkward.

N THE DRIVER’S SEAT | Källenius at the wheel
Courtesy of Mercedes-Benz

“The early adopter phase is over,” he tells me. “Now we need to convince every customer. I think it would be a mistake to say, ‘Okay, electric is growing a bit slower, let’s sit back, wait, and not do anything.’ Because if you put product into the market that is so convincing that most customers go, ‘Yeah, maybe I didn’t have iPhone 1, but iPhone 4 looks pretty good,’ you can get very quick, even exponential growth. And if you were the one that said, ‘I’m not going to set sail here; let’s wait and see what the weather does,’ all the other boats would be out on the ocean, and you’d miss the race.”

But if buyers are going to be sold on EVs by the technology rather than by brand power, what does Mercedes’ 138 years of history count for? With customers attracted to new EV marques that are able to innovate unconstrained by precedent—and one of those brands having a market cap 7.5 times that of Mercedes, despite selling a few hundred thousand fewer cars per year—does heritage become a liability rather than an asset?

“We also do unconventional things,” Källenius insists. “With blow-your-mind–type features like the crazy hyperscreen in the EQS and the EQE, a lot of people are looking at Mercedes who perhaps didn’t look before. We are one of the biggest automotive sponsors in e-sports. Formula 1 is off the charts; 53 percent of F1 fans are between 15 and 35, and 37 percent are women. When we do crazy things like the G-Class collaborations with Moncler or the late Virgil Abloh, you go beyond the traditional auto crowd to one that buys from other luxury brands. My test is if one of my kids sends me a picture and goes, like, ‘Dad, what is this?’ I got their attention.”

I wonder how the former finance guy now handles running one of the world’s great luxury brands and to whom he looks for inspiration. He acknowledges that he meets with Bernard Arnault at LVMH and Jean- Frédéric Dufour at Rolex but is coy about the nature of their discussions.

“We also reach out to people in other luxury businesses to understand how they think,” Källenius notes. “I had the good fortune to meet Brunello Cucinelli, and he invited me down to Solomeo, the hamlet which he has helped to restore. It’s one of the most beautiful villages I’ve ever seen. I learned a lot about fabrics, quality, stealth luxury, sometimes not emphasising the brand so much. A fine gentleman like that has a very clear understanding of what luxury means in his business. We brought some secret new-vehicle designs to show him and to get his input.”

The CEO talking with writer Ben Oliver.
Courtesy of Mercedes-Benz

“Maybe you can’t compare a high-intensity, high-engineering, high-capital-investment good like a car to a piece of clothing,” he adds. “They are different businesses. But good chefs eat in each other’s restaurants even though they have a totally different style of cooking, just to see what the others are doing. But when you go back into your kitchen, you’re still the chef, and you put together the recipe.”

I sense a slight frustration from the hyperrational Swede—perhaps that he believes he has gotten the recipe right but has to wait a bit longer for diners’ tastes to catch up. In many cases, judged on any objective criteria, the new Mercedes EVs will be the best cars the company has ever made, including the electric G. The customers, though, are as busy trying to get their heads around this brave new world as the automotive CEOs are.

“This is definitely the most transformative decade since the inception of the company,” Källenius agrees. “But we’ve always done this. The Swabian engineers who founded Mercedes didn’t look at the horseshoe and think, ‘How do we make this lighter to make the horse run faster?’ They wanted to get the horse out of the equation and do something new. That attitude hasn’t changed. We’ve always looked through the windscreen, not in the mirror.”

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Men at Play

Two restless entrepreneurs build a Belizean island paradise especially for those “aha! moments”.

By Katie Kelly Bell 26/03/2025

Though he’s supposed to be in what he calls his “play years” now, Knoxville-based real-estate entrepreneur Steve Hall still finds himself working on vacation. After a trip to Belize, he got the itch to build something new and started meeting with developers. Hall hit it off with David Keener, CEO and owner of Vision Properties, and together they acquired an isolated tract on Placencia Caye, a private island just five minutes by boat from the mainland.

After two and a half years of work, they’ve recently started welcoming guests to Prana Maya, a secluded, wellness-focused retreat that enjoys expansive views of the Caribbean Sea, the island’s lagoon and the Maya Mountains. “We designed everything to inspire people,” Hall says of the property. “Every aspect of the resort is intentional. Every service we offer is designed to create that ‘aha! moment’ that will rock someone’s world.”

The property includes seven three- and four-bedroom villas featuring locally carved wooden doors. The breezy, secluded structures are sited to prioritise views of the water, and each has its own plunge pool. Rooms at the Inn—a collection of 10 airy, light-filled suites—face the ocean. Each guest has an assigned butler, and every bed at the resort is fitted with a custom grounding mat, designed to replicate a connection with nature; some studies suggest they promote mental and physical well-being. 

Belize’s tropical landscape is the catalyst for getting outdoors. Its unique saltwater flats give sport-fishing aficionados a bucket-list opportunity: catching what the International Game Fishing Association calls the Grand Slam—permit, tarpon and bonefish—all in one day. So Hall and Keener recruited High Adventure Company, a global outfitter with 30 years of guiding expertise, to take guests on exclusive angling excursions. The resort will also offer cave-tubing, jungle-trekking, zip-lining and diving trips.

