Latest news with #Reichman
Yahoo
2 days ago
- Business
- Yahoo
Scinai Highlights New Funding and CDMO Growth Ahead of BIO International Convention 2025
CEO Amir Reichman to meet investors, pharma partners, and CDMO clients at global biotech conference JERUSALEM, June 12, 2025 /PRNewswire/ -- Scinai Immunotherapeutics Ltd. (Nasdaq: SCNI), a biopharmaceutical company developing inflammation and immunology (I&I) therapies and offering biologics CDMO services through its Scinai BioServices unit, today announced CEO Amir Reichman's participation in the BIO International Convention 2025 (June 16–19, Boston). The company will leverage the event to showcase its recent financial, operational, and strategic advances to prospective partners and investors. Recent SEPA Funding Enhances Operational Flexibility Last week, Scinai raised $1.38 million in gross proceeds through drawdowns under its Standby Equity Purchase Agreement (SEPA) with Yorkville Advisors. The funding was executed at a volume-weighted average price of approximately $3.03 per ADS, reflecting a 3% discount to market, and was completed without any warrants, fees, or additional dilution mechanisms. The proceeds strengthen Scinai's balance sheet and provide additional capital to advance both its CDMO growth and R&D programs. The company is now accelerating supplier and partner engagements in order to advance its nanobody pipeline toward IND-enabling studies, while simultaneously working to expand CDMO capacity and marketing outreach. CDMO Business Scales Rapidly; 2025 Revenue Expected to Reach $2M Scinai's Q1 2025 financial results, released last month, showed rapid growth in CDMO revenues, nearly matching full-year 2024 revenues in just the first quarter. Based on strong demand and capacity utilization, the company has issued 2025 revenue guidance of approximately $2 million. Scinai currently anticipates its CDMO unit will reach breakeven by end of 2026, with long-term revenue potential of $12 million annually under a single production shift, scalable further with additional shifts. Cost Optimization Reduces Burn, Extends Runway, and Enhances Financial Stability Scinai recently implemented a targeted cost-reduction program expected to lower annual employment-related expenses by approximately $815,000. The initiative is aimed at reducing the company's operational burn rate, extending its financial runway, and improving overall financial resilience—while preserving the core scientific and operational talent critical to executing its CDMO and therapeutic development strategies. CEO Commentary and BIO 2025 Objectives "We're heading into BIO with momentum on all fronts, new funding, commercial traction in our CDMO business, and focused execution across our R&D programs," said Amir Reichman, CEO of Scinai. "We're proud of the progress we've made and are eager to explore new collaborations with pharma partners, CDMO clients, and investors." At BIO 2025, Mr. Reichman will hold meetings with pharmaceutical executives, institutional investors, and CDMO customers to present Scinai's recent achievements and discuss upcoming partnership opportunities. For meeting requests, please contact Scinai through the BIO partnering system or at info@ About Scinai Immunotherapeutics Scinai Immunotherapeutics Ltd. (NASDAQ: SCNI) is a biopharmaceutical company with two complementary business units, one focused on in-house development of inflammation and immunology (I&I) biological therapeutic products beginning with an innovative, de-risked pipeline of nanosized VHH antibodies (nanoAbs) targeting diseases with large unmet medical needs, and the other a boutique CDMO providing biological drug development, analytical methods development, clinical cGMP manufacturing, and pre-clinical and clinical trial design and execution services for early stage biotech drug development projects. Company website: Company Contacts Investor Relations - Allele Capital Partners | +1 978 857 5075 | aeriksen@ Business Development | +972 8 930 2529 | bd@ Forward-Looking Statements This press release contains forward-looking statements within the meaning of the Private Litigation Reform Act of 1995. Words such as "expect," "believe," "intend," "plan," "continue," "may," "will," "anticipate," and similar expressions are intended to identify forward-looking statements. All statements, other than statements of historical facts, are forward-looking statements. These forward-looking statements reflect management's current views with respect to certain current and future events and are subject to various risks, uncertainties and assumptions that could cause the results to differ materially from those expected by the management of Scinai Immunotherapeutics Ltd. Risks and uncertainties include, but are not limited to; the risk that the Company will not be successful in advancing its CDMO growth or R&D programs; that the Company's CDMO will not reach breakeven by the end of 2026, or at all, or that long-term revenues of the CDMO unit will not increase as currently anticipated; the risk that the Company will be unable to remain