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Although billionaire-funded space flights like Blue Origin’s are marketed as aspirational feats of progress, they function primarily as distractions from urgent social and environmental issues — reinforcing inequality under the guise of innovation.

The Carbon Cost of Aspiration

It has become apparent that the performative nature of the Blue Origin space trip was a carefully curated media event. It was a chance for an elite few (from Silicon Valley to Hollywood) to use such a moment as a platform for self-promotion, reframed under the guise of pioneers rather than profiteers. In the age of greenwashing, billionaire-funded “joyrides” to space are not revolutionary — they are reminders of everything broken with the world below. As wildfires rage, oceans rise and public trust in institutions erodes, the optics of celebrity space tourism feel increasingly out of touch. What was once the domain of scientific ambition has been transformed into a stage for luxury escapism — a playground for the ultra-wealthy, dressed in the language of progress.

It was Katy Perry’s demeanour in outer space that truly transformed the occasion into a glittering spectacle. Framed as a milestone in empowerment and the chance for much-needed female visibility in a male-dominated domain, the flight also seemed to be strategically timed to promote her upcoming tour setlist. Holding a single daisy in her hand and locking eyes with the camera, set against the backdrop of Earth’s curvature, the moment appeared highly staged. Upon landing from the 11-minute suborbital journey, she kissed the ground — an image that quickly circulated across media platforms. Furthermore, her public discourse — both before and after landing — struck many as out of touch, with her various interviews vaguely leaning on themes of unity and “love” while sidestepping the broader implications of what the group of six intended to achieve. There was little clarity on the purpose of the mission or the extent of the preparation and training (if any) required for participation.

Wrapped in what many described as a performative act of empowerment, it was branded as a “giant leap” — but for which cause exactly? Women in STEM? Of the six women who participated in the excursion (Lauren Sanchez, fiancée of Jeff Bezos; television anchor Gayle King; former NASA engineer Aisha Bowe; activist and scientist Amanda Nguyen; and producer Kerianne Flynn), only two had credentials even remotely aligned with the field. The rest were a mix of celebrities or media personalities. Meanwhile, qualified female astronauts around the world still face funding cuts, bureaucratic hurdles and limited mission slots — stark reminders that photo ops do not equate to real progress. In sustainability? The sustainability angle collapses under scrutiny. A single suborbital flight can emit anywhere between 75 to 300 tonnes of CO₂, more than the average person’s lifetime carbon footprint. These launches punch through the stratosphere, releasing black carbon directly into the upper atmosphere where it does the most damage.

One Step for Man, A Giant Leap Backwards for Mankind

In truth, Perry’s journey with Blue Origin was less about shattering glass ceilings than it was about choreography and PR theatrics. One would be remiss not to note that the launch happened in the week that the UK Supreme Court ruled against the rights of trans individuals to legally self-identify, offering a striking cultural contrast that saw elite figures ascend while many others are being systematically “grounded”. As millions reckon with ecological collapse, economic instability and institutional upheaval among social class structures, such performances feel like smoke and mirrors — aesthetic distractions masking systemic disrepair. From rising costs of living to the revelation that trillion-dollar companies like Amazon pay minimal taxes, the frustration is palpable. Against this backdrop, the idea that public subsidies and policy loopholes might help fund billionaire space fantasies — directly or indirectly — feels not just absurd, but deeply insulting.

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This brings to mind the real cost of the Blue Origin trip: the carbon footprint, the symbolism and the precedent. Space tourism, as it currently stands, is a carbon-intensive indulgence masquerading as progress. It is reported that a single suborbital launch emits more CO₂ in minutes than the average human does in a year. When juxtaposed with widespread climate anxiety and the push for everyday citizens to cut back — ditching plastic straws, offsetting flights, going vegan — it becomes difficult to see these launches as anything but hypocrisy in motion.

