The magazine of Christopher Ward. Issue 36. Spring 2025
In November 2022 we introduced the Bel Canto. Instantly making haute horology accessible. This subtly chiming timepiece caused a cacophony. And enormous demand. (The first 600 sold out in 8 hours.) Asked could we produce 5,000 annually, our Swiss CEO Jorg Bader Snr replied: “No. But we’ll find a way.” Because that is our way. Today, our supply chain is as fit for purpose as the gear chain of the new Bel Canto Classic. Which features a dressed-up dial. A dialled-down handset. And a gorgeous guilloché finish, with a precision only achievable (and affordable) using a femto laser. Outward displays, we like to think, of inward grace.
(Bel Can-)Do your research
christopherward.com
Loupe.
The magazine of Christopher Ward.
No country is more associated with the field watch than the United States. So, using the C65 Dune as our inspiration, we’ve created a magazine with a distinctly American flavour.
After Matt Bielby’s feature on Dune, Christopher Ward CEO – and lifelong Evertonian – Mike France interviews US architect Dan Meis about the field of dreams he’s designed for Everton on the Liverpool waterfront. Staying with grand works, we celebrate Italian director Sergio Leone and his use of the American landscape as the ultimate cinematic canvas.
If you’re after an in-depth watch article – and we’ll assume you are – Ken Kessler’s unmissable history of the field watch is the ultimate guide to the great American timepiece. And who better to be this issue’s Great watch-wearer than Kevin Costner? A man with his own field of dreams.
Enjoy the issue!
Maximum impact
Since the last issue, Christopher Ward has relocated from our 1 Park Street home in Maidenhead for a new HQ, just half a mile distant but a world away in every other sense.
The former solicitor’s office, with its famous yellow door, served us brilliantly for many years and seemed like a palace (which it was compared to our first home, a converted chicken shed!) when 18 of us turned up on day one.
But time and tide wait for no man, and so to 14-18 Bell (Bel Canto?) Street. We’ve worked hard to create a state-of-the-art space that encourages creativity and excellence, while retaining the sense of family found at Park Street.
Time will tell (sorry) if we’ve achieved this but when our longest-serving colleague, watchmaker, Max Paine, walked in for the first time with a huge smile on his face and declared, “Who’d have thought it?”, we knew there was a chance we had. Thank you, Max.
Mike & Peter
Editor: Anthony Teasdale
Art Director: Jamie Gallagher
Designer: Sam Burn
Photography: George Simms
The Yard, 14-18 Bell St, Maidenhead SL6 1BR christopherward.com
Latest news from Christopher Ward and
CW goes coast to coast!
Loupe talks to North America brand director Mike Pearson about taking Christopher Ward all over the continent
Hi Mike! Has it been a busy year?
You might say that! We’ve hosted over 40 events this year in over 30 different cities in 20 states, along with two Canadian provinces. It’s been incredible and humbling. Chicago or NY always stand out but so do areas that are naturally beautiful such Utah or Arizona, too.
What about your proudest moment?
Bringing CW to Tailhook aviation show in Reno. We met Navy pilots who wanted to talk to our Bespoke department about working with them to create oneoff pieces for their squadrons. I also had the honour of meeting General Austin Miller and thanked him for his service –and also for wearing Christopher Ward. This helped so many people discover us!
What’s the reception like when you turn up at an event?
The words I’ve heard at every one are, “Thank you”. So many attendees have followed our journey but hadn’t bought a watch because they wanted to see if we lived up to their expectations. We did!
A group in Austin called ‘WIS512’ fell in love with the Twelve (Ti) at an event last spring. They talked about making a group watch and also wanted to create a collection that could hold the memory of a friend that passed away. After our event, they trusted us to help them create an incredible watch – and each piece will carry the memory of @wristi forever.
What’s the reception been like for the Dallas showroom?
Amazing. People smile as soon as they walk in because the space “feels like Christopher Ward”. There are no glass cabinets that the watches hide behind, and because the space is appointment-only, everyone who walks in is treated like a friend. Our team – the amazing Trey and Taylor – have met over 200 people and every interaction has been unique. We can’t wait to welcome more people to North Dallas.
What are your goals for 2025?
Less travel for sure but I still have some places that I couldn’t visit this year such as Vancouver, Denver and parts of the Midwest. We’ll still be a big part of the Windup Watch Fairs and other tradeshows across the US and Canada. You’ll see a lot more of me!
The latest news from our Swiss HQ
In this issue, Jörg Bader Jr is joined by new supply chain director, Paul Wright
Fresh content hub at CW’s Maidenhead base
Work is underway at The Yard, Christopher Ward’s Maidenhead HQ, where a new broadcast studio is being fitted out to enhance the brand’s storytelling efforts. This exciting new space will support the creation of videos and other content to engage with watch enthusiasts and the wider horology community.
“The rise in podcasting and YouTube has been a revolution in the watch world,” says CW’s Patrick Gilbertson. “We’re excited to start making more content that shines a light on different departments within our watchmaking journey – from design and service to marketing and the showroom, as well as latest releases and broader industry topics.”
The studio will also serve as a collaborative space. “We’re looking forward to inviting our favourite watch content creators, partners, and CW enthusiasts to join us in conversations,” Patrick adds.
Co-founder & CEO Mike France emphasises the value of participating in the wider watch content ecosystem: “There's no more powerful medium than video content. I’m excited to not only host discussions in our studio but also appear on other platforms to connect with people I most admire in watchmaking. Whether it’s on our YouTube channel or in collaboration with external creators, we aim to be even more part of the vibrant conversation shaping our industry.”
JB: It’s not often we get an Englishman coming to work for the atelier in Biel, but we’re really happy that Paul Wright is here as supply chain director. We’re strengthening our quality, supply chain and assembly processes, and people like Paul are the skilled professionals we need in these critical areas.
PW: I’ve spent the last 30 years in design, sourcing, buying and quality control, and used to work with Mike France and Peter Ellis at their previous business, Early Learning Centre. After a period of consulting with CW, I joined the team in July.
JB: Despite the Swiss watch industry facing challenges, particularly in the 5003,000 CHF price segment where exports have dropped by 33 percent, demand for CW watches remains strong. That’s why Paul’s expertise is so vital.
PW: I hope so! I’m helping to develop the processes and systems for a bigger business, but most importantly, working with the teams and helping to grow them. I’m also involved in bringing the Biel and Maidenhead offices together so we can be even more efficient.
