REIS NICHOLS

A C C E N T ♦ T H E M A G A Z I N E O F L I F E ’ S C E L E B R AT I O N S ♦ S P R I N G / S U M M E R 2 0 1 2

CELEBRATE SPRING!

Fashion Favorites Watchmaking: The Next Generation Last Bid for Love

Contents spring/summer 2012

INDIANAPOLIS FASHION MALL COMMONS (317) 255-4467

GREENWOOD

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GREENDALE CENTRE (317) 883-4467

WWW.REISNICHOLS.COM

P U B L I S H E D B Y T H E B J I FA S H I O N G R O U P PUBLISHER STU NIFOUSSI EDITOR-IN-CHIEF KAREN ALBERG GROSSMAN C R E AT I V E D I R E C T O R HANS GSCHLIESSER MANAGING EDITOR

FEATURES

JILLIAN LAROCHELLE PROJECT MANAGER

4 Events

LISA MONTEMORRA

6 Profile: John Hardy

DESIGNERS

8 From the Runways

CYNTHIA LUCERO JEAN-NICOLE VENDITTI

16 Vintage Collections

PRODUCTION MANAGER

18 Hot Watches for Her

PEG EADIE

21 Brides So Beautiful

PRESIDENT AND CEO

24 Profile: Forevermark

BRITTON JONES

26 Accent Advisor

CHAIRMAN AND COO

32 Food: Making Magic 36 Community

Jewelry has been enlarged to show detail. Due to the fluctuating prices of diamonds, gold and platinum, prices are subject to change. While we have made every effort to ensure the accuracy of the information in this

38 Black & White

magazine,

40 Watch Complications: Passing Time

Copyright 2012. Accent® is published by Business Journals, Inc,

43 Hot Watches for Him 44 Watchmaking: Lititz Watch Technicum 46 Profile: Michele Watches 48 Essay: Last Bid for Love

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The publishers accept no responsibilities for advertisers’ claims, unsolicited manuscripts, transparencies or other materials. No part of this magazine may be reproduced without written permission of the publishers. Volume 10, Issue 1. Accent® is a trademark of Business Journals, Inc. registered in the U.S. Patent and Trademark office. Printed In U.S.A.

FOREVERMARK DIAMOND NECKLACE. COVER ILLUSTRATION BY DARIA JABENKO.

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PROFILE

SCALING BACK JOHN HARDY REVISITS ITS NAGA COLLECTION WITH FIERY NEW DESIGNS TO USHER IN THE YEAR OF THE DRAGON. BY JILLIAN LAROCHELLE

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irst introduced in 2009, on the anniversary of John Hardy’s 20th year in business, the Naga collection tells the Balinese myth of the dragon and the pearl. As legend has it, the dragon would leave his volcano each night and dive down to the bottom of the sea to visit his love, the pearl.

At sunrise, as he burst from the water and returned home to the volcano, the water dripping from his scales fertilized rice fields across the land and brought prosperity to the Balinese.

Now, for the Chinese Year of the Dragon, John Hardy head designer and creative director Guy Bedarida has dramatically expanded the 2012 Naga collection with more pieces featuring this mythical symbol of good fortune, prosperity and success.

Like the dragon in the myth, one of John Hardy’s missions is to help the Balinese land and people flourish. The company views itself as a collaborative effort between designers and artisans, and believes that “a business can prosper while respecting people and nature.” Their “Greener Everyday” policy signifies an ongoing commitment to environmental conservation, which includes the planting of bamboo, rice and even the black palm wood used in some of its men’s designs. The brand’s Hong Kong headquarters are completely green, and its Mambal, Bali compound is a village unto itself, composed of traditional bamboo and mud structures, rice paddies and an organic farm that provides lunch for the entire workforce there.

The Naga collection, like all John Hardy collections, is handcrafted in Bali by these talented native artisans, some of whom have previously served as jewelers to Balinese kings. Some pieces feature full dragons or dragon heads, while others showcase a more abstract dragon scale motif. Crafted from sterling silver, yellow gold and an assortment of precious and semiprecious gems, the collection’s cuffs, bracelets, rings, necklaces and earrings are rich with detail, inside and out.

