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Opening Soon The Peninsula Hong Kong

TEL (+852) 2735 7666 www.graffdiamonds.com

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editorial editorial director Olivier toublan deputy editor Madhavi Tumkur writer Priyanka Boghani contributors charles edmund, thierry parel, david olifson, Blue carreon, Philippe le be, Stephanie Cascino, Patricio Estay, Gilles Crampes, Han Hye jin, Yi Hyun Gu, Kim Young Geul, Jeon Joon Hyoung editorial assistant ashley lim art creative director davide butson-fiori senior art director julie man senior designers ken Li, jimmy wong in-house photographer jason to ma r k e t i n g & a d v e r t i s i n g general manager - SALES, GREATER CHINA RODDY YU business development director jennifer siu advertisement director coty lo advertisement manager angel wong sales and marketing manager kitty tam special projects manager lilian lau marketing and event manager mercia lo advertisement production assistants sarah ho, kelly ko Edipresse Asia GEneral manager, regional operations doris mui PRODUCTION director ANNE MOK assistant pRODUCTION manager vincent ma circulation director anil kumar

ceo and publisher barrie c goodridge

on the cover: watch: Franck muller double mystery, rings: franck muller, talisman collection photographer dbfiori

Published by Edipresse Hong Kong Ltd Edipresse Hong Kong Ltd is a member of the Edipresse Group (www.edipresse.com) 6/F, Guardian House, 32 Oi Kwan Road, Wanchai, Hong Kong Tel: (852) 2547 7117 Fax: (852) 2858 2671 E-mail: enquiry@edipresse.com.hk Printed by SNP Leefung Printers (Shenzhen) Co, Ltd, SNP Leefung Printing Building, No. 1 Nangguang Road, Nanshan Zone, Shenzhen, P.R.C. Tel +0755 2664 5100 Fax +0755 8606 3655.

All rights reserved Š 2007 Edipresse Hong Kong Ltd All materials published remain the property of Edipresse Hong Kong Ltd. Opinions expressed in SPARKLE are solely those of the writers and are not necessarily endorsed by the publisher and its editors.

Manuscripts and photographs submitted to SPARKLE should be accompanied by self-addressed envelopes with return postage. While they will take reasonable care, the editors assume no responsibility for the return of unsolicited manuscripts or photographs. Single copy HK$ 50.

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Boucheron 1. Bao Bao Wan 2.Flora Cheong Leen 3. Zhou Wen Juan with daughter Ma Ya Hong (right) 4. Ayuko Okuyama 5. Deborah Sims 6. Mira Yeh with Sue Lynn Hwa (right), all at the Boucheron ‘Exquises Confidences’ Cocktail, June 2007

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Bvlgari 1. Anna Mai Koo at the Bulgari Arts Centre Gala, September 2007,2. Angelina Bleach with Amanda Behra (right) at the same event 3. Vivien Chen at the same event 4. Patty Hou at the same event 5. Avisha Harilela at the HK Tatler Ball, September 2007 6. Angela Leong at the same event

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Dior 1. Wendy Wan with Yvette Yuen (left) at the Dior Joallerie Peninsula Boutique Opening, September 2007 2. Marianne Wong at the same event 3. Zhou Wei at the Hong Kong Asian Film Festival, March 2007 4. Charlie Yeung at Dior’s Wynn Macau Boutique Opening, September 2007 5. Josephine Siao at the Dior Joallerie Peninsula Boutique Opening, September 2007 6. Losa Law at the same event

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Van Cleef & Arpels 1. Yumiko Kuok 2. Kathy Chow 3. Lynn Xiong 4. Miriam Yeung 5. Pansy Ho, all at the Van Cleef & Arpels ‘Une Journee a Paris’ Event, March 2007

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cartier, montblanc and others 1. Antonia Cruz wearing Chopard 2. Olivia Lee-Davies wearing Adler with Pansy Ho (left) 3. Michelle Ong-Cheung wearing Carnet,4. Barbara Siano wearing Montblanc 5. Maya Lin wearing Cartier all at the HK Tatler Ball, September 2007

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de grisogono 1. Yvette Yuen, 2. Emerald Lau 3. Helen Giacotto 4. May Lui 5. Vicky Tse, all at the De Grisogono Ladies Private Lunch, June 2007

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tiffany 1. Pascale Wong Tose 2. Joyce Lee 3. Rebecca Ip 4. Ankie Beilke 5. Rabeea Yeung, all at the Tiffany & Co Store Opening Cocktail at Elements, October 2007

sparkleadvertorial

PATEK PHILIPPE

CLASSIC CAPTIVATION

Patek Philippe continues its great tradition in artistry and design with its latest jeweled timepieces

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s a leader in innovative technology and breathtaking designs, Patek Philippe is adding splendor to its collection with two bejeweled watches.

The new Calatrava Travel Time Ref. 4934 and Gondola Ref. 4949 aptly display the genuine dedication and creativity of Patek Philippe as a superb horological craftsman. This combination of timeless styling and intricate artistry is what makes Patek Philippe watches the most soughed after and treasured timepieces for connoisseurs and aficionados.

As complication timepieces are becoming increasingly popular among discerning women, they refuse to compromise style for function. Patek Philippe recreated a classic men’s watch, the Calatrava Travel Time Ref. 4934, with an added touch of femininity to satisfy both desires.

The Calatrava Travel Time Ref. 4934 combines three of the most distinctive features of a Patek Philippe watch to create this perfect companion for any traveling woman. The sleek lines of the piece are paired with a two time zone complication movement adorned with skillful gem sets.

The 18K white or rose gold case has two push pieces for easy adjustment of time forward and backward. Topped with a diamond set bezel with a fire spitting 48 flawless Top Wesselton diamonds totaling 1.002 carats, with the mother of pearl dial provides additional shimmer for the watch, exerting maximum visual impact. With white or deep brown alligator straps, it has a stunning air of elegance.

Equally remarkable, the Gondola Ref. 4949 gives a whole new meaning of why time is precious. Framing diamonds on the inside of the bezel and protected by crystal, the watch radiates sparkle at all angles. The Caliber quartz movement guarantees accuracy and reliability.

The Gondola Ref. 4949, true to Patek Philippe style, possesses remarkable craftsmanship that makes the piece stand out. The intricate reliefed, braided pattern decorating the flanks are skillfully embossed during the cold-forming process when an ordinary solid block of gold turns into the magnificent case of a Gondola.

Hours of manual crafting goes into producing each Patek Philippe watch. The results are works of excellence and artistry second to none. Each radiating with classic elegance and enduring sensibility, Patek Philippe timepieces are made to stand the test of time.

PICTURES: PATEK PHILIPPE WATCHES ARE AVAILABLE AT MASTERPIECE BY KING FOOK; THE CALATRAVA TRAVEL TIME REF. 4934; THE GONDOLA REF. 4949

‫ڎ‬

Ḁᶨ屓⃒岒喅埻⁛䴙⍲姕妰炻䘦忼侉渿㍐↢ 㚨㕘䎈⮞僽拞ἄ䁢∝シ㈨埻␴⣏入姕妰䘬⃰ 槭炻䘦忼侉渿㍐↢ℑ㫦⮞䞛僽拞炻䁢䲣↿ℵ 㶣⃱刺ˤ 䘦忼侉渿⏰䌣ℐ㕘䘬Calatrava Travel Time Ref. 4934␴ Gondola Ref.4949炻⮯℞ἄ䁢枪䳂揀拞ⶍ⋈䘬届䌣␴∝ シ堐曚䃉怢ˤㄹ啱㯠⿮㫦⺷冯䱦䳘喅埻炻䘦忼侉渿ㆸ 䁢揀拞揹岆⭞␴ッ⤥侭㚨䍵ッ⍲䅙↯徥㯪䘬僽拞⑩䇴ˤ 墯暄僽拞⛐徥㯪⑩␛䘬⤛⿏栏⭊ᷕ㻠⍿㬉彶炻⤡Ᾱ ㉺䳽䁢桐㟤侴㓦㡬僽拞≇傥ˤ䘦忼侉渿⚈侴䁢䴻℠䓟 ⢓僽拞Calatrava Travel Time Ref.4934㲐ℍ⤛⿏⃫䳈炻 ẍ㺧嵛⤛⢓䘬ℑ䧖㷜㯪ˤ 䘦忼侉渿䘬Calatrava Travel Time Ref.4934䳸⎰℞ 僽拞䘬ᶱ⣏䈡溆炻䁢␐忲↿⚳䘬⤛⢓㍸ὃ⬴伶㕭Ờˤ 僽拞䶂㡅厗伶炻惵⁁暁㗪⋨墯暄㨇剗炻᷎ᶼ梦㚱䱦墥 ⮞䞛ˤ 拞㭤ẍ18K䘥慹ㆾ䍓䐘慹ㇻ忈炻旬㚱ℑᾳ⎗⎹⇵ㆾ ⎹⼴婧㔜㗪攻䘬㊱憽ˤ拞⚰搚㚱ĵĹ柮䷥慵IJįııij⌉䘬枪 䳂ŘŦŴŴŦŭŵŰů䃉䏽伶搥炻䍵䎈㭵拞朊䁢僽拞ℵ㶣⃱慯炻 㽨䘤夾奢暯㑤ˤ惵⁁䘥刚ㆾ㶙㡽刚氟欂䙖拞ⷞ炻僽拞 㔋䘤↢ᶨ偉檀晭㯋〗ˤ ⎴㧋㈋Ṣ⽫⻀炻Gondola Ref. 4949慵㕘⭂佑㗪攻䘬 ⎗屜ᷳ嗽ˤ⛐拞⚰ℏ“搚ᶲ搥䞛᷎ẍ㯜㘞央味炻僽拞 ⛐ảỽ奺⹎悥㓦⮬↢徟Ṣ⃱厗ˤCaliber䞛劙㨇剗傥䡢 ᾅ僽拞䘬㸾䡢⹎ˤ Gondola Ref. 4949ᾅ䔁䘦忼侉渿䘬桐㟤炻ㄹ啱朆↉ ㇳ喅僓䧶侴↢ˤ㕤⅟ㆸ⼊忶䦳ᷕ䱦晽↢Gondolaℑ“䘬 Ṍ拗䲳䎮墅梦炻侴厗渿䘬拞㭤⇯䓙䲼慹⟲㹞揬侴ㆸˤ 㭷㝂䘦忼侉渿僽拞悥㗗攟㗪攻䘬ㇳ喅ㆸ㝄炻栗䣢↢ 䃉⎗㭼㒔䘬⋻崲␴喅埻⿏ˤ䘦忼侉渿僽拞㔋䘤℠晭檀 屜␴㊩ᷭデ⿏炻㓭傥䴻⼿崟㗪攻䘬侫槿ˤ

ASIA'S

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asia's jewels Seven countries. Eight beautiful women. One roof.

Asia's most stylish women come together at the Island Shangri-La hotel in Hong Kong where they treat Sparkle to a first look at their jewellery and share their love for the fabulous jewels. 七個國家。八位漂亮的女人。同一的根源。 亞洲最時尚女性同聚於港島香格里拉大酒店，向我們展示她們的首飾，與Sparkle分享她們對珠寶的熱愛。

PORTRAITS: Davide Butson-Fiori JEWELLERY: CURTISS LI KAM FAI TEXT: Priyanka Boghani and Ashley Lim

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Shazlin chose Roland Mouret green cocktail dress that drapes and contours her slender figure. Here she wears Bulgari ring, tigerhead diamond bracelet on her left and a gold cuff by Kenneth Jay Lane on her right hand Shazlin選擇了Roland Mouret的綠色雞尾酒裝， 盡顯她苗條的身段。她戴上 寶格麗介指、左手是老虎頭 鑽石手鐲，右手是Kenneth Jay Lane的金色粗手鐲。

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Shazlin Mohamed Zain, Malaysia Meeting with Shazlin, it would be hard to believe that behind that delicate and slender figure lies a determined, hard-nosed lawyer, director of a family-owned property development firm, Impiana Plan and Development, and a mother of four. “Please don’t regard me as a housewife or a socialite”, she implores. For someone so successful and disarmingly charming, Shazlin is far from being either of the two. Instead she is a role model to all other women who effortlessly manages her responsibilities with panache.

Like all women she owns jewellery and like all successful women, she buys them herself. “I do love jewellery,” she says. “But I am not fanatical about a specific style. Maybe you can tell me what my style is.” An independent woman with an independent sense of style - is what we would say. Shazlin is quite keen on the artistic and antique aspects of jewellery and will pick anything that strikes a chord with her. She confidently wears a striking combination of aquamarine, green tourmaline and diamond chandelier earrings of her own design, a tiger-head diamond bracelet on her left hand and a robust gold cuff on her right from Kenneth Jay Lane. “Classic design with a twist – that is me in a nutshell,” she says. She also reveals her love for Heidi Klum designs, which she thinks are “so discreet that you can wear it every day”. A Bulgari ring and pendant, pearl earrings that were once a part of an ancient necklace and a pearl ring are also a part of her jewellery collection that she has brought with her.