JB: It comes down to keeping our loyal customers happy. Without them, we wouldn't have a business.
PW: That’s why recently we’ve been running workshops to develop the processes CW will need to support the IT infrastructure we’re building as the company grows. And personally, I’ve been learning French. Though it’s very slow!
Letter from Biel
Christopher (A)Ward
Christopher Ward has won WatchPro’s ‘British Watch Brand of the Year’ for the second year in a row, beating off competition from Bremont, anOrdain, Studio Underd0g, Fears and Farer. Nominees were submitted by readers and retailers, with winners chosen by WatchPro editors.
The prize was awarded by WatchPro editor-in-chief, Rob Corder, and ex-England international and Rugby World Cup
winner, Ben Kay, and collected by CW’s PR and content manager, Patrick Gilbertson and communications executive, Andrew Collins. Andrew says, “We’re so excited to receive this prize, because it shows that the brand is continuing in the right direction. And that’s down to the hard work of the team –and the support of our customers.”
Christopher
Ward launches ‘2% for
GOOD’ donation initiative
with two percent of sales going to charity
In the last financial year, CW donated £600,000 to various charities, such as Blue Marine Foundation, Everton in the Community, David Shepherd Wildlife Foundation and the Alexander Devine Children’s Hospice in Maidenhead.
Now, with the new ‘2% for GOOD’ initiative, the company pledges to donate at least two percent of its sales to good causes.
The four areas targeted are: environmental conservation; health and wellbeing; future generations; and community. Plus, a fund to support smaller organisations with grants.
Peter Ellis, CW co-founder, says: “For years, we’ve quietly given two percent of sales – not profits – to charity, but most people had no idea! Through ‘2% for
GOOD’, we’re not looking for glory, but we want more organisations to be aware of it, so we can help support causes that might fly under the radar.”
Mike France, co-founder and CEO, says seeing the positive impact CW has helped to make with organisations like Blue Marine and the David Shepherd Wildlife Foundation is something he’s proud of.
“We’ve always felt a responsibility to support causes that are close to our hearts, such as combating climate change and the Alexander Devine Hospice,” he says. “We’ve now enshrined the approach so that we’re committed to the 2% for GOOD campaign and know that our colleagues and customers appreciate it.”
christopherward.com/2-for-good
For the second year in a row, Christopher Ward received a nomination for a GPHG award, the ‘Oscars’ of the watchmaking world.
The C1 Moonphase, released in October 2023, was shortlisted in the ‘Challenge’ category for watches with a retail price equal to or under CHF 3,000. It was up against pieces by Furlan Marri, Beaubleu and eventual winner, Otsuka Lotec, whose ‘No.6’ watch resembles a 20th century analogue metering device.
Christopher Ward co-founder Peter Ellis says: “After winning a GPHG in 2023 for the Bel Canto, it would have been fantastic to make it two years in a row. Sadly, that wasn’t to be. However, the Otsuka No.6 is a worthy winner, and we’re proud to be the first British brand to receive back-to-back nominations.”
In related news, the C1 Moonphase is now available in a smaller 37mm size. Find it now on the Christopher Ward website.
Another GPHG nomination! British Watchmakers’ Day returns!
After the first event’s success last year, the second British Watchmakers’ Day will take place on March 8th at Lindley Hall, London – and Christopher Ward will be exhibiting.
The event is organised by the Alliance of British Watch and Clock Makers, a non-profit trade body set up to promote and foster the growth of UK horology. If you join as a ‘Club’ member, you’ll be entitled to two free tickets for British Watchmakers’ Day and a host of other benefits.
Christopher Ward is a founding member of the Alliance, and in 2024 created a special edition of the C1 Bel Canto for BWD, with all profits going to the organisation. As well as CW, this year’s exhibitors include Fears, Duckworth Prestex, Studio Underd0g and William Wood – many of whom will create one-off timepieces for the day.
Christopher Ward CEO Mike France is a co-founder of the Alliance and believes British Watchmakers’ Day is becoming the go-to exhibition for UK watch-lovers.
“Last year’s event was such a hit with both brands and fans, there was no question that we’d organise another one. And if you join as a Club member, not only will you receive free tickets to British Watchmakers’ Day, but you’ll also be playing your part in the rejuvenation of British horology.”
Join the Alliance of British Watch and Clock Makers at britishwatchmakers.com
A community that cares
The Christopher Ward forum isn’t just a place for watch enthusiasts to connect: it’s also a supportive community where members show extraordinary kindness to one another.
Turning to the Christopher Ward forum for advice, Paul shared his story. Two members immediately stepped up to help. The first, Nigel (‘StrapMeister’), provided the correct titanium bracelet for Paul’s Trident. On learning the full story, Nigel even refunded Paul’s payment.
Two members of the Christopher Ward forum show the true meaning of friendship by helping another member in his time of need
Recently, Paul, a forum member, shared a deeply personal story. While his father was on holiday in Spain with his wife and friends, tragedy struck. His wife passed away suddenly in her sleep, leaving Paul’s father heartbroken.
“With help from the friends he was traveling with and some Spanish-speaking friends back home, he managed to get through the ordeal and return home,” Paul explains. “But once back, he was visibly struggling with daily life and coping with his loss.”
Not long after, his father’s beloved quartz Citizen watch, a gift from his late wife, stopped working, something that upset him even further. To help, Paul gave his father his own quartz Trident as a replacement. However, his dad preferred a bracelet over the leather strap it came with.
The second, Ryan (‘StrappedUp’), offered to repair the Citizen watch. He spent hours stripping it down and restoring it, refusing to accept any payment for his efforts. When the watch was ready, Ryan sent it back to Paul’s father along with a heartfelt handwritten letter. The gesture moved Paul’s dad to tears.
“Dad said I have great friends,” Paul says. “He was shocked to learn that Ryan and Nigel are strangers to me, though I consider them both good friends who I’d do anything for. I’ve told them that I can never repay what they’ve done for my dad, as it far outweighs any monetary value.”
Paul credits the forum itself for fostering such a remarkable community. “It’s these fine gestures that make the forum more than just a place to talk about watches. It’s fun, informative, and interesting – almost like a family.”
christopherwardforum.com
Release: 2025
Sometimes the best inspiration comes from collaboration.
And that’s certainly true of a watch that designer William Brackfield and his team are working on at the moment.
“Last year, we created something very special with another British watch brand,” he says. “And after seeing the reaction to it, both from customers and staff, we were inspired to use its DNA in a new timepiece.”
