David de Rothschild On The Need For Environmental Change
And why it’s alright to call him ‘Dave’.
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To sit with David de Rothschild is to sit with preconceptions.
It’s the last name that does it – a gilded announcement that speaks of impossible wealth, a family of finance, of billions and banks and dark layers of alleged conspiracy and claimed global gloom. Or worse.
“Drink?”
It’s said gently, in tones that point to an elevated schoolyard experience, one of those with year-round blazers and regulated sock lengths, a hair policy and shirts tucked and shorts in summer.
De Rothschild has certainly moved along from such today – bearded, hair stretched well below the collar, arguably a little bedraggled and dressed in clothing that’s flowing and free of too much structure.
He sips an offered lemon-coloured cocktail stood tall in a martini glass and smiles. His eyes crinkle. Any assumptions are immediately crushed.
“I know some people are like, ‘Look at that posh London twat with his stupid long hair’, and if you look online, I’m some Jesus Christ Devil Fcker worth ten billion dollars – I’m not. And [my family] fcked the planet and controlled the federal reserve and there are so many conspiracies about what we’ve done. But you know what, at the end of the day, people are always looking to pigeonhole you – and a surname, it only comes after a first name. And I’ve always just been David – people here call me Dave – but, yeah, I’ve been David my whole life.”
It’s not to say the 41 year old shuns the family name, nor the privilege it’s allowed.
“I’m not distancing myself from it, because everything I have today, in terms of the opportunities I’ve had, the capacity I’ve had to think freely, was due to where I came from and that is an amazing gift.
“To be able to not worry about where my next meal comes from, to be able to feel the security and the safety of being in that environment, to be able to say, ‘I’m going to be an environmentalist, I want to be an adventurer, yeah, that’s what I’m going to do’ …Man, I genuinely wake up every day and feel super privileged for the opportunities I have – to have a voice and to talk about the things that I do.”
It’s why de Rothschild is back in Australia – to talk. To talk and to listen.
The week before we meet he spent time on the Great Barrier Reef – talking, listening, observing. “It’s not dead,” he offers. “And we can’t go around thinking this, we can’t write it off.”
He’s also in Australia to fulfil various media commitments for Breitling – as part of the Swiss watch brand’s so-called ‘Explorer Squad’.
“I like what these guys do and they’re super-supportive … And, again, you know, it’s another way for me to have a platform to tell stories, for Breitling to be a message piece and to get to an audience I never get to, and that makes me happy.”
So too does being in Australia – a place de Rothschild spent time in his early 20s, collecting a coterie of Bondi friends who remain close to this day.
“It was fun man, too much f*cking fun at times. But it was also the time of the Olympics and everyone in the city was super-pumped. I was actually between Sydney and Melbourne and was out here to finish my degree [he studied natural medicine and trained as a naturopath] with Nature Care, part of the University of New South Wales.”
It was on a break from that study, back in London, that his life came to a crossroad and which led, ultimately, to here. After working with Sculpture by the Sea (and forming a foundation, Sculpt the Future), de Rothschild was eager to embrace adventures new – and jokingly put it to an ex-girlfriend that he wanted to ski across Antarctica. She knew of an expedition. He signed on.
“I hadn’t read Scott [of the Antarctic] and couldn’t do a one-arm push-up, and I totally bullshitted about my experience and what I’d done in the past and they said I could be part of the support team. F*ck that – I want to be on the mission and someone then got injured and so I did, and in 2004 I skied across Antarctica.”
He returned eager to talk about the experience.
“It could have been about, ‘Wow, how amazing is what I’ve just done’, but I wanted to start talking about these incredible ecosystems that are bigger than us – and my life changed at that point, that was the start of all of ‘this’, and that was on the back of living in Australia.”
‘This’ has seen de Rothschild also venture to the North Pole to highlight global warming and also sail a boat made of repurposed bottles, the Plastiki, between San Francisco and Sydney, to highlight the Great Pacific Garbage Patch. Then there’s his eco-conscious fashion line, The Lost Explorer.
The general description that drapes de Rothschild is that of adventurer, ecologist and environmentalist. He prefers “jack of all trades, absolute master of none” and he’s quick to state that he doesn’t hold
the answers.
