Loupe. Issue 32. Spring 2024

The magazine of Christopher Ward.

Issue 32. Spring 2024

A small(er) watch for a big world

Worth the weight

The Twelve (Ti) chronometer has it easy. As soon as it appears on the website, it sells out. Crafted in Grade 2 titanium, it boasts a 12-sided bezel, an elegant integrated bracelet and a 40mm case finished three ways. And because it’s made from super-tough, ultralight titanium, it weighs just 136g on its bracelet. Best of all, it’s now back in stock at the surprisingly lightweight price of £1,595, so you might want to take a look. Or, as we say: Do your research.

christopherward.com

Loupe.

Everyone’s a winner!

The magazine of Christopher Ward.

Ever since it launched, the C63 Sealander GMT has been a bestseller.

So, when CW wanted to create its first 36mm GMT, it was the obvious candidate for a remix. If you want to find out how CW’s team transferred the aesthetic and functionality of the original to the smaller size (without losing any of its charm), Matt Bielby’s article on page 12 should be your destination.

Staying with watches, our Head of Product in Biel, Jörg Bader Junior, has written an illuminating watchmaking road map of Switzerland – which should inspire you when planning your summer holidays (Biel is lovely in July).

As ever, there are two beautiful photo stories to enjoy, plus an investigation into the mechanical watch scene that’s flowering among the tech bros of California.

Thursday, November 9th, 2023, will go down in CW folklore as one of the great days in our history. Only a few minutes apart, in two of the world’s great watch cities – Geneva and London – we were awarded two prestigious prizes.

The Bel Canto won the ‘Petite Aiguille’ award for the best watch priced between 2,000 and 8,000 Swiss francs at the Grand Prix d’Horlogerie de Genève (GPHG) – the ‘Oscars’ of watchmaking.

And we were also voted British Watch Brand of the Year at the WatchPro Awards.

We celebrated late into the night, particularly in Geneva, where we discovered the world’s most expensive G&Ts (68 Swiss francs!). But when the dancefloor (and our heads) had cleared it was time to remember what really matters is our mission: to make high quality watches available to as many people as possible.

Enjoy the magazine!

That’s what gets us out of bed in the morning, albeit it was slightly harder to do so on Friday, November 10th.

Mike & Peter Editor: Anthony Teasdale Art Director: Jamie Gallagher Designer: Sam Burn Photography: Peter Canning

1 Park St, Maidenhead, Berkshire SL6 1SL christopherward.com

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Contents Features 12 – 19

Travelling light

Popular mechanics

30 – 33

How CW created the new 36mm C63 Sealander GMT

20 – 23

A drive through time

Why digital workers in California are embracing ‘real’ watches

Technicolour

34 – 39

Discover the new range of colours for The Twelve

Take a road trip through Swiss watchmaking with our map

24 – 29

The ultimate driving machines

Travelling light

12 — 19

A drive through time

20 — 23

Popular mechanics

30 — 33

Beautiful automotive images from The Atlas of Car Design

Regulars 6–9

The Brief

O-pinion

40 – 43

Latest news from Christopher Ward and the world of watches

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Classic Ward A second look at the C11 Makaira Pro

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Drawing board A glimpse of the next chapter in the Trident story

New photo book about trees; Laurie Lee’s ode to Spain; classic art documentary; travel poetry

Great watch- wearers

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Robert De Niro as Sam ‘Ace’ Rothstein in Casino

Insight

46 – 49

Ken Kessler on the hype around complications

Timespan

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The story of the Montgolfier brothers and their first foray into the skies

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Latest news from Christopher Ward and the wider world of watches

The Bel of the ball!

CW’s chiming watch Christopher Ward’s C1 Bel Canto has been named winner of the ‘Petite takes top spot at Aiguille’ category at the Grand Prix d’Horlogerie de Genève (GPHG) awards GPHG awards in in Geneva, Switzerland – the ‘Oscars’ of the watchmaking world.

Geneva, while the At the ceremony in November, the Bel Canto beat off competition from the likes brand picks up top of Bulgari and Tudor in the Petite Aiguille class, which covers watches priced from UK prize on the CHF 2,000 to CHF 8,000 (Swiss francs).

The prizes were decided by 650 same night members of the GPHG Academy, and the GPHG Jury, which comprises 30 industry experts – this year, led by British watch journalist and author Nick Foulkes.

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“Ever since day one, we’ve put quality timepieces in the hands of as many people as possible, and nothing symbolises that better than the C1 Bel Canto,” says Mike France, CW CEO and co-founder. “Of course, none of this would be possible without our customers: their support, counsel and feedback is what drives us.”

On the same night, Christopher Ward was also voted ‘British Watch Brand of the Year’ at the 2023 WatchPro awards in London, triumphing over the likes of Bremont, William Wood and Duckworth Prestex.

Joe Keech, CW Finance Director, picked up the award, and said: “We’re absolutely overjoyed to receive this prize.

This isn’t just a victory for us, but for all of UK watchmaking. The sector has never been stronger – just look at the explosion in indie brands – and we’re proud to play a leading role.”

Christopher Ward will be playing a key role at the first British Watchmakers’ Day at Lindley Hall, London, on March 9th. The event, organised by the Alliance of British Watch and Clock Makers, will host 45 British watch brands, including Christopher Ward, with at least 20 producing limited edition timepieces for BWD.

“We’re making 10 limited edition Bel Cantos for British Watchmakers’ Day,” says CW co-founder Peter Ellis.

“This will undoubtedly be the most exciting horological event in years. Even better, Alliance chairman Roger W. Smith will make a Series One watch for the event, which is an incredible gesture.”

Club members of the Alliance of British Watch and Clock Makers are eligible for a free ticket to the event.

You can join the Alliance by visiting britishwatchmakers.com

Strap in for UK watchmaking’s big day Laura signs for Loupe One of the UK’s top watch journalists, Laura McCreddie-Doak, will be writing for Loupe magazine from the next issue.

Laura, whose articles can be found in the Daily Telegraph and The Times, says she’ll be writing “about the wider world through the lens of a watch”.

“Despite its diminutive diameter, everything from fashion to history, art to culture – and how humanity has progressed in terms of technological advancements – can be found in a watch,” she says. “It’s one of the reasons I love the art of watchmaking.”

Helpfully, Laura is a fan of Christopher Ward. “My favourite CW watch has to be the new C1 Moonphase.

