Loupe. Issue 19. Winter 2020. by Christopher Ward

The magazine of Christopher Ward. Issue 19. Winter 2020

The twin–barrell construction of the Calibre SH21 ensures it can run for 120 hours (five days) if fully wound. They are built by hand, in Biel, Switzerland. Regarded as the world's watch capitol. The automatic version has 192 separate components. Every movement is certified as a chronometer by the Contrôle Officiel Suisse des Chrono– mètres. And, therefore, in the top six percent of all Swiss– made watches for accuracy. It is also the only commercially viable mechanical movement from an English brand in more than 50 years. We could go on but suspect you might not have the time. christopherward.com

How good is the power reserve on our own Swissâ&#x20AC;&#x201C;built movement? How long have you got?

Ingeniously English. Unsurprisingly Sw Ingeniously English. Unsurprisingly Swiss.

Loupe. The Magazine of Christopher Ward.

Did you know that over 75 percent of the technical innovations in the watch you wear on your wrist – the lever escapement say, or (if you’re minted) the co–axial escapement – were invented in Britain? Once a proud watchmaking nation, but with a rather neglected past, Britain’s watch industry is undergoing a quiet renaissance. And that needs celebrating. Inside this issue – as if you missed it on the cover – you’ll find a riot of colour thanks to transatlantic graphic artists Craig & Karl, a rifle through the Queen’s watch drawer, and a stunning photographic evocation of CW’s iconic ‘light–catcher’ case. Elsewhere, we meet the Isle of Man’s ingenious watchmaking sons, and get to know four new releases from Christopher Ward. I hope you have as much fun reading Loupe 19 as we had making it. Helen McCall

The (part) year of the chronograph At a Christopher Ward London get–together in August 2019, we declared (or at least Mike did) that 2020 was going to be the Year of The Chronograph at CW with the introduction of two new automatic chronographs – our first in five years. A certain virus put paid to the May release date we'd planned as the movements couldn't be delivered before lockdown intervened; but spring’s loss is certainly autumn’s gain as, finally, the C60 and C65 Chronographs take centre stage. Chronographs are the third part of the holy trinity of watch complications, which also includes three–hand and GMT automatics, and for many watch connoisseurs there aren’t many more important watches than Heuer’s 1961 ‘McQueen’ Monaco, Omega’s 1957 Speedmaster (later to become better known as the ‘Moonwatch’) and, of course, the Zenith Primero of 1969 which has a claim to be considered the first automatic chronograph. So, chronographs are important horologically speaking, are devilishly difficult to create and have a celebrated history. But they can also be the most rewarding watches to own and wear – and the C65 Chronograph also has the happy knack of making you smile every time you look at its face. And a watch that can bring joy in 2020, a year without its fair share, is not to be sniffed at – and worth the wait.

Editor: Helen McCall Art Director: Jamie Gallagher Designer: Sam Burn Photography: Peter Canning, Paul Collis Cover Illustration: Craig and Karl

Mike & Peter

Cover: C65 Chronograph 1 Park St, Maidenhead, Berkshire SL6 1SL christopherward.com @chriswardlondon

Contents Features 10 – 11

30 – 33

It's our time

Isle of watchmaking

What’s driving the resurgence in British watchmaking? We find out

12 – 17

Colour pop With graphic visuals of its stunning colourways, Matt Bielby investigates the new C65 Chronograph in all its late ‘70s inspired styling

18 – 23

Three outstanding watchmakers worked – or are still working – on the Isle of Man, bringing unique innovations to watchmaking. We bring this largely hidden history to light

Factory Gathered into one volume and published by Phaidon, we look at American photgraher Stephen Shore’s personally selected images of Andy Warhol’s creative circle

35 – 39 Tripping the light fantastic

12 — 17

CW’s ‘light–catcher’ case design revolutionised the brands entire collection. We examine four styles with ‘light–catcher’ lines

40 – 43

O–pinion Bringing you the best of what to watch, who to see and where to be from around the world – in our opinion, at least

26 – 29 National stealth service It’s dark down there, in the abyss. Anthony Teasdale shines a light on the new C60 Abyss Collection, with new GMT and SH21 complication models

Regulars 6 – 9

Year of the chronograph

Our kind of factory

18 — 23

Dark thoughts

26 — 29

46 – 50

The Brief

Insight

Pore over all the latest new watch releases, play jigsaws with watch parts and keep up with Swiss industry news. Plus: cover artists Craig & Karl

What we do and how we do it. Your new watch–buying wingman Adrian Hailwood dishes up some horology, while we survey decades of Queen Elizabeth II’s watch collection

Contributors

Matt Bielby

Adrian Hailwood

Anthony Teasdale

Film, TV, gaming and watches form the subjects of Matt’s prolific journalism and editing

Watch consultant, watch specialist, watch valuer, speaker, author and lecturer, Adrian’s the watch–buying wingman of dreams

Anthony is Christopher Ward's senior copywriter. In this issue, he writes about the new Abyss collection 5

News, reports & innovations. This issue: New watches, Park Street news and Swiss industry shenanigans

BLUE x CW

New watches

Christopher Ward is releasing a new limited–edition Trident – produced with the Blue Marine Foundation. All profits from the 500 piece watch will go to the Blue Marine Foundation, which aims to protect 30 percent of the world’s oceans by 2030. From the sapphire dial engraved with Blue Marine Foundation’s wave logo to the deep–stamped engraving of the same design on the back–plate, this is one of the most gorgeous–looking watches CW has ever produced. If it can raise the £200k+ hoped for, it will also be one of its most important. Available mid–Nov from £895 / $1,025 / €1,000

Two–eyed monster The C60 Trident 3 range is rounded off in some style with the new C60 Chronograph, a beautifully balanced ‘bicompax’ chronograph dive watch. And it might be all the watch you’ll ever need. “At the Christopher Ward London Get Together last summer, I remember saying that ‘2020 will be the year of the chronograph’, and this is one of the watches I had in mind,” Mike France, CEO says. Available now from £1,695 / $1,935 / €2,030

Going live

Whiling the hours away with a jigsaw has become a bit of a craze in downtime at CW Towers, so in–house puzzlers have had to come up with a fresh challenge – a fiendishly difficult 500 piece jigsaw of components from the various Calibre SH21 and Sellita movements used to power a number of the watches. The manufacturing and production of the jigsaw is with Planet Games, a Spanish toymaker known by Mike France and Peter Ellis from their pre–CW days at Early Learning Centre. Twenty years after their original

toy contracts, Mike and Rolf, Planet Games’s MD, have joined forces once more to create the ultimate horologist’s puzzle. Nice how time always seems to bring co– conspirators back together! The CW Jigsaw won’t be available for sale, it’ll only be gifted to winners – so keep an eye on social media for giveaways and competitions through the year.