“I’m not an expert. But I have been given a great position from which to tell stories and to be honest about what’s happening around us – and to try and connect with people.”
His stories are delivered with a tremendous sense of passion, by a man who clearly cares and is desperate to see change.
“We have this incredible spaceship Earth, right, we have one planet and we don’t have another chance, we’re running out of time, and we don’t get another opportunity to make this planet sustainable, or another opportunity to do the right thing. And it’s not my fight, it’s not your fight, it’s everybody’s fight.”
Central to that battle is the very simple notion of tangible engagement – that for environmental messaging to truly take hold and drive heightened levels of action, we need to interact beyond the heavily populated urban clusters most label ‘home’.
“That’s exactly it, we’re detached … Number one, right, is that we live with an outdated brain model, so from an evolutionary standpoint we’re now more afraid of camping in the woods than losing the woods; we’re more afraid of being eaten by a shark than losing a species – our brains haven’t caught up to modernity.
“Number two, we’re all shuffled into the urban environment – 70 per cent of us [predicted to be living in cities] by mid-century and our touchpoint to nature is generally through advertising and media. So if you think about that in terms of a news story – that’s fire, flood, famine; horrible things, it’s negative. So we have this fear reaction to nature and just say, ‘f*ck it’.”
Then there’s the issue of ‘nature porn’.
“That’s what I call it – we’re all glued to [David] Attenborough and National Geographic or whatever and there’s this amazing whale breaching and an eagle comes and eats a fox. But then when we get out in nature, we’re like – ‘where are all the whales? And the dolphins, where the f*ck are they?’ Well, we killed them all.”
There’s an easy accessibility to de Rothschild and his messaging. He presents as the everyman, his speech prepared
with a level of f*cks that would leave a porn star spent.
“I swear too much, I know,” he offers. “But then we’re all f*cking idiots. Nature is simply saying, ‘Hey, I need a break – maybe don’t eat tuna for five years and the ocean will be teeming with tuna and we can eat it again’. But as humans, I also understand that we get distracted by the huge human element – we feel empathetic towards things and then we also quickly become apathetic; we read that the Amazon is crumbling, but then, you know, ‘I’ve got to work and this and that and feed my kids.’ We get distracted, we don’t make the connection that no Amazon means no breath; no ocean means no breath.
“Look, I’ve never met someone who said, ‘That tree deserves to get cut down, that dolphin deserves to die the little f*cker’…. No. We love nature, it’s in our DNA, we look at it and it makes us feel complete. But what happens is that we remove ourselves and see these things happening and then find it very hard to orientate ourselves to get involved.”
He admits that sometimes those of his ilk don’t help.
“As environmentalists, we’re like the undertakers of the environment – we tell you what’s wrong, we don’t tell you what’s right. We come in and go, ‘This is wrong, you’re to blame, oh and give me some money.’ And people are like, ‘f*ck off’.”
So what encourages him to keep going – to keep pushing against the short-term agendas of global governments and a top-down approach that continues to value profit over a sustainable natural future? Ultimately, what gives him hope?
“Cocktails and dreams and good pingers,” he says, laughing. “No, I look at the awesome things we’ve done – we’ve built telescopes that have figured out how a star is created, we’ve understood virology and how to solve incredibly complex mathematical situations and diseases and we’ve improved our quality of life.
“And so what gives me hope is that when we actually work together we can achieve incredible things. And so in some way, if there was a date or a deadline for the planet, say in 2022 a meteorite was going to smack into the planet we’d come together and this conversation would be totally different; it would be about the fact we have to work together to solve this crisis. And we have to remain optimistic and more than that, we have to start listening and start acting. Even though we may be talking more and more people are now doing things – winning slowly is still losing.
“We’ve had the same conversation for 20 years and who’s to blame – are you to blame for not listening? Or am I to blame for not telling a compelling enough story? I think we have to come together and at least meet in the middle. This is our watch and we need to get in there and change the system.”
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Watch of the Week: TAG Heuer Formula 1 | Kith
The legendary sports watch returns, but with an unexpected twist.
Over the last few years, watch pundits have predicted the return of the eccentric TAG Heuer Formula 1, in some shape or form. It was all but confirmed when TAG Heuer’s heritage director, Nicholas Biebuyck, teased a slew of vintage models on his Instagram account in the aftermath of last year’s Watches & Wonders 2023 in Geneva. And when speaking with Frédéric Arnault at last year’s trade fair, the former CEO asked me directly if the brand were to relaunch its legacy Formula 1 collection, loved by collectors globally, how should they go about it?