compliant with the continued listing requirements of Nasdaq; lower than anticipated revenues of Scinai's CDMO business in 2025 and thereafter; failure to sign agreements with other potential clients of the CDMO business; a delay in the commencement and results of pre-clinical and clinical studies, including the Phase 1/2a study for psoriasis, the risk of delay in, Scinai's inability to conduct, or the unsuccessful results of, its research and development activities, including the contemplated in-vivo studies and a clinical trial; the risk that Scinai will not be successful in expanding its CDMO business or in-license other nanoAbs; the risk that Scinai may not be able to secure additional capital on attractive terms, if at all; the risk that the therapeutic and commercial potential of nanoAbs will not be met or that Scinai will not be successful in bringing the nanoAbs towards commercialization; the risk of a delay in the preclinical and clinical trials data for nanoAbs, if any; the risk that our business strategy may not be successful; Scinai's ability to acquire rights to additional product opportunities; Scinai's ability to enter into collaborations on terms acceptable to Scinai or at all; timing of receipt of regulatory approval of Scinai's manufacturing facility in Jerusalem, if at all or when required; and the risk that drug development involves a lengthy and expensive process with uncertain outcomes. More detailed information about the risks and uncertainties affecting the Company is contained under the heading "Risk Factors" in the Company's Annual Report on Form 20-F filed with the Securities and Exchange Commission ("SEC") on May 7, 2025, and the Company's subsequent filings with the SEC. Scinai undertakes no obligation to revise or update any forward-looking statement for any reason. Logo: View original content: SOURCE Scinai Immunotherapeutics Ltd.
Top Gear
30-05-2025
- Automotive
- Top Gear
Aston Martin DB12 - long-term review - Report No:5 2025
Which got me thinking: is there a way to make the subjective quandary of beauty objective? Could beauty in cars – particularly modern Aston Martins – be measured, if not by tape, then perhaps by involuntary public reaction? Because, if that's the case, the current crop of Astons (and the DB12, given my firsthand experience) are some of the most beautiful cars on the road. Beauty, famously, is in the eye of the beholder. But ever since I've been behind the wheel of our Aston Martin DB12, there seems to have been an increase in beholders. They pop up like wet gremlins, offering their admiration in car parks, at petrol stations, pulling out their phones at traffic lights and shouting 'That's GAWWWJUSSS!' from cab windows down the M4. 'The DB11 was a striking car, but the 12 is dominantly striking. It's got an appropriate grille that supports the increased drivability – more cooling, more aero – but it's also a more stately object now. It's more of that noble rogue you'd expect. Not the answer I came for – and it made me wonder if it was going to be a wasted four-hour round trip. But then Reichman opened up, insisting that car design is less about diktats and more about seduction with the DB12. But what are people actually reacting to? The shape? The proportions? The colour? The badge? Or is there something less tangible at play? To try and qualify my very unscientific survey, I took our long-term DB12 back to its birthplace at the Gaydon factory, parked it alongside its immediate family – a Vantage, a DBX 707, and the all-new, even more pin-up-worthy Vanquish – and asked the man behind the lines, Aston Martin's chief creative officer Marek Reichman, if he could explain why strangers stop mid-sentence to stare. 'As a designer, as a creative – all of us, the entire company – we're existing in two worlds,' Reichman explained. 'We're in the automotive space, yes, but we're also in the luxury world. The world of being noticed.' And being noticed matters. If you drive an Aston Martin, people look. 'They are consciously thinking about who you are. You've got to be conscious. We're designing and engineering within that context.' The idea, it turns out, wasn't to make the DB12 more beautiful. It was to make it more present. 'It's simply wearing the right clothes,' he said. 'It's presence. It's proportion. It's elegance. It's stature. That's the DNA of our brand.' Marek is fantastically articulate and avoids designer jargon. The DB12 is, after all, built on an Aston Martin platform – not a shared one, not a group hand-me-down, not something diluted by cross-brand committees. That, Reichman said, gives it more room to breathe. More room to wear its clothes. 'All of those platforms, whether it's from DB9 onwards, it's an Aston Martin platform – not a group platform we've had to derivatise,' he explained. 'We have the ability to control proportion, working with engineering to control performance from day one. And that's been fundamental – the makeup of our brand. That gives us the ability to define, particularly on Vantage. I think it's one of the best-proportioned cars in its class. DB12 is close, but nothing comes near Vanquish. When you're rare, you can play more with proportional change.' According to the man with the pens, it's that phrase – proportional change – that gets to the core of why the DB12 pulls eyes out of sockets. 