Worn & Wound’s next event, the Virtual Windup Watch Fair will be held online from November 14–25th and promises to be just as full of brilliant brands and eye–catching timepieces as its live shows. Taking place over 12 days during the prime holiday shopping period, the Virtual Windup Watch Fair will takeover Worn & Wound with daily product releases, video interviews, podcasts, and more. Of course, CW will be there, exhibiting their latest collection – and don’t miss an exciting first look at something you won’t have seen before. wornandwound.com

Home extension Despite home working becoming a permanent feature of most business’s new normal, including Christopher Ward, the continuing growth of the brand has led to the HQ at 1 Park Street needing to grow, too. The business has recently taken occupancy of all the office space on the existing site, an increase of about 40 percent. “The next time we need to expand will require us to move to a new location as we now occupy the entire Park Street site, but for now we are delighted to be staying in the building that is so synonymous with the brand and genuinely feels like home,” says co–founder Peter Ellis.

COMCOmedy The Swiss watch industry, while brilliant at creating timepieces of exquisite credentials, also has a remarkable tendency to produce political shenanigans of almost laughable proportions – if sometimes they weren’t so serious. The most recent example of this horological self–harm came to an equitable ending in July when the Swiss competition commission (COMCO) agreed to allow the Swatch Group’s movement manufacturing arm, ETA, to sell its wares to whoever it chooses. Well, obviously, you may be thinking but this ruling came after the same body last year said they couldn’t because this activity would reduce the competitive nature of the industry. So, allowing another competitor into the market reduces competition.

The brief

You won’t have missed the glorious technicolour illustrations on the cover of this issue of Loupe, nor the C65 Chronograph article’s bright colour. The graphic art you see here has been specially created for CW by New York– and London–based illustrators Craig & Karl. Craig Redman and Karl Maier may live on opposite sides of the Atlantic, but that doesn’t stop them collaborating daily on their bold, colourful, often humorous work. Conveying simple yet thoughtful ideas, they work in a variety of mediums from illustrations – of the kind you see here – through to billboards and installations. They’ve had work exhibited around the world – notably Paris, Mexico City, New York and Athens, and their list of commercial patrons reads like a who’s who of the cool brands top 10 – Apple, Google, Nike, and, now of course, CW.

“We briefed Craig & Karl to give us their take on the new C65 Chronograph,” says Francesca Robinson, CW’s marketing director. “They’d never worked on a watch project before, so they had a few tries at interpreting the bold colour and striking silhouette of the C65. The resulting artwork is incredible – you can’t help but feel joyful when you’re surrounded by it.” Working with and supporting visual artists is something CW has done before – Day–Z was engaged to draw the SH21 movement following its release in 2014 – and seems delighted to be doing again in 2020. “The C65 Chronograph is a watch that deserves celebrating,” says Mike France, CEO. “And what better way to do it than Craig & Karl style?”

Drawing board

C 6 0

L O V E L Y

B U B B L Y

No, it’s not the bubbly chocolate bar, or even the modification cycling time–triallists make to their carbon–fibre bikes to hold a more aerodynamic position for racing – this Aero will be the newest introduction to the C60 Collection upon its release in spring 2021. A marvel of technical case–design, for which CW are rightly known, the C60 Aero will be crafted from feather–light, highly corrosion–resistant titanium, with an integrated crown for an extra sleek profile on the

wrist. Its 40mm diameter and lightweight construction means it’s a mechanical watch that won’t weigh you down, whatever sport or activity you’re doing, and the skeletonised movement holder visible through the backplate both saves weight and reveals the workings of the COSC–certified movement within. Hold on tight, or it’ll fly away! Available from spring 2021

The Alliance of British Watch and Clockmakers

Dr Roger Smith, OBE

Alistair Audsley

Mike France 10

The British watch industry is undergoing a quiet renaissance, and a new alliance has been formed by the UK’s leading watch– and clockmakers – CW included – to support it

It’s our time November in London’s Saatchi Gallery, was usually a high point of the British watch industry’s year. The SalonQP watch fair attracted brands and visitors from all over the country, and indeed the world. By November 2018, however, it could be said that the event had run out of steam. In one of the half–empty halls, Mike France bumped into long–time acquaintance Dr Roger Smith OBE, and the pair shared pleasantries about the state of business (growing), the things happening in British watchmaking (exciting) and the attendance of the QP event (poor). There seemed to be a mismatch, Mike and Roger agreed, between the creative energy shown by British watch brands, the burgeoning industry those brands represent in the UK, yet the poor level of awareness – locally and globally – of the excitement and growth within the UK. It came as no surprise then, when QP announced that 2018 would be its final Salon. Mike and Roger’s conversations

intensified. Surely, they said, there was a need in the industry for representation – for support to the grass roots of skills development, and for the improvement of the supply chain to British watchmakers? The pair agreed, the British watch industry is undergoing a resurgence, and new representation is needed. The Alliance of British Watch and Clockmakers was born. Their first task was to create a 'watchmakers map' of the 50 (50!) horological brands currently operating in the British Isles. A group of founding members from different categories of watch–and–clock making soon formed – with Roger as chair – Bob Bray, of high–end clockmaker Sinclair Harding; Nicholas Bowman–Scargill of heritage watch brand Fears and Crispin Jones, of Mr Jones, the innovative, design–led watchmaker. The group will be advised and supported by Alistair Audsley. The newly–formed Alliance has big dreams – to promote UK watches and clocks globally; to improve the British supply chain to help our watch and clock makers to build more of their watches within Britain; to welcome more talent into the sector; and to work with education to help encourage vocational skills development. 11

But it’s not only watch brands who can join. A ‘club’ for collectors and fans of British watch–and–clock making all over the world will enable patronage and support for UK watchmaking. It also helps to buy lots of British watches, of course! The Alliance will work alongside the British Horological Institute, the Worshipful Company of Clockmakers (engaged in education or the curation of British heritage) and the Guild (which represents individual horologists) as a commercially–focused industry representative on a global scale. There’s more info online – an information–packed website, and new social media channels sharing thought–starters and news from the sector, and upcoming virtual events with leading makers. From those early days in the echoing halls of SalonQP, great strides have been taken, but there is still much to do to support the British watchmaking industry – so get involved. Your support matters. britishwatchmakers.com