“I LIKE TO THINK THAT THE WEARERS OF THE NAGA COLLECTION WILL ENJOY LOVE, PROSPERITY AND LUCK.” –GUY BEDARIDA, HEAD DESIGNER 6

Gold GO FOR THE

IMAGES COURTESY OF ACCESSORIESDIRECTIONS.COM

FROM THE RUNWAYS

CLOCKWISE FROM TOP LEFT: Marco Bicego 36â&#x20AC;? Siviglia necklace $3,920 Ippolita hammered chain necklace $6,995 Marco Bicego Africa earrings $2,070 Roberto Coin chandelier earrings $1,500 Marco Bicego Jaipur bracelet $4,660 John Hardy Palu cuff bracelet $2,595

Bold BE

Bright RAINBOW

CLOCKWISE FROM TOP LEFT: Citrine ring $4,425 Carelle amethyst necklace $2,590 Stephen Webster black opal earrings $6,700 Mexican turquoise bead bracelet $75 Michele Deco chronograph watch $1,625

Color WEAR

Dark

AND DANGEROUS

Night DAY &

CLOCKWISE FROM TOP LEFT: Black rhodium diamond hoop earrings $1,935 Penny Preville 36â&#x20AC;? diamond necklace $8,045 matching earrings $5,975 David Yurman 9-row Midnight bracelet $1,200 David Yurman Midnight Melange earrings $2,950 Chanel J12 ceramic and diamond watch $14,550 Stephen Webster Super Stud cuff bracelet $895

CLOCKWISE FROM TOP LEFT: John Hardy Palu necklace $595 John Hardy Kali earrings $295 Ippolita Glamazon chain necklace $1,295 David Yurman Cable link bracelet $950 Stephen Webster Rapture earrings $425 David Yurman sculpted Cable cuff $775

Silver SEDUCED BY

FOCUS: ESTATE BUYING

Jon Bennett (left) is Reis-Nichols Jewelers' estate jewelry expert. He has a keen eye and a rich knowledge of the value of pieces throughout each era of design. Vladimir Dzeletovic (right) is Reis-Nichols Jewelers' estate watch expert. As an avid collector himself, Vladimir is regarded as one of the most skilled watch curators in the industry.

SEARCHING FOR TREASURES

T

SOMETIMES, NEW-TO-YOU IS GOOD AS NEW.

here has recently been a surging interest in vintage or previously owned jewelry and timepieces. For some, it’s about the history, old-word craftsmanship or unique design of the piece, while for others it may be the concept of recycling and finding new use and enjoyment out of an existing item.

Having the largest selection of fine Swiss timepieces in the Midwest also means that Reis-Nichols has a large following of watch collectors. Many of our collectors often trade in different models as new ones are introduced, so several timepieces found in our pre-

owned collection are like new, but offered at a significant savings.

Every watch is inspected and serviced by our staff of expert watchmakers and comes with a written warrantee.

Reis-Nichols has many amazing, hard-to-find jewelry items and watches, as well as popular favorites. Our expansive collection changes and grows daily. Whether you have old, unwanted items that you want to liquidate, or you’re on the hunt for a unique and beautiful new-to-you piece, come check out Reis-Nichols’ vintage and preowned collections.

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WATCHES

Jaeger-LeCoultre Master Compressor Chronograph, $30,000

THESE ARE JUST A FEW OF OUR FABULOUS WATCH SELECTIONS FOR HER. COME IN AND SEE WHATâ&#x20AC;&#x2122;S TICKING.

Baume & Mercier Hampton, $2,750

Chanel J12, prices vary based on diamond dial options

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Cartier Tank Anglaise Small, $32,900

noemia collection

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TRADITIONAL

Reis-Nichols collection, from left: 14K round setting $1,930, platinum baguette setting $3,500, platinum cushion setting $5,175 Center diamonds sold separately.

DIAMOND BANDS

Reis-Nichols collection, from left: channel set band with 2 ctw diamonds $5,995, braided band with 1.34 ctw $7,550, rolling ring with 1.50 ctw $5,665 All in 18K gold.

A POWERFUL SCOTT KAY

Heavenâ&#x20AC;&#x2122;s Gate collection. 14K setting $3,115, matching band $2,950 Center diamond sold separately.

PAVĂ&#x2030;

Reis-Nichols collection, from left: Halo setting $1,820, Embrace setting $1,295, Crossover setting $1,250, band $895 Center diamonds sold separately.

CONTEMPORARY

Reis-Nichols collection, from left: $2,655, $795, $595, $995 Center diamonds sold separately.

RITANI

Brand new from the Masterwork collection $4670 Center diamond sold separately.

SYMBOL

VERRAGIO

Venetian collection, 18K setting $3,950 Center diamond sold separately.

MENâ&#x20AC;&#x2122;S WEDDING BANDS

Reis-Nichols collection, shown from $260 to $1,770

PROFILE

THERE ARE DIAMONDS, AND THERE ARE FOREVERMARK DIAMONDS.

BY KAREN ALBERG GROSSMAN

QUINTESSENTIAL DIAMONDS F

or those who demand perfection, there are few options. Forevermark, part of the De Beers group (the foremost international diamond expert for 120-plus years), offers only the finest carefully selected, responsibly sourced diamonds, meticulously cut and inscribed by highly trained master craftsmen. Less than one percent of the worldâ&#x20AC;&#x2122;s diamonds are eligible to bear the Forevermark inscription and only a select group of jewelers (we among them) are authorized to sell these incredible gems.