Christopher Ward has reimagined this complication, put it front and centre and created an elegant, surprising timepiece in the process.”

You’ll be able to read more of Laura’s work in Loupe issue 33 7

Letter from Biel

The latest news from our Swiss HQ It’s been a busy three months at the CW atelier in Biel. Ever since the Bel Canto was released, we’ve been at capacity.

The goal has to be to raise the quality and knowledge of staff so we can achieve uniformity of outcome from all our watchmakers. We’ll expand the atelier in the coming year – but as always, we’ll never compromise on quality.

One thing that should help us attract more elite staff, especially from wellknown brands, was winning the Petite Aiguille category at the GPHG awards.

This was a massive moment for us because these are the most recognised awards in the Swiss watchmaking industry. It’s a tangible sign of what we’re trying to achieve at Christopher Ward and has given us a considerable boost.

Seeing Mike France accept the prize made everyone here feel so proud, demonstrating just how far we’ve come since we started. And if it wasn’t before, the Swiss watch industry is taking notice of Christopher Ward now. With everything we’ve got planned for the year ahead, it’s going to be a very interesting 2024!

Jörg Bader Jr, Head of Product

CW’s favourite race team looks back on the 2023 season – and forward to 2024

Full throttle for Team BRIT! Christopher Ward is proud to sponsor Team BRIT, an all-disabled racing team that competes at the highest levels of motorsport. The 2023 season provided plenty of highlights, with top drivers Aaron Morgan and Bobby Trundley taking their McLaren 570s GT4 from the Britcar Trophy to the all-Europe McLaren Trophy. With drivers competing in other competitions, and work going beyond the racetrack, we speak to Team BRIT’s PR manager Lucy Sheehan [right] about life in the fast lane.

Hi Lucy! How did Bobby and Aaron get on in the McLaren Trophy?

They had a fantastic experience.

Having the chance to compete at iconic circuits across Europe was incredible and their performances didn’t disappoint. The pair came first at the Nürburgring in July, and second at Spa Francorchamps and Paul Ricard in June. Our move into the McLaren Trophy was all about the continued development of both drivers racing in a single-make class, and that’s exactly what we achieved.

Any other highlights?

James Whitley and Chris Overend took third place in the first round of the British Endurance Championship, while Paul Fullick and Tyrone Mathurin had three podium finishes in the Britcar Trophy (eventually finishing third in class in the championship). In the ‘6 Hours of Donnington’ race, Bobby, James, Paul and Chris raced together – and came second.

Are the team training hard in the winter break?

Our drivers are busy securing their sponsors for next year so we can confirm our racing plans. As soon as that happens we’ll be organising track days, including our winter testing in Portimao, Portugal in February. Aside from that, the drivers will be busy with sim training online and building up their fitness at the gym.

What are you aiming for in the 2024 season?

Continued growth and development for the team, providing structured training and racing for our current drivers and looking at new opportunities.

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“Our drivers Bobby and Aaron came first at the Nürburgring in July”

£50k donated to Blue Marine Christopher Ward has raised over £50,000 for Blue Marine Foundation during November’s ‘Blue Friday’ campaign, which saw the company donate 10 percent of all proceeds over the weekend to the ocean preservation charity.

Blue Friday replaced the traditional ‘Black Friday’ event in 2022 to help Blue Marine in its battle to protect the world’s oceans by fighting overfishing and protecting ‘blue carbon’ stores.

“We feel that protecting the planet is more important than vying for sales over one chaotic weekend,” says CW Marketing Director Kate Peregrine. “Our customers agree – which is why they supported the event so enthusiastically, even though it wouldn’t save them money.”

Christopher Ward has supported Blue Marine Foundation since 2019, donating money from the sales of the C60 #tide, C65 Aquitaine range and #tide material straps to the charity.

We’re exploring a project in the USA in which we’ll take two cars fitted with our hand controls to the States. We’ll collaborate with a disability racing organisation there, and compete in American endurance racing with a team of drivers from across the world.

Outside racing, what else is happening?

We’re hard at work on Team BRIT’s new HQ and workshop near Pulborough in Sussex. Our Engineering Director Al Locke has fitted the space to our requirements and it looks incredible. We’re also busy with our sponsors, supporting their events with driver appearances, talks and sim demonstrations – they make everything we do possible. teambrit.co.uk

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Past masters

Few watches stir the passions of long-time Christopher Ward fans more than the C11 Makaira Pro dive watch series.

Launched in August 2012 – and water-resistant to 500m – the Makaira is an exceptionally handsome timepiece: from the satin-finished, ‘cushion’ case to the dial’s near-industrial aesthetic.

“We brought in an outside designer in Switzerland to design the case – the first time we’d ever done that,” says Mike France. “Another first was the rotating internal bezel, which divers could use to time their ascents.”

Then there’s the dial. To call it ‘ultra-visible’ is an understatement: the combination of oversized numerals and a wide handset soaked in luminous paint makes it impossible to ignore (especially the ‘electric blue’ version).

Two further iterations followed the original: the titanium C11 Makaira Elite COSC and the C11 Makaira Titanium Extreme 1000 – a limited-edition of 100 launched in 2014. After this, the series ended. As for a possible return, Mike remains tight-lipped. “I’m sure it’d be very popular!” is all he’ll say.

C11 Makaira Pro

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Things to come

Release: 2024

The C60 Trident Pro 300 has redefined Christopher Ward’s Trident dive series. Developed in conjunction with the independent CW forum, its slim profile, ultra-legible dial, and perfectly engineered bezel make it the go-to daily watch for thousands of CW fans.

The series has already been extended to include the tropical C60 Atoll 300 and C60 Pro 300 Bronze, but CW’s designers aren’t finished yet. There’s another 300 on the horizon, which will be very special.

“We’re going to take the technical and tool-watch ability of the C60 Pro 300 to the next level,” says Product Designer William Brackfield. “We’ll play on the themes of accuracy, luminescence and case finishing to make what we think is the ultimate C60 Trident Pro 300.”

The new watch will use the strongest and lightest metals in its construction and bring finishing standards to those of the most esteemed watch houses.

“We’ll be using a unique combination of case finishing never before seen on a CW watch – and rarely seen in the industry,” says William. “And mixing the quality synonymous with the Light-catcher™ case with a rugged tool-watch feel. You could say it’s the best of both worlds!”

With a release date in 2024 confirmed, it won’t be long until you can judge for yourself.