At the end of the ’60s one world was coming to an end, and another just beginning – in an explosion of colour. Meet the in– your–face C65 Chronograph, the late ‘60s on a leather strap

There was a point in the late ’60s and early ’70s when watch design went a little bit… wild. You could see it in the case shapes, an era of squares and ovals, TV– screens and barrels. You could see it in the experimental dial design: strangely shaped sub–registers, odd stripes and finishes. And, most of all, you could see it in the sudden explosion of colour. Before the late ’60s, dials had been black or white, silver or gold. Now, however, they were just as likely to be oranges, reds or rich blues – and sometimes all three at once. This was the age of the racing dial, with everything from Omega Speedmasters to entry–level Timexes sporting bold chequerboard patterns; of Breitling Top Times and Yema Rallygrafs with strangely shaped panels across their faces; and of incredible divers from Doxa, Mido, Vulcain – or a hundred other makes – all shouting loudly, resplendent in the weirdest, wildest colours and patterns. Sometimes it was as if you were wearing the Banana Splits TV show – on your wrist.

None of which sounds much like Christopher Ward’s C65 Trident range, which up until now has referenced an earlier ’60s cool, one sharper, more businesslike, more monochrome; reminiscent, perhaps, of classic Sean Connery–vintage James Bond. Well, with the launch of the C65 Chronograph, they've just gone Roger Moore. Christopher Ward hasn’t launched a new automatic chronograph in years, but now – like buses – along come two at once. “Just like the C60 Chronograph, the C65 Chronograph uses the Sellita 510 BHa movement, with its bicompax subdial layout,” says Mike France, co–founder and CEO. “But in every other way the two watches couldn’t be more different. The C60 is entirely contemporary, the first stop for many serious divers. But the C65 is about having fun, an antidote to these cynical times.”

In true late ’60s, early ’70s style, much of that fun comes from the bright colours on the dial: a rich dark blue on the bezel and face, then white sub–dials with distinctive blue and red sectors on the 30–minute register. To top it off, the chronograph hands are bright orange. It’s a look that references many watches of the period, but in particular the regatta–style pieces made by Lemania, Memosail, Aquastar and others, designed for yacht racing. One of the best known, and the watch that most directly influenced the look of the new C65, was the Heuer Skipper, with bold red, white and blue – or sometimes orange, green and light green – sectors on its 30–minute subdial, to help competitive sailors quickly manoeuvre into the best possible position at the start of a race. Not that the C65 Chronograph is really intended for yachting; instead, Mike thinks, it more generally references the bold spirit of the times. “In many ways, in the late ’60s watch brands were simply reflecting the optimism and psychedelia all around them,” he says, “and with an increasingly bold use of colour currently in trend across the industry – just as bicompax layouts seem to be – this seemed the perfect time to capture some of that excitement. And the C65, our retro dive watch, is the perfect vehicle.” Of course, the C65 Chronograph doesn’t pretend to be a heavy–duty dive watch in the same way its C60 twin does – it’s only water–resistant to 150M, as opposed to 600M, for instance – but it does display some interesting features that most C65s don’t. Most immediate and noticeable is its screw–down crown, alongside a pair of screw–down pushers. “We actually want to introduce more screw–down crowns to the C65 range,” says CW head of product design Adrian Buchmann, “bringing that extra bit of security and quality to each watch. You don’t actually need one for a watch to be water resistant – thanks to double gaskets and clever case construction, it can be safe to dive to more than 300m without

The C65 Chronograph is about having fun – above all else, this should be a joyous piece

While period dive watches had steel backplates, here the movement is visible through a display caseback – always entertaining on a chronograph this feature – but people like them anyway. In fact, in recent years I’ve become more aware of just how keen people are to look after their watches, and screw– down elements can be a reassuring part of that. Because you can feel that something’s nice and tight with your hand, you become less worried about it.” This is just another little part of Christopher Ward’s ongoing mission to add extra value and quality to all areas of watchmaking. For instance, though the C65 Chronograph has a very vintage look, it’s actually built to reassuringly modern standards in all the important ways. Period ’60s dive watches tended to have acrylic crystals, but here you get a glassbox sapphire crystal, and while period dive watches had solid steel backplates, here the movement is visible through a display caseback. Through it you can see the quality of the movement – always especially entertaining on a chronograph, of course, because you can see which parts move every time you press one of the pushers. Naturally, the rotor has the CW twin flags logo engraved upon it. In fact, pleasing elements abound. Thanks to quick–release, you can swap between the standard C65 leather strap and a stainless steel bracelet – we’d seriously recommend getting both. Not to mention the recently launched light and comfortable new C65 Tropic rubber strap – and then there’s the date wheel, which Adrian is particularly pleased with.

“One of the coolest things is a tiny little detail on the date wheel,” he says. “We've changed it so that the background is white with the number in red, a period touch that’s unusual in a modern watch.” In fact, across the board this is a watch the Christopher Ward team are bubbling about. “I’m thrilled that much of the design was actually done by Will Brackfield, CW's new product designer,” Adrian says. “He’s been here for almost a year and has just been fantastic, showing a real knowledge of – and passion for – the products. His work has got everybody excited.” Then there’s the fact – alongside the C60 – this is the first bicompax mechanical chronograph Christopher Ward has ever done, and the company’s first new automatic chronograph since 2016; indeed, the pair of them are only the fourth and fifth mechanical chronographs in the company’s history. Despite their many similarities, though, this is a pair of very distinct and different watches, each one yin to the other’s yang.

“Perhaps think of it like this,” Mike says. “The ’60s are coming to an end, the ’70s are looming, and everything’s become a little louder – we're heading towards glam rock, and the C65 Chronograph is the sort of watch that David Bowie might have worn. I may not agree with Tony Blair on everything, but I do on this: we’re at our best when at our boldest.” The C65 Chronograph is available now from £1,695 / $1,935 / €2,030

American fine–art photographer Stephen Shore, one of the world’s greatest living photographers, was just 17 years old when he began spending time at The Factory, Andy Warhol's legendary studio in Manhattan. Between 1965 and 1967, Shore spent nearly every day there, taking pictures of its diverse cast of characters, from musicians to actors, artists to writers, and including Edie Sedgwick, Lou Reed, and Nico. He gained a unique insider’s view of that exceptional time through the lens of his camera.