On her visit to Hong Kong, she has promised her children a trip to Disneyland, Ocean Park and all the rides. While Shazlin can make even a simple jeans and a shirt ensemble look glamourous, come evening, she adores Chanel, Roland Mouret and her local aspiring designer, Bernard Chandran. 跟Shazlin傾談，很難相信在這纖巧柔弱的身影背後，竟然是一個果斷踏實的律師、家族地產發展公司Impiana Plan and Development的總監， 以及四個孩子的母親。「請不要把我當成是家庭主婦或社會名流。」，她說。成功與迷人，Shazlin絕不甘於只擇其一。所有無所事事、只愛打 扮的女人都該以她為模範。 一如所有女人，她擁有首飾；一如所有成功女人，她自己購買首飾。「我愛珠寶，但不鍾情於某種獨特風格。也許你能告訴我我是何種風 格。」，她笑稱。一個不拘一格的自主女人，我們只能如此說。Shazlin頗欣賞珠寶的藝術性和古典特質，遇上跟自己合襯的首飾便會拿來一 試。她一臉自信地戴起自己設計的海藍寶石、綠色電氣石和鑽石垂吊耳環，左手是老虎頭鑽石手鐲，右邊是Kenneth Jay Lane的金色粗手鐲。 「 簡單來說，在古典設計上加點變化，這就是我的風格。」她喜歡Heidi Klum的設計，認為它簡樸的味道很適合日常穿戴。她帶來的首飾收藏 還包括一隻珍珠介指，以及曾經是古董項鏈一部分的寶格麗介指和垂飾。 這次來到香港，她承諾會帶孩子到迪士尼、海洋公園及其他地方。Shazlin穿上簡單的恤衫和牛仔褲時也不失高貴，但她同時鍾愛Chanel, Roland Mouret和當地名設計師Bernard Chandran的設計。

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Kim Sun Young, korea Nearly 40 years of age and no sign of it on her face or her energetic spirit, the CEO of LJH Skin Dermatologists Clinic Kim Young firmly believes that the secret to a beautiful skin is more than skin deep. “Make-up only covers the flaws. The real beauty comes from within,” she says, wearing a smooth, flawless skin that is a testament to her philosophy. A pharmacist by profession, Kim worked with a number of skin care companies to finally launch her own brand some six years ago. LJH now manufactures over a 100 beauty products, and supplies it to the US, Vietnam and soon to Hong Kong. “I made the company from nothing,” she says.

Indeed, sheer grit, hard work and dedication being the ingredients to Kim’s recipe to success.

As a working woman living life in the fast lane, Kim believes that although diamonds emit an alluring beauty, they do not quite fit with her busy work schedule. She expresses her appreciation for art forms by selecting gold and platinum pieces that complement her business attire, in particular from Italian brand Unoare and Damiani. “The designs are extremely artistic with beautiful Art Deco influenced styles,” she says. Kim has also a collection of diamond jewellery that was a gift from her husband, which she reserves for special occasions and soirees. She has also a penchant for watches and adores Chanel, Louis Vuitton, Gucci and Bvlgari.

Carrying forward her refined and graceful style of dressing to evening wear, it is not surprising when she declares her love for Chanel’s couture. She is also a fan of Korean dress designer, Misha, whose Prestige line is comfortable to work in and which can quickly turn into an evening dress by removing the jacket. 身為LJH皮膚科專家診所的行政總裁，將近四十的Kim Young無論外貌還是氣質上都不帶歲月的痕跡。她認為漂亮皮膚的秘訣超越皮膚深層。 「化壯只能遮蓋瑕疵，真正的漂亮源於內在。」她幼嫩無瑕的肌膚正是一大證明。身為藥劑師的她與多間皮膚護理公司合作，最終在六年前開 創了自己的品牌。現在LJH製造超過100種美容產品，供應給美國、越南等地，將來更會於香港出售。「我白手開創公司業務。」不靠什麼，堅 忍、勤力和投入正是她的成功要素。 雖然鑽石精緻迷人，但Kim卻認為它們不能配合自己忙錄的工作日程。她以金和白金首飾配襯自己的職業打扮，尤其喜歡意大利品牌Unoare和Damiani。「它們的設計帶有裝飾藝術風格，非常漂亮」。她擁有一系列由丈夫送贈的鑽石首飾，主要於特別場合和晚會配戴。Kim同時 對手錶大感興趣，喜歡Chanel, Louis Vuitton, Gucci和Bvlgari。 她的晚裝風格簡約而高雅，難怪她表示自己鍾情於Chanel的高級時裝。她同時是韓國設計師 Misha Prestige的支持者，認為它的衣服輕便舒 適，只消脫去外套便可隨即變成漂亮的晚裝。

Kim wears a red dress of her own design, complemented by a Cleopatra gold necklace and matching bracelet from Unoare Kim穿上個人設計的紅色晚 裝，配以Cleopatra金色項 鏈及Unoare的手鐲。

SPRING 2007 SPARKLE

Nualphan wears a black evening gown by Giorgio Armani, a watch, necklace and earrings by Cartier and a Butterfly ring by Van Cleef & Arpels Nualphan穿上 Giorgio Armani的黑色晚裝，配戴卡 地亞手錶、項鏈和耳環，以 及Van Cleef & Arpels的蝴 蝶介指。

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Nualphan Lamsam, Thailand Nualphan’s love for fashion is almost legendary. “I have loved Hermes all my life,” she admits. This affinity was further strengthened when she was invited to be its joint venture franchise to represent the brand in Thailand. Serving as its managing director for nearly 10 years, she is also the managing director for Wanmani Group, the sole franchisee for eight other fashion houses including Bluemarine, Canali, Chloe, Emporio Armani, Giorgio Armani, Rado and Tods. To crown the success of her achievements, she was appointed as the president of the family owned business, Muang Thai Insurance Co. Ltd. further confirming this stylish woman’s place in the world of achievers.

A symbol of success and style, Nualphan’s jewellery collection from Cartier pays a compliment to both aspects of her personnality. “I am a big Cartier fan. I think their design is classic and so timeless,” she says. She wears a necklace, watch and earrings from Cartier and a Butterfly ring from Van Cleef and Arpels. “I am well acquainted with Benjamin Vuchot, the managing director of Van Cleef and Arpels Asia Pacific and conducted an exhibition with them in Thailand four years ago. Their Art Nouveau designs and poetic forms are simply exquisite,” she comments. Together with her compliments for known and noted brands, she also pays her due regard to the craftsmanship of Thai jewellery, calling it the “best in the world”. With socialising as a part of her day job, Nualphan devotes her weekends to reading, a hobby she says that relaxes her before starting another week of action.

Nualphan對時裝的熱愛是近乎傳奇性的——「我整輩子都愛著Hermes。」，她說。 當被邀請為合營企業經銷商的泰國品牌代表時，她這種深愛就更為強烈。除了擔任公司董事總經理近十年之久，她還是Wanmani集團——八個 其他時裝品牌Bluemarine, Canali, Chloe, Emporio Armani, Giorgio Armani, Rado和Tods唯一經銷商的董事總經理。其事業巔峰是成為家族經營 公司Muang Thai Insurance Co.的主席，令她躋身於國際成功時尚女性的位置。 Nualphan的卡地亞首飾系列彰顯她這成功而時尚的個性。「我是卡地亞的擁護者，它的設計古典而永恆。」。她配戴了卡地亞的項鏈、耳 環和手錶，以及Van Cleef and Arpels的蝴蝶介指。「我跟Van Cleef and Arpels的亞太區董事總經理 Benjamin Vuchot很稔熟，四年前更曾替他 們在泰國開辦展覽。他們新藝術派的設計和詩性形態非常精緻。」除了對知名品牌大表讚賞外，她同樣欣賞泰國珠寶的工藝，稱它們為「世界 之最」。社交生活是她工作的一部分，週末時她熱衷閱讀，認為這個嗜好讓她好好放鬆，以迎接下一週的工作。」

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Teresa Wang Ling, shanghai A managing director of fine china table and glassware company, Rebecca, Teresa also manages the business operations and marketing activities of ‘Home Base’, the representative brand for international kitchenware such as Bernardaud, Spiegelau and Ambiente in Shanghai. Fluent in Portuguese, for having spent her formative years in Brazil, Teresa brings her East-West confluence to her tableware designs. “Our designs are both contemporary Western as well as traditional Oriental, catering to a wide market of local and Western customers,” she explains.

A Cartier loyalist, she has selected Caresse d’orchidees earrings matched with a 7ct diamond and platinum ring, a diamond studded necklace, and a Ballon Bleu watch, from Cartier’s jewellery and watch collection. “Shopping for jewellery is a very personal experience. Although I love Cartier, I also browse at other jewellery houses to keep myself up-to-date,” she says.

Eventually though, she ends up buying Cartier. “Old habits die hard,” she says with a twinkle in her eyes.

Teresa’s fashion sense as she admits is “more varied” and she likes to mix and match different brands. “I like Gucci for their clothes and shoes and Chanel bags for their classic design. But I could even wear Zara or Mango on a casual basis or sport a pair of jeans, matched with a Chanel bag,” she says.

Teresa，餐具和玻璃器皿公司Rebecca的董事總經理，同時管理‘Home Base’——國際廚具如Bernardaud, Spiegelau和Ambiente在上海的代 理品牌——的商業運作和市場業務。Teresa年幼時住在巴西，故能操流利的葡萄牙文；她決定把東西方文化帶進餐具設計當中。「我們的餐具 設計糅合現代西方與傳統東方的特色，迎合廣大本地及西方顧客的口味。」 作為卡地亞的忠實顧客，她挑選了Caresse d’orchidees耳環，配以7ct Diame鑽石和白金介指、鑽石項鏈和Ballon Bleu手錶，全部均屬卡 地亞的珠寶和手錶系列。「購買首飾是非常個人的體驗。雖然我鍾情於卡地亞，但也會逛逛其他首飾店以緊貼潮流」。縱然如此，她最終還是 會買下卡地亞。「本性難移。」她笑說，眼睛著神采。 Teresa認為自己的時尚風格「多變」，尤其喜歡配搭不同品牌。「我喜歡Gucci 的衣服和鞋，也愛Chanel手袋的古典設計。但平常我也會穿 Zara或Mango，配襯牛仔服，再加上Chanel手袋。」

Teresa wears a blue dress of her own design matched by a Ballon Bleu Cartier watch, Caresse d’orchidees earrings and a grenadine ring with rubies and diamonds Teresa穿上個人設計的藍色晚 裝，配以Ballon Bleu卡地亞手 錶、Caresse d’orchidees耳 環和鑲有紅寶石及鑽石的 Grenadine介指。

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Celine wears a diamond studded heirloom necklace over 100ct. complemented by sapphire earrings and an Art Deco ring designed

by Theodore Fahrner in the 20s Celine配戴鑲有超過100ct美 鑽、由母親留下來的家傳 項鏈，以及藍寶石耳環和 Theodore Fahrner 20歲時設 計的裝飾藝術指環。

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Celine Lopez, philippines True style is inborn. You can’t learn it in a school. This statement holds good for Celine Lopez, a style editor and regular columnist for the Philippine Star, fashion arbiter and society goddess à la Sarah Jessica Parker, who has a natural instinct for style. What’s more, she even extends this to a local fashion brand, ‘Plains and Prints’ by designing their clothing line. As any style diva, she too nurtures a love for jewellery; a passion she inherited from her mother. “As the years passed, I found myself collecting fine jewellery. I am attracted to pieces that come with a story,” she reveals. The necklace she adorns for instance is a family heirloom that belonged to her mother, sparkling with over 100ct diamonds in total. Another piece of jewellery that holds special significance to her, is a pearl Cartier necklace with a dolphin pendant that was a gift from her father when she turned twelve. A pair of sapphire earrings studded with diamonds were bid at an auction, which once belonged to the Louvre in Paris.

The Art Deco ring on her finger was designed by Theodore Fahrner in the 20s and was bought in Switzerland by someone “very special” to her. Her most prized possession though is a stunning five-carat yellow diamond engagement ring from Graff, which Celine prefers to keep safely locked in her vault.

An avid reader, traveller and art collector, Celine supports the local artists, designers and jewellers in the Philippines. She strongly recommends local designer and a good friend, Hindy Weber Tantoco and Rhett Eala, who dress the most fashionable and fabulous women in the Philippines. “The fashion industry in the Philippines was slow to find its feet. But now we have some world-class designers who are extremely talented,” she says. 真正的風格是與生俱來的，你不會從校內學習得到。這個說法用來形容Celine Lopez——Philippine Star的藝術編輯和專欄作家、像Sarah Jessica Parker一樣的潮流先驅和社會女神——就最貼切不過。她甚至為當地時裝品牌‘Plains and Prints’設計服飾，把自己的風格帶進當中。 受 其母親影響，她一如所有潮流先驅對珠寶產生熱愛。「當我逐漸長大，便開始收藏高貴珠寶，尤其對那些蘊含故事的首飾大感興趣。」。舉例 說，她配戴的項鏈便是母親留給她的家傳之寶，鑲有超過100ct的美鑽。另一件對她意義重大的首飾，是她十二歲時父親送給她的卡地亞珍珠項 鏈，配以海豚垂飾。鑲有鑽石的藍寶石耳環曾是巴黎羅浮宮的館藏，是她在拍賣行投得的。手指上的裝飾藝術指環是Theodore Fahrner 20歲時 的設計，由一位「特別的人」在瑞士買給她。而她最珍愛的，則是Graff的5卡黃鑽婚戒；為保安全，Celine已把它藏在金庫之內。 Celine熱愛閱讀、旅行和藝術收藏，更支持當地的藝術家、設計師和珠寶匠。她強烈推介當地的設計師朋友Hindy Weber Tantoco和Rhett Eala，稱他們為菲律賓最時尚動人的女人打扮。她說：「菲律賓的時裝業花了很長時間適應，現在我們擁有極具才華的世界級設計師。」

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Kelly Randall, singapore A former model and actress, Kelly grew up in Los Angeles and moved to Singapore with her husband three years ago. While she is still savouring the Asian experience, which she finds invigorating and lively in comparison to LA, she speaks of her love for travel. “My husband and I love travelling and spend 2/3rd of our time globe-trotting.” When at home, she spends most of her time relaxing and catching up on her reading or with her friends. “I would like to get involved in charity work at some stage. I love animals and hope to do something for them,” she says.