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Why Christopher Ward has created a ‘smaller watch for a bigger world’ Words: Matt Bielby

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Introducing the new Sealander 36 GMT: tough yet handsome, innovative but unobtrusive, and the perfect travel companion whoever you are – and whatever your wrist size

When it comes to watchmaking, the 1950s is where the modern world began.

This was the decade when watchmakers effectively invented the tool watch and each year, it seemed, an icon was born: Breitling’s Navitimer; Omega’s Speedmaster; Rolex’s Submariner. We had specialist watches for pilots and racing drivers, engineers and railwaymen, explorers and doctors. And, thanks to James Bond (who first appeared in 1953), watches for spies – witness the Submariner (as seen in Goldfinger) and his trusty Oyster Perpetual.

It was also, of course, the start of the ‘Jet Age’, which took off with BOAC’s de Havilland Comets and went mainstream with Pan Am’s Boeing 707s in 1958. It had been just four years earlier that America’s unofficial flag carrier collaborated with Rolex to design the GMT-Master, to be issued to selected crews.

Though not the first GMT watch, it popularised the form, adding a distinctive 24-hour fourth hand that could be set to a second time zone, read from the bezel. Being able to tell both local time and GMT – required for aviation planning – was an almost unimaginable boon, and this functional work watch quickly became a luxury icon too, worn as much by passengers at the back of the plane as pilots in the front.

The first GMT-Masters lived in a 38mm case, but most of the great tool watches of the 1950s were 36mm, 34mm or even smaller – not big, but way tough.

And that’s a description equally applicable to the new C63 Sealander 36 GMT, the latest addition to the smaller incarnation of the bestselling Sealander line. With watch diameters trending down over recent years, and 36mm now back on many a radar, the Sealander 36 three-hand automatic has been a hit since it was launched in July 2022.

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Time to expand the range, and a GMT was the obvious way to do so. “Watches that are relatively small and thin – and sub-12mm is impressive for a GMT – but still feel robust have their own distinct appeal,” says CW CEO and co-founder, Mike France. “Wearing a smaller watch feels fabulously nostalgic, recalling a time when a watch’s job was to tell the time, not to dominate conversation.”

And then there’s the fact that the GMT is such a useful complication: designed to be worn on trips, they accompany us as we generate cherished memories – while simultaneously reminding us of home. As with most current watches, this GMT is the ‘caller’ version of the complication. No, the second hour hand can’t be independently set, which means getting everything set up for each trip takes a tiny bit longer – but what journey didn’t involve plenty of waiting around – when having something useful to do might actually prove a relief?

“The 39mm Sealander GMT consistently outsells the Automatic,” says CW Product Designer William Brackfield. “Indeed, the white version is the best-selling watch we make. But in

“It’s practical, nicely understated and suits a wide range of wrists”

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some ways the 36 GMT is even more ‘Sealander’: svelte, stylish, and still chunky enough to shrug off anything you might throw at it – including a dive to the bottom of the ocean. The magic of 36mm is that it’s practical, nicely understated and suits a wide range of wrists.”

It also outperforms expectations in a number of ways. It’s water-resistant to 150m; has a 56-hour power reserve, up from the automatic Sealander’s 38 hours; and it comes in three universally appealing colours: Black, White, and the ontrend ‘Dragonfly Blue’, with the latter’s sunray finish dancing in the light.

Price-wise, of course, it’s incredibly accessible – one of the real charms of Sealander. The GMT comes in at £905 on an orange Aquaflex rubber strap or Camel Vintage Oak leather, and £1,020 on the sporty Bader bracelet or £1,060 on the dressier Consort. “Offering two different bracelets shows commitment to this smaller size,” says William. “We’re one of few brands which takes bracelets this seriously – and, of course, our quick-release mechanism makes swapping between easy.”

And then there’s perhaps the most intriguing thing about this watch – one that even the guys at Christopher Ward were thrilled to discover. Despite the fact that the first GMT-Masters were 38mm, modern GMTs at that size are ultra-rare, and virtually nobody offers a 36mm GMT today. Yes, there’s still a Glycine Airman in the size, and a handful of indies do them too, but in terms of current, mass-market, mainstream GMTs – and certainly at this accessible price point – the Sealander 36 GMT is on its own.

Finally, back to James Bond.

Creator Ian Fleming’s most famous personal piece was an unassuming Rolex Oyster Perpetual Explorer, ref 1016: big numbers, highly readable, no date, and – yes – 36mm across. And it’s this watch that was the inspiration behind the “heavy Rolex Oyster Perpetual on an expanding metal bracelet” that 007 used as a knuckleduster to crack a henchman’s jaw in On Her Majesty’s Secret Service.

And if a 36mm Swiss-made mechanical watch is good (and tough) enough for Commander Bond, then it’s perfect for the rest of us. Especially, like the C63 Sealander 36 GMT, when it tells the time in two places at once.

”At this accessible price point – the Sealander 36 GMT is on its own”

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C63 Sealander 36 GMT Open series Diameter Height Lug to lug Weight Case Dial colours

36mm 11.15mm 43mm 53g Stainless steel Black, White, Dragonfly Blue Depth rating 15 ATM / 150m Movement Sellita SW330-2 Auto Functions Hour, minutes, central seconds, date, GMT Power reserve 56 hours Tolerance -20/+20 seconds per day Available Now Price: Consort bracelet - £1,060 Bader bracelet - £1,020 Aquaflex rubber - £905 Vintage Oak leather - £905

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A drive through time

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Not sure where to go on holiday? Why not take your car for a spin around the landmarks of Swiss watchmaking – with Christopher Ward as your expert guide The warmer days are only a few months away, so could there be anything more satisfying for the watch lover than planning a driving tour of Switzerland’s horological landmarks? And who better to guide you than Christopher Ward’s Head of Product, Jörg Bader Junior, who possesses an intimate knowledge of Switzerland’s most famous industry.

So, strap in, set your GPS to Geneva and prepare to spend some time exploring the highways and byways of the world’s watchmaking home.

ILLUSTRATOR

Khuan-Ktron

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ELÉMONT DELÉMONT

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Day 1

Day 2

PORRENTRUY AND DELÉMONT

GRENCHEN AND BIEL

We start our journey in Porrentruy, a small town with a sprinkling of watchmaking heritage, before driving to Delémont, the capital of the Jura region. Delémont supplies components and materials to the watch industry, though its importance is relatively modest compared to more renowned cities like Geneva. Delémont’s role centres on its contributions to the supply chain and specialised expertise within the broader Swiss watchmaking ecosystem. On the plus side, it’s very pretty, so it’s worth spending an hour or two there before we aim for Biel – Switzerland’s watchmaking capital.