Taken years before the seminal photographs from his 1972–1973 travels across America, which Shore published in American Surfaces, these images represent the birth of Shore’s inimitable style. He gave us new ways of seeing through photography and finding the extraordinary within the ordinary. Gathered into one volume and published by Phaidon, Shore’s personally selected images reveal Warhol’s creative circle from within. ‘Factory: Andy Warhol’ is available now, phaidon.com

Images (from left, clockwise): Warhol with Rod LaRod and Paul Morrissey of the Velvet Underground; Edie Sedgwick; Lou Reed of the Velvet Underground. Opposite page: Lou Reed.

We ensured you could wear it to dinner. With it's English design, the C65 Super Compressor is slender enough to wear under a shirt cuff. Yet it's also a professionalâ&#x20AC;&#x201C;grade dive watch. And, the first genuine Super Compressor since Ervin Piquerez S.A. stopped making them some 50 years ago. The secret is the compression spring. It measures just 300 microns (four human hairs), you can barely see this piece of Swiss genius. Cleverly, it uses the water pressure to tighten the case, meaning that the deeper you dive the more waterâ&#x20AC;&#x201C;tight it will become. So, even at the bottom of Lake Geneva, it'll still be fully functioning. And still be looking great. christopherward.com

The Swiss ensured you could wear it to the bottom of Lake Geneva.

Ingeniously English. Unsurprisingly Sw Ingeniously English. Unsurprisingly Swiss.

N A T I O N A L

S T E A L T H

S E R V I C E 26

Abyss Collection

When it comes to watches, legibility is everything. White dial: black hands and indexes. Black dial: white hands, white indexes. Maybe the odd splash of colour with the seconds hand. The rulebook (no doubt printed in Switzerland on the same press since 1755) is clear: there has to be a contrast between the dial and hands – otherwise, you can’t tell the time. And while back in black might be fine for AC/DC, on a watch, who’d want a black case, black dial and black hands? Well, it turns out, rather a lot of people. Seeing the increasing popularity of all–black ‘stealth’ watches, CEO Mike France and head of product design, Adrian Buchmann spotted an opportunity. They decided to create one of their own: the C60 Abyss, launched at the end of last year. A year later and C60 Abyss will now be joined by two further all–black watches: the C60 Abyss GMT and C60 Abyss SH21. Together they form the Abyss Collection. “After the success of the C60 Abyss, it made sense to expand it into an Abyss range,” says Mike France. “The use of monochrome tones offers a counterpoint to the vibrancy of some of our recent releases – particularly the C65 Chronograph and the C65 Super Compressor.”

“We wanted to build on what we’d learnt from the C60 Sapphire and use it in the C60 Abyss SH21,” says Will Brackfield, product designer at Christopher Ward. “The balance between seeing enough of the movement and making the dial standout took a few tries.” The dial provides a canvas for SH21. At 9 o’clock there’s a five–day power reserve subdial, which shows how long it can be worn without being wound up. There’s even a ‘danger’ zone for the last day, covered in bright red Super–LumiNova®, which you’ll also find on the countdown bezel. Another highlight is the date window at 3 o’clock. “That’s actually a first for us,” says Adrian. “We’ve used a laser–cut date disc which enables the numbers to ‘float’ and lets you see even more of the movement behind. And if you want to see more of SH21, the smoked sapphire back provides an intimate view of the intricately decorated movement from the back. Buchmann’s light–catcher case brings the ensemble together with black DLC (diamond–like carbon) used on the bezel and caseback ring, while the crown and middle case are coated in gunmetal PVD.

The C60 Abyss will now be joined by two new all–black watches: the C60 Abyss GMT and C60 Abyss SH21. Together they form the Abyss Collection

As you might be able to tell by its name, the C60 Abyss SH21 is powered by Christopher Ward’s own in–house chronometer certified movement, Calibre SH21. And while the watch could be defined by its movement, it’s the smoked sapphire dial that will hit you first. Machined, like the dial on the C60 Sapphire, to a thickness of just 0.6mm, it offers the wearer a translucent view into the workings of the movement. C60 Abyss

C60 Abyss GMT

C60 Abyss SH21

If the C60 Abyss SH21 is a watch for horologists, then the C60 Abyss GMT is for international travellers – and the odd international man of mystery. GMT watches are defined by the connection between the 24–hour outer bezel and the GMT hand, which lets you monitor the international timezone of your choice. And while on most GMTs your attention is drawn to the fourth hand, here it’s the bezel. The reason for this is simple: as on other GMT watches it splits ‘day’ from ‘night’, but does so with contrasting matte black and tungsten-brushed stainless steel. It’s an incredible achievement. “It’s not something I’ve ever seen on a watch before,” says Will. “Getting the execution right where the two different finishes meet while intersecting with the numbers was a real challenge.” And, like the C60 Abyss, legibility on both watches has been achieved through careful testing and planning. Will again: “It’s a fine balance keeping the blacked–out aesthetics of the watches while also making them legible,” he says. “The key is picking a light– enough grey for the printed elements on the dial so that they’re readable at a glance.” For Mike, both watches represent the tension between abstract design and elite horology. “They’re stunning,” he says. “Each watch offers that touch of surprise that gives an additional sense of delight when wearing it. As well as on–the wrist appeal, owners will be constantly taking the SH21 off their wrists to show it to admiring friends.” The Abyss Collection: truly a triumph of the black arts. Available now from C60 Abyss £795 / $910 / €950 C60 Abyss GMT £1,050 / $1,195 / €1,260 C60 Abyss SH21 £1,995 / $2,280 / €2,395

We talk to the Isle of Man– based watchmaker Dr Roger Smith, OBE about origins, innovation and the future of the British watchmaking industry

Watchm The Isle of

For such a tiny island – just 30 miles long by 10 miles wide – the Isle of Man has played a central role in the development of the mechanical watch. In the summer of 2020, the Isle of Man post office has brought its watchmaking history to light with a new stamp issue which features three outstanding watchmakers who lived and worked on the island. The Isle of Man’s watchmaking history is largely unknown because watchmaking history is mostly told the Swiss way. “People don’t realise 75 percent of all the inventions which make today’s wristwatches function in the most convenient and accurate way are British,” says Roger Smith, speaking from his workshop and homestead in Ramsey on the Isle of Man. “Watchmakers tend to fall into two categories; mechanical artists and innovators. The ‘greats’ manage that rare combination of both; creating works of beauty and fine craftsmanship which also push the boundaries of timekeeping accuracy, functional performance, robustness and longevity forward. 30