Inscribed using highly advanced proprietary technology, these superlative diamonds feature the Forevermark icon and a unique identification number, both invisible to the naked eye. The actual size of the inscription is one 20th of a micron deep (one 500th the size of a human hair) and can be seen in our store using a special viewer.

Although the inscription in no way affects the exceptional internal quality of the diamond, it does ensure beauty, rarity, responsible sourcing and added security. Expert gemologists at The Forevermark Diamond Institute in Antwerp assess each stone according to rigorous standards of integrity and accuracy. The result is the Forevermark Diamond Grading Report, your guarantee of excellence and authenticity.

Those of us who are socially conscious should know that Forevermark diamonds are guaranteed conflict-free. But more than that, the company goes above and beyond industry standards to ensure that their sourcing actively benefits communities in their countries of origin, countries committed to the highest business, social and environmental standards.

Beauty, rarity and integrity in one quintessential diamond: No wonder Forevermark is the jewel of choice for Gwyneth Paltrow, Uma Thurman, Nicole Kidman, Michelle Williams and fabulous women everywhere, on and off the red carpet.

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ACCENT(ADVISOR) THERE SEEMS TO BE A TREND TOWARD TIMELESS, CLASSIC JEWELRY; WHY? In a tenuous economy, we see two trends: a return to timeless jewelry that can be worn now or 50 years from now, and a wardrobe approach to jewelry, i.e. fashion basics that also make a style statement. While individual taste is still the primary factor when selecting jewelry, fewer people these days are interested in spending big bucks on anything too trendy. Most realize they can accomplish modern style without sacrificing a “future” for the piece.

WHICH CLASSIC/TIMELESS PIECES ARE MOST LIKELY TO BECOME KEEPSAKES OR HEIRLOOMS? Those that hold their value, can be passed to the next generation, or the piece that becomes your signature. We have a client who is never (ever!) seen without a beautiful strand of pearls that her husband bought her many years ago; whether at the grocery store or at a gala, her pearls say it all.

And that’s the key: finding a statement piece of jewelry (“statement” need not mean “expensive”) and letting it become your trademark. We’ve noticed that when times are tougher and discretionary spending more limited, jewelry becomes even more personal and relationship-driven. If you buy only one item this year, make it special and enduring.

WHAT’S THE DIFFERENCE BETWEEN ANTIQUE JEWELRY AND ESTATE JEWELRY? “Estate” is a popular jewelry label, but does not specify the period of manufacture. “Estate” is primarily used to describe jewelry that is previously-owned.

The term “antique” generally applies to jewelry items that are at least 100 years old, the benchmark used by government officials for duty-free importing of antiques.

For spring 2012, everything old is new again, so consider both of these options, or try re-setting one of your own family heirlooms.

WHICH ITEMS SHOULD I CONSIDER BUYING THIS SEASON?

For both ladies and gents, a good watch is an absolute must! If you can invest in only one great piece of jewelry, let it be a practical and stylish watch to enjoy for many years. It should cross over into any activity, and should dress up or down.

When you have more to invest, consider buying both a “dress” and a “sports” watch. But in the interim, one great watch transcends numerous styles and ventures!

Three other ideas for ladies: 1) a beautiful strand of pearls, either classic round or baroque (uneven) shaped; 2) diamond stud earrings, a true go-with-everything item to wear with denim or ball gowns; and 3) a necklace or pendant with personal meaning, like your children’s names or initials, an important date, a display of faith or spirituality. (If you’ve ever noticed women constantly touching their necklaces, it’s likely because they feel an emotional connection to the symbol.)

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I KNOW WOMEN WHO WEAR FASHION JEWELRY LIKE BANGLES OR BOLD CUFFS, BUT BUY THESE PIECES AT CLOTHING STORES AS OPPOSED TO JEWELERS (EVEN IF THEY HAVE TO REPURCHASE THE PIECES WHEN THEY TARNISH). WHAT ARE YOUR THOUGHTS ON THIS? I think many women balance trendy fashion jewelry that they don’t expect to last forever with items that they cherish, wear often and want to last.

Since a great bangle is a classic that will be in style forever, it’s worth investing in something both fabulous and enduring.

RED CARPET

Blonde Bombshells WITH LIGHT LOCKS AND HEAD-TO-TOE STYLE, WE’D GIVE THESE STUNNING CELEBS AN AWARD ANY DAY.

BY JILLIAN LAROCHELLE

AMBER HEARD

T

ZAC EFRON & MICHELLE PFEIFFER

CLAIRE DANES

hough the Guess model-turned-actress is always striking, Amber Heard truly smoldered

at the SAG Awards. Her fitted black satin gown epitomized covered-up sexy, while sparkly

Zac Efron and Michelle Pfeiffer sure made a good looking pair at the New Years Eve premiere.