Biel (‘Bienne’ in French) and Grenchen are pivotal centres in Swiss watchmaking.

Biel has a horological history dating back centuries – and is the home of Christopher Ward’s atelier. The town is a hub for most watch brands with German-speaking staff – Biel sits on the ‘border’ between ‘French’ and ‘German’ Switzerland. A quick tour will take you past the Omega HQ and its museum, while Swatch Group has its base near the lake (warning: do not take a dip in winter!). And if you’re really keen, you can head out of town to see the Rolex movement factory – obviously, this depends on how enthusiastic your partner is. Up the road in Grenchen, you’ll find ETA, a significant movement manufacturer supplying numerous brands, showcasing the region’s crucial role in the production of movements.

Notable brands: None Notable suppliers: Biwi SA

Notable brands: Christopher Ward, Rolex, Swatch Group (which owns Omega, Longines, Tissot and Hamilton) Notable suppliers: ETA SA

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Day 3

Day 4

Day 5

LA CHAUX-DE-FONDS VALLÉE DE JOUX AND LE LOCLE La Chaux-de-Fonds and Le Locle are vital stops for those who want to discover more about the history of the Swiss watch industry, as you’ll find the Musée d’Horlogerie here. It’s not just about heritage, though – today, the towns are hubs for watchmaking education and training. And if movements are your thing, La Chaux-de-Fonds is the home of Sellita, whose calibres grace many Christopher Ward watches. If you visit, say hi from us!

Notable brands: Cartier, Zenith, Ulysse Nardin, and Tag Heuer Notable suppliers: Sellita

GENEVA

The Vallée de Joux (Jura Valley), which covers France and Switzerland, is a crucial region in haute horlogerie due to the locals’ expertise in crafting high-quality movements and complications. Since the 17th century, the Vallée has been known for producing intricate watch mechanisms, so it’s no coincidence that some of the greatest names in watchmaking have their manufactures here. But take a coat – at a height of 1,000m, the Vallée is one of the coldest areas in the border region.

If you’ve got even a passing interest in elite watchmaking, Geneva has to be on your road map – especially if you like your watches on the luxury side. The industry began here in the 16th century, when Protestant watchmakers came to the city, fleeing religious persecution elsewhere.

Today, it hosts the HQs of brands like Rolex, Patek Philippe and the Richemont Group. Geneva craftsmen work through the entire watchmaking process from design to finishing, with the city’s finest watches bearing the ‘Poinçon de Genève’ mark. Geneva also hosts the most significant watch events like GPHG (where the the Bel Canto recently won the Petite Aiguille catagory), as well as Watches & Wonders.

Notable brands: Audemars Piguet, Jaeger-LeCoultre, and Blancpain Notable suppliers: AROLA Alfred Rochat & Fils SA

Notable brands: Patek Philippe, Rolex, MB&F, and Vacheron Constantin Notable suppliers: Salanitro SA

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THE ULTIMATE 24

Nothing has shaped the modern world more than the motor car. For good and bad (and there’s a lot of both), it’s still the car’s world – we just live in it.

Away from the politics of the car – something that’s almost impossible these days – the car has been a vehicle(!) for the latest breakthroughs in art, engineering and technology. Now, a new book, The Atlas of Car Design, takes a deep dive into the history of the automobile.

Organised into seven regions – North America, Central and South America, Europe West, Europe East, Middle East and Africa, Asia, and Australasia – the book features 650 of the world’s most loved (and occasionally hated) motor cars.

All motorised life is here, from 1893’s Duryea Motor Wagon to the 1953 Chevrolet Corvette and up to 1970s and ’80s classics like the Volkswagen Golf, Mazda RX8 and Fiat 850m Spider.

As you’d expect, the most generous plaudits go to icons like the Jaguar E-Type, only the third car displayed in New York’s Museum of Modern Art. At the same time,

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the Aston Martin V8 finds itself sharing a page with the cubist Aston Martin Lagonda.

If you’re looking for inspiration on your next car (and you’ve had some luck on the lottery), you can read about the MercedesBenz 300 SLR ‘Uhlenhaut’ coupé, which recently sold at auction for $140mn.

This isn’t just a beautiful book but an insightful one, too. It’s written by journalist Jason Barlow and editor Guy Bird, with additional contributions from New York automotive writer Bret Berk. In all, more than 100 leading automotive designers, writers, and collectors advised on the selection of cars featured.

While the internal combustion engine’s days are numbered, the car isn’t going anywhere, so in another 20 years, we can look forward to volume two of The Atlas of Car Design.

The Atlas of Car Design is published by Phaidon, phaidon.com

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Page 24: Cadillac Eldorado Page 26-27: FIAT Spider; Chevrolet Stingray; Studebaker Avanti; Mazda RX-7 Page 28-29: Chevrolet Corvette; Buick Riviera; Jaguar E-Type

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Silicon Valley may be home to the world’s most innovative tech companies, but among its workers, a love of mechanical watchmaking has blossomed.

Here, Loupe investigates a very Californian love story

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mechanics Watches have always been symbols of prestige among certain groups.

For today’s young bankers, Pateks, Rolexes and Omegas reign supreme: symbols of wealth and taste that don’t draw too much attention in board meetings. Sports stars like Rafael Nadal and Cristiano Ronaldo often wear Richard Mille one-offs, while rappers and pop stars go for ultra-modded versions of the classics: witness Drake’s emerald-covered Patek Philippe Nautilus.

But one group you wouldn’t naturally associate with mechanical watches are digital workers or, to use the current term, ‘tech bros’. While Apple’s visionary boss Steve Jobs could afford the world’s greatest watch collection, he made do with a plain Seiko quartz three-hander that signalled nothing but the time.

Today, the situation has changed.

Silicon Valley tech bros are piling into watches in the way they piled into dot. com stock in the late ’90s. At the same time, newspapers and websites run pieces on the horological preferences of internet entrepreneurs (Jeff Bezos is an Omega man, for your information).

Left: Steve Jobs and his Seiko quartz watch Above: Apple HQ in Palo Alto, California

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So what happened? Anyone interested in watches knows the prices of Rolexes rocketed during the pandemic as people with an abundance of time and money weighed in on fancy timepieces.

