Scandinavian Modern: Why This Year Is Oslo’s Time To Shine
A contemporary art, architecture and food scene gives the Norwegian capital a luxurious edge.
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From a dock at Bjørvika in central Oslo, a man rows into the fjord, following a ribbon of silver water as sunset flames the clouds. His wooden boat is naggingly familiar to anyone from northern Europe: high, pinched bow and stern; as slippery as a fish. In such designs, from this very fjord, the Vikings conquered and traded from Constantinople to Newfoundland.
What’s extraordinary about this image, though, is what’s behind him. The dock bristles with a panoply of double-take architecure. There’s the glass-skinned Deichman Bjørvika public library, its upper story fanned out at an implausible angle. Jostling for space behind is a design book’s worth of office and apartment blocks: cubes, cantilevered rectangles, ziggurats. There’s also the Opera House I’m standing on, beside a young family having a picnic, gaggles of teenagers and tourists taking selfies. The roof slants all the way down to the broad plaza, doubling as a ramp. Around 100 of us are gathered at the top on this chill late-winter dusk to experience one of the finest viewpoints in the city.
And what really astounds about this cutting-edge cityscape is that 20 years ago, the docks of Bjørvika housed nothing more exciting than shipping containers.
There are three things you need to know about Oslo. One is that the Norwegian capital, with a population of 700,000 people, is a pipsqueak by European standards. The second is that Norwegians are no enthusiasts of change. Things aren’t as good as they were, they grumble happily. And third, keep in mind that until 1969, this was a nation of fishermen and farmers.
What changed everything was the discovery of offshore oil. Norway’s trick over the past half-century has been to team its economic bonanza with technological innovation and a highly educated society, a combination that could define liberal democracy.
But in terms of travel, 2022 marks the year when Oslo finally comes of age. Copenhagen and Stockholm are already Scandinavian must-sees. Now the Norwegian capital is out to claim its spot as the most interesting destination in the Nordics.
If any single project supports that claim, it is the National Museum. When it opens on June 11, after 19 years of planning, the institution—four previously distinct museums of art and applied arts united in one organization—will house the largest display of arts in the Nordic region. Those with skin in the game like to point out it will be larger than the Guggenheim Museum Bilbao, the Frank Gehry–designed outpost of the New York icon that turned the off-the-radar Spanish city into an essential stop on a European art tour.
The museum represents the latest element of the ongoing Fjordbyen (Fjord City) urban-renewal scheme launched in the 1980s. There’s no faulting its harborside location. Ferries thrum to nearby islands. Walkers promenade in the sunshine. The light has that sparkling luminescence of the coast. Here you are in the heart of a European capital, yet the mood evokes seaside holidays. It’s rather lovely.
But, gosh, the museum’s big. Clad in gray-green slate (German architectural firm Kleihues + Schuwerk aimed to have a dialogue with both a 14th-century fortress across the harbor and the nearby city hall), its imposing 587,000-square-foot slab walls in one side of the water’s plaza. Illuminated on the roof, a marble-skinned exhibition space will glow at night like a latter-day Acropolis.
“It will make Oslo a real center for arts and culture in North Europe,” marketing director Tord Krogtoft tells Robb Report, adding that it may be the only big national museum to open this year. “It is world news.” He considers a moment, then adds with a smile, “It’s quite unorskt [un-Norwegian], actually.”
Installation of art in the 87 rooms, spread between two floors, is underway. Some of the works, such as an eye-popping mural of rainbow starbursts by American conceptual artist Sol LeWitt—certain to be catnip to Insta influencers—are exuberant, but the decor is restrained. Limestone floors, rich oak doors and window frames of burnished brass lend a patina of age to lofty spaces. Occasionally, sound art—plainchant, say, or bird-song—soundtracks spaces. In all, about 5,000 items will be on display, from paintings to furniture, design and fashion to religious art, most of it Norwegian.
As impressive is that the state coughed up every one of the 6 billion kronor, or roughly $831.5 million, it cost to build. “It’s an issue of culture and ambition as much as money,” Krogtoft says.
Oslo’s other hot museum ticket is Munch. Opened in Bjørvika last year, the world’s largest collection of artist Edvard Munch—and one of the largest museums devoted to any individual artist—is not an easy building to love. Osloites joke that it resembles a shipping container standing on end. Architecture critics have more generously opined that the 13-storey structure, designed by Spaniard Juan Herreros, aptly embodies Munch’s psychologically tortured work. Inside, where curators have a collection of nearly 28,000 works to play with, the expressionist art is stellar, and a bar on the top floor provides unrivaled fjord views. Yes, two versions of The Scream are on-site. The third is at the National Museum, and American financier Leon Black was reported to be the winning bidder on the fourth at Sotheby’s for nearly $120 million in 2012.