The watch, which is still very much in development mode, will see the return of one of Christopher Ward’s most loved complications.
Things to come
“If you know your Christopher Ward history, you’ll be aware that the watch which featured this particular complication is still one of our most requested releases,” says William. “We think this one will be even more popular! Without being specific, the dial will feature a deep-stamped pattern, giving it a series of peaks and troughs. And it’ll also have a closed back – something that customers loved on the Bel Canto.”
William is banned from revealing more – and we did ask – but with a release date later this year, you won’t have to wait too long until all is revealed.
WIn a fresh range of colours, and with an inspired new dial design, Christopher Ward’s Dune field watch is reborn – bolder and better than ever before
By Matt Bielby
ith cars, the old nip ’n’ tuck has been a fact of life since the Model T. A little freshen-up can keep customers interested; introduce new technology; reflect changing tastes. It can even fix rare moments of design madness – and yes, Ford’s Edsel, we’re looking at you. Other times, the facelift is simply a surrender to second thoughts, a desire to fiddle. Traditionally, Americans were the cynical geniuses of this: the revolutionary ‘TriFive’ Chevrolets of 1955, ’56 and ’57 are essentially the same car, but with different details – radically so in the case of the ’57, with its giant tail fins and, according to Chevy’s brochure, “rakish sweep of chrome”.
There’s no chrome on the new iteration of the C65 Dune, currently replacing outgoing models across the line, but there’s certainly something of a rakish sweep to the dials of the automatic and bronze versions – though not the GMT, for reasons that will become clear. The two new threehand models boast a three-dimensional horizontal ripple pattern, inspired not by wet beaches or the sea, but rather the fascinating curvy lines the wind itself creates in dry sand, not least at the giant Dune du Pilat on the French coast, where Christopher Ward found inspiration for the Dune in the first place. It’s the rare facelift done simply for the purposes of making everything better, and new versions feel more directly related to this environment than before.
The Dune, of course, is an elevated field watch, just as capable but a little less macho than its sister, the C65 Sandhurst: indeed, it began as a winning match between Sandhurst’s compact case and the smoothly retro Aquitaine dial and box crystal. As a luxury timepiece that’s happy getting its hands dirty, it always represented Christopher Ward at its most accessible and go-anywhere. Think of it, perhaps, as the field watch with the martial history stripped away, resulting in a mildly nostalgic yet of-themoment piece that speaks of outdoor adventure, engagement with the environment and no-nonsense practicality more than it does trenches and landing craft.
“The new Dune dial has no sharp corners: it’s undulating and organic”
And now, with these spectacular new dials, it becomes even more contemporary, and more its own unique beast: no less luxurious than before, but more outdoorsy somehow. With military black eschewed, and glittering details bejewelling it lightly, it’s both more polished and more rugged, the neatest of tricks.
“Three-dimensional textured dials are not something we’d done much before The Twelve,” says Mike France, CW co-founder and CEO, “But they’re fun and exciting, and can really bring a watch to life. The new Dune dial is very different to the Twelve’s, though: with no sharp corners, it’s undulating and organic.”
Unlike the Army-inspired Sandhurst, part of CW’s celebrated MOD line, the Dune uses everyday features familiar from much of the CW range – an exhibition caseback, for one – while the classic size makes it similarly perfect for almost any wrist.
“We recently created a limited edition Dune called ‘Shoreline’, in collaboration with watch magazine Oracle Time,” says watch designer William Brackfield. “There were only 100 pieces and it sold out super fast. Everyone loved its unusual colour – the grey of the British winter coast teamed with blue lume – and especially the evocative stamped wave pattern on the dial. The new Dune line takes that design direction and refines it, pairing the 3D rippled dial with improved leather straps, a new range of versatile, vintage-inspired natural colours, and subtle changes to the design itself.”
Some so subtle it may take you a while to spot them, in fact, but they include eliminating the glittering sunray finish from all colours, dropping the trident counterbalance from the seconds hand, and removing the date display – “it just feels better, more purposeful, and a more pure field watch without them,” William says.
What we have here, then, is a comfortable, versatile piece for weekends and downtime that’s happy to dress up for the week – rather than the other way around. Specs remain the same – power from Sellita’s SW200-1, SW200 COSC and SW330-2 in the auto, bronze and GMT respectively, with all water resistant to 150m – as does the flat, traditional dial on the GMT, its four hands and raised outer dial ring deemed to make it more than three-dimensional enough already.
“The new Dune feels young, vital and all-weather,” Mike says. “Without being radical in any way, this is just a better, more cohesive and more distinctive watch all round. And that’s not just to do with the new dials and colours, but all the minor details too – the straps, for instance, are heavier, more rugged, and in less shiny colours; a tiny change, but it helps make all the difference.”
It was said of the Mini MkII that it “gave the customer virtually nothing… but enabled [British Leyland] to put up the prices.” Not so at Christopher Ward, where the watch is notably better yet the cost is the same: the Auto starts at £760, the Bronze at £975 and the GMT at just a fiver over a thousand pounds.
That’s right: you can get this antidote to the military field watch for well under £800: remarkable value for a remarkable piece.
The watch is notably better yet the cost remains the same
C65 Dune Automatic
The entry-level Dune may not have captured the imagination quite like its Bronze and GMT cousins, but we predict that’s about to change. This second iteration retains all the key virtues of the original – it’s muscular, yet not oversized; simple, but awash with pleasing detail – and adds new visual intrigue through its unusual rippled dial. The hit Sand colour scheme of the original is retained, but is now joined by three new shades, all flat and muted with an old school outdoor charm: Marram Green and Eve Blue are the sort of shades you might find on a Series 1 Land Rover, while Silica Grey is reminiscent of offseason British wetlands. The guys have had fun with the lume, too: it’s Light Old Radium on three of the colours, but a striking pale blue on the Eve – inspired, naturally, by the winningly off-the-wall choice made for the original Shoreline.
Technical
Movement: Sellita SW200-1
Case: Steel
Bezel: Steel, fixed
Diameter: 38mm
Height: 11.9mm
Weight: 55g
Strap width: 20mm
Lug to lug: 43.7mm
Water resistance: 15 ATM / 150m
Timing tolerance: -20/+20 seconds per day
Power reserve: 38 hrs
Dial colours: Eve Blue, Silica Grey, Sand, Marram Green
Price: £760 leather strap, £915 bracelet
C65 Dune Bronze
The trend for bronze cases continues apace, but it rarely looks quite as right as it does on a field watch, where a brawny sense of history feels at home, and each change to the unique protective patina is worn like a badge of pride. This most alive of metals is here teamed with a chronometer-standard COSC movement – the only one in the regular Dune line-up – while the rippled dial is rendered in a choice of Dusk Brown or Marram Green, subtly muted colours with a gradient that gets lighter as you head towards the centre of the dial.