The resort is a high-end haven for committed fishermen; its bars and restaurants use produce from a private 10-acre farm.
Courtesy of Prana Maya

If you’re in search of less rugged activities, head to the spa and wellness centre. The design team placed it on prime real estate: the Inn’s top floor, which has 360-degree water views and 5 m ceilings. Here, you’ll find a yoga studio, five private treatment rooms and a sound-therapy space. You can also enjoy Prana Maya’s private beach, the only sandy stretch on the island that isn’t shared with another property.

At The Grill, the open-air restaurant, executive chef Liesel Kirste cooks with indigenous ingredients—many sourced from the resort’s four-hectare farm. The menu includes elevated fare such as locally caught lobster, grilled and served over fresh pasta. Even components of more casual dishes are made from scratch: at the Island Club—with its outdoor kitchen, lawn games and forthcoming palapa-shaded pickleball court—the ketchup and mayonnaise are made in-house. That gives the culinary team the flexibility to design a bespoke menu, upon request, to suit your nutritional needs.

The property occupies the northern tip of Placencia Caye, five minutes via boat from the mainland. Courtesy of Prana Maya

Ultimately, Prana Maya is the expression of a million small details (down to the reef-safe spa products, curated by a Belizean supplier) and the location’s natural majesty. “When you get out to the island site, see the spectacular views of the Caribbean, turn another direction and see the beauty of the Maya Mountains, it is such an awesome and almost overwhelming feeling,” Hall says. One he is determined to share with everyone who visits.

Top image: Benedict Kim/Courtesy of Prana Maya

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How to Use Your Dress Watch to Nail Casual Style This Autumn

The dress watch is back and more laid-back than ever. Here’s how to rock your Cartier and Piaget pieces with casual looks

By Paige Reddinger 24/03/2025

After the seemingly never-ending hype around steel sports watches, dress watches have been making a comeback. But it’s not just the average 42 mm dress watch that’s sparking interest (although, those too, are in the running), but also funky vintage diamond-accented timepieces or small-sized, almost feminine pieces are trending. Recently, actor Paul Mescal was spotted on the red carpet of the Annual Academy Museum Gala wearing a Cartier Tank Mini with his tux, while sports legend Dwyane Wade wore a 28 mm diamond Tiffany & Co. Eternity watch with his black tie ensemble to the same event. While these guys were wearing dress watches in their intended setting, here we show you how to make a dress watch work for casual weekend wear too.

Try dabbling in unexpected pairings like an army green Ghiaia safari jacket with a vintage Chopard Happy Diamonds timepiece or Breguet Classique Ref. 7147 (the ultimate dressy timekeeper) with a Louis Vuitton sweatsuit and a Brioni overcoat. Anything goes these days and the more unexpected the timepiece, the stronger the statement. It’s good news all around—for your wardrobe and your investments in the vault.

Above: Blancpain 39.7 mm Villeret Ultraplate in 18-karat red gold, $69,675; Tod’s faux-shearling and denim jacket, $5,6859; Tom Ford cashmere and silk turtleneck, $2,535.

PHOTOGRAPHED BY MATALLINA. WATCH EDITOR, PAIGE REDDINGER. FASHION DIRECTOR, ALEX BADIA. STYLE EDITOR, NAOMI ROUGEAU.

Jaeger-LeCoultre 40 mm Reverso One Duetto Jewellery in 18-karat pink gold and diamonds, $79,560. Right: Chopard 32 mm vintage Happy Diamonds in 18-karat white gold and diamonds, $19,930, analogshift.com; Ghiaia cotton safari jacket, $1,426; Eton cotton T-shirt, 358; Hermès denim trousers, $1,674.

Audemars Piguet 34 mm vintage automatic ultrathin watch in 18-karat white gold and diamonds, $9,300, classicwatchny.com. Right: Cartier 41.4 mm Tortue in platinum, $35,600, limited to 200; Gabriela Hearst hand-knit cashmere sweater, $2,500; Officine Générale cotton-poplin shirt, $315.

Breguet 40 mm Classique Ref. 7147 in 18-karat white gold, $37,468; Brioni wool and cashmere overcoat, $12,233, and silk knit crewneck sweater, $2,224; Louis Vuitton wool track pants, $2,120, and wool hooded jacket, $5,002. Right: Patek Philippe 39 mm Calatrava Ref. 6119R-001 in 18-karat rose gold, $52,791.

Piaget 45 mm Andy Warhol in 18-karat rose gold, $69,198. Right: Rolex 29 mm vintage King Midas Ref. 4342 in 18-karat yellow gold, $28,301, classicwatchny.com; Brunello Cucinelli denim shirt, $1,586; Tom Ford cotton chinos, $1,259; Berluti leather belt, $1,132.

Model: Arthur Sales
Grooming: Amanda Wilson
Senior market editor and casting: Luis Campuzano
Photo director: Irene Opezzo
Photo assistant: Alejandro Suarez
Prop stylist: Elizabeth Derwin

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