Yellow gold and pink tourmaline chandelier earrings lit up Pfeiffer’s face and helped prepetuate that youthful glow. We don’t know how she does it.

For Showtime’s Emmy Nominee Reception at the Mondrian Los Angeles, Claire Danes chose pavé diamond drop earrings that popped against the silvery threads of her dress. With a confident

28

HEARD AND PFEIFFER WEAR H. STERN. DANES WEARS MCL.

diamond studs and metallic smoky eyes added just the right amount of shimmer.

RED CARPET smile, flushed cheeks and dewey décolletage, the nominee for Best Actress in a TV Drama looked like a winner long before they called her name.

Stacy Keibler knows how to accessorize. Adorable arm-candy aside, the former Ravens cheerleader still looks sensational in the old purple and black, topped off with teardrop earrings,

STACY KEIBLER & GEORGE CLOONEY

KATHERINE HEIGL

MARLEY SHELTON

stacked bangles and a notice-me cocktail ring. As if we wouldn’t have noticed her without it.

KEIBLER WEARS MCL. HEIGL WEARS SUTRA. SHELTON WEARS AMRAPALI.

All tassel, no hassle! Katherine Heigl’s blue sapphire and black rough-cut diamond earrings lent an effortless glamour to her gown at the 39th Annual American Music Awards. Paired with a sparkly strap and matte red lips, the look recalled old Hollywood at its best.

Nothing amps up a little black dress like a statement necklace. At the L.A. premiere of The Mighty Macs, Marley Shelton chose this blackened beauty to elevate her outfit from ho-hum to yum! Kelly Osbourne, Kate Mara and Kristin Cavallari have recently been spotted in identical designs; you can bet that style-savvy ladies everywhere are following suit.

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FOOD

MAKING MAGIC IN THE FIRST INSTALLMENT OF OUR LEGENDARY CHEF SERIES, WE DISCOVER THAT DAVID BURKE IS MUCH MORE THAN A WHIZ IN THE KITCHEN. BY SHIRA LEVINE

F

or those who dig classic conceptual cuisine outside of the traditional restaurant box setup, David Burke has become somewhat of a hero. In addition to his classic surf and turf joints, Chef Burke holds court with his fancy foods inside a Bloomingdale’s, a bowling alley and an airport. If by chance you don’t recognize the oft-showy culinologist (an expert who blends culinary arts and food technology) with a penchant for whimsically sculpting his dishes to dazzle diners by name, there’s still a decent chance you’ve eaten in one of his 10 restaurants, or purchased his gourmet products. (“Burke in the Box” takeout meal at Las Vegas’ McCarran Airport, anyone?) Or perhaps you’ll recall his very near win against Bobby Flay on Iron Chef, or his too-early kissoff from Top Chef Masters.

Chef Burke has been a longtime pioneer in the biz of celebrity chefery, cooking up a career that “blurs the lines between chef, artist, entrepreneur and

inventor.” His factory of fabulous foodspots tantalizes taste buds through a slew of dramatically different spaces, with entertaining concoctions appearing on plates throughout New York, and in New Jersey, Chicago, Connecticut and Las Vegas. Then there’s David Burke Townhouse, David Burke’s Primehouse, Fromagerie, David Burke Prime, Fishtail by David Burke and David Burke Kitchen. Burke is also the mastermind behind Pastrami Salmon, GourmetPops, flavor-transfer spice sheets and various flavor sprays and oils. He’s got two cookbooks and even DAVID BURKE Magazine. We managed to catch this Renaissance man at his local greenmarket, shopping for fresh, in-season finds.

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You have so many titles! Chef, entrepreneur, artist, inventor.... Which do you feel describes you best?

I’ve always felt at home in the kitchen. I was a dish washer in high school. I’d work on the weekends, and that’s when I fell in love with the idea of working in a kitchen. I get real excitement from the energy and creative teamwork that happens in there. So all of the other things I am today came out of me working in the kitchen. I get a real satisfaction out of putting together a good product for someone else to enjoy.

Above: The lively dining room at Fishtail by David Burke.

Left: David Burke, longtime pioneer of celebrity chefery.

Many of today’s entrepreneurial celebrity chefs don’t actually do the cooking anymore, but shift their focus to the business side of things.

I still do cook in my kitchens, but it’s been a natural progression for me to be in and out of the kitchen when need be. I made an early decision that I was going to conquer one level of this business at a time. After I reached the level of what I truly felt was “me as a good chef,” then it was time to be partner in a company. Then the next course was to start my own company.

I was one of the first chefs to do that. That road had not been paved yet. It was the late ’70s and the beginning of modern American food and of chefs as businessmen.

A lot of the David Burke dining experience is about setting the scene, and your restaurants each have very specific, thoughtout designs. Would you describe yourself as fashion forward?

When you work in the kitchen it’s nearly impossible to be fashion forward!