C65 Dune GMT
If there was ever a watch that suited the GMT complication, it’s the Dune: robust, under-the-radar and strikingly handsome, it’s the globetrotter’s companion par excellence. With its bold second time zone hand and distinctive raised-and-coloured outer ring on the bottom half of the dial, it’s the only new Dune to lack the distinctive rippled dial – “It would have been just too much on such a compact watch, what with so many extra elements already going on,” Will says. Now coming in two cool colourways: Sand and Eve Blue.
Technical
Movement: Sellita SW200 COSC
Case: Bronze
Bezel: Bronze, fixed
Diameter: 38mm
Height: 11.9mm
Weight: 57g
Strap width: 20mm
Lug to lug: 43.7mm
Water resistance: 15 ATM / 150m
Timing tolerance: -4/+6 seconds per day
Power reserve: 56 hrs
Dial colours: Dusk Brown, Marram Green
Technical
Movement: Sellita SW330-2
Case: Steel
Bezel: Steel, fixed
Diameter: 38mm
Height: 11.9mm
Weight: 56g
£985 on leather, £1,290 on bronze bracelet
Strap width: 20mm
Lug to lug: 43.7mm
Water resistance: 15 ATM / 150m
Timing tolerance: -20/+20 seconds per day
Power reserve: 56 hrs
Dial colours: Eve Blue, Sand
Price: £1,005 on leather, £1,160 on bracelet
Field of dreams
Dan Meis is the architect behind Everton’s new stadium on the banks of the River Mersey in Liverpool. We speak to him about his vision for what will become an icon of English football
The drive from Everton’s Goodison Park ground to the new Everton Stadium at the Bramley-Moore dock on the River Mersey takes around 10 minutes. But it might as well be a universe away.
While Goodison, one of England’s most famous Victorian football grounds, has been built up piece by piece over the years, Bramley-Moore is a cohesive arena that looks to the future while paying its respects to the past. And as part of Christopher Ward’s partnership with the Toffees, it will also play host to the company’s first showroom in the north of England.
The man behind the stadium is American architect Dan Meis. One of the most experienced practitioners in sports architecture – he’s designed the likes of the Staples Center in Los Angeles and the Paul Brown stadium in Cincinnati – Dan prides himself on making fans an integral part of the matchday experience.
Here, Christopher Ward CEO – and Evertonian – Mike France talks to Dan about his early influences, the ethos behind the new stadium and why he’d love to have a role at the club in the future.
Mike France: Hi Dan! First, can you tell us about yourself?
Dan Meis: I grew up in a small town in Colorado. My parents owned a little bakery and coffee shop in town. A new high school was being built, and they displayed the model of the school in our bakery. I’d see this model and I’d take the roof off. It was just amazing to me that there was a job where you got to do this. From the age of 10, I wanted to be an architect.
MF: Did you go to college?
DM: Yes, I went to one in Boulder, Colorado. The father of my roommate was a developer in Chicago, and he invited me to come to the city for the summer. That was an ‘a-ha’ moment for me, as he said, “If you want to be an architect you need to come to Chicago”. In the end, I transferred to the University of Illinois, then ended up working for Helmut Jahn,
“From age 10, I wanted to be an architect”
a German architect, who was making a lot of skyscrapers at the time. He drove a Porsche and was a dandy, wearing incredible clothes: he’d even been on the cover of GQ! I was intrigued by him – and it was the job with him that launched my career.
MF: Where did you go next?
DM: I wanted to design big buildings that had an impact on cities. Someone told me about Kansas City, where there was a small firm that had been hired to design what became the stadium for the Kansas City Chiefs and the Kansas City Royals. At the time, the late 1960s, early ’70s, they were designing doughnut-shaped stadiums that you could play both baseball and football in. And they became experts in stadium design, so everyone stayed in Kansas City, and it became a centre of excellence.
MF: What was the first sports stadium you worked on?
DM: Ironically, it was the Manchester Arena above Victoria station, which at the time was the largest arena in the UK. I think we did it in 1990 for the city’s Olympic bid. It was great to be an American working on a project in Britain.
MF: What was the attraction for them?
DM: From a US perspective, the country has always exported its expertise. American architects knew that sports stadiums could also bring in revenue, whereas in the rest of the world it was just about getting enough seats around the pitch. So I was lucky to work in places like China and Japan because they didn’t have this knowledge.
MF: Why did you want to work with a Premier League club like Everton?
DM: If you go to the Sofi Stadium in Los Angeles, where the LA Rams and the Chargers play, you’ll see it’s an incredible building. But I don’t love it, because there's constant noise and music, and it's almost like you don’t even know that there's a game happening on the pitch. That was one of the reasons that I was so drawn to the Premier League. The opportunity with Everton is that I really believe in the passion, the history of the game and the connection across generations. It's about what's happening on the pitch and the experience that will draw people in.
MF: How did the Everton job come about?
DM: I almost didn’t come to the first meeting, because I didn't think there was a chance that Everton were going to hire an American architect. My plane was late, the train had stopped en route and I knew I was going to be a couple of hours late, so I thought about turning around and going home. Then I met Robert Elstone, the CEO of the club at the time, and within that first meeting he talked about the cauldron of energy, about how fans were different here and that’s where it lit up for me. I quickly learned about what it meant to be an Evertonian and I fell for the club.
“I fell in love with the club from the beginning”
MF: You’ve invested an inordinate amount of your time and energy into this project. Why?
DM: I've designed several buildings with passionate fan bases. Before Everton, I was working with AS Roma in Italy and there are no crazier supporters. With Everton, I fell in love with them from the beginning. For me, Everton are a little like the Chicago Cubs, who had an incredible history. From the start of my career, the interaction with fans has always been compelling – and that’s the case with Everton. I explain it to my billionaire clients like this: “You may think you own this building, but you don’t. There are tens of thousands of people that feel this is their building and their home.”
MF: You cite chairman Bill Kenwright, who died in 2023, as vital in the project
DM: I’m a big defender of Bill Kenwright. A lot of fans haven’t always appreciated the things Bill did for the club but without him, this building wouldn't have happened and I certainly wouldn't have survived as the architect.