Edvard Munch, Inheritance, 1897-99 (left), and Girls on the Bridge, 1927, at the Munch. Einar Aslaksen
The aforementioned adjacent Opera House, erected in 2008, offers a manifestly different vibe. It’s not just that acclaimed homegrown architecture firm Snøhetta has dared to evoke an iceberg: glass cliff faces, roofs that shelve into dark water, a mountain’s worth of white marble. It’s also that the roofscape is conceived as an inviting public park.
The vibrant scene in Bjørvika is only part of what’s making Oslo a hugely appealing capital to visit. Having introduced higher tolls and congestion pricing for all but electric cars, the neoclassical center is so calm, so devoid of traffic and hurly-burly, you never quite get used to it. The city is also compact enough that nothing is more than 20 minutes away by metro or tram. Ride for 30 minutes and you’re in pine forest.
Oslo Opera House, designed by homegrown architectural firm Snøhetta. Maurizio Rellini/Sime/EStock Photo
Walk west of the train station—down shopping high street Karl Johans Gate, through a park where guards march stiffly before the royal palace—and you reach Frogner, the city’s most fashionable residential area. Among the borough’s elegant pastel mansions, Sommerro is set to open in September. It’s been hailed as the first neighbourhood hotel in Oslo, but such plaudits actually undersell it—Sommerro is one of Scandinavia’s most interesting launches in years.
Robb Report is the first publication inside its landmark pile, a fusion of Art Deco and functionalist red brick. Dating from 1931, it was previously owned by city-electricity provider Oslo Lysverker, serving as company headquarters but also including a pool and bathhouse in the basement for public use (a typically community-minded Scandinavian gesture). The lobby atrium now features a spectacular Art Deco chandelier that dangles six stories through the centre of a wrought-iron spiral staircase. In what will be a brasserie in the former payment hall (one of four dining spaces), the renovation preserved a 1930s mural by Norwegian artist Per Krohg, a pal of Matisse’s whose work also adorns the United Nations Security Council building in New York.
Nordic Hotels & Resorts is in top form here. The company, known for creating luxury properties, including the Icehotel in Sweden and Denmark’s Villa Copenhagen, pioneered art hotels in Oslo with the Thief in 2013 (the unusual name references the area’s past as both hideout and execution site for smugglers and other rapscallions), followed six years later by Amerikalinjen. The latter, occupying the eponymous shipping line’s neoba-roque headquarters, in which emigrants once booked passage across the Atlantic, is pure Jazz Age glamour.
The dining room at Amerikalinjen, a hotel in the namesake shipping line’s onetime headquarters. Francisco Nogueira
In candid moments, managers admit the 231-room Sommerro has been as much of a hassle as you’d expect of a project that has required around 100 meetings with a municipal conservation team since 2019. “It would have been easier to tear down and build from new,” brand director Siri Løining says. Cheaper, too: The project cost about $416 million. “But,” she continues, “it’s much more interesting to keep the stories of the building, its DNA. This is a cultural-heritage project.”
GrecoDeco, the New York–and London-based design firm behind Soho House, has handled styling. The model rooms are an interplay of texture and pattern, Art Deco chic and folksy Nordic touches. So there are walls panelled with cherry-stained ash, stepped ceiling mouldings, tapestry headboards and rose-marble bathrooms. But bespoke hand-knotted rugs have images of storks, and colours are russet and moss, taupe and dusky pink. Superior rooms feature Murano-glass chandeliers. One luxury suite occupies what was once the panelled office of the utility company’s director.
In the basement, in what will be Scandinavia’s largest city-hotel wellness area—“It’s not a spa. This is more for health and mindfulness,” Løining notes—guests will change in restored wooden booths and swim beneath a playful Krohg mosaic that Sommerro has safeguarded. Oslo’s first rooftop pool will be open year-round. (Don’t worry, it’s beside a sauna for winter.) Though Osloites’ use of the rooftop amenities will be limited to the off-season (October through April), they will be welcome to book appointments to the below-ground facilities and join the gym all year. Løining explains: “A lot of developers don’t think about where they are. We’re embracing this building’s unique history, its unique experiences and how it has served local communities.