A passion for jewellery is another thing that Kelly has cherished. “Cartier, Bulgari and Chopard are my three favourite jewellery houses,” she says, admiring her Caresse d’orchidees par Cartier ring in platinum, pink, yellow and white diamonds. The ring and its matching earrings were a gift to her from her husband on their honeymoon. “I saw it about a year ago and absolutely fell in love with it. The honeycomb coating is so well done and the exquisite craftsmanship is just gorgeous,” she gushes. Knowing her love for their design and her secret desire to own them, her husband bought it for her on their visit to London. She often sports a deLaCour watch with her jeans, which she thinks is an audacious fashion statement.

Kelly’s glamorous and chic appeal comes from her admiration for fashion designers, Christan Lacroix, Valentino, Karl Lagerfield for Chanel, Oscar de la Renta and Monique Lhuillier. “I have always loved that arresting, sexy look that was very Alfred Hitchock-esque heroine,” she says, exuding the legendary 1960s style herself. 曾任模特兒和演員的Kelly在洛杉磯長大，三年前與丈夫搬到星加坡居住。她嚮往亞洲體驗，認為它比洛杉磯的生活更多姿多彩。然而她更熱衷 旅遊。「丈夫和我都喜愛旅行，我們花三分之二的時間四處遊歷。」閒在家中的時候，Kelly會好好放鬆，看看書，或與朋友待在一起。「我希 望可以參與一些慈善活動。我喜歡動物，希望能為它們作些貢獻。」，她補充道。 Kelly同時熱愛珠寶。「卡地亞、寶格麗和伯爵是我最喜愛的三個珠寶品牌。」她端詳著由白金及粉紅、黃、白鑽打造而成的Caresse d’orchidees par Cartier介指。這套介指和耳環是丈夫在度蜜月時買給她的禮物。「這是我一年前遇見的，它的蜂巢塗層非常細緻，靈巧工藝高 貴極了，深深吸引著我。」她興緻勃勃的道。丈夫深明她欣賞該設計，渴望擁有它們，便在倫敦的旅程中把它買下來。常以deLaCour手錶配襯 牛仔服，她大膽宣示自己的時尚風格。 Kelly高雅時尚的風格源自她對時裝設計師的熱愛，如Christan Lacroix,Valentino, Chanel的Karl Lagerfield, Oscar de la Renta和Monique Lhuillier。「我一直熱愛希治閣式的女英雄，非常注目而性感。」她說的時候亦散發著六十年代的傳奇色彩。

Kelly revives that old 1960s Hitchcockian enigma with her olive green Gucci evening gown and Caresse d’orchidees Cartier jewellery Kelly穿上的橄欖綠晚裝，配 以Caresse d’orchidees卡 地亞珠寶，重現出六十年代 希治閣式的魅惑。

Rany is wearing earrings, bracelet and ring from Bulgari's Parentesi collection Rany戴上寶格麗Parentesi系 列的手鐲、耳環和介指。

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Rany Hatyasih, Indonesia 27 years old Rany Hatyasih looks ravishing in her red evening gown. She speaks of her pride for the cultural diversity of her country, Indonesia. “Not many people know about all that Indonesia has to offer,” she says. Deciding to change this, she singlehandedly launched STV station in Batam, Indonesia, that relays a 24-hour telecast of the culture, arts, tourism and culinary trails of Indonesia. “My Masters degree in Communications helped me set the ball rolling. I chose Batam as it is on the doorstep of Singapore and a beautiful tourist destination in itself,” she says with a beguiling charm. Her feminine, elegant beauty is a part of her persona and extended on to her fashion sense. “I like Victorian style. I think it was a beautiful era; an epitome of femininity and tasteful elegance,” says she. Inspired by the Victorian lace, brocade, silk, velvet and beautiful silhouettes, Rany started her own couture brand Palmorano, together with her friend, catering to exclusive orders from the high society.

Rany’s taste in jewellery is a reflection of her fashion style - elegant and feminine. She is particularly fond of Bulgari, describing their designs as “classic, timeless and dynamic”. She wears a bracelet, earrings and a ring from its Parentesi collection. An Assioma D watch, which was a present from her husband, adorns her wrist. "I also love their Elisia collection which is very feminine and alluring," she says. The new gem in Rany’s life is her four months old son, on whom she devotes much of her time and attention to. “I love being with my son,” she says, her face glowing with the joys of motherhood.

This glamourous mother shares her love for dress designers Valentino, Dior, Gucci and Versace. “My tastes have evolved with time. I think fashion is very personal and must it should represent your own character,” she states.

27歲的Rany Hatyasih穿起紅色晚裝時迷人極了。她談及自己的成就，以及祖國印尼的文化多元性。「很少人會知道印尼的獨特之處。」有見 及此，她獨自在印尼巴譚創立了STV電視台，全日播放印尼的文化、藝術、旅遊和菜式。「我的傳播系碩士學位給了我很大的幫助。我選擇巴 譚，因為它是連接星加坡的門階，本身又是漂亮的旅遊景點。」她的時裝品味同時體現出其女人味及高雅漂亮。「我喜歡維多利亞王朝風格， 那個漂亮的時代是女性美和高貴雅緻的象徵。」受維多利亞飾帶、錦緞、綢衣、絲絨和漂亮的剪影啟發，Rany與朋友一起開創了自己的時裝品 牌Palmorano，特別針對上流社會的顧客。 Rany的首飾品味一如她的時尚風格，高雅而女性化。她尤其鍾情於寶格麗，認為它的設計「古典、永恆而充滿活力」。她戴上Elisa項鏈， 配襯寶格麗Parentesi系列的手鐲、耳環和介指；並以丈夫送給她的卡地亞Assioma手錶點綴手腕。「我同樣喜歡它們的Elisia系列，非常誘人和 女性化。」她現在投放大量時間和心力在生命中的新成員——四個月大的兒子身上。「我喜歡跟兒子在一起。」她臉上流露著母親的喜悅。 這位迷人的母親同時鍾愛Valentino, Dior, Gucci和Versace的衣服。「我的品味與我一同演化。時裝是個人的，它必須反映你的個性。」

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Li Xiao Geng, Beijing Donning a strapless cocktail dress with a sprinkling of diamonds around her neck, Fiona looks like poetry in motion. A brief chat with her we are told is “$500 per minute”; time being the probably most precious thing Fiona could ever part with in the heavily booked schedule. Gaining a Masters degree in finance from the prestigious London School of Economics after working with top banks in Beijing, Fiona set up her own business, Beijing Uniwtech Co. Ltd. developing software solutions for video conferencing.

“Coming from an academically oriented family, I had much to live up to. My father was the first Chinese to complete his PhD at the Edinburgh University and is currently the president of Beijing University. My mother graduated from the University of Sorbonne and is the professor of comparative literature for French and Chinese at Peking University,” she says proudly.

While Fiona has successfully carried forward the literary gene, she also derives her passion for jewellery from her mother.

“My mother loves brooches and has a collection of them in her possession,” she says showing us one that her mother specially chose for her. She also wears her mother’s diamond bracelet, which she says has been in the family for years. “As for myself, I love diamonds and pearls. Chanel is my favourite brand and they make some beautiful pieces using the two. I am very grateful to Chanel to allow me to wear them for this occasion,” she says, expressing her gratitude. The Art Deco necklace and ring she wears are vintage 1932 designs by Coco Chanel herself. She also shows us a stunning pearl and diamond Cometes necklace and bracelet, which are both a part of exclusive collection and not available for retail. Trained as a ballerina, Fiona sets aside some time during the week to practice, but on the weekends, she relaxes with her friends, treating herself to the culinary delights in restaurants around Beijing. k 穿上無肩帶雞尾酒裝，頸上掛著一串閃耀鑽石，Fiona就像一首會走會動的詩歌。 時間對她來說異常寶貴，要在密密麻麻的日程裡抽出時間確實 不易。她甚至笑稱這短短的傾談值五百元一分鐘。曾在北京頂級銀行工作，Fiona在著名的倫敦政經學院取得金融系碩士學位，其後更開創自己 的業務Beijing Uniwtech Co. Ltd，針對電視會議開發軟件。「出身自學府世家，我要遵循很多事情。我的父親是首個在愛丁堡大學完成博士學位 的中國人，現在是北京大學的主席。母親在索邦大學畢業，現在於北京大學的法文／中文比較文學系任教。」她驕傲地說。 Fiona成功遺傳了家族的文學細胞，同時亦像母親一樣熱愛首飾。「我的母親喜歡胸針，自己擁有不少珍藏。」她向我們展示母親挑選給她 的一件胸針。此外，她還配戴家裡珍藏多年、屬於母親的鑽石手鐲。「個人而言我喜歡鑽石和珍珠。Chanel是我最愛的品牌，它利用這兩者製 成漂亮的首飾。這次獲Chanel借出首飾讓我在這個場合配戴，實在萬分感激。」她配戴了由 Coco Chanel親自設計、1932年的古董裝飾藝術項 鏈和指環，還展示出閃耀的珍珠和鑽石Cometes項鏈及手鐲；兩者均是市面上購買不到的珍貴收藏。身為芭蕾舞員，她每星期都會預留時間練 習。至於週未，她則選擇與朋友待在一起，或者到不同餐館品嚐北京菜。 k

Fiona wears an Oscar de la Renta strapless dress and an Art Deco necklace and ring by Chanel. Her diamond bracelet and earrings are a gift from her mother.

Fiona穿上Oscar de la Renta無肩帶雞尾酒裝，配 以Chanel的裝飾藝術項鏈和 指環。鑽石手鐲和耳環則是 母親給她的禮物。

sparklejewellerybox 55 photography: Davide Butson-Fiori, Jason to TEXT: Ashley Lim

daring and dramatic, the black and white diamonds

by May Lee “Jewellery is for everyday wear," believes May Lee, the director of Sales and Development of Hong Kong’s well-known jewellery emporium, King Fook Group, and a talented jewellery designer. Often dressed in black and white, this stylish lady shares with us her personal fashion sense and individual style. Extending her love for black and white to jewellery, May Lee daringly combines black diamonds with white to create a modern and hip collection. She says that fashion may come and go, but to her, the black and white combination will remain a perennial favourite. 身為景福珠寶集團有限公司的營銷及拓展總監，同時又是一位優秀的珠寶設計師，李筠翎主張首飾是日常配戴的物 品。經常以黑色打扮示人的她，向我們細訴其審美觀和風格。與其日常打扮一致，她最愛的珠寶仍離不開黑與白色。 這些鑲上美鑽的首飾體現了何謂優雅精緻。時裝日新月異，這位具時尚觸覺的設計師對黑與白的鍾愛卻永不減退。

y , Ma hite gs w rin and ack nd ear dare to l b ga or y in hite hon lace, rin fferent ith w p m w ing eck e di ing A sy ge: d the n re to b Sparkl to even a p : a This esigne who d e page adapt d e it an e s s e o o L p ce c th p l a l l O a k for black he nec s r n t wea onds, ven jea m e a r di ses o s dre

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sparklejewellerybox 57 白美鑽系列 這些首飾是李筠翎一年 前加入景福時，為黑白 美鑽系列設計的首批作 品。她對黑色情有獨 鍾，甚至擁有一整個衣 櫃的黑色冬天服裝，因 此當時正努力物色合襯 的珠寶。在一本外國雜 誌上發現黑鑽後，她決 定以此為主打。「首飾 是用以日常配戴的。黑 鑽較為廉價、隨便，同 時又不失高貴。」她一臉自信的道。鑲滿黑白鑽後，這些 項鏈、耳環和粗指環感覺時尚又年輕。縱然部分同事起初 對黑白首飾抱持懷疑，這個系列自推出以來頗受歡迎，著 名歌手鄭秀文亦曾配戴過它們。 鑲鑽項鏈 雖然加入珠寶行業的日子尚淺，李筠翎對珠寶設計的熱愛 卻早就萌生。「漂亮的衣服要有漂亮的首飾配襯，兩者是 相輔相成的。」抱持著這個信念，她自豪地向我們展示另 一件由她與朋友共同設計的首飾。這條閃耀著美鑽光華的 項鏈在風格上變化多端，既適合在隆重場合配戴，也可配 襯牛仔褲和便服。李筠翎的哲學是不被珠寶所限制，反而 利用個人風格把首飾戴活起來。正因如此，她無法從這些 珠寶中選出一件至愛。不同珠寶適合不同風格和心境，像 時裝一樣。

nds are less t still elegant

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lack & White Diamond Jewellery Collection These pieces were designed by May right after she joined King Fook a year ago and the first ones in the black and white diamond jewellery collection. A genuine 'black' lover, with a wardrobe full of black winter clothes, she was looking for jewellery to match her style. She finally turned to black diamonds after discovering it in a foreign magazine. “Jewellery is for day-to-day wear. Black diamonds are cheaper, casual and elegant, and also contrast the white diamonds beautifully,” explains May. The necklace, earrings and rings collection, set in black and white diamonds, exude a fashionable and youthful appeal and were worn by famous celebrities like Sammi Cheng.