Read More: Gen Z Extremism: How “Authenticity” Fuels Radical Views

Dawn of “Cultural Greenwashing”

There’s a term for this kind of contradiction — “cultural greenwashing”. It can be used to depict what happens when the language of sustainability, activism or inclusivity is appropriated to cloak business-as-usual. Perry’s flight aptly fits into this pattern. It presented itself as a feminist milestone but failed to materially advance the cause. In fact, it risked trivialising it, commodifying empowerment into a marketable image rather than a meaningful statement. Unfortunately, this is not new territory for Perry, who has long danced the line between empowerment and marketing. From controversial music videos slammed for playing into harmful tropes, to more recent attempts at reclamation that drew criticism for lacking substance, her public image has often been a battleground.

However, this is not about one individual — it is about the entire industry that enables, applauds and monetises these gestures. The growing space tourism sector — backed by figures like Jeff Bezos and Elon Musk — is less a new frontier of exploration than it is an elite playground. “Astronaut” — once reserved for pioneers and scientists — is now a status symbol available to those with enough money and PR muscle. It dilutes the significance of genuine progress in science and space innovation, replacing it with selfie-friendly excursions.

Read More: Opinion: Collective Consciousness is Not The Final Solution in Solving Global Issues

Almost exactly a year ago, the “Blockout Movement” gained momentum after TikTok influencer Haley Kalil posted a widely criticised video in which she lip-synced the phrase “let them eat cake” outside the Met Gala. The line, often (though inaccurately) attributed to Marie Antoinette, has come to symbolise elite disconnection from public suffering — a disconnection that ultimately sparked the French Revolution. As Al Jazeera noted at the time, the video struck a nerve because it coincided with the worsening starvation crisis in Gaza, where food insecurity has surged throughout the ongoing war.

Read More: Summer’s Hottest Seasonal Trend: Emotional Blackmail

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More recently, Gayle King’s remarks about the Blue Origin spaceflight have begun drawing similar criticism. In a televised interview, King responded to backlash by saying, “Have you been to space? Go to space and let’s have a conversation” — a statement many perceived as dismissive of the concerns around privilege, access and the optics of space tourism at a time of widespread global instability. Rather than stepping back in the face of criticism, King’s doubling down only further highlighted how out of touch such responses can appear, further reinforcing the disconnect instead of addressing legitimate concerns the public might have. In an age where we as consumers are told to recycle more, travel less and do our bit for the Earth, watching an elite few burn tonnes of fuel to brush the edge of space — for 11 minutes of symbolism — feels like a slap. It is not inspiring, nor is it trailblazing. It is theatre and theatre alone cannot affect change if it does not acknowledge the root cause of rising inequality and public disillusionment.

All of this poses a crucial question: What exactly are we (as viewers with our feet firmly on the ground) celebrating when we cheer these launches? Is it the technological feat, the symbolism, or simply the escapism of it all? For most people, escape is not an option. As the climate temperatures rise, policies tighten and rights erode, the gap between those who can afford to flee and those who are left to face the consequences grows exponentially, highlighting a stark difference in societal and class structures. As Chinese tariffs shake global trade and factory insiders reveal “production secrets” behind the world’s top luxury brands, the veneer of ethical progress cracks further.

Beyond the carbon footprint and media spectacle, there could be a more insidious form of deflection at play. The Trump administration was well known for a tactic often referred to as “flooding the zone” or “chaos as a communication strategy”. It involves using a constant stream of newsworthy — often controversial or outrageous statements — tweets or policy moves to dominate the media cycle and distract from more serious or damaging issues happening simultaneously. Critics have pointed out that the timing and tone of the Blue Origin mission may serve as a strategic smokescreen, diverting attention from Amazon’s ongoing controversies, from labour exploitation and union-busting alongside the increasing level of immigrant surveillance and deportations by ICE. As calls mount to hold tech giants accountable for their role in systemic injustice, trips like these allow their billionaire figureheads to pivot public discourse — rebranding themselves not as corporate actors complicit in harm, but as visionaries looking toward the stars.

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If you could have just one word to describe Zegna as a luxury fashion brand, it’s ease. Ease in the way artistic director Alessandro Sartori conceptualises how the modern man’s wardrobe should be, and how that aesthetic translates into the Italian spirit. There is no overcomplicating design in Zegna’s oeuvre. Its billowy silhouettes, while roomy, are impeccably cut in a way that you’re not drowning in them. And then there’s the intentional emphasis on design elements that make slipping in and out of almost everything seamless. You know… ease.