And some, like Isle of Man–based John Harwood (1893–1964) and Dr George Daniels (1926–2011), invent something which is utterly transformative.” The Isle is a great place to have a business – a simplified tax system makes it so. But perhaps more than this, it’s the peace and solitude that really help. “As an individual watchmaker, just being on my own 100 percent of the time can be incredibly creative,” says Roger. “It forces you into a corner – you have to focus on your work, and it’s harder to be influenced by others. What George Daniels showed us, was that it’s possible to become a watchmaker outside of the industry.” George Daniels’ famous breakthrough came with his invention of the co–axial escapement. The escapement is the very heart of mechanical timekeeping and conventional designs, such as the ‘Lever escapement’, had been refined over centuries. So, for George to invent a radical new escapement design as recently as 1974, was simply staggering.

Isle of Man

making 31

Although Daniels was most famous for this invention, his contribution to the resurgence of mechanical watchmaking cannot be understated. Embarking on his journey to hand–build a watch, he found that virtually all the 34 trades required to build a watch had vanished from Britain. So he took the unprecedented challenge of teaching himself every single one of them. In so doing, he devised what is now known as the ‘Daniels' Method’ and, with the publication of his seminal book, Watchmaking, he showed the way. Watchmakers have tended to follow that sadly typical British narrative of the lone inventor fighting the odds to create something new and ground–breaking, and often going unrewarded in their lifetime. George Daniels fought in isolation for years before Omega adopted his escapement in the mid–1990s, but received every possible accolade in later life. John Harwood however, was another great inventor who devised an incredible breakthrough from the Isle of Man, but was never fully recognised for his work. Even many Manx people are unaware of this exceptional watchmaker.

Rolex's ode to John Harwood, 1956

Roger takes up the story. “Like me, John Harwood was born in Bolton, but he settled on the Isle of Man after returning from the trenches of the First World War to work in a tiny Douglas workshop repairing wristwatches. It was here that he noticed the recurring problem was dust and moisture getting into watches via the exterior opening for the hand–winding mechanism. Harwood began to speculate whether it was possible for a watch to wind itself through the natural movement of being worn on a wrist. One day he observed children playing on a see–saw and this inspired his stroke of genius to use accumulated kinetic energy to tension the spring of a wristwatch.” ‘Master watchmakers of the Isle of Man’ stamp sets

On September 1st, 1924 the Swiss Confederation in Berne awarded Harwood Patent No. 10 65 83 for his invention of the first self–winding wristwatch. Empowered by this, he founded The Harwood Self–Winding Watch Company and worked with Swiss company Fortis to manufacture his watches, which went into production and became available in 1928. After having made around 25,000 watches, John Harwood went out of business in 1931 – a victim of the Great Depression. Rolex, having adopted the self–winding mechanism, survived and recognised John Harwood’s contribution in an advertisement in 1956. Awarded the Horological Institute’s Gold Medal in 1957, Harwood then all but disappeared from watchmaking history.

“What a contribution to watchmaking!” says Roger Smith. “Creating an automatic mechanism transformed the watchmaking scenery and should be applauded.” In August 2020, a stamp issue by the Isle of Man Post Office reminded us not just about John Harwood, but also the Isle of Man as a special place for horological invention. “Now what I’d like to see happen,” says Roger, “is for people in watchmaking to start talking, sharing ideas. All it takes is for a few likeminded companies to get together – to share requirements for case manufacture, for example. You can do it the old fashioned way, as George and I did, grinding away and learning day after day – or you can share knowledge and bring expertise in from other watchmaking nations. It’ll take time to regain all the watchmaking knowledge Britain has lost with the loss of its watchmaking industry, but far less time if we work together.” Collect the stamp set at iompost.com

We use the world's most advanced machines to finish all our watches: human eyes and hands. No industrial machinery can do justice to such a beautiful design as the light–catcher case. But our Swiss engineers can. Of the 39 stages required to make one, the final few are completed by hand. And checked by eye. This ensures that the polished facets, on the case, give the appearance that its slimmer than it really is. In fact, the watch (designed in England, and inspired by a classic ground–hugging sports car) appears to actually sit lower on the wrist, whilst still reflecting the light. No wonder it's so vibrantly eye–catching. christopherward.com

Ingeniously English. Unsurprisin Ingeniously English. Unsurprisingly Swiss.

A visual exploration of the lightâ&#x20AC;&#x201C;catcher case

C1 Grand Malvern

C3 Malvern

C65 Trident

The first light–catcher case. Its soft lines and light–catcher waist were inspired by the Aston Martin DB9’s curves

A simplified version for the entry–level Malvern Collection, sharing the same brushed side and polished lugs as the sophisticated C1

A dynamic, sportier light– catcher case features extra facets with no two sharing the same finish

C65 Super Compressor

C60 Trident

Built on the same principles as the C65, a fixed bezel and CWâ&#x20AC;&#x2122;s first cushion shape integrates the lugs into the case design

A more rugged, masculine version for our contemporary dive collection. The critically important waistline was pushed down to slim the watch to the wrist

The light–catcher case is a study in the development of Christopher Ward as a design entity. Originating in 2014, CW began the search for a design ‘signature’ – a strong look that would be identifiably theirs. In the past, the brand (like others) had justifiably been accused of homage – using the cues and tricks of well–established watch design in their early models. In common with many other watch brands, the case design of early CW models trod a predictable path; Germanic, straight and slab–sided, while the team’s attention was absorbed by clever dial design and movement–making. “In 2014, we started to ask ourselves how best to stand out in this crowded market,” explains Mike France. “The rebranding was part of it, but it wasn’t enough – we needed to reach for an authentic design signature to stand for distinction, excellence, engineering – and that was about reimagining the case, and being architecturally–led.”