Instagram was instrumental in this, delivering a stream of gorgeous watches at the swipe of a thumb, while YouTube became the place to find expert reviews.

Then there was the watch that many speculated would finish off the job on mechanical watches that the quartz crisis of the 1970s started.

“I think it started with smart watches,” says John Hsieh, a program manager in Silicon Valley and aspiring watch collector.

“Most people I know who weren’t watch guys or gals got into mechanical watches because they became used to wearing a watch but wanted something that wasn’t disposable and could be dressed up for formal occasions.”

Another watch fan in the Valley is Andrew Petrie, who produces video games for Netflix (though he’s also a distillery advisor). He believes the popularity of watches is down to several factors.

“Cynically, social media can play a part in it,” he says. “We’re constantly exposed to algorithms tailor-made to exploit our passions and keep us in a Stockholm-like

The Rolex Sea Dweller: as loved by John Hsieh

relationship with our devices. If you look at one watch on Instagram, your entire feed is filled with them. Each time dopamine fires into your synapses, that’s a potential sale.”

Both Andrew and John got into watches before the current trend began. John fell for a Rolex Sea Dweller an engineer wore in his previous oceanography career, while Andrew accompanied his dad as he scoured the pawn shops of the US looking for pocket watches. Both stress the importance of family in their hobby, with John keen to pass his collection on to his children. And it’s this emotional bond that the likes of the Apple Watch will never achieve. After all, even the most powerful new model will be redundant within five years.

“What drove watches becoming a ‘thing’ is that each of the last few SV companies I’ve been at already had an existing internal group of watch enthusiasts,” says Andrew. “Silicon Valley is full of geeks of every shape and size, and our shared love of watches is another gateway to fulfilling community connection. While some might like the juxtaposition of analogue versus

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digital, I find that’s only a piece of the puzzle. It can be summarised as a collision between passionate interests and a sense of community.”

In the same way that some tech bosses famously don’t let their children play with iPads or smartphones, tech workers buy watches because they perform only one function: telling the time.

No alerts. No heart rate monitor. No endless notifications.

“We live in a digital age where we’re constantly bombarded with ads and info,” says John. “So having a mechanical watch on my wrist is therapeutic – time slows down when I glance down and remember to breathe.”

This trend has been noticed at Christopher Ward’s Bespoke department, which works with organisations and businesses to create unique watches tailored to their culture.

“Our part of the business has seen a huge increase in tech workers purchasing from CW,” says Peter France, manager of CW Bespoke. “Over the last 12 months, we’ve worked with watch-collecting groups

“Silicon Valley is full of geeks, and our shared love of watches is a gateway to fulfilling community connection”

christopherward.com/bespoke-watches

inside some of the world’s biggest tech businesses. There’s something unique about creating a watch with their peers that they can wear daily but also a keepsake that reminds them of a period in their life. They like the affordability, too!”

The final word goes to Andrew Petrie.

“Mechanical watches are tiny engineering marvels,” he says. “There’s a romance to the art of watchmaking where form and function meet aesthetics in a way that resonates with me. A watch is a practical canvas that can serve a critical purpose or simply as a means to share your personality. That’s to say nothing of the historical significance of horology and timekeeping, which is endlessly fascinating.”

And you don’t have to work in Silicon Valley to understand that.

For more on CW Bespoke, go to christopherward.com/bespoke-watches

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Techni The Twelve range of integrated sports watches expands with a series of nature-influenced colours and the introduction of a 36mm case to The Twelve (Ti) chronometer

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For a timepiece inspired by the integrated sports watches of the 1970s, The Twelve has achieved that most modern of phenomena: it’s gone viral – establishing itself as an immediate fan favourite, exceeding all sales projections and garnering glowing reviews from watch bloggers and influencers.

Released in April last year, the watch wears its influences on its sleeve. The 12-sided bezel is a direct reference to the work of Gérald Genta, the designer behind iconic watches like Audemars Piguet’s Royal Oak and Patek Philippe’s Nautilus.

Its shimmering dial – made up of 3D representations of CW’s logo – is like nothing else on the market. At the same time, the slim, integrated bracelet delivers an elegant curve M. Genta would surely have approved of.

The Twelve was launched as a stainless steel model (‘The Twelve’), a titanium chronometer (‘The Twelve (Ti)’), and, in August, a 36mm version. Later in October, a 36mm luxury remix with a rose-gold bezel arrived – The Twelve Halo.

For many brands, this would be enough, but Christopher Ward is not a company

that’s easily satisfied. Which is why a new generation of Twelves is appearing in a range of colours (and sizes) – with most of the action happening around the titanium Twelve (Ti).

The theme is nature. A new 36mm Twelve will now be available in Frosted Lavender, while The Twelve 40mm welcomes a Mineral Blue version. Moving to titanium, the 40mm Twelve (Ti) will see an Aurora Green model, with the 36mm (Ti) adding Cosmic Purple, Lagoon Blue and Nardus Green to the stable.

“The demand for The Twelve has been incredible,” says Mike France, CW CEO and co-founder. “We released the 36mm steel version in August, and ever since, customers have been asking for the titanium model in the small size. I love all the new shades, but the Lagoon Blue Twelve (Ti) is very special.

It’s refreshingly... refreshing!”

William Brackfield is the designer behind The Twelve. He says the new colours for The Twelve (Ti) reflect those of the 36mm Twelve but with a more subtle version of the ‘fumé’ finish seen on the first set of titanium Twelves.

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“Perfecting the fumé for these watches was challenging,” he says. “We decided early on that for the 36mm (Ti), we wouldn’t take the fumé effect to black as on the 40mm. Instead, we’ve gone to a darker version of the base colour – something that matches the feel of the 36mm case a little better. It’s been an enjoyable project: normally, our more technical watches are upwards of 38mm, so a 36mm titanium chronometer has presented some interesting challenges!”

For Jörg Bader Junior, Head of Production at CW’s Biel atelier, the new watches are another example of how the combination of high-quality watchmaking, thoughtful design and realistic pricing has once again paid dividends.

“The Twelve family has been a huge success – about three times as big as we first thought,” he says. “With the new watches, we wanted to open up The Twelve (Ti) to more customers – so combining a smaller case and new colours makes sense. The COSC-certified movement is a big plus, too.”