Long Diamond Necklace Although May entered the jewellery industry not so long ago, her passion for jewellery design started at an early age. “Beautiful clothes and beautiful jewellery compliment each other,” she states, showing us the Long Diamond Necklace that she designed together with her friend.

Sparkling with white diamonds, the necklace is adaptable to any style, be it a special occasion or even casually with jeans. “My philosophy is to create jewellery to bring out one's personal style. Each piece may match different styles, occasions and moods, but must universally bring out the wearers personality - just like fashion,” she says.

cartier, a brand every woman dreams of, is one of May’s favorite brands

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This page, from left: Diamond adorned Franck Muller & Cartier Watch; Jade pendant earrings with black and white diamonds; Chopard Happy Diamonds vintage watch. Opposite page: Panthere de Cartier brooch

Panthère de Cartier Brooch Cartier, a brand every woman dreams of, is one of May’s favorite brands as it suits her feminine style perfectly. She was once fascinated with this exquisite lapel brooch made of 18-carat white gold, diamonds, emerald and onyx in the Panthère de Cartier collection.

Before she could make her final decision, it was given to her by one of her friends. More than just a coincidence, it shows a subtle mind that knows her taste, and which shares a common appreciation for exquisite beauty.

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iamond-adorned Franck Muller & Cartier Watch Bought years ago when Franck Muller first introduced it to Hong Kong clients, May bought this diamond studded watch with changeable alligator straps, when big watches had started to become a trend. It once again secures May's position for being a trendy woman in the fashion world.

Set with diamonds, May was attracted to the Cartier watch for its exquisite oval dial, sleek lines and next-to-skin feeling. Her pursuit and genuine appreciation of quality and exceptional design has led May to be surrounded by beautiful things around her.

Jade Pendant Earrings with Black & White Diamonds In addition to her personal favourites as diamonds, May also claims herself to be a jade lover.

“The problem is”, explains she, “jade is rare and more expensive. Unlike diamond, it is really hard to find an exceptional piece.” The black diamond danglers and white diamonds cross bring out the luster of jadeite perfectly, creating an unusual combination of modern elements with traditional elegance.

Vintage Look Chopard Happy Diamonds Watch Originally bought to support her friend’s watch business, this elegant jewellery watch with a a traditional Happy Diamonds round dial integrated with a modern jewel bracelet is an exemplar of May’s favourite style. Feminine and classic, the vintage-look watch offers a timeless appeal to her. But don’t mistake her love for vintage with antique. For May antique pieces are obsolete, whereas the vintage-look is eternally stylish and youthful. k

Panthère de Cartier胸針 卡地亞，一個女性夢寐以求的名字，同時亦是李筠翎至 愛的品牌之一。她認為卡地亞與自己的女性特質十分匹 配，而這隻由18K白金、鑽石、祖母綠和縞瑪瑙製成的 Panthère de Cartier精緻胸針就曾經令她相當著迷。在她尚 未作出決定之先，一位朋友卻已經把胸針送上。雖然李筠 翎不曾向他透露過什麼，這事件卻並非巧合。畢竟，禮物 背後顯示了一個深知其品味的敏銳靈魂，以及兩顆同被藝 術傑作深深吸引的心。 蘭克穆勒及卡地亞腕錶 數年前法蘭克穆勒初次 登陸香港，李筠翎隨即 買下這隻配備可更換短 吻鱷皮錶帶的鑽石腕 錶。當時大錶款開始在 市面上流行，而這隻腕 錶正是她所擁有的第一 隻大錶。相比於現今的 大錶，這隻法蘭克穆勒 無疑較為小巧，然而它 卻是李筠翎向來緊貼潮 流的佐證。同樣鑲上美鑽，這隻配備精緻橢圓錶盤的卡地 亞高雅腕錶以其女性化的流暢線條及貼手的質感攫取李筠 翎的歡心。追求高品質和優秀設計的她對藝術賞識產生濃 厚興趣，更經常被身邊的漂亮事物所吸引。難怪她對不同 品牌的傑作會愛不釋手。 翡翠垂吊耳環連黑白鑽 一片閃爍的黑白色中，我們不難發現翡翠的光澤。除了對 鑽石偏愛，李筠翎同時亦是一位王器愛好者。她解釋道： 「問題是翡翠較為罕有和昂貴，而且相比於鑽石，尋覓一 件精緻的玉器難度更甚。」連接黑鑽點綴的細鏈並以白鑽 十字架收尾，這對玉耳環糅合了現代元素及精煉高雅。與 皮褸等輕便服飾相襯，它宣示了玉器珠寶時髦的一面。 復古蕭邦快樂鑽石腕錶 這隻高雅腕錶是李筠翎光顧朋友的商店時買的，配備傳統 的快樂鑽石錶盤，及時尚的珠寶手鐲，手錶體現了她至愛 的古著風格。古典而女性化，這款帶有陳舊感的腕錶對她 來說擁有歷久不衰的吸引力。雖然鍾情於古著珠寶，她卻 不曾擁有任何古董首飾。她認為古董珠寶略嫌過分老成， 相反地，復古珠寶卻能予人時尚年輕的感覺。 k

sparklejewellerybox 61 photography: Davide Butson-Fiori, Jason to TEXT: Ashley Lim

memories of her mother and love for art pieces inspires Christie Wo The CEO of Charmonde Luxury Limited, a buying house of fine luxury brands for Asia, Christie Wo is a successful young entrepreneur in the brand management field. Making strides in the male-dominated industry, she is also a self-confessed collector of exquisite jewellery.

She opens her jewellery box for us to give us a glimpse of her treasured collection. 作為高檔品牌代理公司香夢地集團的行政總裁，胡敏珊一直致力將奢華精品引進亞洲市場。她在男性主導的品牌管理界是個成 功的年輕企業家，自己同時亦是一位精緻珠寶的收藏者。這次她打開其首飾盒，容讓我們一瞥她的首飾珍藏。

and nds rful art o m olou r, dia : silve left: C m right d, d l o m o c g o t s a t t gs in ast. Bot dle. Bo age: Ca n i r mid fted us p ite p dcra ’s glorio d in the Oppos n a on bul kci h stie Bica te Istan cut diam by Chri ing rain n a l a ned : Sev iant y fal lebr Top nes, ce ith brill s desig pired b : S RING ous sto ring w el ring ere ins i l m prec ename ite ena rrings w a h o dec and w drop e k d c Bla iamon d ing

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“ i cherish my jewellery like i cherish my memories ”

她的首飾盒盛載著許許多多的回憶，件件風格迥異，卻各具特色。 胡敏珊本人亦然。「我總讓人測不透」。這位企業奇葩有其情感豐富的 一面，她的首飾也一樣：強烈而纖巧、典雅而大膽，精美而簡單。讓人 測不透，正如她所言。 白琺瑯指環由胡敏珊設計，以兩 隻鑽石指環及三隻鑲有褐鑽的琺 瑯指環組成，其中一隻以其最愛 的黑白色印上她的名字。她活潑 有趣的一面則體現於這隻彩色裝 飾藝術風格指環。密鑲美鑽的方 形盤座圍繞正中央的明亮式切割 鑽石。 由24K金、純銀、鑽石及其他 彩色寶石所製，充滿異國情調 的伊斯坦堡Sevan Bicakci指 環由珠寶大師Sevan Bicakci呈 獻，揭示了伊斯坦堡過往的輝 煌歷史。要花上數個月才能完成一件，這些限量發售的首飾絕對價值不 非。但這跟胡敏珊的購買能力並無關係，而是出於對藝術賞識的堅持。 「對我來說這些首飾就像珍貴的回億一樣，我珍惜它們，正如我珍惜每 個回億。」 這對垂吊式鑽石耳環乃胡敏珊及其母親的協作成果。受下雨天所啟發， 這對一長一短的耳墜子垂吊著各式各樣的鑽石和寶石。它們閃耀著歡愉 和幸福的光彩，彷如在夢境翩翩起舞。整個設計歷時三星期，並且在兩 年前大功告成。它勾起了這對設計二人組的另一甜蜜回憶。

Her jewellery box is a collection of memories - each piece so different, and yet so unique - just like the person before us. ‘I am unpredictable,” she confesses. A successful entrepreneur with a sentimental side, her jewellery is just like her - strong yet delicate, classic yet adventurous, artistic yet simple.

Unpredictable, just as what she says.

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lack & White Enamel Rings were designed by Christie; two composed of diamonds, three enamel rings set with brown diamond and one with her name on it in her favourite colours of black and white. The fun and frivolous side of her is revealed through the Colourful Art Deco Style Ring in square bezel set diamonds, surrounding a brilliant-cut diamond centerpiece.

The exotic 24k gold and sterling silver Sevan Bicakci Rings from Istanbul with diamonds and precious stones were designed and hand carved by jeweller Sevan Bicakci, revealing Istanbul’s glorious past. Each of these rings take several months to finish and cost a fortune. To Christie it has nothing to do with purchasing power. To her it is the real appreciation of art. “To me my jewellery pieces are like precious memories. I treasure each one like I cherish each memory.”

Cascading Diamond Drop Earrings: These diamond pendant earrings are the combined effort of Christie and her mother. Inspired by the falling rain, the long and short dangling earrings feature rows of fancy-shaped diamonds and precious stones cascading down from the top. These little droplets sparkle with delight and happiness, like dancing in the dream world. The design took about 3 weeks and finally came to fruition two years ago. These earrings bring back yet another fragrant memory of the design duo.

these earrings are more precious to me than anything else in the world

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This page, from left: Vintage Orchid Rolex and Cartier 1997 limited edition watch; Owl necklace, bought in Europe is symbolic of Christie’s favourite creature and a close association to her own surname, ‘Wo’; silver and gold bracelet inset with rubies was designed by jewellery maker for the Hollywood stars; antique necklace and bracelet with aqua, turquoise and indigo gems was bought in London Opposite page: Teardrop diamond earrings with almond shaped diamonds

TEARdrop ShapeD Diamond Earrings were a gift from Christie’s mother, who passed away a few months ago. “I can still smell her; I can still feel her presence,’ she says. “The earrings are more precious to me than anything else in the world.” Christie often wears them to feel close to her mother.

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水滴狀D-color鑽石耳環原為胡敏珊三年前送給母親的禮物。她的母親 在數月前不幸逝世。「我仍能嗅出她的氣息，感覺到她的存在。」，她 說。「對我來說它比任何東西都要珍貴。」因此它成為胡敏珊經常配 戴，用以緬懷母親的首飾。

adies Vintage Orchid Rolex with diamond-set bezel and black crocodile strap made in 1924 was a birthday present from Christie’s mother, when she turned 18. Since the time she was little, Christie wished to own at least one Rolex watch in her entire life.

“I have a lot of childhood memories around this watch,” she says. “I was always my mum’s little girl.”

Cartier Tank Americaine 1997 LIMITED EDITION HONG KONG watch is a collector’s piece that commemorates the 1997 Handover, was produced as a signed edition of 97 pieces, with the numerals of 9 and 7 highlighted in rose gold. As a gift from her boyfriend, it also commemorates Christie’s romance, which ended a few years ago, but the memory of which she cherishes even today.

The Owl Necklace bought in Europe, features Christie’s favorite creature, the owl. A symbol of enigma with a sense of mystery she feels in some way connected to it. “The spelling for ‘owl’ echoes with my own surname ‘Wo’.“ She envisions using this wordplay to launch her own brand ‘Wol’ someday. ‘I never follow trends. I always look for something special and unique. It is risky, but turns out to be successful everytime.”

HOLLYWOOD BRACELET in sterling siver and 18k gold, set with rubies was designed by a jewellery maker for the Hollywood stars. The intricate craftsmanship, which Christie adores, makes each hand-made piece one of its own.

“When it comes to jewellery, style, quality and design are of utmost importance. This is what defines artistic, high quality and one-of-a-kind jewellery,” she comments. This bracelet is one such example.

Christie saw this ANTIQUE NECKLACE AND BRACELET with shades of aqua, turquoise and indigo in London when she went travelling with her mother. Christie was instantly attracted to the artistry and handiwork of this piece, but couldn’t afford the piece at that time. To her surprise, the next day she recieved it as a gift from her mother, who had secretly bought it for Christie, knowing her love for art jewellery. This piece is another loving memory of her mother. k

力士Orchid女裝古董錶於 1924年製、配備鑽石錶圈和黑 色鱷魚錶帶，是胡敏珊18歲那 年母親給她的禮物。自小時候 她便希望自己一生中至少擁有 一隻勞力士手錶。 「這些都是童年回憶」，她補 充道。「我永遠是母親心目中 的小女孩。」 卡地亞美國坦克1997香港回歸 紀念錶為了記念1997年回歸而 象徵性地限量發行97隻，錶盤的9點與7點時標亦以玫瑰金阿拉伯數字 突顯。這隻腕錶由胡敏珊的男友所贈，見證了他倆的愛情逸事。雖然他 們的戀情在多年前告吹，她至今仍珍視這段回憶。 貓頭鷹項鏈購於歐洲，垂吊著胡敏珊最愛的動物：貓頭鷹。神秘而魔 幻，她認為自己跟貓頭鷹之間有著難以言喻的連繫。「貓頭鷹(owl)的串 法跟我的姓氏‘Wo’相近。」把玩文字，她決定推出個人品牌‘Wol’。「我 從不跟著潮流走。我喜歡全新的東西，不斷尋找獨特之作。這存在一定 的風險，但成果大家都有目共睹。」 荷里活手鐲由荷里活名設計師操刀，以鈍銀和18k金打造，鑲有名貴紅 寶石。這件藝術傑作精巧獨特，深得胡敏珊歡心。「談到審美觀，風 格、質素和設計最為重要。它們決定了首飾是否精巧、品質優良及獨一 無二。」這條手鐲無疑三者俱備。 胡敏珊與母親同往倫敦旅行，看中了這隻藍、綠、青色的古董項鏈及手 鐲，被眼前的精巧之作深深吸引，卻因無力購買而選擇放棄。她的母親 深知女兒對藝術珠寶的鍾愛，在翌日悄悄買了給她，驚喜之餘亦令她大 為感動。k

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what makes a beautiful watch? the answer from 24 top watchmakers

Georges-Henri Meyland 愛彼錶主席兼總裁

01 Georges-HENRi Meyland, PRESIDENT AND CEO, Audemars Piguet

For me, a beautiful watch must have a peculiar technical aspect. nnnnnnnn The movement is fundamental to its design. A beautiful watch needs to have a sophisticated movement. That doesn’t necessarily mean a movement with complications. A thin movement that is plain and simple, is also very beautiful. nnnnnnnn As for the case for technological watches, I like to use new materials like carbon, rubber or titanium. This was really difficult to use in the past, but with the advancement in technologies, made in the last few years, we can now do very interesting things with them. nnnnnnnn For instance, the watch dedicated to Alinghi, the winner of the America’s Cup, we used forged carbon, that is used in the aeronautical industry.