MF: Tell us about the early stadium designs
DM: The first concepts that I did – we didn't know about Bramley-Moore dock yet – had big exposed trusses and the stands were very quirky. I explained everything and Bill Kenwright was worried it would look old very quickly. What he wanted was to capture the energy, the passion of Everton and the history without looking dated. We threw the first model away!
MF: So without Bill, there’d be no new stadium?
DM: There’s absolutely no doubt about it. It was really responding to him that drove the vision and design. Robert Elstone [former CEO] was still at Everton and the look he gave me when he saw the model was, “Oh my God, we’ll never be able to afford that.” And Bill said, “That’s it. That’s what we need to do.”
MF: What makes the ground so special?
DM: Every decision we made in the design process came down to the fact this is about putting football and experience first. It's about placing the fans right on top of the pitch. Other than maybe golf and tennis, there aren't many sports where the fans affect the outcome of the game the way they can in football.
I remember there was an early meeting with one of the club’s former managers and he suggested putting the away fans behind one of the goals. I said “No!” You don’t give up an end to visiting supporters because you’re losing a big advantage.
MF: The south stand, where the most vocal home fans will gather, seems like the perfect ‘end’. Tell us more…
DM: The south stand is a steep, soaring monolith, but behind the seats, on a concourse populated with bars, is an enormous window offering a spectacular view of the river, the Wirral and the city of Liverpool. It's one of many ideas which will make the new stadium unique. That idea of the big window behind the home end, that was there from the very beginning. What we didn't know was whether it could really fit in this direction – I was afraid we had mismeasured. There were lots of nights when I woke up and thought, “Go and check those dimensions because if it turns out that the pitch is too big.” But it just worked out.
MF: Can you sum up your time with Everton?
DM: The hardest thing for me is I don't want it to be over. I’m gonna beg my way on to some sort of board position or something because I want to stay. I want to be connected to the club because I care so much about everything going forward. Throughout my career I’ve built a lot of exciting buildings. And I think the Everton stadium is going to be my best example. It’s evocative of the history of this incredible club and the people. It's evocative of this incredible site in the history of shipbuilding and all of the things that happened in the city’s docks. And of course, evocative of Liverpool itself.
The Italian’s job
A new book pays tribute to Sergio Leone, one of the 20th century’s most visionary film directors
It’s ironic that the director who rendered the United States better than anyone else was an Italian. But Sergio Leone, whose films include For a Few Dollars More, Once Upon a Time in America and The Good, The Bad and the Ugly, was not a man constrained by geography, culture or language. For him, there was only cinema.
Now, a comprehensive selection of Leone’s writing and interviews have been combined with previously unseen images, movie posters and sketches in a new book, Sergio Leone: By Himself. Edited by Leone’s biographer Christopher Frayling, the book shows how Leone’s obsession with the greats of cinema helped him develop a style that was both intimate and, well, cinematic.
In movies like The Good, The Bad and The Ugly, Leone’s long, tense close-ups, wide shots and eruptions of action are weaved together with collaborator Enio Morricone’s unmistakable scores. And while Leone found fame with his trio of ‘spaghetti westerns’, A Fistful of Dollars, For a
Few Dollars More, and The Good, The Bad and The Ugly, his purest cinematic visions came with two films that celebrated the home of cinema: 1968’s Once Upon a Time in The West, and Once Upon a Time in America (1984).
These are films that bring together the depth of the novel with the expanse of the greatest landscape photography and painting. And which tell, via their decades-long character arcs, the story of the United States itself. As Leone said: “My America is a land suspended as if by magic between cinema and epic, between politics and literature; a very special zone of light ... Here, violence becomes almost an abstraction, and the hero is unaware of what Fate holds in store for him.”
Sergio Leone: By Himself is published by Reel Art Press, reelartpress.com
Jones
In a unique collaboration between Christopher Ward and the esoteric Mr Jones Watches, the Moonphase is reinvented: wilder, weirder and more whimsical than ever
Keepi n g
Words: Matt Bielby
Now here’s fun: a moonphase watch, using Christopher Ward’s new 37mm Light-catcher™ case and in-house calibre JJ04, that looks like nothing you’ve ever seen. It is, of course, a limited edition collab between Christopher Ward and Mr Jones Watches, London-based creators of inventive, art-led pieces aimed at – among others – creative types who may not currently wear a watch at all.
Mr Jones pieces are often powered by quartz or simple mechanical movements – prices typically hover around the £250-£650 mark – making them a cool alternative to a G-Shock or MoonSwatch. But rules are made to be broken around here, so sometimes they get much more ambitious than that.
They also lean towards unconventional ways of displaying the time, often eschewing traditional hands and instead relying on numbers in hidden windows or stacked moving layers of transparent discs: the hour marker might be a drifting foot, or a falling leaf, or a wandering piglet, and the minutes a bird, a rubber duck or a UFO searchlight. Sure, these watches will tell you what time it is – in a charmingly imprecise fashion –but they’re also a dynamic mini-diorama you carry around.
The new collaboration makes use of a refined version of this system, so the happy cartoon moon does regular moonphase duties, accurately reflecting the appearance of our nearest satellite from earth. Meanwhile, surrounding 3D clouds and stars keep things dynamic, and little purple birds draw time-telling duties – the one near the dial rim is the minutes, and its slower inboard cousin the hours.
“Crispin Jones is a founding member of the Alliance of British Watch and Clock Makers, so we’ve known him for ages,” says Mike France, CW co-founder and CEO. “We’ve supplied him with jumping-hour
movements before, and had always wanted to work together again. That really started to come together in November 2023, and we soon settled on our Moonphase as the starting point – it just seemed the perfect platform for whimsy.”
Mr Jones Watches began in 2007 as a one-man band, but these days Crispin has a couple of London workshops where they make watches in-house, plus a cool shop in Covent Garden. For this new collaboration, they’ve contributed the amazing visuals, while Christopher Ward screws the watches together. The end result is a very special twist on the established and much-admired C1 Moonphase 37, but with that glittering aventurine dial replaced by something more droll and mischievous.
“Their process is very different to ours,” says CW watch designer William Brackfield. “Normally, we’d have markers and hands, but they’re coming from a very visual side. The end result is like a painting – but in a watch.” This has been the best sort of joint endeavour, then – one where both sides learn from the other.