My answer to the baited entreaty definitely didn’t mention a collaboration with Ronnie Fieg of Kith, one of the world’s biggest streetwear fashion labels. Still, here we are: the TAG Heuer Formula 1 is officially back and as colourful as ever.
As the watch industry enters its hype era—in recent years, we’ve seen MoonSwatches, Scuba Fifty Fathoms, and John Mayer G-Shocks—the new Formula 1 x Kith collaboration might be the coolest yet.
Here’s the lowdown: overnight, TAG Heuer, together with Kith, took to socials to unveil a special, limited-edition collection of Formula 1 timepieces, inspired by the original collection from the 1980s. There are 10 new watches, all limited, with some designed on a stainless steel bracelet and some on an upgraded rubber strap; both options nod to the originals.
Seven are exclusive to Kith and its global stores (New York, Los Angeles, Miami, Hawaii, Tokyo, Toronto, and Paris, to be specific), and are made in an abundance of colours. Two are exclusive to TAG Heuer; and one is “shared” between TAG Heuer and Kith—this is a highlight of the collection, in our opinion. A faithful play on the original composite quartz watch from 1986, this model, limited to just 1,350 pieces globally, features the classic black bezel with red accents, a stainless steel bracelet, and that creamy eggshell dial, in all of its vintage-inspired glory. There’s no doubt that this particular model will present as pure nostalgia for those old enough to remember when the original TAG Heuer Formula 1 made its debut.
Of course, throughout the collection, Fieg’s design cues are punctuated: the “TAG” is replaced with “Kith,” forming a contentious new brand name for this specific release, as well as Kith’s slogan, “Just Us.”
Collectors and purists alike will appreciate the dedication to the original Formula 1 collection: features like the 35mm Arnite cases—sourced from the original 80s-era supplier—the form hour hand, a triangle with a dot inside at 12 o’clock, indices that alternate every quarter between shields and dots, and a contrasting minuterie, are all welcomed design specs that make this collaboration so great.
Every TAG Heuer Formula 1 | Kith timepiece will be presented in an eye-catching box that complements the fun and colour theme of Formula 1 but drives home the premium status of this collaboration. On that note, at $2,200 a piece, this isn’t exactly an approachable quartz watch but reflects the exclusive nature of Fieg’s Kith brand and the pieces he designs (largely limited-edition).
So, what do we think? It’s important not to understate the significance of the arrival of the TAG Heuer Formula 1 in 1986, in what would prove integral in setting up the brand for success throughout the 90’s—it was the very first watch collection to have “TAG Heuer” branding, after all—but also in helping to establish a new generation of watch consumer. Like Fieg, many millennial enthusiasts will recall their sentimental ties with the Formula 1, often their first timepiece in their horological journey.
This is as faithful of a reissue as we’ll get from TAG Heuer right now, and budding watch fans should be pleased with the result. To TAG Heuer’s credit, a great deal of research has gone into perfecting and replicating this iconic collection’s proportions, materials, and aesthetic for the modern-day consumer. Sure, it would have been nice to see a full lume dial, a distinguishing feature on some of the original pieces—why this wasn’t done is lost on me—and perhaps a more approachable price point, but there’s no doubt these will become an instant hit in the days to come.
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The TAG Heuer Formula 1 | Kith collection will be available on Friday, May 3rd, exclusively in-store at select TAG Heuer and Kith locations in Miami, and available starting Monday, May 6th, at select TAG Heuer boutiques, all Kith shops, and online at Kith.com. To see the full collection, visit tagheuer.com
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8 Fascinating Facts You Didn’t Know About Aston Martin
The British sports car company is most famous as the vehicle of choice for James Bond, but Aston Martin has an interesting history beyond 007.
Aston Martin will forever be associated with James Bond, ever since everyone’s favourite spy took delivery of his signature silver DB5 in the 1964 film Goldfinger. But there’s a lot more to the history of this famed British sports car brand beyond its association with the fictional British Secret Service agent.
Let’s dive into the long and colourful history of Aston Martin.