This technique is completely new and absolutely beautiful.

02 Marc-Alexandre Hayek, CEO, Blancpain

A beautiful watch is one that moves me the first time I see it. And this reaction has to last every time I see it. Some watches fascinate you your entire life; the others lose their power of seduction very quickly. nnnnnnnn That said, the characteristics of a beautiful watch can be very different. This applies as much to a classical watch, with a simple movement, or to a very decorated watch complicated movement. nnnnnnnn The material used for the watch is not important as long as it is beautiful. nnnnnnnn I don’t wear watches with diamonds but I still find a lot of them very beautiful. A noble metal or an expensive gem is not enough to make a beautiful watch. nnnnnnnn A watch as a whole needs beauty, balance and emotion.

對我而言，一隻漂亮的手錶必須擁有獨特的一套技術。 nnnnnnnnn機芯是設計的最根本。漂亮的手錶要有完善 的機芯。這並不一定指具複雜性的機芯。簡單、樸素的薄 機芯也同樣漂亮。 nnnnnnnn 錶殼方面，由於我們造的 是技術性手錶，我喜歡採用新的物料，如碳、橡膠或鈦。 從前使用它們絕非易事，但隨著這幾年間的技術進步，我 們現在能利用它們做很多有趣的事情。nnnnnnnnn且看 看我們為美國盃帆船賽冠軍Alinghi隊特製的手錶：我們採 用了鍛造碳鋼（一種航空業的技術）。這種物料既全新， 同時又非常漂亮。

Marc-Alexandre Hayek 寶鉑錶總裁 漂亮的手錶憑第一眼已能感動我，而且每次再見時， 它仍令我產生相同的反應。有些腕錶能令你著迷一輩 子，有些則很快失去其魅力。nnnnnnnnn 這是說漂亮 的手錶可以具備相當不同的特質：這既應用於機芯簡單 的古典手錶，也應用於非常複雜或很多修飾的手錶。 nnnnnnnnn其實用什麼物料並不緊要，只要手錶漂亮就 可以。nnnnnnnnn 我不戴鑽石手錶，卻認為它們大多很 漂亮。然而，貴重的金屬或寶石並不足以使手錶美麗。 nnnnnnnn 手錶是一個整體，需要美感，平衡和感情。

Nicolas Hayek 寶璣錶總裁

A beautiful watch? How can I answer a question like that? What is a beautiful woman? What is a beautiful painting? nnnnnnnn Let me try to define it. It’s a watch that gives a bit of human warmth when you look at it, like a beautiful woman who fascinates you when you see her move, when you see her laugh. In a way it is a good metaphor, for the watch is also something with personality and beauty. nnnnnnnn You need to have a great sensibility to do a beautiful watch, you also need experience and a legacy: three elements that the Swiss watchmakers have. nnnnnnnn It may be easy to copy the final product, but you will never feel its sensibility and sense of history in a replica. That is why our watches are different. nnnnnnnn When you buy a Swiss watch, you will feel this difference.

一隻美麗的手錶？我該如何回答這樣的問題？怎樣才是 美麗的女人？怎樣才是美麗的圖畫？ nnnnnnnn 好罷， 為了你我就嘗試定義一下。這隻手錶能帶給你一絲人間溫 暖，正如看見一個漂亮的女人，她的舉手投足、她的歡 顏都使你著迷。這是很好的對照，因為手錶同樣是具個性 和美感的。 nnnnnnnn 要設計一隻漂亮的手錶，你要有 很高的敏感度，同時需要經驗和歷史的支撐：這三個元素 瑞士都具備。 nnnnnnnn 複製製成品並不難，但你永不 能從中體會這種觸感，歷史的觸感。因此我們的手錶也 不一樣。 nnnnnnnn 當你購買瑞士手錶時，你便會體會 到這差異。

04 Francesco Trapani, CEO, BVlgari

Francesco Trapani 寶格麗總裁

03 Nicolas Hayek, CEO, Breguet

A beautiful watch is essentially a beautiful design, encompassing all the top quality components – the movement, the case, the strap, the dial, the bezel. nnnnnnnn Of course, all the details need to be perfectly done, beautifully finished. nnnnnnnn Historically, Bulgari was well known as a successful designer, but now, we are beginning also to be recognized as a real watchmaker. nnnnnnnn As jewellers, we have this feminine side that helps us design watches women like.

Usually watchmakers have a lot of problems designing women’s watches, because watch making is a ‘male’ oriented activity and most designers are still men. nnnnnnnn We on the other hand know what women want.

本質上，漂亮的手錶是一件設計美麗、配備優質組件的產 品——機芯、錶殼、錶帶、錶盤，錶圈等。nnnnnnnn 當 然 ， 所 有 細 節 都 要 完 美 無 缺 地 完 成 。 nnnnnnnnn 寶格麗是以成功的設計師見稱，但現在我們開始被視為真 正的製錶匠。nnnnnnnn身為珠寶匠，我們有這優勢去設 計女性喜歡的手錶。製錶匠在設計女性手錶時總會遇上很多 問題，因為製錶是一項「男孩子」的活動，大多設計師都仍 舊是男性。nnnnnnnn 相反地我們卻深知女性的需要。

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Bernard Fornas 卡地亞總裁

05 Bernard Fornas, CEO, Cartier

A beautiful watch has no borders or boundaries. It goes beyond the realms of a culture or eras - it is eternal. Our goal at Cartier is always to produce unique, timeless pieces. Beauty is unique and cannot be reproduced. nnnnnnnn Many exemplars of the same necklace, for instance, reduce its beauty. We sometimes refuse the wish of a client who wants us to reproduce a unique piece. nnnnnnnn For a beautiful watch, a beautiful movement inside the case can add a new dimension. Yet, you can like a watch for its design, even if you don’t know anything about its movement. nnnnnnnn The design of a watch has nothing to do with the material of a watch.

Yes, gold is beautiful, but a lot of other metals are beautiful too. I like platinum, for instance but I also like steel. nnnnnnnn Above everything, I want a watch that seduces me.

06 Caroline Scheufele, co-CEO, Chopard

Before anything else, it is the design of a watch that makes it beautiful. I like pure, harmonious and coherent lines. nnnnnnnn When I design watch, the design has to speak to me, to tell me something, to create a strong emotion. nnnnnnnn The movement inside the watch is also important but that doesn’t come first. nnnnnnnn Regarding the case, I like pink gold, but everything depends on the way it’s done. nnnnnnnn I don’t like to have different kinds of precious stones on the same watch. Personally I prefer rubies, but 80% of the jewellery watches we sell are set with diamonds. In any case, even if a watch can also be beautiful without jewellery, I still prefer a watch with it. nnnnnnnn It’s like for a recipe, the more ingredients you have, the more possible choices and the better the result. But be careful, a watch is like a gourmet dinner: quality is always better than quantity.

07 Karl Friedrich Scheufele, Co-CEO, Chopard

I like watches that continue to seduce you for years. It proves their long-lasting qualities, inside and outside the case. nnnnnnnn Of course, as a watchmaker, I think the quality of the manufactured movement is very important. nnnnnnnn The tendency is to add more and more complications, but I don’t feel obliged to prefer movements with complications. A simple, classic movement, based on centuries of tradition, is also beautiful. nnnnnnnn That’s for the inside.

As for the outside, the ‘face’ of the watch is very important so that the design doesn’t go out of fashion after a few years. It’s why I prefer classical designs. I know it will last. nnnnnnnn I don’t care about the type of material used for the case – gold, steel, carbon – as long as it is appropriate to the usage of the watch. You don’t need a platinum watch to go diving and you probably don’t want a carbon watch for a prestigious dinner. nnnnnnnn That also means you never have one ideal watch for every occasion. How could it be possible for a watch to be perfect for golf and for an operatic evening? That would mean too many compromises.

08 Fawaz Gruosi, CEO, De Grisogono

A beautiful watch is something that allies simplicity and character, exactly like the watches I design. nnnnnnnn The look of the watch has to be pure and simple, and the watch has to be easy to use, even if the movement is very complicated. nnnnnnnn A watch must also have exceptional details, even if it is only the owner that sees them. nnnnnnnn I also like the new materials - I was one of the first to introduce shagreen or black diamonds. nnnnnnnn Fifteen years ago, you had a lot of incredible watches, but they all looked a bit same. Franck Muller was the first to dare something different, with a very innovative design. I followed this new trend. nnnnnnnn How to convince a customer to spend a small fortune for a new watch? There is only one way: to propose something totally different and very exclusive. Hence the need of very limited series, like the ones we produce.

一隻漂亮的手錶是無邊界的，能超越文化和時代。它是 永恆的。卡地亞的目標是製造唯一的、永恆的作品。美 麗是可一不可再的。nnnnnnnnn舉例說，同一項鍊的許 多範本都削減了其本來的美感。當客人要求我們再生產 某件獨特作品時，我們會拒絕他們。nnnnnnnnn就漂亮 的手錶而言，錶殼內的美麗機芯能為它多加了一個特點 nnnnnnnn但你對手錶的愛惡是基於設計，即使你對機 芯一無所知。nnnnnnnnn 漂亮的設計與手錶選用的物料 並無關係。黃金是美麗的，但很多其他金屬同樣漂亮。我 就喜歡白金，還有鋼。nnnnnnnnn最重要的是，該手錶 該能夠誘惑我。

Caroline Scheufele 蕭邦錶聯席總裁 在各項因素中，設計決定了一隻手錶漂亮與否。我喜歡 純綷、和諧與連貫的線條。nnnnnnnnnn當我設計手錶 時，那個設計要與我對話、交流，要觸發強烈的情感。 nnnnnnnnn 手錶內的機芯同樣重要，但並非先決因素。 nnnnnnnnn 錶殼方面我喜歡用玫瑰金，當然也得看看製 成後的效果。nnnnnnnnnn 我不喜歡在同一隻手錶上鑲上 不同的寶石。個人來說我喜歡紅寶石，但我們出售的珠寶 錶有80%是鑲上鑽石的。無論如何，即使沒有珠寶的手錶 也可以很漂亮，我還是較喜歡珠寶錶。nnnnnnnn那就像 菜譜一樣，有越多的材料，你就有越多的選擇、越好的成 果。但當心手錶就像一頓佳餚，永遠是重質過於重量的。

Karl Friedrich Scheufele 蕭邦錶聯席總裁 我喜歡那些能使你著迷很久很久的手錶。它證明錶殼內外 的品質都能持久。 nnnnnnnn 當然，作為一個製錶匠， 我認為機芯的品質非常重要。 nnnnnnnn 現在的趨勢是 不斷提高複雜性，這沒有迫使我選擇複雜機芯。簡單、古 典，累積多年傳統的機芯也同樣漂亮。 nnnnnnn 剛才 談的是內在。至於外在——手錶的「面貌」——最重要的 是該設計不會在幾年後過時。因此我喜歡古典設計，它無 疑比較耐看。 nnnnnnn 我不關心錶殼所採用的物料— —金、鋼，碳等——只要用得合宜便可以。你潛水的時候 不需要白金錶，出席晚宴時也不會戴碳錶。nnnnnnnn 這是說沒有一隻理想的手錶是適合任何場合的。它怎能同時 適合打高爾夫球和聽歌劇呢？要是這樣便有太多妥協了。

Fawaz Gruosi De Grisogono總裁 一隻漂亮的手錶結合了簡約和個性，正正就像我設計的 那種一樣。nnnnnnnn 手錶看上來要純淨、簡單，就算 機芯相當複雜，它也要易於使用。 nnnnnnnn 漂亮的手 錶要異常仔細，即使只有配戴者能看得見。 nnnnnnnn 此外，我喜歡新的物料。我是其中一個首先採用鯊魚皮或 黑鑽的人。 nnnnnnnn 十五年前有很多不可思議的手錶 出現，但它們看起來都有點相似。Franck Muller 是第一個 有膽量作新嘗試的人，他的設計非常革新。我選擇轉向這 個新趨勢。 nnnnnnnn 該怎樣說服顧客花錢買一隻新手 錶呢？秘訣只有一個：建議一些完全不同、完全獨家的東 西。故此要限量發售，正如我們製造的那種一樣。

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Jerome DeWitt, DeWitt主席兼總裁

09 Jerome deWitt, President and CEO, deWitt

For me, a beautiful watch is one with a beautiful movement. It is fascinating to me. nnnnnnnn I also find simple movements very beautiful. nnnnnnnn The design is important but it comes second. nnnnnnnn With a movement that is like a work of art, you also want a case to be a work of art that is worthy of a mechanism inside. Therefore the case is also important. nnnnnnnn A beautiful watch could be in steel. Diamonds are not important for me. Personally, I like palladium. It’s not often used for watches. Of course, it’s expensive, but it is also beautiful and beauty has no price.