Much like its beloved Triple Stitch, the Mocassin is set to be a perennial offering designed to perfectly match anything within the Zegna aesthetic and beyond. Before you think we’ve erred in the spelling, “Mocassin” is adapted from the way founder Ermenegildo Zegna would pronounce “moccasin” in his Piedmontese dialect. The idea of a modern moccasin is in itself an adaptation of Native American-origin footwear that has travelled through the ages to other parts of the world, including Europe.

The Mocassin bears a resemblance to the modern moc with the distinct U-shaped stitching along the vamp that echoes the detailed craftsmanship that Zegna is known for. What sets the Mocassin apart is in how it’s intended to be worn and hence, crafted. For starters, the leather chosen is refined using time- honoured tanning techniques honed by Italian craftsmen to ensure durability, resistance as well as an unparalleled suppleness. This means that the Mocassin—whether in its nubuck or leather iterations—is pliable and soft enough to be worn without socks as a nod to the effortless elegance of true Italian style.

Like every Zegna design, the Mocassin is logo-free. The footwear’s tell is subtle and almost poetic—a liner symbol that stretches across the vamp representing the 232 Road paved by Ermenegildo in the 1930s that has since become the brand’s key signifier. Not only does it symbolise the connection between past and present, it is also the long road that Zegna takes to achieve perfection in ensuring that its pieces are timeless and of long-lasting quality.

The Mocassin is designed to mature beautifully, taking on the creases and folds with every step as marks of where you’ve been and where you’ll be going. And doing it all with comfort and ease.

The Mocassin is now available in Zegna boutiques.

This story was first seen on Esquire Singapore.

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Yunzhu Jin is Asia Director for Damen Yachting, the first Chinese national to work for the company, and has been responsible for superyacht sales in Asia since 2015. Before that she worked for Damen Shipbuilding as Greater China Manager, focused on commercial vessel sales, from 2006-2015. Yunzhu received a Master’s degree with distinction in the Netherlands and completed an internship at Damen Naval Shipyard in 2005.

Damen Yachting vessels, including the Amels marque, have become leading brands in Indo-Asia-Pacific waters. Why?

We have four principal superyacht lines. All are especially suitable for cruising and chartering in the extensive Indo-Asia-Pacific region. Amels Custom superyachts such as 77m Boadicea and 74m Ilona, both for Australian owners, were built in a huge shed at Makkumin Friesland, after the modern superyacht era got seriously under way in the late 1980s and 1990s.

The shed stood out in a landscape better known for its cows. Other 50m-plus Amels Custom motoryachts were constructed at Makkum, some like Tigre D’Or with Australian captains and crews. The legendary Australian stylist, the late Jon Bannenberg, designed Boadicea and the 78m Amels Custom Montkaj for a Middle East owner.

Damen Shipyards, an enormous global conglomerate, bought Amels in 1991. Build activity began moving to Vlissingen near the Dutch-Belgian border in 2003, and Ilona was later extended there to 82m to accommodate a helipad. Amels Custom builds have continued apace since, and the Espen Øino-designed 120m Project Tanzanite is scheduled to be delivered at Vlissingen this year.

In 2005 Amels Limited Editions were introduced at Monaco Yacht Show. Designed by Briton Tim Heywood and with interiors by Laura Sessa, they quickly became the most successful superyacht builds ever.

The first Limited Editions, a 171ft or 52m vessel called Deniki, was delivered in 2007, and she recently completed a lengthy period cruising and chartering in Indo-Asia-Pacific waters for her original owner. Then followed a wide range of Limited Editions models ranging from 177ft to 272ft.

The 180 or 55m model was enormously popular, with 25 purchased, and Heywood, using some deft design touches, managed to make each of them look somewhat unique. The basic concept was simple. The tried-and-tested naval architecture and complex internal systems of superyachts can be built in two years.

So, Damen Shipping, with annual revenue of about €2.5 billion, could afford to finance such construction, allowing buyers to come in at the custom outfitting stages, and we offered two-year deliveries instead of a lengthier four-year wait. Combine this with economies of scale, and Amels salesmen and women had a near-perfect pitch.