“We hosted the Christopher Ward team at our workshop in February 2024,” Crispin says. “Things quickly coalesced around us working on a moonphase. But we soon realised we’d be doing things we’d never attempted before, like use luminous elements or print onto the tight inside curve of a box sapphire crystal – we normally use glass with a flat underside.”
Mr Jones works with an international range of artists, though many designs are actually generated in-house.
“Initially, I thought I’d do the art myself,” Crispin says. “I worked up some ideas, but honestly I didn’t feel they were good enough. So we threw it over to an internal competition. Everyone was invited to take part, and in the end we received 18 submissions, meaning half the company took part. It doesn’t hurt that many people come to us from fine art or illustration degrees.”
The winner was Bea Watts, lead watch assembly technician at Mr Jones’s Camberwell workshop. Bea creates her art digitally, favouring clean, bold linework, saturated colour palettes, and quirky and vibrant imagery – highly stylised characters, like this calm and contended moon, are her signature.
“My design celebrates the beauty of the night sky in a playful way,” Bea says. “I was inspired by the magical feeling of sitting outside to watch the sunset, and staying there till day transitions into night.
“The moon begins to appear in the sky, swallows swoop and dive through the air, and in my design, you’re transported into the air, too, hovering above a blanket of clouds. It’s a cosy, secret space from which to stargaze; my design captures a feeling of comfort and quiet, and encourages you to appreciate the fleetingness of a certain moment.”
A remarkable piece, then, and perhaps the start of an ongoing relationship between the two companies. “I’m really proud of how it’s come out,” Crispin says. “It’s been challenging and stressful at times, but it represents something neither of us could have come up with on our own.”
Make sure you’re signed up to the CW mailing list to be the first to hear further announcements about this collaboration
Crispin Jones and Stanley
“My design captures a feeling of comfort and quiet… and encourages you to appreciate the fleetingness of a certain moment”
Laura McCreddie-Doak
From Rolex’s emoji watch to Christopher Ward’s Desk Diver, brands are finding a sense of fun with surprising results
Words: Laura McCreddie-Doak
You’d be forgiven for wondering if something other than coffee is being drunk in the boardrooms of some of the watch world’s major players. Two years ago, Rolex shocked everyone by turning its iconic Day-Date – the timepiece known as the ‘president’s watch’ – into an emoji watch.
Instead of days in the aperture at 12 o’clock, there were inspirational words such as ‘love’, ‘happy’ and ‘gratitude’. In place of numbers, the date window showed one of 31 emojis. The dial was a colourful jigsaw, the hour markers baguette sapphires in boiled-sweet colours.
And Rolex wasn’t alone. TAG Heuer took its Carrera, a watch named after the high-risk Pan-American race, and gave it
a Barbie-pink dial, which Ryan Gosling duly rocked on the similarly pink carpet during the Barbie press tour.
Not wanting to be left out, the brand that always brings the fun, Oris, turned its ProPilot green and stuck Kermit’s face on the date window for the first day of the month. Frederique Constant, arguably one of the most buttoned-up brands, teamed up with enfant amusant Romaric André and gave its elegant Slimline Moonphase the seconde/seconde treatment.
Frederique Constant wanted to communicate its watches were hand-assembled, which resulted in a dial that looked as though it had been assembled by the hand of someone three sheets to the wind. Indices were all askew and the numerals
around the moonphase, the moonphase itself, and the brand’s logo looked as though they were drawn by a child.
Even Chanel, a company associated with a certain style of Parisian insouciant coolness decided to use their first inhouse, watch-sized automaton movement to animate a cartoon version of Mlle swinging her hips and sniping with her scissors. The message is clear – fun is back on the watchmaking menu.
If you’re looking at something 30 times a day, shouldn’t it make you smile?
“The watch market has been on a journey over the last five years as a younger and more trend-hungry type of collector has entered the market,” says Christy Davis, co-founder of Subdial, the analysis-based, pre-owned watch retailer. “It’s become less like the art market and more like the trainer one. Trends appear more quickly and interesting stories are being created or unearthed around periods of watch design that have hitherto been ignored. Collectors are no longer limited to vintage Rolexes – there are pockets of collectability popping up
everywhere, and at a much wider range of value points. It’s now possible to buy a £1-2k watch and expect it to hold its value in a way that never used to be possible.”
Christopher Ward has been the latest brand to succumb to Romaric André’s cheerful charms, turning its C65 Aquitaine into a tool for office survival. The Desk Diver – the name itself a wry side-eye to those who wear diving watches to sit at their desks – is designed to help you apportion the working day.
On the periphery of the dial is a ring with daily office activities listed on it, such as ‘doomscrolling’, ‘meeting’ and – vital this – ‘power nap’. The watch also has a Post-it note above the 6 o’clock point, while once a month the date window displays a ‘coin’ emoji to signify the wearer’s been paid.
“Office life is actually way more dense, diverse and multifaceted than a bezel can express. So, we had to go for some ‘office
life’ clichés that we could leverage and twist,” says Romaric. “I’m not good at telling other people what to do so the point was not a motivational ‘Quit your 9-5 and chase your dream’ watch. But neither could it be a ‘Whoa, we had so much fun during the last corporate seminar!’ piece. Office life can make you feel like you’re brain-washed, but it can also empower you. I wanted to encapsulate those two vibes in the watch.”
As for what is driving this emergence of fun watches, André thinks they’ve always been there but that the language has changed. He points to collectors who have everything from super-complicated traditional timepieces through ones he terms “conversation-starters”. “That being said,” he says, “we may be in a place where brands are now OK again to loosen up about what their ‘DNA’ is. Because the emotion and bond you have with a brand
Chanel’s first in-house automaton movement
The message is clear – fun is back on the watchmaking menu
also has something to do with its ability to surprise you.”
The question now is whether brands will continue to find outlets for experimentation or will revert back to the safety of vintage reissues, experimenting only with the odd dial colour change to match the seasons.
The signs are positive. Bell & Ross’s new BR-X5 Iridescent – with its shimmering rainbow-hued dial – is a sophisticated take on playful, while Richard Mille’s new RM 65-01, designed to celebrate the launch of McLaren’s W1 supercar, is a Fisher Price toy in haute horlogerie form.
The rising interest in the independent scene may well be the driver here. If people are turning away from the traditional to names more willing to experiment, then the industry grandes dames might just have to follow suit. After all, if you’re looking at something 30 times a day, shouldn’t it be something that makes you smile?
Below: Frederique Constant’s Slimline Moonphase collaboration with watch remixers, seconde/seconde
The Desk Diver
Culture that’s worthy of your time
Anthony Teasdale on why one Adidas football boot represents so much more than just great design
Boot boy
When I was 10, there were only three things I really wanted in my life.