But we do take a lot of pride in the ambiance and décor of the restaurants, especially Townhouse and Kitchen. I was very involved in helping decorate them, but I’m not a designer. Kitchen is supposed to feel dark and woodsy, comfy—like a home. Bloomingdale’s has an intimate neighborhood feel. Our steakhouses are more masculine.

there. In those cases we make exceptions—it’s what the customers want!

But when it comes to fruit and people wanting raspberries or blueberries year round, we suggest maybe trying a dish with mango or pineapple.

Your menus run the deliciously garish gamut, from Bowlmor Lanes’ badass burger replete with applewood-smoked bacon, spicy tempura shrimp, cheddar cheese and blue cheese slaw, to David Burke Kitchen’s pretzel crabcake with tomato, orange and green peppercorn. What do you love to order when you eat out, and what do you like to cook at home?

I love ordering Peking duck! For myself, I love to prepare pasta. I’ll make gemelli with sweet sausage, tomatoes, olive oil and butter. When I cook for friends and family, I love to prepare a whole roasted fish, chicken, squab or turkey. My favorite is roasted squab foie gras, cabbage with corn bread and pickled onions.

Is there anything you wish your guests would be a little more adventurous about trying?

Game birds, sweet potatoes and kidneys!

What are some other ideas you’re currently excited about?

We have a moveable garden in a parking lot at the Rumsfield, New Jersey restaurant. This summer we’re going to put each of the gardens in little red wagons so they can move around easily. When guests walk into the restaurant, they will be greeted with a bushel of tomatoes and basil plants that they can cut themselves and bring to the hostess. Then we’ll prepare it at the table as part of their appetizer. I just love the idea of that.

What’s your overall food philosophy?

I’m always looking to cut out the middleman as much as possible. It’s what is most economically sound for us. I am always in a local produce market myself. We’ve done it with our bread, our dairy and our produce. Fish and seafood are next. We’re also currently building a dry beef company with my patented salt treatment. Our beef comes from right here in New Jersey. I bought a bull five years ago in Kentucky so I would know exactly where my beef comes from and can ensure the quality of what we’re serving. We have the product down to the genetics, for the perfect marbleization and grading.

It was superior planning on our part. We always want to know where our stuff is coming from.

Do you think all the recent hype around “local” and “seasonal” is silly? Haven’t good chefs been doing this all along?

The seasonal and local thing has been done forever, but it hasn’t been touted. It’s being emphasized now because of the the state of the economy, and high fuel prices. All the recent PR is good, especially since it helps support American farmers, but it’s always been what we try to do. However, you have to understand, it’s hard to do local in Chicago in the winter. It’s absolutely what the mom and pop shops should be aiming for, but it’s hard for big [national] chains to do it. It’s tough to be 100 percent local; you might simply not have a good local person for something you need.

How do you please loyal customers who request something that isn’t in season?

In New Jersey we have a lot of clientele who want calamari, but it’s not local

33

Maple Bacon Dates Yields 20 stuffed dates

INGREDIENTS:

1 ⁄4 pound peanuts 2 1⁄2 ounces honey 1 teaspoon cayenne pepper or 1⁄2 minced jalapeño 20 Medjool dates, cut in half 10 strips of par-baked smoked bacon 20 seedless grapes 1 egg Flour Breadcrumbs

METHOD: 1. Heat peanuts, honey and cayenne pepper until caramelized.

Cool and puree.

2. Stuff puree into Medjool date half, then wrap with a half piece of par-baked smoked bacon.

3. Lightly beat egg. Dredge grapes in flour, dip in egg wash, then breadcrumbs. Place into a deep fryer filled with hot oil and fry until crispy.

4. Place grapes, and then bacon wrapped dates, on bamboo skewers and serve.

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Š 2012 Carelle

Clockwise from top left: Teardrop Earrings $3,200 “Love” Necklace $895 Black Diamond Necklace $1,150 Multi-Diamond Necklace $4,160 Multi-Diamond Ring $3,420 Multi-Diamond Earrings $4,545 11.85 ct Black Diamond Ring $13,950 Black/White Diamond Hoops $2,800

BLACK & WHITE DIAMOND COLLECTION

FOCUS: COMPLICATIONS

by Laurie Kahle

IWC Ingenieur Double Chronograph

PASSING TIME CHRONOGRAPH AND CALENDAR COMPLICATIONS LET YOU TRACK FLEETING TIME FROM SECONDS TO MONTHS.

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nce watchmakers mastered the measurement of hours, minutes and seconds, they naturally advanced beyond mere timetelling to create ever more intricate and ingenious mechanisms. Referred to as complications, these mechanisms perform a myriad of additional functions from the simple to the sublime. The more complicated a watch is, the more difficult and expensive it is to produce. Despite technology’s

advancement, complicated watches are still in demand—watches like IWC’s made-to-order, seven-figure, astronomical Portuguese Sidérale Scafusia. While some complications are fanciful and superfluous, chronographs and calendars remain perennial favorites with practical uses for modern lifestyles.