10 Vartan Sirmakes, CEO, Franck Muller

A beautiful watch is always a challenge. nnnnnnnn Of course, the movement has to be complicated; a beautiful mechanism is a great source of inspiration for a watch lover. It’s the same with the motor of an exclusive sports car. nnnnnnnn In the past I liked watches set with gems. But as I get older, I prefer complicated movements. Step by step I’ve discovered the complexity and the sophistication of the mechanical movements and I’m fascinated by them.

It is an evolution of my own personality. nnnnnnnn That’s why we produce more and more complicated movements. I always want to explore new territories, to learn more, to see if what we imagine is possible to do. That’s not easy. nnnnnnnn To dream of the perfect movement is not difficult, to realise it is more complicated. But at the end of it all, the results are spectacular.

11 uigi Macaluso, President and CEO, Girard-Perregaux

A beautiful watch is a a summary of centuries of horology with a delicate balance between visual perception and satisfaction of possessing a cultural product. It is an object that gives you real emotions. nnnnnnnn I like simple watches with simple movements; watches with only the essential functions you really need, where you still see the handiwork of the watchmaker and the work of the artisan. nnnnnnnn A watch is an object with multiple facets. It’s not only useful to tell you the time but also teaches you how to master time and therefore how to control your life, in which time is limited. nnnnnnnn In this perspective, the complication I like best is the chronograph, the quintessence of the mastering of time. nnnnnnnn As I also like light watches, I prefer steel or titanium. It was for a long time difficult to work with titanium, but now we master it.

12 Hamdi Chatti, CEO, Harry Winston Rare Timepieces

A beautiful watch is a watch you want to admire for a long time, and every time you look at it, it reminds you of a beautiful memory. nnnnnnnn The case, the material, the design or the movement are not important. What’s important is the emotion the watch gives you. nnnnnnnn My parents gave me, a long time ago, one of the first Swatches. Today, I have some very expensive and very complicated watches, but this simple Swatch is still one of the watches that move me the most. nnnnnnnn I’m an engineer and I love a complicated movement. But I’m also a jeweller and I like beautiful gems. But while complicated movements and gems are beautiful, they don’t give me more emotions than a simple watch. nnnnnnnn I would even say that if the movement is too complicated, it becomes something for the specialists, the happy few only, whereas an emotion should be shared by a majority of people.

一隻漂亮的手錶擁有一個漂亮的機芯，它們令人著迷。 nnnnnnnn 簡單的機芯也很漂亮。nnnnnnnn 手錶的設 計也很重要，但它無疑較為次等。nnnnnnnn 要是你的 機芯彷如藝術品一樣，你期望錶殼也是如此，方配得上內 裡的機芯。因此錶殼亦很重要。 nnnnnnnn 漂亮的手錶 也可以由鋼製成。鑽石對我來說無關痛癢。個人而言我喜 歡用鈀。它在製錶界尚未被廣泛採用。當然它很昂貴，但 它也很漂亮，而美麗是無價的。

Vartan Sirmakes 法蘭克穆勒總裁 漂亮的手錶永遠是個挑戰。nnnnnnnn 當然，它需要有 複雜的機芯。美麗的結構是手錶愛好者的情感源頭。正如 馬達之與獨特的跑車。nnnnnnnn以往我喜歡鑲上寶石 的手錶。但當我年紀漸長，我開始喜歡複雜的機芯。我逐 步發現複雜性和機械機芯的精密之處，而且被它們深深吸 引。對我來說這是個性上的明顯轉變。nnnnnnnn 正因 如此我們製造越來越多的複雜機芯。我渴望開拓新的領 域，學習多點，看看我們的想像能否實現。這並非易事。 nnnnnnnn 要想像完美的機芯並不困難，難度在於如何 把它實踐。但成果終究是有目共睹的。

Luigi Macaluso 芝柏錶主席兼總裁 一隻漂亮的手錶是世紀鐘錶的結晶，微妙地在視覺感知， 與擁有該文化產物的滿足上取得平衡。它能給你帶來真正 的情感。nnnnnnnn 我喜歡擁有簡單機芯的簡單手錶， 它只配備你真正須用的功能，而從中你會看到工人的手 藝，以及藝術家的傑作。nnnnnnnn 一隻手錶擁有多個 面向。除了報時外，它還教你如何掌握時間，從而掌握有 限的生命。nnnnnnnn 基於這個觀點，我最愛的複雜性 是計時器，它是掌握時間的最佳體現。nnnnnnnn 我亦 很喜歡輕的手錶，因而會選擇鋼或鈦。採用鈦一直以來都 很有難度，但我們現在已掌握了竅門。

Hamdi Chatti Harry Winston Rare Timepieces總裁 一隻漂亮的手錶能令你長久產生愛慕。每每看見它時， 你都會回想起一些美麗的記憶。nnnnnnnn 錶殼、物 料、設計或機芯都不重要。重要的是手錶帶來的情感。 nnnnnnnn 很久以前，我的父母給了我第一隻Swatch膠 錶。今天我擁有最昂貴最複雜的手錶，但這簡單的 Swatch仍舊是其中一隻最能觸動我的手錶。nnnnnnnn 我是一名工程師，喜歡複雜的機芯。但我也是一名珠寶匠， 喜歡美麗的寶石。複雜機芯和寶石固然漂亮，卻不比一隻簡 單的手錶帶來更大的情感。nnnnnnn 我甚至認為如果機 芯太複雜，它便只屬於專家、少數幸福的人，但情感卻該 是大多數人所能分享的。

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George Kern 萬國錶總裁

13 George Kern, CEO, IWC

A beautiful watch is a watch with a global appeal. But a watch that is not too expensive and is of the highest possible quality - that is an equation which is not always easy to solve. nnnnnnnn I also think a beautiful watch should have a classical design. nnnnnnnn One thing is sure, a beautiful watch is not a unique piece . nnnnnnnn Another thing is the importance of the movement - a beautiful watch needs to have a manufactured mechanical movement nnnnnnnn A watch is a whole and the whole has to be beautiful. It’s like a woman’s face. It’s the whole that’s beautiful, not only the lips or the eyes. nnnnnnnn I don’t think a complicated movement is necessary; it’s nice, but with a complication, a watch becomes too expensive. nnnnnnnn I don’t believe in “concept watches”. It’s easy to find two or three customers who want to buy everything. The real difficulty is to have a global success, selling a lot of watches to a lot of people in a lot of different countries.

14 Jacob Arabo, CEO, Jacob & Co

A beautiful watch, when you look at it, should connect with you before telling you the time. nnnnnnnn A $5 watch can tell you the time, but we need more. And if people spend millions on their watches it’s not only for the prestige, but mainly because their watches make them happy. nnnnnnnn It’s why I like complicated watches; we still are children and we need toys. nnnnnnnn A watch tells a lot about you, your personality. It’s why I like diamonds. A watch in gold or in platinum can be beautiful, but a watch with diamonds makes me totally happy. nnnnnnnn This is also why I put a lot of colours on my watches, to make me happy. I prefer to live a sparkling and coloured life rather than a grey and dull life. That’s my choice. nnnnnnnn Would I wear a watch that costs a fortune? Of course. But it’s like a Ferrari. You don’t drive your Ferrari everyday. It would be tiring. You just drive it two or three times a week, for fun. It’s the same with my watches.

15 Jerome Lambert, CEO, Jaeger-LeCoultre

Does a watch need to be rare to be beautiful? I don’t think so. nnnnnnnn If we produce sometimes very limited series, it’s not because we want these watches to be unique. It’s only because they are technically very, very complicated and we can produce only one or two pieces a month. But we also produce large series, like the Reverso, which in my judgment, is a very beautiful watch. nnnnnnnn What counts, is the characteristics of the watch: its identity, the innovation of the product, the horological knowledge put into the watch and its technical characteristics. nnnnnnnn I like technical watches and Jaeger-LeCoultre will continue to push the technical boundaries of watchmaking. nnnnnnnn I’m very proud of what we have done this year with the Master Compressor Extreme Lab: The movement operates without any form of lubricant, which is the ultimate dream of all watchmakers. nnnnnnnn But what is a beautiful watch? Simple. It’s a watch you wear with pleasure.

16 Francois-Paul Journe, CEO, Montres Journe

A beautiful watch is a technical watch with great precision. nnnnnnnn It also has to be a simple watch; very discreet. A watch is a very personal object, therefore it should reflect your real personality and not the image you want to project. nnnnnnnn The movement is the most important part in the watch. I don’t create watches, I do horology, I always try to bring something new to the old art. nnnnnnnn If a movement has to be complicated it also needs to be beautifully designed, for if it’s not beautiful it probably means it was not well conceived. nnnnnnnn When you speak of complications, most of the people think of the tourbillon.

But, for me, the most beautiful complication is the chronograph. nnnnnnnn An old marine chronograph, with three hands is probably what’s the most beautiful in all the horology history. nnnnnnnn Finally, a beautiful watch is made by an artisan and therefore should be unique. If I had enough money I would create watches only for me.

一隻漂亮的手錶該具備國際的吸引力。因此，它不能太昂 貴，同時又要達至最高質素。這條公式絕不容易解答。 nnnnnnnn 我認為一隻漂亮的手錶還該擁有古典的設計。 nnnnnnnn可以肯定的是，一隻漂亮的手錶相反地不一 定是獨特的。nnnnnnnn同樣肯定的是機芯的重要性。 一隻漂亮的手錶須配備機械機芯。nnnnnnnn 手錶是一 個整體，要整體評價它是否漂亮。像女人的樣貌一樣，整 體來說漂亮，而不只是嘴或眼。 nnnnnnnn 我不認為複 雜的機芯是必須的。複雜的機芯很不錯，但配備了它以 後，手錶便會過於昂貴。 nnnnnnnn 我不相信「概念手 錶」。我們不難找到想買下一切的兩三顧客。真正困難的 是獲取得世界性的成就，在各個不同國家出售大量手錶給 大量顧客。

Jacob Arabo Jacob & Co總裁 當你望著一隻漂亮的手錶，還未知道時間前，你的嘴角 已露出笑意。 nnnnnnnn 一隻$5的手錶已經可以報時， 但這對我們來說並不足夠。若人們花數百萬去買一隻手 錶，那不只是因為名望，主因是手錶令他們感到快樂。 nnnnnnnn這是我喜歡複雜手錶的原因。我們還是小孩， 因此需要玩具。nnnnnnnn手錶能展現你的個性，因此 我喜歡鑽石。金或白金手錶可以很漂亮，但鑲上鑽石的手 錶才真正令我快樂。nnnnnnnnn這也是我給手錶添加各 種色彩的原因，為了取悅自己。我寧可過多姿多彩的生 活，也不要單調乏味的生活。這是我的選擇。nnnnnnnn 我敢戴一隻昂貴的手錶嗎？當然。但它就像法拉利。你不 會每天都駕駛法拉利，這會使人厭倦。你會兩三星期駕駛 一次，純綷為了取樂。我戴手錶也是如此。

Jerome Lambert 積家錶總裁 手錶要罕有才算得上漂亮嗎？我不認為。nnnnnnnn 有時我們也推出數量非常有限的系列，這並非因為我們想 令手錶更加獨特，而是它們在技術上相當複雜，以至每個 月只能製造一至兩隻。但我們同樣推出產量多的系列，如 Reverso——在我看來一隻非常漂亮的手錶。nnnnnnnn 重要的是手錶的特點：它的身分、原創性，所包含的鐘錶 知識和技術特性。 nnnnnnnn 我喜歡技術手錶，且希望 積家錶能無止境地擴展鐘錶界的技術領域。nnnnnnnn 今年積家與Master Compressor Extreme Lab的合作便令我相 當自豪：機芯的運作無須潤滑，這是所有製錶匠的終極夢 想。 nnnnnnnn 到底怎樣才算是漂亮的手錶？很簡單： 就是配戴時令你感到快樂的手錶。

Francois-Paul Journe Montres Journe總裁 一隻漂亮的手錶是一隻能準確地報時的技術手錶。 nnnnnnnn它該是簡單、樸素的。手錶是非常個人的物 品，它該反映你的真實個性，而不是你想呈現的形象。 nnnnnnnn機芯是手錶最重要的部分。我並不創作，我負 責製造鐘錶，希望為舊的藝術注入新元素。nnnnnnnn 複雜的機芯需要有漂亮的設計，否則可能意味該設計 的構想欠佳。nnnnnnnnn當談到複雜性，很多人會想 起「陀飛輪」，但對我來說，最美麗的複雜性是計時 器。nnnnnnnnn一個古舊的航海計時器，配備三個指 針的那種，大概是整個鐘錶歷史中最美麗的複雜性。 nnnnnnnn最後，一隻漂亮的手錶該出自藝術家之手，因 此是獨一無二的。要是我有足夠的金錢，也會設計只屬於 自己的手錶。

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Stephen Urquhart 歐米茄主席

17 Stephen Urquhart, President, Omega

How to describe a beautiful watch? It’s difficult. It’s like a beautiful woman, everything is in the details, like a smile, or the curve of the hips. It’s spontaneous, intuitive: you don’t know what it is but you cannot help watching her. nnnnnnnn There is no recipe for a beautiful watch. It can be in gold or in steel, with or without jewellery, it doesn’t matter. Sometimes, a watch with a lot of diamonds is beautiful, sometimes not. It’s the same for a very simple watch in steel: some are very beautiful, some are ugly. nnnnnnnn Everything depends on what she communicates.