All the team believe that The Twelve range, as with Trident and Bel Canto, will

“The Twelve family has been a huge success – about three times as big as we first thought”

be a ‘pillar’ collection for years to come.

There’ll likely be a chronograph and a ‘Concept’ in 2024 – but details haven’t been confirmed. For now, The Twelve is sitting pretty – an integral part of the CW family and bolstered by a variation of colours and sizes that make it appealing to everyone, whatever their gender or wrist size.

“Many people were surprised we followed up the Bel Canto with an integrated sports watch,” says Mike. “However, we like to surprise, and if the C1 Bel Canto demonstrated our ability to innovate, The Twelve shows just how good we are at taking a classic concept, giving it a distinctive CW signature and finishing it to an exquisitely high standard. It also reinforces our ethos of making the highest quality watches accessible to everyone.”

The Twelve (36)

The Twelve

The Twelve (Ti)

The Twelve 36 (Ti)

Open series

Open series

Open series

Open series

Diameter

36mm

Diameter

40mm

Diameter

40mm

Diameter

36mm

Height

9.95mm

Height

9.95mm

Height

8.95mm

Height

8.95mm

Lug to lug

40.8mm

Lug to lug

44.65mm

Lug to lug

44.5mm

Lug to lug

40.8mm

Weight

56g

Weight

65g

Weight

41g

Weight

34g

Case

Stainless steel

Case

Stainless steel

Case

Titanium

Case

Titanium

Dial colours Frosted Lavender Depth

10 ATM / 100m

Movement SW200-1 Auto Functions

Hour, minutes,

Dial colours Mineral Blue Depth

-20/+20 per day

Available

Now

10 ATM / 100m

Depth

Movement SW200-1 Auto Functions

central seconds Tolerance

Dial colours Aurora Green

Dial colours Cosmic Purple,

10 ATM / 100m

Lagoon Blue,

Movement SW300-1 COSC

Hour, minutes,

Functions

central seconds, date

Depth

central seconds,

Movement SW300-1 COSC

date

Functions

Tolerance

-20/+20 per day

Tolerance

-4/+6 per day

Available

End of Feb

Available

End of Feb

38

Nardus Green

Hour, minutes,

10 ATM / 100m Hour, minutes, central seconds

Tolerance

-4/+6 per day

Available

Coming soon

39

Root and branch

A beautiful new photo book about trees provides sustenance for the soul – and delight for the eyes

Culture that’s worthy of your time

It’s easy to take trees for granted. Walk outside your house, and if you’re lucky, you’ll see them – lining the roads, populating a park or providing shade and shelter in your garden.

Trees are nature’s great survivors: able to adapt and grow to secure sunlight while providing a home for countless other species. And via their roots, they even communicate with each other. There’s a reason they’ve been here for 370 million years.

That’s why Looking at Trees by Sophie Howarth is such an important book. In it, 24 photographers provide images of trees that are important to them, with an accompanying interview.

Every photograph is a winner – from Paul Hart’s hypnotic monochrome images (shot on a large-format camera) of an ageing pine plantation in Derbyshire to Marc Alcock’s picture of a seemingly stuckin-a-gale Hollywood juniper tree in San Francisco. Then there’s Anna Beek’s spooky forest scene with a felled branch gathering

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moss and Daniel Ballesteros’s incredible images of giant trees in the cityscape of Oakland, California.

“I can’t not photograph trees,” says Ballesteros. “When I look at trees, I see life and death. I see ages of history and glimpses of futures. When I look at trees, I see glacial-paced explosions. In the way that a fly’s life may seem brief to us, ours may seem brief to trees. They are the oldest, largest living things on the planet, and arguably one of the most intelligent.”

Something to bear in mind the next time you leave your house.

Looking at Trees by Sophie Howarth is published by Hoxton Mini Press, hoxtonminipress.com

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The travel book

The documentary

As I Walked Out One Midsummer Morning by Laurie Lee

Civilisation It’s been nearly 55 years since the BBC first aired Civilisation – its history series about Western art and culture. But watching it today, you’re reminded why it’s considered one of the greats of documentary-making – and why its effect is just as strong in 2024 as in 1969.

The programme’s format is distinctly old-school: art historian Kenneth Clark travels across Europe in search of artistic and architectural treasures, and then speaks to camera about them.

In the first episode, The Skin of our Teeth, Clark travels from Byzantine Ravenna to the Celtic Hebrides, before heading from the Norway of the Vikings to Charlemagne’s chapel at Aachen. His goal is clear: to show “how European thought and art were saved by ‘the skin of our teeth”.

Over the series, Clarke tells the story of European civilisation through its cathedrals, castles, sculptures, paintings, poems, books and philosophy – ending up with the industrial revolution, Isambard Kingdom Brunel and the abolition of slavery.

The series was commissioned by David Attenborough when he was in charge of BBC 2 and uses the then-new colour TV technology.

Best of all, you can watch every episode of Civilisation for free right now on YouTube.

If you went to a British state school, there’s a chance you’ll have read Laurie Lee’s childhood memoir, Cider With Rosie. But for those who love travelogues, especially ones that are also coming-of-age books, As I Walked Out One Midsummer Morning is as good as it gets.

It begins in mid-1930s England. Leaving his home in the Cotswolds for London with only a violin for company, the 19-year-old Lee works on the city’s building sites before buying a one-way ferry ticket to Spain (on the strength of knowing the Spanish for “A glass of water please”).

Busking with his violin to earn money, Lee travels from Vigo on the north-west coast down through Castille, León, Madrid and Andalucia until he reaches Spain’s southern tip.

On the way, he encounters proud young men, brass bands, drunken Germans, murderous landlords and exotic (and irresistible) señoritas. Throughout, his writing evokes the joy of being young and in a previously unknown country.

“I lay on my belly, the warm earth against me, and forgot the cold dew and the wolves of the night. I felt it was for this I had come; to wake at dawn on a hillside and look out on a world for which I had no words, to start at the beginning, speechless and without plan, in a place that still had no memories for me.”

In the book’s second part, Lee becomes aware of the political turmoil between the socialist government and fascist rebels led by General Franco. Which is why As I Walked Out… ends, not with a fond farewell to Spain, but a promise to return to fight for socialism. Something which you can read about in the sequel, A Moment of War. 42

I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert. Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command Tell that its sculptor well those passions read Which yet survive (stamped on these lifeless things) The hand that mocked them and the heart that fed: And on the pedestal these words appear:

The poem

“My name is Ozymandias, King of Kings: Look on my works, ye Mighty, and despair!”