The first was my parents to get back together. They’d just divorced and I was having to get used to spending half the week at my mum’s new house, the other half with my dad in the home I’d grown up in. Walking around with a vintage holdall filled with washed/unwashed clothes and schoolboy crap not only ripped my shoulder to bits, but also made me look like a member of a 1970s terrorist organisation.
The second and third things were more tangible, but just as unlikely to materialise: the Adidas Tango ball and the beautiful World Cup football boot.
At that age I was obsessed with football. I played it twice a week for the cubs and school, went to Anfield as often as my dad would take me (being lower-middle class I wasn’t allowed to go on my own yet) and devoured every appearance of the game, from Harry Carpenter’s Sportsnight to The Big Match on ITV.
But what I yearned for more than anything else was the World Cup to come around. And in 1982, it did.
For a month I gorged on the football played in Spain. Feasted on it. Indulged my passion for the game with a lust previously unknown to me. And at the centre of every game was the Adidas Tango, the most beautiful football in the world.
No one at the local park had a Tango. Usually we played with a battered ‘casey’, a leather imitation of the Adidas Telstar with the black and white panels peeled off, or even worse, an orange Tornado, a hard, plastic job that gave you a dead leg when it clattered into your bare thighs on Saturday mornings. Tangos were for pros, not us.
And yet they could be bought. I’d seen one in the window of my local sports shop, sitting there, a vision of beauty, a galaxy away from anything I could ever afford. To make it worse, in the next display was that other great football icon of the age, the Adidas World Cup ’82 boot. It was torture.
The World Cup was just better than anything else around at that time. In fact, 43 years later, it still is. Not only did it have the softest upper, quilted around the toe for better torsion (apparently), it boasted a sole so beautiful I’d spend hours gazing at it.
Perfectly proportioned in red, white and black, at its centre was the Adidas trefoil, still the greatest logo in the history of sporting design. But, like the Tango, it too was out of my grasp – the price of £32 too steep for everyone but the most indulged of children.
It hurt me that at the moment when I needed them most (and I did need them) the Tango and World Cup boot could never be mine.
Of course, time – and other things, like girls, music and now, watches – took away my yearning for these wonders, but they’d appear in my mind occasionally, reminders of an age when I was on the cusp of adolescence and wanted objects that reflected my changing status.
A few years back, I did what I’d always promised I’d do when I could afford it: I finally bought myself a pair of World Cups.
They sit in my wardrobe today, brought out for when I play one of my occasional games. The leather is as soft as I remembered (it’s kangaroo hide), the sole looks as timeless as ever and when I put them on, I get an inner glow that lasts for the duration of the match.
I haven’t got round to buying a Tango yet, but when I get a place with a garden it’s on the list. Right at the top.
I’m still working on getting the folks back together.
The book Stall order
London’s East End is, like Williamsburg in Brooklyn, a byword for what is known as ‘hipster’. A description that covers everything from industrial-chic coffee shops to posh people from the countryside dressing like carpenters.
The East End wasn’t always like this. In fact, for most of its history, this urban chunk, east of the City of London, has been home to immigrants and cockneys whose lineage goes back centuries.
If you travelled back to the area between the final decades of the 20th century, you’d find streets of derelict houses, scrap yards, mechanics and markets – lots of markets. And taking pictures was photographer Paul Trevor, who captured the shoppers, stall-holders and interested observers for 20 years between the 1970s and 1990s.
His best work has been collated in a beautiful photo book, Market Day. Here, you’ll find images of Brick Lane and Petticoat Lane markets from the time when you could buy a second-hand telly for £12, see tribes of grandmas on the lookout for bargains, and eagle-eyed traders trying to offload a sofa of ‘mysterious’ provenance.
Which, no doubt, have found new homes in the hipster coffee shops of the new East End.
Market Day is published by Hoxton Mini Press
Field trip
Ken Kessler looks at how the two world wars helped create the modern field watch
Pedants will argue about the origins of the ‘field watch’ as they will debate what it actually is. If you turn to the bible of watch definitions, G.A. Berner’s Dictionnaire Professionel Illustré de l’Horlogerie, it doesn’t even merit an entry: look up ‘field’ and it describes magnetism. But the field watch is as important a species as the thin dress watch, the bi- or tri-compax chronograph, the GMT or any other classic form.
In essence, there are three essential qualities. First, it has to be nearly indestructible. Second, it is invariably a time-only design because complications (aside from date) are unnecessary in the original context. The third is legibility in less-than-ideal conditions. Ultimately, a field watch is a tool watch, however chic it may be for civilian wearers, so make no mistake: the field watch is the Wellington boot of timepieces.
Note the use of the word ‘civilian’. The field watch’s roots lay in military usage. It’s generally accepted that the field watch dates back to the dawn of production wristwatches, pre-dating the Cartier Santos and Tank. The first field watches were pocket watches which had been modified with wire loops soldered to their cases to accept a strap or they were fitted into a circular leather case with straps, with a snap-closed cover to protect the glass.
This long-serving title, now an online publication, dealt with fishing and hunting, survival tips, camping and the accompanying paraphernalia. An associated, suitable-forthe-task wristwatch would have been a logical part of the accoutrements, but it might be a stretch crediting a magazine with creating a generic term, even if that magazine enjoyed circulation over a million.
While the field watch might have been born during the Boer War or World War I, it reached maturity not when wristwatches were still novelties but two decades later, during World War II. Between the wars, wristwatches had replaced pocket watches almost completely. By the late 1930s, they were standard issue for all of the armed forces on both the Allied and Axis sides.
Simplicity is the rule with field watches
It is believed that the earliest examples appeared during the Boer War of 1899-1902, but some argue that they came into their own during World War I, 1914-1918. Along with the aforementioned leather covers to protect the watches were metal grids which also provided safety for the easily breakable glass crystals, in the years before plastics or mineral glass became available.
Why, then, the use of the term ‘field watch’? Some have suggested it’s short for ‘battlefield’, apt given the military origins. Those who prefer a non-military slant, however, would suggest that ‘field’ comes from outdoor sporting pursuits as exemplified by Field & Stream, a magazine for sportsmen founded in the USA in 1895.