Therefore, a beautiful watch is a watch that doesn’t lie, a watch that doesn’t make false promises. nnnnnnnn Take a complicated movement, for example, if the complication is not useful, if it’s just for show, it doesn’t embellish the watch. nnnnnnnn Anyway, there is no need to theorize so much about beautiful watches. When you see a watch, you know immediately if it is beautiful or not.

18 Angelo Bonati, CEO, Panerai

A beautiful watch, for me as a manager, is a watch that commands success. nnnnnnnn Of course, I appreciate big watches and simple design, like the ones we produce. nnnnnnnn The movement is also very important It’s the heart of the watch. This is why it was essential for me to produce our own movements. It’s like with your body: it will work better with your own heart than with a transplanted heart. nnnnnnnn Of course, you don’t see the movement, but it reassures the owner of the watch, and certifies the quality of the timepiece. nnnnnnnn For me there is no absolute beauty. We all have different tastes and we all find different watches beautiful.

19 Philippe Stern, President, Patek Philippe

A beautiful watch embodies certain long-lasting values, some might say past values, but I think they are still important: the tradition of centuries of horology. nnnnnnnn You don’t put a complication on a movement if it’s not necessary. It’s the same for the metal used for the case.

For instance, it’s not necessary to have a platinum case for a minute repeater, as the sound is very bad. nnnnnnnn Even for a very simple watch, attention to the details has to come first.

Contrary to what a lot of people think, it’s as difficult to produce a watch with a simple movement as with a complicated one. Complication has nothing to do with beauty and a simple movement, if it’s really well done, it is as beautiful as all the tourbillons in the world. I’m proud to produce and to wear both.

20 Philippe Leopold-Metzger, CEO, Piaget

A beautiful watch, for me, is an elegant watch, relatively simple with a beautiful movement that you can see through the sapphire glass at the back of the case. nnnnnnnn Elegance is the most important characteristic of a beautiful watch, and for me, elegance means thinness. That’s why I prefer ultra-thin watches. Big, yes, but thin. nnnnnnnn I won’t surprise you if I say that the watches we design look like the watches I like. nnnnnnnn In a period when watch manufacturers are tending to offer almost exclusively large-sized, very thick watches, we opted to pursue the path of finesse and elegance. nnnnnnnn Of course, the movement is important and I like complications. But I consider the complications as toys and like all men, I love toys. nnnnnnnnThe material is also important. I see too many black watches this year. We are a luxury brand and we know how to do very beautiful watches with gold or platinum. So, why use carbon or plastic?

怎樣形容一隻美麗的手錶？這很難說得清。就像一個美麗 的女人一樣，她的每個細節，她的微笑，或臀部的曲線。 這是不由自主、全憑直覺的：你說不出是什麼，卻總被她 牽引著。 nnnnnnnn 漂亮的手錶並沒有處方。管它是金 或鋼，有沒有鑲上珠寶。有時一隻鑲滿鑽石的手錶是漂亮 的，有時則不然。就正如一隻簡單的鋼錶：有些美極了， 有些則很醜。 nnnnnnnn 一切都取決於她傳遞的訊息。 漂亮的手錶不會說謊，不會胡亂許諾。 nnnnnnnn 以複 雜機芯為例，要是該複雜性只是為了炫耀而毫無用途，它 反而不能美化手錶。 nnnnnnnn 無論如何，我們根本無 須把美麗手錶理論化。當你望見一隻手錶，使可立即知道 它漂亮與否。

Angelo Bonati 沛納海總裁 身為經理，我認為漂亮的手錶能帶來成功。nnnnnnnn 當然，我也欣賞設計簡單的大手錶，就像我們推出的那 款。nnnnnnnn 機芯是相當重要的，它是手錶的心臟。 這是我們自己製造機芯的原因。正如身體一樣：自己的 心臟總比移植的心臟運作得好。nnnnnnnn當然你看不 見機芯——但它能使物主安心，它保證了手錶的品質。 nnnnnnnn 於我而言美麗不是絕對的。我們有不同的品 味，且認為不同的手錶都很美麗。

Philippe Stern 百達翡麗主席 漂亮的手錶包含了一定的持久價值，有人會稱之為過時觀 念，但我認為它們仍舊重要，那就是鐘錶學世紀以來的傳 統。 nnnnnnnn 如非必要的話，你不會增加機芯的複雜 性。錶殼使用的金屬亦然。舉例說，三問錶不會配以白金 錶殼，因為那聲音會很難聽。 nnnnnnnn 最重要的是手 錶的細節，即使非常簡單的腕錶也一樣。與很多人的想法 有別，我認為簡單機芯與複雜的機芯設計起來同樣困難。 複雜性無須與美感掛鉤，但簡單機芯若製造得好，它就跟 世界上的陀飛輪一樣漂亮。能製造並且配戴這兩者，我感 到相當自豪。

Philippe Leopold-Metzger 伯爵錶總裁 我認為一隻漂亮的手錶該是高雅而簡約的，你能透過錶 殼底部的藍寶石水晶看見內裡的漂亮機芯。nnnnnnnn 高雅是一隻漂亮手錶的首要條件。對我來說薄就是高 雅。因此我喜歡超薄手錶。大，但要薄身。nnnnnnnn 毋須驚訝，我們設計的手錶正是我所喜愛的那一類。 nnnnnnnn 現在製錶匠全都傾向製造非常厚身的大型錶 款，但我們追求的卻是纖巧雅緻。 nnnnnnnn 當然，機 芯是很重要的，而我亦喜歡複雜性。但我把它視為玩具。 一如所有男士，我喜歡玩具。nnnnnnnn物料同樣重要。 這一年我看過太多黑色手錶了。我們是奢侈品牌，深知 如何利用金或白金打造華麗的手錶。那麼，為什麼還採 用碳和膠呢？

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Carlos Diaz 豪爵錶主席兼總裁

21 Carlos Diaz, President and CEO, Roger Dubuis

我沒有製作過最漂亮的手錶。但我認為它該有兩個重要特 質：獨特的設計和令人難忘的機芯。nnnnnnnnn令人印 象深刻的機芯未必就是複雜的，因為品質與複雜性並沒有 必然關係。最簡單的東西往往是最漂亮的。 nnnnnnnnn 漂亮的手錶同樣是一件產品。因此「日內瓦印記」——瑞 士鐘錶界最具威望的印記，對我來說意義如此重大； 亦正因如此，我只會製造有日內瓦品質證明的手錶。 nnnnnnnn因為美麗和品質是息息相關的。 nnnnnnnn 我創作自己喜歡、自己想配戴的手錶。但我不認為只有 豪爵錶才算得上是漂亮。 nnnnnnnn 我同樣欣賞其他品 牌。的確，你的孩子是世上最美的，這不代表別的孩子 就很醜。

22 Juan-Carlos Torres, General director, Vacheron Constantin

Juan-Carlos Torres江詩丹頓總裁

The most beautiful watch is one that I haven’t created yet. But I know it will have two essential characteristics: a unique design and an impressive movement. nnnnnnnn Impressive movement doesn’t necessarily mean complex movement, for quality has nothing to do with complexity.

The simplest things are often the most beautiful. nnnnnnnn A beautiful watch is also a manufactured watch. That’s why the ‘Poincon de Geneve’, the most prestigious seal of Swiss horology, is so important for me, and I will always produce watches with the Geneva hallmark. nnnnnnnn For me beauty is always associated with quality. nnnnnnnn I create watches I like, watches I want to wear. But it would be dishonest on my part to say that only Roger Dubuis watches are beautiful. nnnnnnnn I also appreciate other brands. Of course, your children are the most beautiful in the world, but that doesn’t mean other children are not.

A beautiful watch is a balance between design and technique. nnnnnnnn Of course, a mechanical movement is important, but not always necessary; even a plastic watch can be beautiful. nnnnnnnn Regarding the movement, I find that watchmakers like Richard Mille or Urwerk are doing bold and very interesting things, but I prefer more traditional designs. nnnnnnnn For me, a beautiful movement must respect horological tradition and as watch brands, we must never forget our obligations to this tradition. nnnnnnnn Tradition guarantees the longevity of the watch. It’s our responsibility to our customers to guarantee that their watches will last a long time. nnnnnnnn It’s the same for the new metals. They’re often very interesting, but we take our time to see if they really bring something useful to our craft.

We are not in a hurry. Our manufacturing has accumulated more than 250 years of experience, so time is actually our ally.

23 Stanislas de Quercize, CEO, van Cleef & Arpels

一隻漂亮的手錶能在設計與技術上取得平衡。 nnnnnnnn機械機芯固然重要，卻並非必需的。膠錶也 可以很漂亮。nnnnnnnn就機芯而論，Richard Mille或 Urwerk的鐘錶匠正在進行大膽而非常有趣的嘗試，但個人 來說我還是比較喜歡傳統設計。 nnnnnnnn 我認為一個 漂亮的機芯需要尊重鐘錶傳統，我們都肩負著對傳統的責 任。 nnnnnnnn 傳統意味了手錶的壽命。我們有責任向 顧客保證手錶會運作一段長時間。 nnnnnnnn 這同樣應 用於新金屬。普遍新金屬都相當有趣，但我們得花時間探 究它們對鐘錶工藝有否裨益。我們毋需匆忙——製造商已 累積了超過250年的經驗了，時間根本就是我們的伙伴。

Stanislas de Quercize 梵克雅寶總裁

A beautiful watch doesn’t have to tell you the time – for that, your cell phone is enough – it has to give you an emotion. nnnnnnnn We need a watch to remind ourselves we are not eternal, to ask ourselves fundamental questions: what have we done with our days, with our life, with our friendships, with our loves. nnnnnnnn Does a beautiful watch need to have a beautiful movement? If the movement gives more emotion, more poetry to the watch, yes, absolutely.

But a movement that’s just complicated, without poetry, is of no utility. nnnnnnnn It’s the same thing with a jewellery watch; the jewels can add a lot to a watch, if they are meaningful. nnnnnnnn Any kind of watch can be beautiful, whatever the material, whatever the movement.

Picasso, for instance, was able to create incredible works of art with any material. It’s the same for a watchmaker.

一隻漂亮的手錶並非用來報時——否則你有手機便已足 夠——她該為你帶來情感。nnnnnnnnn我們需要的是 一隻能提醒我們生命有限的手錶，它會問一些最基本的 問題：我們怎樣對待自己的日子、生活、朋友和愛人。 nnnnnnnn一隻漂亮的手錶需要有漂亮的機芯嗎？如果 該機芯能為手錶帶來更強的情感和詩意。答案是要。絕 對需要。但一個複雜而沒有詩意的機芯則毫無用處。 nnnnnnnn珠寶錶亦然。只要用得其所，珠寶能為手錶 添加不少意義。nnnnnnnnn任何類型的手錶都可以很漂 亮，無論何種物料、何種機芯。舉例說，畢加索就能以任 何物料創作出不可思議的藝術品。製錶匠也是如此。

24 Thierry Nataf, President and CEO, Zenith

Thierry Nataf 先力主席兼總裁

A watch is more than a mechanism that tells you the time. A watch is an object that reminds us of the importance of time. nnnnnnnn Personally, I like technological watches. This is because I’m an engineer, and I’m always looking for the mechanical performance of a movement or a watch. nnnnnnnn I’m particularly proud of the use of innovative material in our new collection, the Zenithium, the shock-absorbing alloy we developed. It means that this watch is nearly indestructible. It can resist all types of shock and is water resistant up to a depth of 1,000 metres. nnnnnnnn A watch should not be only a technological mechanism, it’s also a very beautiful, elegant object. nnnnnnnn A beautiful watch is like a sculpture, an object you want to touch, to feel. That’s very important. That means the material used for the watch has to be sensual as well.

手錶並非只是報時工具。它能提醒你時間的重要性。 nnnnnnnnn個人來說我喜歡技術手錶。因為我是個工 程師，無時無刻都在追求機芯或手錶的機械表現。 nnnnnnnn我尤其為Zenith新系列中採用的革新物料感到 自豪。Zenithium——我們發明的減震合金。那隻手錶是近 乎不能損毀的。它能抵禦任何形式的衝擊，而且能防水 1000米。nnnnnnnn手錶不該只是一個技術結構。它同樣 該是非常美麗而高雅的。 nnnnnnnn 漂亮的手錶就像雕 塑一樣，你能觸摸它、感受它。因此你所採用的物料該帶 有質感，這一點相當重要。

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TEXT: STEPHANIE CASCINO PHOTOGRAPHY: PATRICIO ESTAY / NAZCA PICTURES / TCS

Pearls were an obsession for young Kokichi Mikomoto, the son of a modest noodle merchant.

“I will decorate the neck of all the women of the world with a string of pearls” he stated. The rest, as you know is history. 珍珠曾令無數人神魂顛倒，當中也包括Kokichi Mikomoto──一名麵條商人的兒子。Kokichi曾矢志要 「以珠鏈裝飾全球女性的頸項。」

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he boat lazes about in the lapping waves. We’re six hours south of Tokyo.