The chronograph, with a timing mechanism similar to a stopwatch,

FROM LEFT TO RIGHT: Jaeger-LeCoultre Master Date Tourbillon, Baume & Mercier Capeland, Rolex Oyster Perpetual

40

originated in France in 1821, when Nicolas Rieussec, watchmaker to King Louis XVIII, demonstrated his novel device for timing horse races. Using a clock movement, ink-filled markers and two rotating discs—a seconds disc that completed a revolution every minute and a minutes disc that made a complete rotation every hour—the contraption accurately measured the horses’ times by pushing the markers onto the discs when each horse crossed the finish line. The term chronograph translates to “time writer,” particularly endearing the complication to Montblanc, which is most famous for its pens.

The brand acquired the rights to use Nicolas Rieussec’s name, and built a collection of chronographs that shows elapsed time with two fixed hands poised above two turning discs (the seconds and minutes counters), a unique system reminiscent of Rieussec’s original invention.

Rather than using turning discs, sporty chronographs typically feature a mechanism that controls a central chronograph hand, which is started, stopped and returned to zero by using push buttons on the side of the case.

again, until the split hand is once again stopped for another time measurement.

Categorized as astronomical complications, calendar functions track the passing days and months, with varying degrees of complexity. A simple calendar displays the numeric date in a window with a single disc, or with two discs to create what’s known as a big date. A full calendar expands on the basic calendar display to show date, day of the week, month and moon phases. Full and partial simple calendars cannot automatically adjust for months with fewer than 31 days, so you have to adjust them five times per year. An annual calendar, however, automatically adjusts for months with 30 or 31 days, though it needs to be reset each year on February 28 of non-leap years. Vacheron Constantin recently put a contemporary twist on the annual calendar by adding a retrograde annual calendar to its Quai de l’Ile collection.

The most complex calendar complication is a perpetual calendar, which is mechanically programmed to account for leap years and requires

FROM LEFT TO RIGHT : Breitling Chronospace Automatic, Patek Philippe 5270, Raymond Weil Parsifal, Panerai Luminor GMT

As the chronograph hand completes a full turn of the dial each minute, subdial totalizers track the number of revolutions and show the elapsed time in minutes and hours.

Variations on chronographs include a flyback function that can be reset to zero and immediately start a new timing episode with a single push, instead of using three to stop, reset and restart. A split-seconds chronograph allows you to time separate events that begin but do not finish simultaneously, such as tracking cars in a race. Also called a rattrapante, or double chronograph, watches such as IWC’s Ingenieur Double Chronograph Titanium feature two central stopwatch hands that are precisely superimposed so they appear as one hand as they move, until you press a button, which stops the top chronograph hand while the bottom one progresses, allowing the measurement of two separate periods of time. After recording, another push synchronizes the hands

no manual correction until March 1, 2100. The watch’s mechanical memory uses sequences that are repeated every 48 months, to correspond to the cycle of leap years. Jaeger-LeCoultre’s Master Eight Days Perpetual 40, for example, boasts an impressive eight-day power reserve while displaying the date, the day of the week, the month and the year in four digits, along with the power reserve, the moon phase, a day/night indicator, and even the security zone between 10 p.m. and 3 a.m. during which changes must not be made.

This year, Patek Philippe offered the best of both timing and calendar complications when it combined a perpetual calendar with its new in-house chronograph movement for the Reference 5270. Sure to be on every connoisseur’s hit list, this extremely rare, highly complicated timepiece will land on only a precious few wrists with its price of $156,000.

42

HOT WATCHES FOR HIM

David Yurman Chronograph, $4,800

IWC Stainless Steel Portofino, $10,800

TW Steel Chronograph, $775

Panerai Luminor 8-Day GMT, $32,200

Rolex YachtMaster GMT, $25,150

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FOCUS: WATCHMAKING

by Karen Alberg Grossman

LITITZ WATCH TECHNICUM: TEACHING WATCHTHINK A REMARKABLE SCHOOL THAT INSTRUCTS THE ART, SCIENCE AND SOUL OF SWISS WATCHMAKING.

T

he first thing one notices upon entering the stately stone building nestled in the rolling hills of Lititz, Pennsylvania (a town with a strong watchmaking tradition) is the magnificent brass clock in the lobby. One soon learns it was crafted totally by hand by students in this Rolex-sponsored watch school, under the direction of its esteemed principal Herman Mayer.

Mayer is a certified watchmaker with tremendous pride in, and respect for, the Swiss watchmaking tradition. His goal is to develop independent retail watchmakers who are technically exceptional, of course, but who are also business-savvy, service-oriented, personable, well rounded and creative, a tall order to say the least. “The watchmaker of today needs to be compatible and in sync with the spirit of the highend watch culture,” Mayer maintains.