Ozymandias

by Percy Bysshe Shelley

Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.

Shelly’s Ozymandias brings together two elements that feature in this issue of Loupe: the possibilities of travel and the ephemeral nature of humanity (and our achievements).

The poem begins with the narrator meeting a traveller who tells him about a fallen, colossal statue in a desolate desert.

First, he describes the statue – that of a long-forgotten king with a “wrinkled lip, and sneer of cold command” – before reflecting on how the statue is now alone and forgotten in the vast expanse of sand.

Something for us all to remember as we strive to stamp an indelible mark on the world.

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Less metal.

Same mettle.

When asked for feedback on the C60 Trident, our Forum said “…make one that still gets noticed, without feeling its presence as much on your wrist.” This new C60 Trident Pro 300 is the result. Same widths. Same lug-to-lugs. Yet an average 1.75mm lower profile across the range. By using a sapphire case back, it’s an average 14.67g lighter, too. This means its depth rating is now only as good as a Submariner. To compensate: we’ve added extra lume, a new bezel and an optional screwed-link bracelet. Plus actual compensation of £94 average saving. Less. And more, then?

Do your research.

christopherward.com

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Great watch-wearers

as Sam ‘Ace’ Rothstein Could a pair of watches be any more ‘Las Vegas’ than the Piaget Polo and the Bueche Girod (Ref: Y9624)?

Both are prime examples of a specific type of bling worn

by Robert De Niro’s Sam ‘Ace’ Rothstein character in Martin Scorcese’s 1995 film, Casino.

To say Rothstein, boss of the Tangiers casino in Vegas, is an extravagant dresser, is an understatement. During the film, set in 1973, he wears 70 different outfits – with prime colours, wide lapels, pointy shoes and flared trousers to the fore. It shouldn’t be a surprise then that Ace – who manages the casino for the Chicago mob – wears watches that are as fabulous as his clothes.

Being a Vegas casino boss is not without its risks. In one scene, Ace is the victim of a car bombing that nearly brings his career to a sudden end. Director Scorcese amps up the tension before the explosion with a shot of Ace wearing a wristwatch in white, yellow and rose gold with diamonds down the sides of the dial. This is the Bueche Girod (Ref: Y9624).

Founded in 1947 by watchmaker Vital Bueche, Bueche Girod had a reputation for making movements as well as watches – producing calibres for brands like Bulova. But it’s Ace’s watch that catches the eye.

By today’s standards, the square dial is tiny – and encased entirely in the herringbone bracelet. It’s no surprise Bueche Girod was best known for making gold women’s watches with gemstone dials, though the brand was also championed by another Las Vegas legend with ‘friends’ back east – Frank Sinatra.

Rothstein’s second piece is the Piaget Polo [pictured], designed as a ‘watch bracelet’ by Yves Piaget in 1979.

When Ace turns up to have a ‘quiet word’ with deadbeat crook Lester Diamond (played by James Woods), he’s wearing a Polo with a stand-out red dial – accessorising his burgundy shirt and tie.

The Polo is very much a 1970s watch, with its style-first aesthetic, rose-gold construction and quartz movement – notably worn by Andy Warhol and Brooke Shields. Piaget’s Polo line is still going strong today, though recent models are more ‘Geneva’ and less ‘Vegas’ – more’s the pity.

As for De Niro? As a confirmed watch-lover, he’s worn everything from a vintage Rolex Submariner to a Breguet Classique 5197. But when it came to making an entrance in Casino, the Piaget Polo and Bueche Girod were a gamble that paid out handsomely.

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Column

It’s complicated Ken Kessler takes on the subject of watch ‘complications’ and separates the authentic wheat from the contrived chaff

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Addressing one of the axes I most love to grind, complications remain the single most misunderstood, misused, and misapplied of all the aspects of mechanical watch design – but especially watch marketing. The name itself is classic misuse of the English language by the Swiss, like ‘novelties’ to mean a new model instead of a whoopee cushion, because anyone with a half-decent command of the tongue would use the word ‘function’ or ‘operation’ instead.

For those of you new to watches, a complication is any function of a watch which goes beyond the basic telling of the time. In the truest sense, the only operations of a watch which are not complications are the displaying of the hours and minutes. From then on, it becomes cloudy especially if your background is in PR, ie, a professional bullshit artist.

Sticking to the true meaning of ‘complication’, it applies only to operations which have a timerelated role, the most obvious being the seconds. To give you examples of added functions which most categorically are not horological complications but which are added by hype merchants to the tally, altimeters found on pilot’s watches and depth gauges on diving watches do not qualify as they have nothing to do with time-telling, however clever they may be.

From showing seconds onward, there are dozens which can be counted. Originally, they had useful roles, such as showing the phases of the moon, which aided farmers, sailors and others (like women) affected by monthly phenomena. The assorted striking or audible complications, such as found in Christopher Ward’s awardwinning C1 Bel Canto, were conceived to allow people who are not sighted to hear the time, or to learn the time in the dark before electric lighting was invented.

Among the most prevalent and popular are stopwatch functions as found in chronographs, apparently first devised to time horse races. [These are not to be confused with chronometers, which are watches tested for accuracy, and usually certified. Chronometer status is not a complication to add to the list.] But hands down, the most popular complications are date-related, for the obvious reason that we all need to know what day it is.

Enough complications exist to allow watchmakers to describe their timepieces as having the most. One company was so desperate to be the leader in this field that it counted some complications twice and even included the ability to set the hands as a complication.

Duh. And double “duh” to the moron hacks who believed the hype.

Perhaps the most grave of all the abuses is the ‘tourbillon’, which most categorically is not a complication because a tourbillon is part of the train and it does not provide a time-related display. Even 60-second tourbillons which have little hands or pointers added to them to indicate active, real-time seconds are still tourbillons. It’s the hand itself which is the complication – not the tourbillon per se. Sorry for the pedantry, but as you can tell, I am not a fan of the watch industry beating people over the head with their farkakte tourbillons. Far more impressive an achievement in horology would be keeping prices down.

Rant over.