This is not to say that all military watches in the 1939-1945 conflict were time-only field watches. Among the specialised forms were pilot watches devised to be anti-magnetic and to aid navigation. For examples, Longines’ Majetek made for the Czech Air Force and IWC’s Pilot’s Watch (known colloquially as the Mark IX) looked like what we call field watches but with one slight alteration: both were fitted with a rotating bezel with an arrow to help set easily-viewed elapsed times or other markers. That function alone would disqualify them because simplicity is the rule with field watches.
What was common between 1940s time-only pilots’ watches and field watches were the small seconds, black dials and Arabic numerals. That could describe countless timepieces, but by the end of World War II, a specification emerged which defined the field watch for posterity, even if it wasn’t labelled as such.
As is now well-known throughout collector circles, with mainstream knowledge having been disseminated by Antiques Roadshow, near the end of World War II the British Ministry of Defence realised that there was a need for MOD-issued, rugged, waterproof watches for the infantry. A specification was created which will seem
familiar to those of you who wear field watches, the primary difference now being that automatic movements have all but eliminated manual winding, which also accounts for an increase in the use of sweep seconds instead of small seconds in a subdial.
In 1943-44, the specifications were established for watches that would be identified by the official designation of ‘WWW’. for ‘Wrist Watch Waterproof’, ‘Waterproof Wrist Watch’ or ‘Watches Wristlet Waterproof’, depending on the source (with the third possibly the correct one).
The MOD approached a number of Swiss and British manufacturers, with 12 accepting the commission.
With slight leeway in the specification, the various WWW cases measured between 35mm38mm. All had to be water-resistant, with 15-jewel manual-winding movements with Breguet overcoils. High luminosity was required, with white Arabic numerals on black dials. Subsidiary seconds were displayed at 6 o’clock, a broad arrow was printed on the dials and engraved into the casebacks, they were fitted with shatterproof Perspex crystals and all had fixed strap bars for cloth, canvas or leather straps.
All 12 watches looked virtually identical to the casual observer save for the company names on the dials and slight variations in hand shapes. Equally, the movements differed because nearly all of the suppliers made their own. Since 12 independent companies were involved, of varying levels of excellence, a pecking order of quality has emerged. The watches most coveted by collectors on quality grounds are those made by Longines, Eterna, Jaeger-LeCoultre, IWC and Omega, followed by Cyma, Grana (the rarest of them all) and Lemania, then Buren, Timor, Vertex and Record. Estimates of total production range from 130,000-150,000.
had been declared in Europe. Aside from manual winding and small seconds, a mint original WWW could pass for a brand-new, modern watch.
This has been proven by Vertex and Timor, two British brands which recently brought back their WWWs, Vertex’s M100 and M36 and Timor’s Heritage Field WWW. But the look isn't solely down to the MoD’s WWW specification. The Nazis had over 60 suppliers for similar field watches. Even greater numbers of Hamilton and Bulova’s A11, Waltham’s 6B, and watches from Elgin, Benrus, and other US suppliers were issued during the war, while Hamilton’s lasted into the Vietnam War into the 1970s.
It is the Hamilton which is the real link between the field watches of World War II and the current offerings. Hamilton produced a civilian version of the same watch issued to soldiers fighting in Vietnam for L.L. Bean. It looks exactly the same save for the company’s name on the dial, and I cherish mine as I grew up 15 miles from L.L. Bean’s store – open 24 hours a day, 365 days a year to ensure that hunters and fishermen need never run out of supplies.
Hamilton produced a civilian field watch
Hamilton later modernised the field watch to create its long-serving Khaki line, while Daniel JeanRichard produced an upmarket version with a tougher case called the Highlands. The latter with black or cream dial resembles a military-issue watch, but it was also offered in a range of dial colours, decades before the current craze.
As for their fame even outside of enthusiast circles?
A name cleverly conjured up by a genius collector some 60 years after the war had ended, the ‘Dirty Dozen’ is the collective label for these watches, which were delivered between May and December 1945 – ironically after peace
Tempted by an authentic-looking field watch but without the wear-and-tear of a vintage timepiece? Rolex’s never-out-of-production Explorer (1953) and its sister, the Tudor Ranger, represent the high end of field watches, while the Timex Expedition, Bulova Hack, Rotary Commando and Seiko 5 Sports Field the entry-level. Inbetween are the Longines Spirit, Hamilton’s Khaki Field, the Bremont Broadsword and the Christopher Ward C65 Sandhurst Series 2. It will prove to be as essential a part of your wardrobe as a pair of Levi’s or, indeed, Wellingtons.
When it comes to the quintessential 1990s American actor, no list would be complete without Kevin Costner. And, as with many US actors, he’s a ‘watch guy’ – though his taste has a strong bias toward America, specifically, the timepieces of Hamilton.
In the US TV ‘neo-western’ series Yellowstone, Costner as ranch owner John Dutton, wears a Hamilton Khaki Field Automatic, whose no-fuss design complements Costner-as-Dutton’s stoic, though ambitious, character.
The Khaki Field Automatic was developed in the 1960s, inspired by the field watches that soldiers wore in 20th-century conflicts (Hamilton began making military watches in World War I). The Khaki range managed to be both durable and practical, yet with enough glamour to make it attractive to civilians. Today, the range has expanded to include
chronograph models, with automatic, self-winding and quartz movements.
Yellowstone isn’t the only drama where Costner wears a Hamilton. In the 2014 movie, Jack Ryan: Shadow Recruit, Costner – as Ryan’s boss William Harper – wears a Hamilton Khaki Aviation Flight Timer. The watch is specially modified for the film with a 40mm steel case, Swiss ana-digi quartz movement, and sapphire crystal. It also features a chronograph, alarm, flight time recorder and perpetual
Costner isn’t just a Hamilton man. He’s been seen wearing everything from the Rolex GMT Master II to Omega’s Speedmaster and the Panaerai Luminor. But there’s something apt about the all-American actor wearing the all-American watch brand – even if Hamilton is now owned by the all-Swiss
Everywatch™
We designed the Sealander to do-anything and go-everywhere. With this new , the range now offers an anytime watch for everyone. Its perfectly proportioned, Lightcatcher™ (another trademark) case protects a precision
Sellita SW 330-2 Swiss movement, with 56 hours power reserve and dual time functionality. It sports highly legible, highly luminous indices and hands, contrasted against a black, white or dragonfly blue dial. Each Sealander is available on a wide selection of quick-release straps. Or you can opt for either our Bader Bracelet™ or Consort Bracelet™ (yup, more trademarks) or both. Neatly (and nattily) bringing us to its other complication: which Everywatch™?