Today, virtually all of our watches have the light–catcher case

The influencer; Aston Martin DB9

While the brand continues to upcycle all elements of its approach to watch design (the release of Trident 3 is a case in point), the appointment of Swiss watch designer Adrian Buchmann to lead the design team in 2015 was a catalyst for change. “Ken Kessler said it in his article about the C65 Super Compressor – the case is critical,” says Adrian. “Case design can be lazy and formulaic; it’s a great area to make progression towards a distinctive look. My particular interest area, the architecture of case design, moved the collection forward.” CW’s own movement, Calibre SH21, deserved its own case, so the Malvern collection went to be re–cased and re–designed first. “In the very first design meeting, I pulled out of my bag a model Aston Martin DB9,” continues Mike. “In those early meetings, the mood boards were inspired by a melange of ‘Britishness’; the rolling hills of Malvern, the organic forms of Thomas Heatherwick’s architecture and the engineering of British manufacturers. Adrian’s breakthrough was to identify the techniques in automotive design – those alternately brushed and polished facets which give the outline a ‘waist’ and visually pull the car closer to the road, that make it look aerodynamic, sleek, low and fast – and bring them into watch case design.”

Clever stuff – but not easy, and far from cheap to achieve; the case manufacturing process became more complex and costly as a result, based on the sheer amount of work that goes in to creating the light– catcher case. In the five years since the benchmark was set, the light–catcher case design has been expanded across the C1, C3, C60 and C65 collections – and now, virtually all of CW’s watches have ‘light–catcher’ cases. A sympathetic re–interpretation of what made the original Grand Malvern design so appealing, and which shows the technical marvels within the watches off to best effect, the light–catcher case is here to stay.

O–pinion brings you picks from our universe – what we’re reading, listening to, admiring and being inspired by. Whether it’s music, tech, art or horology, we’ll share our take on it – and invite you to share yours. Tell us what you’re enjoying right now, or what events or new releases you’re looking forward to – and we’ll consider them for the next issue. You can email loupe@christopherward.co.uk or hit us up on Instagram @chriswardlondon

This decades–old festival takes over downtown Reykjavik in Iceland once a year, playing everywhere from small bars to big theatres – fans liken it to a musical treasure hunt. Established more than 20 years ago, Airwaves has always been known for its egalitarian, laid–back vibes – the festival achieved 50/50 gender parity years ahead of its target (meaning there are as many female or female–led acts in the line–up as male), and acts follow up their paid shows with hundreds of free, off–venue shows for fans. This year’s show has been moved to November 2nd–6th, 2021, so you have plenty of time to make venue–hopping plans between acts like Metronomy, Black Pumas and of course local lass Björk. Make sure you round off with a soak in one of Iceland’s natural hot springs to wash the festival away.

The focus: Iceland Airwaves, Culture Call and Gordon Cheung 40

The ultimate consumer novel, and a product (or a petri–dish) of its time, Martin Amis’s Money is an evocation of the cities, the commercials, the appetites and the pornography of 1980s London and New York. Its central character, John Self (Amis certainly had a knack for names) directly addresses readers, “Hey, brother. Listen, sister,” experimenting with a new way of being an authorial narrator. In some of its most postmodern moments, the narrator brings us (the readers) and the writer (a character called Martin Amis) along with his small cast of central characters, straight into the novel’s action, resulting in a hall–of–mirrors reading which feels as much like the onslaught of life experiences he describes in his excessive, trippy story. Bouncing along in a matey, energetic tone, it’s not a difficult read – it’s hugely warm and comic in places – which gradually tightens its screws of meaning on the reader. As aspects of the human

condition are examined through anti–hero John Self’s lived experience (love, loyalty, financial security, physical health), we read on just as voraciously as Self consumes his way through life. We’re continually shocked into a kind of numbness by the depths of depravity and baselessness the character reaches. If in this novel, Amis was experimenting with the extremes he could push a character’s experience (how much worse can it get for this guy!?) and his authorial standpoint, then one of the results he may have hoped for is his reader’s repudiation of the lifestyle being evoked here. But was it meant as a moralistic tract? Unlikely, it’s far too nihilistic (the novel’s sub–title is “A suicide note”). Now in 2020, we have lived through nearly four extra decades of global commercialisation and consumption than its first readers did in 1984. As Self inevitably concludes, for all his money, his imprint on the world would not seem to have made any changes.

With two seasons available to listen now, transatlantic podcast Culture Call examines life and the arts from two cultural centres – London and New York. First broadcast over year ago in August 2019, there’s a new episode every two weeks – a nice pace for the sporadic listener. Editors Lilah Raptopoulos and Griselda Murray Brown roam into diverse cultural matters from the FT’s Life & Arts journalism with their erudite and experienced guests, like Samin Nosrat, Iranian chef and author of paradigm–shifting Netflix docu–series Salt Fat Acid Heat, or Belgian psychotherapist Esther Perel. Thoughtful, intelligent yet funny, these interviews are with people who are breaking new ground, helping you get to grips with the trends which are shaping 2020. Listen on your favourite podcast app

Niamh Lily Wimperis is rather a dab hand with an embroidery circle. In her own words, she's ‘all about feminism and plants’ and her new website, Plants On Pink is a trove of Instagram–worthy, lockdown–friendly, arts, crafts and pastimes. She also happens to be CW watch technician Alex Goodwin’s partner. See more at plantonpink.com

London–based Gordon Cheung is a leading name on the global contemporary art scene. Best known for his surreal, nightmarish, light–infused landscapes, he’s exhibited works worldwide and is collected just as broadly. His 2020 show Tears Of Paradise at the Edel Assanti gallery in London was cut short in March, but the works are available to view online. The exhibition examines the growth of China as a 21st century global superpower, and combines paintings which use spraypaint, acrylic, woodblock and inkjet printing onto financial newsprint to depict ethereal, barren, lurid scenes. Science

fiction–like landscapes have long been part of Cheung’s work, but here they reveal the clash of old and new in China’s emergence. In several, the art considers huge infrastructure projects, such as the construction of 700 miles of high–speed rail, or the planned combination of already large cities Beijing, Tianjin and Hebei into one gargantuan megalopolis. The supernatural pulses strongly alongside the financial here. As its centrepiece, there’s a free–hanging sculptural installation called Home, which is crafted from Financial Times newsprint paper and bamboo. Financial newspaper is behind literally everything