The origin of the Aston Martin name
The company that would become Aston Martin started out as a car dealership. In 1912, Englishmen Robert Bamford and Lionel Martin partnered to sell cars, but soon after they decided to build their own models. Their first prototype debuted in 1915, named in honour of Martin, a racing driver, and his favourite racing venue, Aston Hills. Thus, the name Aston Martin was born.
A speed-demon co-founder banned from driving
Aston Martin co-founder Lionel Martin wasn’t just a keen racing driver—he was an all-out speed demon. As a student, Martin won numerous gruelling bicycle racing records, including riding nearly the full width of England in one 22-hour stretch. He competed in motorcycle and sidecar races and automotive hillclimb competitions. It seems he also brought that need for speed to the public roadways: In 1909, having neglected to pay a previous speeding fine, Martin was caught driving 41.5 km/ph in London and was banned from driving for two years—during which he set yet another cross-country bicycle record.
A tractor company takes over
The years after World War I were tumultuous for Aston Martin, with financial difficulties and numerous takeovers. In 1947, Aston Martin went up for sale and was purchased by David Brown Limited, a company that specialised in farm tractors and industrial gears. Sir David Brown, grandson of the company’s founder, was a lifelong car enthusiast and racer, having built his own competition cars while working as an engineer at the family company. The first car built by Aston Martin after this takeover was called the DB1, named after the tractor company (and the man) that had saved the carmaker.
An indirect connection to Bentley
Around the same time that Sir David Brown took over Aston Martin, he purchased another struggling British carmaker, Lagonda. The company was developing a revolutionary twin-cam six-cylinder engine called the LB6, and Sir David wanted the engine for his new line of Aston Martin sports cars. The Lagonda engine had been designed by none other than W.O. Bentley—the man who co-founded Bentley Motors, who had long since been pushed out of the company bearing his name.
The history of the DB Series
Aston Martin built seven vehicles named in honour of owner Sir David Brown: The DB1, DB2, DB3, DB4, DB5, DB6, and the combo-breaker DBS all bore Sir David’s initials. In 1972, Sir David sold the car company, and the new owners ended the DB series of vehicles, but the name was revived in 1993 with the DB7 in honour of Sir David—who himself was given an honorary position at the company that same year.
Bond, James Bond
Of course, the most famous Aston Martin of them all is the DB5. Just over 1,000 examples were built between 1963 and 1965, but millions worldwide know this as the James Bond car. In the books, author Ian Fleming had specified an earlier Aston Martin DB Mark III as Bond’s car. Still, the DB5 was introduced in the 1964 Bond film Goldfinger, equipped with gadgets including machine guns, smoke screens, oil slicks, an ejector seat, and rotating license plates. Bond has driven several Aston Martin models over the years, including a V8 Vantage, a V12 Vanquish, and two DBS models, but the original DB5 will always be considered the quintessential Bond car.
The angular years
Today, the Aston Martin badge is most closely associated with swooping, evocatively curvy car designs, but in the 1970s the company was obsessed with angular, wedge-shaped designs. The trend began in 1976 with the Aston Martin Lagonda, a shockingly unconventional four-door luxury sedan with “folded-paper” body styling and the world’s first all-digital instrument panel. The Lagonda’s styling was further evolved in 1979 with the Bulldog, a radical concept car with gullwing doors and a sharply pointed nose. The Bulldog was meant to become the fastest road car on earth, but the project was abandoned before production could begin.
For Bond’s eyes only
While most of James Bond’s Aston Martins have been commercially available to anyone who could afford one, the DB10 seen in the 2015 film Spectre was exclusive to 007. As Aston Martin executive Marek Reichman explained to Variety, director Sam Mendes, producer Barbara Broccoli, and Bond star Daniel Craig were touring Aston Martin’s design studios when they saw a concept sketch on the wall. The Bond team insisted that this should be 007’s next car, and Aston Martin spent the next six months furiously working to turn the drawing into a real-world car. The DB10 was unveiled during the launch of the film Spectre, and eight of the 10 examples built were featured in the movie, with the remaining two used for promotional appearances.
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What Venice’s New Tourist Tax Means for Your Next Trip
The Italian city will now charge visitors an entry fee during peak season.
Visiting the Floating City just got a bit more expensive.
