At the end of January, it’s winter in St. Moritz, and for a few days the frozen lake becomes the venue for the International Concours of Elegance, known as The I.C.E. St. Moritz, where historic and contemporary automobiles are driven, not just displayed. Founded in 2019, the event takes place entirely on the ice, with altitude and conditions informing how the cars are prepared, moved, and viewed at close range, rather than kept behind ropes.
The I.C.E. was founded by Marco Makaus and Ronnie Kessel, whose backgrounds reflect the balance between curation and competition. The choice of St. Moritz makes perfect sense, too, as long before the event existed, the town had developed a culture in which sport, art, and leisure coexist, and it’s a balance that’s shaped its international reputation for decades. “For us, the automobile belongs naturally in that environment,” says Makaus. From the outset, his intention was to present cars not simply as engineering achievements, but as objects shaped by design, history, and use.
The frozen lake, framed by the surrounding mountains, has become synonymous with the event, imposing practical limits that cannot be negotiated away. After all, ice restricts numbers by necessity. “The lake is St. Moritz’s crown jewel,” Makaus says. “We are guests there for only a few days.” That principle informs every aspect of The I.C.E., with participation tightly controlled in terms of both cars and people, reflecting long-standing lake traditions in St. Moritz that have operated under similar constraints. The emphasis remains on quality over quantity, with fewer cars, higher standards, and a respect for conditions.
Curation follows the same principle, with owners considered part of the entry and the relationship between the two carrying weight. “A car on its own can be a cold piece of metal and rubber,” Makaus says, “what makes the difference are the people who have lived with it.” Limiting scale also heightens standards, “having a limited quantity, we always try to increase the quality,” he adds.
In previous editions, the awarded cars have spanned eras and disciplines, from the 1957 Ferrari 500 TRC Scaglietti in the Barchettas on the Lake category, a 1934 Bugatti 59 among the open-wheel entries, and an Alfa Romeo 6C 1750 GS Aprile from 1931 recognized among concept cars and one-offs. Later decades have been represented by cars such as a 1966 Ferrari 275 GTB/4, a 1971 Porsche 908/03, and historically significant outliers including the McLaren M1A Oldsmobile from 1965, the Abarth 1000 Record Pininfarina from 1960, and the Audi quattro Group S prototype from 1986. Each reflects the event’s preference for provenance, originality, and mechanical integrity.
The I.C.E.’s partnership with Richard Mille reflects a shared approach, and since aligning with the event in 2023, the watchmaker has remained involved through a common interest in engineering, performance, and design that’s informed by motorsport. Known for technical innovation and an emphasis on lightness and precision, Richard Mille’s work aligns with an event that treats mechanical objects as things intended to be used. Peter Harrison, CEO of Richard Mille EMEA, says, “Marking our fourth year with The I.C.E. St. Moritz, we are delighted to continue supporting an event that embodies elegance, precision, and the spirit of excellence. This partnership mirrors the craftsmanship and innovation at the heart of our brand, and we are proud to celebrate it once again.”
VistaJet’s involvement reflects a similar alignment. Founded by Thomas Flohr, the private aviation company has long been associated with international sporting and cultural events and operates within the same luxury ecosystem long associated with St. Moritz. For an audience accustomed to moving between alpine resorts, major cultural centers, and seasonal events, VistaJet’s presence underscores the global, mobile nature of The I.C.E.’s clientele, where access and exclusivity are treated as givens.
While Makaus oversees the work of the jury and remains closely involved in the Concours of Elegance itself, Kessel focuses more on the event’s cultural dimension and serves as an ambassador for the automotive world in St. Moritz. For Kessel, the lake itself is what distinguishes The I.C.E. from any traditional concours. “For eight months of the year, this place doesn’t exist,” he says. “That changes how people behave.” The temporary nature of the surface introduces a level of focus absent from permanent venues, shaping how cars are driven and how risks are judged.
Cars are prepared carefully, and the experience is shared by drivers and spectators alike. Here, expect historic racing cars sliding across the ice with movements exaggerated by the surface, making grip, balance, and weight transfer visible, adding a dash of drama to the occasion. It’s this focus on motion that separates The I.C.E. from events that treat automobiles as untouchable, delicate artifacts. Instead we see a car’s character revealed through use, even in the trickiest of conditions that expose limitation.
Discretion also extends to those asked to judge what takes place on the ice. The international jury draws together figures from architecture, design, motorsport, and the wider cultural world, reflecting the range of disciplines the event engages. Recent jurors have included Norman Foster, whose relationship with St. Moritz is both architectural and personal, Jay Ward, whose work bridges automotive culture and film, and Fabrizio Giugiaro, representing a design lineage that continues to influence contemporary automotive form. The prizegiving for 2026 was overseen by Amanda Stretton, whose background includes both competition and broadcasting.
St. Moritz itself reinforces the event’s character, having long operated at the intersection of art, sport, and international culture, a balance that provides context without drawing focus away from the cars on the ice. “Elegance, creativity, and a sense of timeless exclusivity are part of this place,” Kessel says. “Those values define The I.C.E. as much as the cars.”
Since its founding, the event has grown beyond the traditional collector audience, a development that’s brought with it a familiar challenge, maintaining intimacy while allowing broader access. “Maintaining exclusivity while offering a real experience is one of the hardest balances to strike,” Kessel admits. The response has been considered, with the lake remaining the focus, supported by partners such as Richard Mille, whose presence reinforces the event’s alignment with discretion and a distinctly international sense of glamour.