Tears Of Paradise, Edel Assanti, London, UK, 2020

E J Eelkema I (Small New Order), 2015

here – the real vagaries of the markets and the growth, underpinning that churn of boom–and–bust, life–and–death Cheung imaginatively interprets. Home refers to homes in China with traditional window designs that were demolished for rapid urbanisation. Like the ghostly outline of the past, it at once waits for demolition but also waits to be built. It holds stories of many generations, lives and friendships lived and lost. In 2015, Cheung was granted access to the vaults of the Rijksmuseum in Amsterdam to recreate three 370–year–old paintings

from the Dutch Golden Age. Using a modifying algorithm written in open source code by artist Kim Asendorf, Cheung manipulated his visual reproductions to ‘glitch’ the image, firmly dragging nature into digital abstraction. In the process, the algorithm produces over 4,000 sequential images, where each work is pixel–sorted. The still life paintings in the system seem to be sliding or blurring out of their old time and into the new. And again, it was all printed on pages of the FT. There could even be a CW ad page in there somewhere. gordoncheung.com

The C60 Sapphire: The product of English imagination and Swiss precision. (Good job it wasn't the other way around.) We don't wish to stereotype, but we just can't do what the Swiss do so brilliantly. And vice versa. Together, though, we're a case of 1+1=3. So, having envisaged a professional–grade dive watch combined with a breath–taking aesthetic, we entrusted our Swiss team with the engineering. Take the dial: pure sapphire crystal. Creating it takes 28 separate operations. And it's machined to 0.6mm precisely. (Thin enough to see the Sellita 200–1 automatic movement within). With a translucent blue glow, it's even more beautiful than we imagined. And an object lesson in sticking to what you are good at. christopherward.com

Ingeniously English. Unsurprisin Ingeniously English. Unsurprisingly Swiss.

Great watch wearers

Queen Elizabeth II British Monarch Queen Elizabeth II is perhaps better known for her collection of corgis than for her horology; but under those famous sugared almond–hued cuffs, she sports some serious wristwear. The Queen has at least 14 luxury wristwatches – most are never seen and remain a mystery, but it’s rumoured there’s a Cartier, a Patek Philippe and a Jaeger–LeCoultre Reverso. One could suppose that the longest–reigning British monarch, with 68 years on the throne (she overtook Queen Victoria’s 63 years and seven months back in September 2015), has a knack for endurance – and so, it seems, does her watch wearing. The Queen prefers daily wear of a beloved timepiece year after year, rather than following the fickle whims of fashion. On Coronation Day, June 2nd, 1953, the young Elizabeth wore an elegant Jaeger–LeCoultre 101, its tiniest–in–the–world movement further ‘hidden’ by suitably magisterial twin rows of diamonds. In pictures of the time, and indeed of the following decade, the Queen is often seen wearing a silver–toned bracelet on her right wrist – a custom 101 in white gold, made for daily wear. (Unless double rows of diamonds are what a queen calls ‘discreet’.) To mark 2012, the golden jubilee year, Jaeger Le–Coultre gifted the Queen a new version of the iconic 101. Through the 1980s, Elizabeth II switched her style up a notch, turning to Patek Philippe for a distinctive new look. Portraits from the time show a monarch in

early middle age, posing formally in full ceremonial garb – plus a Patek Philippe Ellipse. The Queen once referred to 1992 as an “annus horribilis” and maybe it was – but not for her watch collection, which got updated with the addition of a ‘90s art deco– inspired Omega Ladymatic – bigger on the wrist than her previous favourites, in the portraiture of the time. Later in the Queen’s life, the new millennium brought a new daily wearer, a Jules Audemars, from Audemars Piguet. It’s white–dialled, with roman numerals and a gold bracelet. More recently, she wore a Patek Philippe Ref. 4975 for the opening of a new English parliamentary session. A jaw–dropping jewel, the Ref. 4975’s diamond–studded tonneau case hangs in strings of pearls. It’s the ultimate royal bling, befitting the ceremonial garb of the occasion. The Queen has loaned this to Patek Philippe for their Watch Art Grand Exhibition, a touring recreation of their historic HQ and workshop in Geneva. As enduring as some of the Queen’s daily wearers is her relationship to Jaeger–LeCoultre, the Swiss watchmaker behind that very first public watch, the 101. For the Queen’s 60th year, they produced a limited edition of three Atmos du Millénaire clocks. Displaying hours, months and perpetual moonphase, these “celestial–bestriding mechanisms” are all set to count the years until 3000. And that’s rather a long time, even for this long–reigning Queen.

How to

Build a watch collection on a budget They don’t do ‘cheap’ watches at Christopher Ward. But if you want to expand your collection when money is tight, what’s the best route to take?

Expert horologist Adrian Hailwood has seen the watch industry from every angle as watch consultant, auctioneer’s valuer and Breguet store manager. In this new series

Taking into account VAT and initial depreciation, buying new is never going to get you the best bargains but the risks of the pre–owned and vintage markets are not for everyone and some collectors prefer to be the only owner of their watches. The advice here is to opt for design classics, styles that have survived the test of time and will not look out of place if your collection value increases in the future. Seiko has long been known as a provider of ‘bang for buck’, although their latest releases with new movements are no longer what one might term ‘entry level’. The Seiko 5 SNK military line still houses the venerable 7S26 automatic movement and offers rugged field watch practicality in a 37mm

he shares his vast experience to help you build your watch collection. 46

case with day and date indication for as little as £87. For classic mid–century styling, the Timex Marlin is a faithful recreation of a hand wound classic at a modest £175. While the movement is made in China, it is a step up from the unserviceable pin–pallet '60s versions. Thirty–four millimetres may be too small for some, but this is a slim bezel dress watch and wears bigger than the size would suggest. For a ‘go anywhere do anything’ icon to anchor the bottom of your collection, you would struggle to do better than a Casio G–Shock. While Casio’s legendary F91–W, at less than £10, is a worthy addition, the rectangular DW–5600, at £100 is an un-

breakable beast that is barely distinguishable from it’s all–titanium sibling at £1,400. All prices are quoted for UK purchase. Just be aware, when trawling foreign sites to shave off a few more pounds, to factor in shipping, VAT, and 'handling charges'. If you are heading into the world of pre–owned there are two main considerations: what you are going to buy and where you are going to buy it from. Taking the second issue first, there is a natural trade–off between risk and reward. The more security you want from a deal (service, warranty, recourse if things go wrong…) the higher price you will pay. This is where research and experience pay