Venice is officially the first metropolis in the world to start implementing a day-trip fee in an effort to help the Italian hot spot combat overtourism during peak season, The Associated Press reported. The new program, which went into effect, requires travellers to cough up roughly €5 (about $AUD8.50) per person before they can explore the city’s canals and historic sites. Back in January, Venice also announced that starting in June, it would cap the size of tourist groups to 25 people and prohibit loudspeakers in the city centre and the islands of Murano, Burano, and Torcello.
“We need to find a new balance between the tourists and residents,’ Simone Venturini, the city’s top tourism official, told AP News. “We need to safeguard the spaces of the residents, of course, and we need to discourage the arrival of day-trippers on some particular days.”
During this trial phase, the fee only applies to the 29 days deemed the busiest—between April 25 and July 14—and tickets will remain valid from 8:30 am to 4 pm. Visitors under 14 years of age will be allowed in free of charge in addition to guests with hotel reservations. However, the latter must apply online beforehand to request an exemption. Day-trippers can also pre-pay for tickets online via the city’s official tourism site or snap them up in person at the Santa Lucia train station.
“With courage and great humility, we are introducing this system because we want to give a future to Venice and leave this heritage of humanity to future generations,” Venice Mayor Luigi Brugnaro said in a statement on X (formerly known as Twitter) regarding the city’s much-talked-about entry fee.
Despite the mayor’s backing, it’s apparent that residents weren’t totally pleased with the program. The regulation led to protests and riots outside of the train station, The Independent reported. “We are against this measure because it will do nothing to stop overtourism,” resident Cristina Romieri told the outlet. “Moreover, it is such a complex regulation with so many exceptions that it will also be difficult to enforce it.”
While Venice is the first city to carry out the new day-tripper fee, several other European locales have introduced or raised tourist taxes to fend off large crowds and boost the local economy. Most recently, Barcelona increased its city-wide tourist tax. Similarly, you’ll have to pay an extra “climate crisis resilience” tax if you plan on visiting Greece that will fund the country’s disaster recovery projects.
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Omega Reveals a New Speedmaster Ahead of the Paris 2024 Olympics
Your first look at the new Speedmaster Chronoscope, designed in the colour theme of the Paris Olympics.
The starters are on the blocks, and with less than 100 days to go until the Paris 2024 Olympics, luxury Swiss watchmaker Omega was bound to release something spectacular to mark its bragging rights as the official timekeeper for the Summer Games. Enter the new 43mm Speedmaster Chronoscope, available in new colourways—gold, black, and white—in line with the colour theme of the Olympic Games in Paris this July.
So, what do we get in this nicely-wrapped, Olympics-inspired package? Technically, there are four new podium-worthy iterations of the iconic Speedmaster.
The new versions present handsomely in stainless steel or 18K Moonshine Gold—the brand’s proprietary yellow gold known for its enduring shine. The steel version has an anodised aluminium bezel and a stainless steel bracelet or vintage-inspired perforated leather strap. The Moonshine Gold iteration boasts a ceramic bezel; it will most likely appease Speedy collectors, particularly those with an affinity for Omega’s long-standing role as stewards of the Olympic Games.
Notably, each watch bears an attractive white opaline dial; the background to three dark grey timing scales in a 1940s “snail” design. Of course, this Speedmaster Chronoscope is special in its own right. For the most part, the overall look of the Speedmaster has remained true to its 1957 origins. This Speedmaster, however, adopts Omega’s Chronoscope design from 2021, including the storied tachymeter scale, along with a telemeter, and pulsometer scale—essentially, three different measurements on the wrist.
While the technical nature of this timepiece won’t interest some, others will revel in its theatrics. Turn over each timepiece, and instead of a transparent crystal caseback, there is a stamped medallion featuring a mirror-polished Paris 2024 logo, along with “Paris 2024” and the Olympic Rings—a subtle nod to this year’s games.
Powering this Olympiad offering—and ensuring the greatest level of accuracy—is the Co-Axial Master Chronometer Calibre 9908 and 9909, certified by METAS.
A Speedmaster to commemorate the Olympic Games was as sure a bet as Mondo Deplantis winning gold in the men’s pole vault—especially after Omega revealed its Olympic-edition Seamaster Diver 300m “Paris 2024” last year—but they delivered a great addition to the legacy collection, without gimmickry.