His intense two-year program, established in 2001, is fully funded by Rolex (but totally separate from the Rolex Service Center upstairs in the building). Mayer is personally responsible for creating and updating the curriculum, which is also used at watchmaking schools in Seattle and Oklahoma. It features six main areas of training: history/culture, micromechanics, mechanical movement diagnostics

and repair, electronic movement diagnostics and repair, customer service and case/bracelet diagnostics and repair.

The school is small and selective, with a capacity for only 28 students (there are currently 12 first year students and 13 in their second year). It’s an intense eight-hour school day (7:30 to 4:00, with a 30 minute lunch break) and requires much outside reading and research. According to Mayer, most students are highly motivated and even talk watchmaking in their free time. “We emphasize that whatever they don’t learn in these two years, they pay for later on…”

Of utmost importance to Mayer, who interviews and tests 70 to 80 applicants each year looking for various skills, from strategic reasoning to social competence, is abstract thinking. “Because often in a fine watch,” he explains, “you can’t diagnose problems just visually. You need to analyze based on input and output of the mechanism: it’s behaving a certain way so the problem must be this or that. You can’t always see the problem because many watches are built in layers, so the movements might be covered, or else just too small.”

Mayer admits that among his greatest frustrations is a decline in abstract thinking

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skills among young people over the past decade. “I’m sorry to say this, but in many applicants, these skills have gone down the drain. It’s a very visual world these days; we rely on computers to do everything so young people don’t learn to think for themselves. But in a watchmaking curriculum, abstract thinking skills are essential. It’s all about deductive reasoning, which is no longer taught in school…”

Why are these skills so critical? “Because even if the student has worked on hundreds of watches, the next movement that comes along might be totally different than anything he’s experienced. So it’s not a matter of simply learning to piece the puzzle together: students need to understand what the parts do and how they interact and whether or not the watch is worth repairing. Of course it’s rare when you can’t fix it at all (e.g. serious salt water damage where parts are caked together), because even if spare parts are not available, we can always make the parts. That’s what we teach them in the ‘micromechanics’ segment of the program.”

According to Mayer, his ideal applicant is midto late 20s (the actual age range is 17 to 45 and mostly male; there are only one or two females per class), in a second career but with some previous exposure to watchmaking. “If they’ve had some exposure, at least they know what the profession is about: having to deal all day long with these tiny parts, the responsibility of working on such valuable pieces. Of course, there are always some who drop out because it’s too stressful…” Recent applicants have included bankers and real estate brokers, some from major cities. “People have more appreciation for job security when it’s a second career,” he explains.

“And watchmaking certainly offers job security: all of our graduates who want jobs get them.”

Beyond technical expertise (which Mayer believes can be taught),

the most important trait is the desire—the passion—to repair and build watches. Also necessary is the ability to communicate. Explains Mayer, “It’s essential that we teach students how to network: with peers, with mentors, with superiors, so they’re not left alone with important decisions. In fact, I’m working on making this an active component of the curriculum.”

On a personal note, Mayer grew up in Würzburg, Germany; his university studies focused on philology and teaching. But at some point, his love of watches inspired him to study watchmaking, which led him to servicing jobs in the States, and ultimately to Lititz.

In addition to restoring watches, Mayer is a collector: he wears a different watch every day and favors those that combine technical precision with a beautiful finish. So dedicated is Mayer to the Lititz program that he even lets his students work on his personal watches (excluding vintage handmade pieces, of course!). His first expensive watch was in fact a classic Rolex. Does he still have it? “Of course: Rolex watches are forever…”

His most meaningful watch is one he inherited from his father. “When my dad returned from WWII, the economy was down so he drove a taxi on weekends. An American soldier who couldn’t afford the fare gave him his automatic Cyma. I wore it every day for years but at some point, it was difficult to get replacement parts because their factory had burned down. Observing the watchmaker adapting spare parts by hand was my first exposure to the craft and its artistry, which triggered my lifelong passion.”

Mayer’s best advice to graduating students? “Remember to take the loupe off on occasion and engage in meaningful, positive dialogue with members of your professional environment. You need to actively live the exciting and ever-evolving watchmaking culture you are part of.”

“Nobody buys a fine watch just to tell time…”

—Herman Mayer

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FOCUS: PROFILE

by Randi Molofsky

SO HOT THEY’RE COOL MICHELE OFFERS STYLES FOR EVERY SETTING.

A

walk through the historic district of downtown Miami encapsulates much of Michele Watches’ telltale brand appeal: both share an Art Deco design sensibility, vibrant color palette and bold sense of style.

It’s no wonder Michele is favored by a fashion-forward clientele with an innate understanding of classic design.

From speedboats to soirees, everything is a little bigger in Miami.