As for complications I consider to be of any use, even those are moot because the world is filled with these things called apps. They have replaced every single function with greater accuracy and convenience than could ever be achieved mechanically. Long before apps became a reality, companies like Casio could cram more complications into a wristwatch that any would-be Breguet or Huygens could

A complication is any function that goes beyond telling the time

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ever imagine. Last year I bought a Timex for under £100 that has a built-in compass, air- and water-temperature and tide indicator as well as full illumination of the dial, plus the usual time keeping components. One-hundred pounds barely pays for lunch for two in London.

That said, I am partial to and collect types of complications. I no longer consider date to be an extra, with or without day of the week and month. Their omission, however, is necessary in many cases (when cost isn’t an issue) because they take up space on the dial.

If a manufacturer is producing an elegant, minimalist timepiece, one can go so far as to displaying just the hours and minutes without numerals or indices, as with the milestone Movado Museum Watch. True minimalism? A single-hand display as found on a Meistersinger.

circuits are stabilised before the music emerges. I also use a chronograph when I'm cooking something complicated, where timing is crucial.

Then we come to GMT, which remains arguably the coolest of all complications as it portrays the wearer as a seasoned traveller. As my roaming has gone from about 20 trips a year to (hopefully) none, and most of those were only a one-hour shift to Europe, my needs for a GMT are hardly compelling. One has to be a certified cretin to not be able to add an hour to the time when visiting Paris for a weekend, or slumming it in some tacky resort in Spain.

What a GMT offers is the ability to see both your destination (local) time and your home time at a glance, useful so you don't wake your partner at an ungodly hour. As with chronographs, there are myriad variations on GMTs, the ultimate being the ‘world timer’, which trades off the instant legibility of a two- or even three-zone GMT for a more crowded dial that gives you all of the world’s time zones at a glance.

You still set the watch to indicate home time or local time, but instead of an extra hand pointing to a second time zone, the entire dial or bezel is moved according to the number of hours between the time zones. The primary indication is your selected city, home or local. A classic example is the Tissot Heritage Navigator born in the 1950s, which had 24 major cities’ names spreading out radially from the centre of the dial.

Naturally, world timers are more complex to produce and thus cost more. It’s arguable, unless you have homes in three or more cities, whether or not you need to know the time in all 24 zones. Then again, for a high-flyer concerned with the opening times of the various stock markets, a world timer might be a necessity rather than a luxury. For the rest of us, as travel returns to pre-Covid normalcy, a GMT will do.

The ‘GMT’ function remains arguably the coolest of all complications

For me, the most useful complications are the aforementioned chronographs and GMTs. Dealing with chronographs first, there are so many flavours that whole books have been written about them. The minimalist version is the single, simple operation as found in the Omega Chronostop. It has no subdial counters and only three hands, one of which can be left running as real-time seconds. Press the pusher and it flies back to 12 to become a one minute counter. Others add to the list of complications one can validly count include 12and 24-hour counters, 15-, 30- or 45-minute counters, split seconds, fly-back control, yacht timing and more.

As I am not a timekeeper at sporting events, how could I possibly have any use for a chronograph? In my other field, as a reviewer of hi-fi equipment, I often need it to measure how long it takes an amplifier to switch on if it has a ‘mute’ facility. I won’t bore you with details of that, but basically some systems don't produce sound when you switch them on to avoid a big thump coming through your loudspeakers. They also stay mute until the electronic

Timespan

In the 18th century, Paris was the centre of the enlightenment – the European intellectual movement that saw the age’s great thinkers dispense with the superstitions of the past, and replace it with a rapacious rationality and the answers to the world’s thorniest problems.

And the thorniest – and oldest – problem: Can human beings fly?

Up until 1783, the answer was no. Of course, there’d been attempts, most notably that of 11th century monk, Elmer of Malmesbury, who strapped wings to his back, and glided 201 metres from the tower of Malmesbury Abbey – breaking his legs in the process. But it wasn’t until French brothers, Joseph-Michel and Jaques-Étienne Montgolfier, got involved that manned flight became a reality.

Born into a family of paper manufacturers in 1740, Joseph was interested in aeronautics from childhood, and made his first parachute in 1775 – jumping from his house to the ground below. He then set his

sights on flight after observing that laundry drying over a fire billowed upwards. His next move was to build a small box from thin wood, covered with a taffeta cloth. When he burnt some paper underneath, it rose and hit the ceiling. He was onto something.

Joseph-Michel recruited his younger brother, Jacques-Étienne (born 1745), for his quest, saying: “Get in a supply of taffeta and of cordage, quickly, and you will see one of the most astonishing sights in the world.” The pair built a box three times larger than Joseph’s original, and on December 14th, 1782 launched it near their home in Annonay. Using hay as fuel, it flew over two kilometres.

The pair continued with their experimentation, swapping taffeta for silk bags in the construction, and on June 4th, 1783 in Annonay, demonstrated their invention in public – sending a balloon 2,000m into the sky, and travelling two kilometres.

Over the following months, JacquesÉtienne and wallpaper manufacturer

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Jean-Baptiste Réveillon constructed a huge balloon with a volume of 1,060m3 and sent a sheep called ‘Montauciel’ (‘Climb-to-the-sky’!), a cockerel and duck into the air on September at Versailles in front of King Louis XVI. As the animals survived, the King allowed further work and on November 21st, the first manned flight was made.

Using a highly decorated balloon, pilot Pilâtre de Rozier, together with an army officer, the Marquis d'Arlandes, flew the craft nine kilometres at a height of up to 910 metres from the Bois de Boulogne park to the west of Paris to Butte-aux-Cailles outside the city ramparts. The journey took 25 minutes.

France celebrated – trinkets and souvenirs of the event still remain – and a new chapter in human history was written.

One that would see our species land on the moon less than 200 years after the Montgolfiers sent their beautiful balloon high into the sky above Paris.

Perpetual lunacy

The extraordinary new C1 Moonphase from Christopher Ward. A watch that tracks the moon for 128 years – without missing a beat. With an aventurine glass dial infused with copper oxide to represent the night sky. And a 3D ‘moon’ sculpted from Globolight© – a luminous ceramic – that precisely follows the real moon’s journey across the sky. A watch this advanced can cost up to £45,000. But the C1 Moonphase starts from less than £2,000. As someone once said, you don’t have to be mad to work here…

Do your research.

christopherward.com

Return Address Christopher Ward (London) Limited 1 Park Street Maidenhead Berkshire SL6 1SL United Kingdom CUSTOMER NUMBER

CBP011929

A small(er) watch for a big world, pg. 12.