A junior suite at Sommerro, due to open in September. Lars Petter Pettersen
While the vintage Krohgs celebrate Norway’s artistic legacy, Sommerro is also looking to the contemporary artists and designers invigorating Oslo’s scene today. The hotel commissioned Kaja Dahl to reenvision a stone drinking fountain that once stood in the wellness area and to fashion vases in granite-like porphyry for the guest suites. Her work blurs sculpture and nature, art and craft. In her exhibitions at nearby QB Gallery in Frogner, a ribbon of wood unspools into the air. Polished marble reveals a crystalline core. It’s all somehow unmistakably Scandinavian.
QB manager Mikaela Aschim talks of a growing international clientele for the gallery’s roster. There’s huge investment potential for buyers, she says, because a small national base of collectors keeps prices attractive. A few commercial art galleries, such as Standard (Oslo), Galleri Golsa and OSL Contemporary, have penetrated the international scene, while Galleri Format focuses on contemporary craft and design. Kunstnernes Hus, meanwhile, has been artist-run since 1930 and features exhibitions as well as independent films.
At QB I meet Dahl, who leads me through the backstreets of Frogner: cool corner cafés on beautiful fin de siècle terraces (the area emerged as a summer retreat for Oslo’s elite), cobbles, the fjord winking below. At one point we head into Frogner Park, where over 200 bronze, iron and granite figures by sculptor Gustav Vigeland are on permanent display. Vigeland, who lived and worked nearby in what is now his namesake museum, spent almost 20 years installing the works before his death in 1943. “I love these,” says Dahl. “They’re so soft but in granite.”
Dahl attributes the explosion of Oslo’s art scene to prosperity. “Artists are infiltrating everywhere in Oslo right now,” she says. “It’s a sign of a society that has real luxury, that has the time and wealth to create.” Holding art in high esteem starts at the very top: Norway’s Queen Sonja is a longtime photographer and printmaker who established the Queen Sonja Print Award, a biannual international prize funded by sales of her work.
As is the case in other cities, cool restaurants and cafés are close by the galleries. Sorgenfri, on the elegant street Sorgen-frigaten (the name translates roughly as “No Problems Street”), is a dual-purpose space: polished concrete and pink-marble bar above, gallery and art-fashion boutique below. It’s the sort of madly creative joint every traveller yearns to discover. Outside are two hunks of raw larvikite stone polished into seats—a commission by Dahl.
She believes Oslo’s rise is just beginning.
The outdoor terrace of Sorgenfri. Courtesy of Sorgenfri
The dining scene is also showing off a new sophistication. Ask why Oslo is awash with visionary small restaurants preparing New Nordic cuisine and chefs such as Hanne Rutgerson, a bright 30-year-old who apprenticed in a Michelin-star venue, will tell you about stellar Norwegian ingredients, a moneyed, cultured clientele, the ease of a small city. It’s an unbeatable combination. Rutgerson recommends Hot Shop, a neighbourhood bistro in a former sex shop that offers no-menu seasonal dining of real depth and refinement. I can vouch for Festningen, serving classic-modern dishes in the harbour fortress.
Fish soup at Festningen. Stian Broch
At her own brasserie, Kastellet, Rutgerson sends out a procession of dazzling small plates: scallop mousse with rhubarb pickle; skrei (Bering Sea cod) with black truffle and white asparagus; duck with cherries and grapefruit. It’s Nordic but bolder, more international, more interesting. Anything but traditional.
Back at Bjørvika, I visit Kok saunas. Fifteen years or so ago, when the fjord was toxic sludge, these floating saunas would have been madness. Now, after a municipal clean-up, you can flit between sauna and seawater, which flirts with 2 degrees Celsius, or about 36 degrees Fahrenheit. Norwegians can’t get enough of this sort of thing, incidentally. It taps into a concept of friluftsliv—strong mental health through outdoor living.
I sit in a tiny superheated cabin among jovial Osloites. We yarn, crack jokes. At intervals we emerge from steaming to plunge into the fjord. Opposite, the Opera House shimmers with a magical glacial beauty. It is a hugely life-affirming experience.
Not bad for a nation of farmers and fishermen.
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Home is Where the Art Is
Six standout Australian galleries to know now.
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.
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.
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.
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.
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.
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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.
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.
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.
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.
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.
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
BEST SPORTS CAR
BEST LUXURY HYBRID
BEST PERFORMANCE SUPERCAR
BEST ROADSTER
BEST CAR DESIGN
BEST ELECTRIC PERFORMANCE CAR
BEST SUV
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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?
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”.
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.
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.
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.”
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.
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.”
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”.
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.
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.
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
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