The same is true for Michele, as oversized cases emphasize a bit of flash and a signature red button logo creates instant cachet. Miami’s seaside location also necessitates a certain day-to-nighttime glam.

Lounging poolside? Bold chronographs with rubber straps from the Jelly Bean collection or a sporty white Tahitian Ceramic are chic standouts. When the sun goes down, diamond-studded timepieces make a big statement at affordable prices.

Spring 2012 brings a refined update on Michele’s instantly

recognizable style. Serein, inspired by the Cloette, features a modern take on a timeless design. A silvery-white dial highlights a fine circular pattern and oversized Roman numerals. The Caber Sport maintains the Caber’s round case and T-bar design, now updated with a scalloped bezel and chronograph dial (available with or without diamonds).

One of Michele’s most popular styles, Tahitian Jelly Beans, is also reinvented this year in new brights and beach-inspired pastels. Look-atme neons like pink, blue and green are balanced by seaside neutrals in mint, coral and steel.

Want to make a unique statement any time of year? The brand’s commitment to practicality and fun led them to offer a stunning variety of straps that are easily mixed and matched. From alligator to glittery leather, cobalt blue to rainbow stripes, a sense of play makes punctuality a breeze, whether or not you can make it down to North Beach.

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SEREIN DIAMOND

BLOOMBERG VIA GETTY IMAGES

ESSAY

LAST BID FOR LOVE

AN ACTRESS, AN AUCTION, A YOUNG MAN’S DREAM… BY JOSEPH UNGOCO

M

y heart was pounding as I handed my passport to the smartly dressed associate from Christie’s. Just a week before, I’d been holding the “hottest ticket in town”—a prime 3 p.m. pass to preview the world-renowned jewelry collection of Elizabeth Taylor. The entire Christie’s block was lined with stately private limos dropping off elegantly dressed “ladies who lunch,” no doubt fresh from nibbling on micro-vegetable salads and savory soufflés at La Grenouille.

In addition to the magnificent jewels, what struck me as I perused the various lots at the preview was how many lives Elizabeth Taylor had touched. In every room of the seemingly endless exhibit, people passionately discussed her movies, her personal style, her tremendous influence. Women well past their fashion prime whispered about how this 1960s Pucci tunic or that 1970s Halston caftan had inspired their own wardrobe choices. My personal connection with this incredible lady was our shared astrological sign: Elizabeth Taylor was the archetype of Pisces’ “soulful eyes” and tendency to be “in love with love.”

The cheerful Christie’s associate wished me luck as she handed me my paddle—number 5217. I tried to calm my nerves as I mounted the stairs to the James Christie room. Working my way through the television cameras, I settled into a fifth row seat right under the auctioneer. I took a cue from the “serious” bidders in the rows ahead of me and stayed focused on the

bidding board and the auctioneer in his lavender silk tie.

I had carefully studied the catalogs, settling on two lots of Zodiac pendants and a lot of two Aldo Cipullo for Cartier Love bracelets. I had been considering a lot of aquamarines until I remembered that Liz was a February Pisces, not a March one like me. Her vast amethyst collection— including mineral specimens—suddenly had meaning beyond complementing her violet eyes.

The night before, I’d witnessed the mounting frenzy at the sale of the “Legendary Jewels,” but I was certain there’d be less insanity for the “ordinary” jewels. In fact, I was quite confident that I’d be able to secure a lot—perhaps even two. But such illusions evaporated by the time the bidding closed on the fifth lot of the day, a pair of Van Cleef & Arpels Pisces pendants on opera-length chains. I had researched the intrinsic value of the items, estimated a premium for their venerable provenance and set what I thought were reasonable bidding limits. I realized I was sadly mistaken when I was outbid by $50,000!

As the auction progressed, prices skyrocketed and I was feeling increasingly dejected. By the time the hammer went down on the Cartier Love bracelets, the price was $75,000 over my top bid. I left the auction to wander Rockefeller Center and reflect wistfully over my lost chance at Love (or at least the Love bracelets) and the beauty, style and legend of a truly amazing woman.

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PEACE OF MIND STARTS WITH PROOF OF QUALITY. Carat Weight 1.53

Color Grade E

Clarity Grade VS1

Cut Grade

Excellent

Laser Inscription Registry Number GIA 16354621

Natural Diamond Not Synthetic

A GIA report is certainty from the source.

As creator of the 4Cs and the International Diamond Grading System,™ GIA sets the standards for diamond assessment, worldwide. Unbiased. Scientific.

A report from GIA gives you a clear understanding of your diamond’s quality.

Look for GIA Diamond Grading Reports and the jewelers who offer them. www.4cs.gia.edu

THE UNIVERSAL STANDARD BY WHICH GEMS ARE JUDGED.

REIS-NICHOLS JEWELERS ACCENT THE MAGAZINE OF LIFE’S CELEBRATIONS

SPRING/SUMMER 2012