'It's a wider car. More punch. The nose is more upright, more dominant. Taller. All the fenders, front and rear, are pushed out from the body – gives it more room to play with.' Marek makes a sculptor's gesture as he speaks, curving his fingers around invisible haunches. 'We have a massive benefit. That distance – that pressing distance for a rear arch – it's immense. Porsche, Mercedes, Bentley? They don't come close. What these new iterations have done is given more room for the clothing. It's what every show car does. Only we can actually do it.' But the kerb appeal is also down to pedestrians seeing the car from the right angles, at the right distance – because the way we view cars isn't up close but from afar. Not through detail, but silhouette. 'We never design within three metres,' he said. 'Always 20 metres away. We sketch on A2 paper. You need to understand the aesthetic in two dimensions to deploy it in three. You're not discovering the idea in 3D – you've already nailed it in 2D.' So where do the ideas begin? I wondered what was on the DB12's mood board – and was surprised by the route-one response. 'With DB12, believe it or not, it was James Bond. It was more about elegance, stature. Less of the rogue, more of the gentleman.' The car, in his mind, is a character. A type. Like a cast list on wheels. For the other cars, there are more. 'One of them was Idris Elba. Another was a buffalo. A bull. A large shark. And... I can't remember the other one,' he said, laughing. 'But the point is, we start with personality. We use characters to help the designers start their designing.' I asked what happens when engineering gets in the way – when the chassis says no, or the finance team wants it smaller, or the emissions team wants more vents. Reichman smiled. 'We have the benefit of controlling the platform,' he said, 'so when the engineers say 'better turn-in, three millimetres forward', we can actually do it.' The level of agility and influence, he pointed out, hasn't existed since the David Brown days. 'Then a bunch of stuff happened,' he said, dryly. 'But now it's back.' Credit, he noted, goes in part to Lawrence Stroll – not just for the money, but for bringing a kind of fashion-world rigour to branding. 'If you're a luxury brand – and we coined the term ultra luxury – you need consistency,' Reichman said. 'An artist may vary, but their expression is consistent. Rothko is always a Rothko. And our customers say, 'I own an Aston Martin', then they say which one.' So, I asked him if he were in one of Aston's new, super-jazzy NYC-inspired speccing pods at Gaydon, how would he spec a DB12? 'My next one's ultramarine black. Very dark blue with a black wheel and a dark night interior. Popped with a dark red calliper and red stitch. It's quite subtle, but not black. In sunlight, you see the blue. It's elegant and sporting. More dark denim jeans than dinner suit.' Quite the opposite of what he's rocked up to work in today – an orange over orange (is that orange squared?) DBX. But Marek again believes you should wear your cars like a wardrobe – especially in this ultra high-net-worth world – where, if you're going to a cocktail party at a beach club, you'll wear something slightly different to a night at the opera. And with our cars, you can do exactly that. Your character remains the same, but you can tune and tweak it for what you want. We spoke just as Trump introduced sweeping tariffs, another reminder that like it or not, cars are now entangled in the wider theatre of politics, policy, technology, and power. How does this affect Marek's thinking? 'I'm conscious of everything on a global scale that happens, because I have to be. As a designer. We're a respected brand – and that means we have to be conscious of everything that exists.' But that context, Reichman insists, comes with a unique advantage. 'We have a massive, massive bonus point in that we're a love brand. We are loved by many – we are. You get the thumbs up, not the finger up, when you drive our cars. People let you out in traffic in London.' You can't disappear in an Aston Martin. 'If you want to drive into London without being papped by a kid on a street corner, forget it. Because you will be papped in that car.' That visibility, he says, brings a responsibility. And part of that consciousness is a long view. 'We've made 113 years' worth of cars. 125,000 in total. And 96 per cent of them still exist.' His voice brightens slightly. 'So from that perspective, I'm creating a future collectible – not a throwaway object. So what I have to design – what we have to design – is something that, 50 years from now, people will still respect. Still appreciate. Still see as an object of beauty.' Well, if the cab drivers and beholders are anything to go by – with their shouts of 'That's GAWWWJUSSS!' – he's doing a pretty good job.