In the second phase of Limited Editions, 60m and 80m designs by Espen Øino have been introduced, and are already selling strongly. Damen Yachting, a subsidiary of Damen Shipping, now controls the Amels marque, and launched its own Yacht Support vessel concept, storing toys, tenders, helicopters and whatever other nautical bric-a-brac is needed in a separate, more workhorse yacht, thus freeing up living space on the mother ship.

Before long, the yard noticed that not a few of these Yacht Support vessels were also being used as stand-alone expedition craft, and so a new breed was born, self-contained Xplorer luxury motor yachts, to visit remoter and more exciting parts of the world, such as in Indo-Asia-Pacific waters.

Add in Classics and a Refit Division, and Damen Yachting has something for just about every owner, hence the proliferations of such vessels in anywhere from exotic Borneo and charming Japan to French Polynesia and the Antarctic.

When did Asian owners become interested in superyachts?

China and India both have about 1.4 billion people. Chinese expats account for another 60 million mostly in Asia but spread around the world, as are Indian migrants. Thailand has become a hugely popular yacht cruising area, and the world’s two largest archipelagos, Indonesia and the Philippines, are next door. The Asian market keeps developing each season.

Asians, and Chinese in particular, started building and buying superyachts about the same time as the new-wave Europeans, Americans and Middle East buyers. Brian Chang with his 48m Asean Lady in Southeast Asia, followed by an 88m vessel of the same name, David Lieu’s 65m Van Triumph in Hong Kong, and Chang Yungfa’s 101m Evergreen in Taiwan, are examples of this early trend.

Later owners found that ordering from established European yards was a more efficient way of handling such builds and resales, and Damen Yachting and Amels benefitted from that because they offered a wide range of sturdy vessels with attractive delivery times and rates.

In the years 2019 and 2020, for example, six Amels Limited Editions were delivered, and three were for Asian owners. Damen Yachting has since increased its share of the Asian market rapidly, due to high-quality finishes, short delivery times, and its famous brand reputation.

Rich Asians, especially the younger generation, who have an international view and want to explore the world in different ways, realise that superyachts are an amazing opportunity to expand their business platforms, and at the same time see the wider world in comfort and style.

Is selling in Asia different to other places?

Small to mid-size superyachts are very popular in Asia. If we talk about larger ones, say over 55m, it is a different story. Asia is a new and increasing market for such vessels. If you look at the established, traditional big boat brokerages, their headquarters are all in Monaco or London or in America, and they have at most a few Asian branch offices.

That means the top superyacht specialists spend less time here than in Europe and America. Conversely, we take the view that we are in Asia, selling not only the yacht, not only the superior product, but the dream and the lifestyle, which in the East is not nearly the same as the West.

I speak Mandarin, dialects such as Shanghainese, Cantonese, Ningbo and some Japanese. But Asia is very big. Languages can be the tool to help to set up closer relationships. More important is the real meaning conveyed by the language.

I and our team keep on learning about Asian culture, style, hospitality, and design differences. Understanding our Asian clients, and putting their needs first, is the key to our success.

How do you see superyacht sales developing here?

There are many geopolitical factors to consider, so there is no easy answer, but generally speaking, the size of vessels bought, and number of sales are steadily rising. Problems of the past are gradually being overcome, such as more suitable marinas and facilities throughout the region, better refit and repair yards, and there is progress on removing red tape that in turn helps to resolve chartering issues.

Most European builders would probably like to see one of the Asia-Pacific boat shows emerge as a genuine superyacht centre, like Cannes and Monaco in Europe or Fort Lauderdale in Florida. Shanghai and Hainan have been tried.

Singapore was a focus in pre-covid years. Some have suggested Sanctuary Cove in Australia, and other plans have been mooted for a South China multi-event in the Pearl River delta involving Hong Kong, Macau, Shenzhen, Guangzhou and other wealthy cities in the estuary.

Damen Yachting and Amels strongly support existing Indo-Asia-Pacific events, in line with our substantial fleets in these waters, but it would be nice if one of the boat shows now develops into a gathering place for regional superyacht people.

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amelsyachting.com

This article was first seen on YachtStyle.com

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