dividends, as the less help you need, the further you can go to find a bargain. Specialist watch dealers rarely play at the shallowest end of the pool. By the time you have done a service to be able to offer a warranty a low–ticket price watch can leave a small margin of profit. That said, a few do exist, often specialising in a particular brand such as Seiko or Smiths and doing the servicing themselves. These can be fruitful sources, the dealers’ knowledge of the brand meaning that the watches tend to be correct and the ‘hobby’ element keeping prices low. Brand–specific online forums are a good place to pick up lower–end watches; their community nature makes turning a profit

less of a priority for the seller. You nearly always have to pay your dues in forums in terms of a minimum number of posts before you can buy and sell, but this is a great opportunity to ask questions and get to know the people you may be buying from. Watch auctions are worth scouring for cheaper timepieces. As everyone chases the big names, less prominent brands can be picked up for remarkably little. Again, the risk/reward balance must be struck. The clearer the picture and more thorough the cataloguing, the higher the price will go, especially if the auctioneer is a watch specialist. A blurry picture of a watch with a scant description as part

of a general sale may bag you a bargain, but you may get a fake from an auctioneer who doesn’t know better. Given that selling fakes is against the law (although a remarkable number of auction houses do sell ‘replicas’ illegally) you should get a refund if they make a mistake. Bidding on eBay is similar, but riskier as there is no intermediary to deal with if things go wrong. Arm yourself with knowledge, scepticism, and a list of questions before you press the bid button. Of course, you could spend your time scouring car boot sales and charity shops in the hopes of turning up an unrecognised gem, but in the era of Google and ready information, you may as well buy a lottery ticket.

So, what are you going to buy? A study of watch history will turn up ‘poor–man’s’ versions of many popular models, some containing the same movement, others being exactly the same watch, such as the Dugena form of the Heuer Autavia, the Sinn Navigator 903 version of the Breitling Navitimer and even an Invicta housing a Valjoux 22 – a dead ringer for a Rolex ref.2508. All these are legitimate watches in their own right rather than rip–offs. Watch families can often have cheaper members that offer great value. If vintage Omega is a stretch too far, vintage Longines offers great quality at a lower price and vintage Tissot, even lower. In the case of chronographs, they may all house the same movement. A change of name in another global market can lower the price,

for example Wittnauer was essentially Longines for the USA but they command lower prices when they come up for sale here, the same is true of Wakmann and Breitling. Movado and Hamilton both command higher prices in the US than the UK so a good watch can be picked up for extraordinarily little. The explosion of brands in the 1960s and '70s that did not survive until today means that there is a vast array of designs to choose from the designs can wear large enough for contemporary taste. Take time to investigate the movements though. Sometimes ‘cheap now’ was also cheap back then. Watches with pin pallet escapements or riveted plates are irreparable if they break, while an early

Speed read:

Five tips to save on your next buy

Choose quality

Calculate the cost

Search the forums

Going, going…

Look for a robust, serviceable movement and build quality in a versatile style

ETA calibre will still have parts available. Cool ‘skin–diver’ watches can be picked up on eBay for £20 – £30 but a tired or broken Ebauches Bettlach movement inside may be £20 – £30 wasted. Whatever you choose, the old adage of ‘buy the best condition that you can afford’ still holds true. It is far better to have a great example of a modest model than a wrecked example of a prestige piece. The wreck will disappoint in the long run and will rarely be economic to restore, whereas a great condition watch will hold its value, possibly proving a good investment if the brand becomes the ‘next big thing’.

Buy preowned through a trusted community

Condition

Always buy the best quality you can afford 49

Tax, shipping and return fees can all add up

Gone. Auction purchases can save cash

21.88 British sprinter Dina Asher–Smith takes the 200m World Athletics Championship Gold. Doha, Qatar 2019 Unlike many other showpiece finals that year, no fireworks display or lightshow announced the start of the women’s 200m race at the 2019 World Athletics Championships in Doha, Qatar. Undaunted, 23–year old British sprinter Dina Asher–Smith walked onto the blocks, relaxed and waving, to loud cheers. She’d been on good form for the whole World Championships – and went on to take silver in the women’s 100m final in 10.83s. “My coach [John Blackie] and I knew I could do it,” she later told the BBC. “I woke up today thinking, 'This is it. This is the moment you did all your work for'.”

Timespan

John Blackie has coached Asher–Smith since she began racing aged eight, first having spotted her talent at the Blackheath and Bromley Athletics Club. Since 2013, their tight bond had already produced successes at European and world level, before Asher–Smith burst to prominence with three titles at the European championships in 2018. Known for her resilience, aptitude for learning – each year having come back stronger and with new knowledge for greater success – and technical skill, she has become a competitor to be reckoned with on the world stage. As the starting gun cracked in Doha, Asher–Smith was strong, focused and hungry for the win. With some fierce competitors absent from the field – 100m champion Shelly–Ann Fraser–Pryce, Olympic champion Elaine Thompson and hotly–tipped Shaunae Miller–Uibo had all withdrawn – she was focused solely on the race. The lack of competition simply made things easier. Almost immediately, she was ahead, the gap between her and the others steadily growing as they pounded around the corner. Around the final bend, Asher– Smith drew ahead of the pack, before digging in and pulling away up the final 50

60m straight like a train, using all the explosive power in her technique. Over the line with metres to spare in 21.88 seconds, Asher–Smith simultaneously claimed a stunning win and took the British women’s 200m record. The shared joy and celebration in her victory lap with her entourage is an incredibly uplifting watch. Olympic heptathlon gold medallist Denise Lewis has been following Asher– Smith’s career since 2013. Lewis speaks glowingly about Asher–Smith’s potential to disrupt sprinting at the very highest level. “She has broken the American dominance and the Jamaican stranglehold on this competition,“ Lewis said on BBC Sport. Asher–Smith remains level– headed in the face of pressure from these expectations though, reflecting, “You’re only the favourite if you perform how everyone expects you to.” Now with 200m gold and 100m silver medals – and that British record – from Doha under her belt, her eyes are firmly turned to the Olympic Games in Tokyo in 2021. Asher–Smith could be set for success on a far larger stage, with her strong family, longstanding partnership with her coach, and solid support from British athletics fans.

The best guarantee. Guaranteed. Our industry–leading 60|60 Guarantee is all about your peace of mind. Every Christopher Ward watch comes with 60–day free returns and a movement warranty of 60 months. No quibble. Find out more christopherward.com/60–guarantee.html

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