However, the all-gold Speedmaster is 85K at the top end of the scale, which is a lot of money for a watch of this stature. By comparison, the immaculate Speedmaster Moonshine gold with a sun-brushed green PVD “step” dial is 15K cheaper, albeit without the Chronoscope complications.
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The Omega Speedmaster Chronoscope in stainless steel with a leather strap is priced at $15,725; stainless steel with steel bracelet at $16,275; 18k Moonshine Gold on leather strap $54,325; and 18k Moonshine Gold with matching gold bracelet $85,350, available at Omega boutiques now.
Discover the collection here
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Here’s What Goes Into Making Jay-Z’s $1,800 Champagne
We put Armand de Brignac Blanc de Noirs Assemblage No. 4 under the microsope.
In our quest to locate the most exclusive and exciting wines for our readers, we usually ask the question, “How many bottles of this were made?” Often, we get a general response based on an annual average, although many Champagne houses simply respond, “We do not wish to communicate our quantities.” As far as we’re concerned, that’s pretty much like pleading the Fifth on the witness stand; yes, you’re not incriminating yourself, but anyone paying attention knows you’re probably guilty of something. In the case of some Champagne houses, that something is making a whole lot of bottles—millions of them—while creating an illusion of rarity.
We received the exact opposite reply regarding Armand de Brignac Blanc de Noirs Assemblage No. 4. Yasmin Allen, the company’s president and CEO, told us only 7,328 bottles would be released of this Pinot Noir offering. It’s good to know that with a sticker price of around $1,800, it’s highly limited, but it still makes one wonder what’s so exceptional about it.
Known by its nickname, Ace of Spades, for its distinctive and decorative metallic packaging, Armand de Brignac is owned by Louis Vuitton Moët Hennessy and Jay-Z and is produced by Champagne Cattier. Each bottle of Assemblage No. 4 is numbered; a small plate on the back reads “Assemblage Four, [X,XXX]/7,328, Disgorged: 20 April, 2023.” Prior to disgorgement, it spent seven years in the bottle on lees after primary fermentation mostly in stainless steel with a small amount in concrete. That’s the longest of the house’s Champagnes spent on the lees, but Allen says the winemaking team tasted along the way and would have disgorged earlier than planned if they’d felt the time was right.
Chef de cave, Alexandre Cattier, says the wine is sourced from some of the best Premier and Grand Cru Pinot Noir–producing villages in the Champagne region, including Chigny-les-Roses, Verzenay, Rilly-la-Montagne, Verzy, Ludes, Mailly-Champagne, and Ville-sur-Arce in the Aube département. This is considered a multi-vintage expression, using wine from a consecutive trio of vintages—2013, 2014, and 2015—to create an “intense and rich” blend. Seventy percent of the offering is from 2015 (hailed as one of the finest vintages in recent memory), with 15 percent each from the other two years.
This precisely crafted Champagne uses only the tête de cuvée juice, a highly selective extraction process. As Allen points out, “the winemakers solely take the first and freshest portion of the gentle cuvée grape press,” which assures that the finished wine will be the highest quality. Armand de Brignac used grapes from various sites and three different vintages so the final product would reflect the house signature style. This is the fourth release in a series that began with Assemblage No. 1. “Testing different levels of intensity of aromas with the balance of red and dark fruits has been a guiding principle between the Blanc de Noirs that followed,” Allen explains.
The CEO recommends allowing the Assemblage No. 4 to linger in your glass for a while, telling us, “Your palette will go on a journey, evolving from one incredible aroma to the next as the wine warms in your glass where it will open up to an extraordinary length.” We found it to have a gorgeous bouquet of raspberry and Mission fig with hints of river rock; as it opened, notes of toasted almond and just-baked brioche became noticeable. With striking acidity and a vein of minerality, it has luscious nectarine, passion fruit, candied orange peel, and red plum flavors with touches of beeswax and a whiff of baking spices on the enduring finish. We enjoyed our bottle with a roast chicken rubbed with butter and herbes de Provence and savored the final, extremely rare sip with a bit of Stilton. Unfortunately, the pairing possibilities are not infinite with this release; there are only 7,327 more ways to enjoy yours.