Between the scattered emerald-coloured islets, thousands of bamboo trays stretch out into parallel ribbons glittering in the sun. Underneath these underwater enclosures lie some of the most delicate of farms, housing within, only a few million Akoya oysters secrete pearls.

The ‘Island of Pearls’ is Mikimoto family’s sanctuary. The late Kokichi Mikimoto, the hero in the world of precious stones, extracted the very first farmed pearl from one of the oysters in this bay.

On the Island of Pearls, still stands the house where Mikimoto made his first experiment over a hundred years ago. “I have been part of this family for nearly fifty years, and I was lucky enough to know Kokichi while he was alive, ” says the slender, distinguished and charming, Sumiko Mikimoto, the wife of Yoshitaka Mikimoto, Kokichi Mikimoto’s grandson. Also known to be one of the best piano teachers of her generation, her neck is adorned with a string of the legendary Mikimoto pearls. “I have had them for forty-five years. These are living nacre and so fragile. They do not like darkness, or perfume,” she says.

This delicate and so-easily-violated fragility of pearls perhaps explains why women have traditionally dominated Japan’s pearl culture. For over two thousand years, only Amas women dived into Ise Bay seeking pearls. Even today, in Mikimoto farms, most of the workers are women; from pearl cultivation to pearl selling.

The quest for pearls through traditional diving, its craft of pure chance fraught with dangers and disappointment, is now a prosperous business empire. In his boutiques on Fifth Avenue, Place Vendôme and in Ginza, Mikimoto sells pearls worth 21 billion every year.

“Careful to ensure that our pearls are of the highest quality, we only keep the ‘hanadama’, pearls; 5% of the production, extremely rare and perfect,” says Mr Toyohiko Kasuga (who goes by his official name of Mr. Mikimoto), the former president of Mikimoto Company. “Of the 68 tonnes of pearls produced in 1992, we selected only four tonnes from it. Pollution and changes in weather conditions are affecting the oyster yield more and more,” he explains.

Pearls have fascinated mankind throughout history. Buddhist monks called them ‘stones of seduction’. Ancient China furnished its world beyond with pearls and the first Christians turned them into symbols for Christ and the Virgin Mary.

The story of Mikimoto started in the 19th century with Kokichi Mikimoto, the son of a noodle merhant in Japan who became enamoured by pearls. So devoured was he that he hung around fishermen, observed divers and attempted to force open the doors of this closed world of pearl culture. He came to know that the demand from princely courts across the world was threatening the oysters’ survival. And soon, pearls would belong to the past.

This made Mikimoto even more determined to understand how the pearl formed

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葉輕舟，懶懶地蕩漾於東京以南六小時航程的一個海灣。水面的微波，映照 四周的青蔥島嶼和給陽光映照得金光閃閃的竹籠，別具一番情調。這個優美 的海灣，原來是一片蠔田，裡面數以百萬計的Akoya蠔，無時無刻都在生產 令人愛不釋手的珍珠。 這處盛產珍珠的地方，正是御木本(Mikimoto)家族的發跡地：珍珠島。 100年前，全球寶石界的英雄人物──已故的Kokichi Mikimoto，便是在島 旁的這個海灣，取出全球第一顆養珠，從此聲名鵲起。 Kokichi Mikimoto雖已去世多時，但他的影子，在島上仍隨處可見。例如他當年做實驗的房子，至 今仍屹立於島上。甚至Kokichi的孫媳婦(Yoshitaka Mikimoto的夫人)Sumiko看見我們時，也不禁流露 出對太老爺的敬畏之情：「我成為Mikimoto家族的成員已近半個世紀，有幸親身認識Kokichi，實在是 我的福份。」身形瘦小，但舉手投足都充滿魅力的Sumiko，曾是首屈一指的鋼琴教師，而所撰寫的 藝術品鑑賞手冊，也孕育出不少年輕鑑賞家。她的頸上掛了一串珠鏈。「上面的都是御木本珍珠，戴 了45年歷史了。這些珍珠都具有生命：脆弱、怕黑，更非常討厭香水。」 珍珠的嬌弱，正與女性的特質不謀而合，難怪日本的珍珠工業素來由女性所主導。二千年來，在伊 勢灣(Ise Bay)潛水取珠的工作，一直由海女負責。就是時到今日，在御木本的蠔田負責養珠和售賣珍 珠的，同樣是以女性為主。 昔日潛水採珠的做法，除了風險高之外，也頗靠運氣──經過一大輪折騰之後，海女仍很可能空 手而回，收成沒有保證。反之，養珠無須面對這些風險，令御木本得以成為全球有名的企業。現時， 該公司在紐約第五街、巴黎的Place Vendôme廣場，以至東京銀座都設有專門店，每年售出的珍珠產 品，總值更高達210億歐羅。

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OPPOSITE TOP: The harvested oysters are separated according to their quality, shape, colour and size. OPPOSITE : Kokichi Mikimoto, the inventor of the method for cultivating pearls and founder of the Mikimoto Society, and his family, (1903).

THIS PAGE: Long ago, Ama women dived for pearl oysters. Today, they are on exhibit for tourists on Mikimoto Island and work in the pearl industry.

in its oyster. He would then find a way to produce this precious jewel. In 1888, he established the first pearl oyster park in the mouth of the Shinmei River in Shima.

Consulting with Professor Kakichi Mitsukuri, an expert in marine biology at the University of Tokyo in 1890, Mikimoto learned that if a foreign body penetrates an oyster, its inner shell will secrete mother-of-pearl substance, which in time will form a pearl.

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veryone in Shima Bay ridiculed the man who wanted to imitate the secrets of nature and his attempts to insert all sorts of things into the oysters from sand, wood and glass and how he hung his victims underwater in bamboo baskets.

Mikimoto relentlessly pursued and on 11th July 1893, at Toba Park pearl farm, his wife Ume and he discovered a semi-spherical pearl formed within an ‘akoya’ pearl oyster. It was the first cultivated pearl in the world.

In 1895, a red tide destroyed the entire farm of 850,000 akoyas. Instead of throwing them all away into the sea, Mikimoto began opening them one by one in his laboratory. From one dead oyster, miraculously appeared a bright lustre of a perfectly round pearl. Mikimoto found five cultivated spherical pearls, whose beauty equalled that to natural pearls. He patented this method in 1897.

“I will decorate the necks of all the women in the world with a string of pearls,” he declared. He opened his first shop in Ginza, the chic quarter in Tokyo. In the following year, he created the first modern jewellery workshop in Japan.

Mikimoto served as a model for dedication, perserverence and the unshakable Japanese spirit. He astounded the public with his models of the pagoda of the Horyujil temple, made of platinum and 12,760 pearls and the Liberty Bell in Philadelphia,

然，御木本的珍珠絕非以量取勝。現年61歲，曾任御木本公司總裁的Toyohiko Kasuga先生(其本姓亦為Mikimoto)澄清說：「嚴謹態度非常重要。為確保我們的珍 珠產品質素超群，我們只會選用『hanamada』珍珠，也就是整批珍珠中質素最高 的5%。就以1992年為例，當年我們共生產了68噸養珠，但我們只選取了當中的四 噸。另一方面，污染和氣候轉變兩項因素，對珍珠產量的影響也越來越嚴重。」 千百年來，珍珠令人深深著迷。古時的僧人，甚至稱珍珠為「誘惑之石」；而昔 日的中國人也愛以珍珠陪葬；至於早期的基督徒，則以珍珠作為基督和聖母的象徵。 19世紀，年紀輕輕的Kokichi對珍珠產生了濃厚興趣。他主動與漁民交往，又常常觀察海女如何採 珠，甚至試圖加入販賣珍珠的行列。可是，他卻得到了一項令人震驚的訊息：全球皇室貴冑對珍珠的 需求，正把蠔推向絕種的邊緣，而珍珠也即將成為歷史陳跡！ 不過，Kokichi並沒有輕言放棄，反而矢志研究珍珠如何形成，以便透過人工方法令蠔造出珍珠。 1888年，他在志摩地區(Shima)的Shinmei河口，闢設了世上首片為養殖珍珠而設的蠔田。 1890年，Kokichi從東京大學的海洋生物學專家Kakichi Mitsukuri教授口中得知，如有異物進入蠔殼 內，蠔便會分泌出珍珠貝。珍珠貝積聚到一定厚度後，珍珠便告形成。 得知Kokichi有意挑戰大自然，試圖令蠔為他製造珍珠後，志摩灣的人無不嗤之以鼻；就連 Kokichi最近把什麼東西放進蠔裡，或是如何把蠔放進水底的竹籃等，都成為眾人笑柄。 1892年的一場紅潮，令Shinmei河口的珍珠蠔akoya大批死亡，幸而這場浩劫沒有殃及Kokichi位於 珍珠島附近的另一養殖場Toba Park。1893年7月11日，Kokichi的妻子Ume更從這裡取出一顆半圓形 的珍珠──全球第一顆養珠終於誕生！ 1895年，另一場紅潮把蠔田中共85萬隻珍珠蠔統統殺光。可是，Kokichi並沒有馬上把死蠔丟掉， 而是把自己鎖在研究室內，把蠔逐一打開。突然間，他從一隻死蠔中，找出一顆又圓又亮的珍珠。隨 著他打開更多蠔殼，第二顆、第三顆完美珍珠相繼出現。最後，他總共發現了五顆圓渾度無懈可擊、 媲美天然珍珠的完美養珠。 1897年，他為自己開發的養珠方法取得專利後，矢志要「以珠鏈裝飾全球女性的頸項」，並在東

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OPPOSITE: For the oyster to secrete its pearl substance, a core must be grafted into the shell, a little ball of mother-of-pearl from shells.

THIS PAGE: Mikimoto’s pearl farms are located in Ago Bay, near Toba, south of Tokyo. It is the main centre of pearl production in Japan. Below the bamboo trays (or buoys) where the akoyas, pearl oysters, are hung in nets or bamboo crates.

decorated with 12,250 pearls and 360 diamonds. He successfully saved the pearls from their decline. This technique was gradually adopted by all the countries in the world. He even went to teach the method in Australia.

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ikimoto’s farm develops the akoya oysters for three years. After performing the graft, they are left for another year and a half in bamboo baskets hanging in the water. The harvest occurs in winter, when the water’s low temperature brings out the lustre and colour in the pearls. A pearl’s quality, as Sumiko Mikimoto explains, is determined by its ‘orient’, or its pearly gleam, and the thickness of the pearl around the core grafted into the oyster. “The cores are themselves little balls of mother-of-pearl from the shells in the rivers in Mississippi, Tennessee and Ohio. These are the hardest grafts we have found,” she says. In 1924, the emperor of Japan, Hirohito, named Mikimoto the official jeweller of the imperial family, epitomising the contribution by Mikimoto to the Japanese society.

There is a legend which says that when the angels cry, their tears fall to the bottom of the sea and become pearls. As the noted scientist Thomas Edison says, “Biologically, it was impossible. Yet, you have made this marvel come true.”

京最時尚的區域──銀座開設了首家專門店。翌年，他更創立了全日本首個現代化的珠寶工場。

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過，Kokichi的發明卻令不少人枕藉不安：既然真假難分，養珠會否摧毀真珠市場？ 再者，他的能耐也的確令競爭對手為之側目：他在深諳精益求精之道的同時，又極 懂得宣傳──這兩項特長，大概非常值得20世紀後期的日本電子公司學習。 Kokichi最膾炙人口的作品，莫過於用白金和12,760顆珍珠砌成的Horyujil寺 塔，以及用12,250顆珍珠和360顆鑽石裝飾的賓夕凡尼亞州自由之鐘。此外，他 為防止珍珠日久變色而開發的技術，也廣受世界各國所仿效──澳洲甚至因而 邀請他前往講學呢。 Kokichi所養的珍珠蠔akoya會先在蠔田內生長三年，經植入生成珍珠所需的異物後，再在水底的竹 籃中放上年半。由於低溫可令珍珠的色澤更為漂亮，因此採珠工作都在冬季進行。Sumiko向我們解 釋：「珍珠的品質由光澤程度和珍珠層的厚度所決定。至於養珠的核心部份，則是由貝殼製成的小圓 珠。為了確保這些圓珠具有足夠硬度，我們一般會選用來自密西西比州、田納西州及俄亥俄州三地河 流的貝殼製造。」 曾幾何時，人們傳說珍珠是天使掉進海底的眼淚──當然，事實並無傳說般詩意，但珍珠出自海底 的講法，卻是一點沒錯。 1924年，日本天皇把Mikimoto列為皇室指定珠寶商；三年後，發明大王愛迪生甚至以「創下生物 學上的奇蹟」來讚揚該公司的非凡成就。

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OPPOSITE TOP: Kokichi Mikimoto, the inventor of the method for cultivating pearls and founder of the Mikimoto Society.

OPPOSITE BOTTOM: Ring with pearls and diamonds worth 80.000 Euros.

THIS PAGE: One of the prestigious Mikimoto creations: Yaguruma, a pearl, gold and diamond brooch. The brooch can be taken apart and turned into earrings, a ring, a hat pin, etc. A true masterpiece.

Copyright Š Stephanie Cascino / Nazca Pictures

/ TCS All rights reserved.

By Philippe Le Bé

the heArt of roleX

A GUIDED TOUR OF THE WORLD’S GREATEST WATCHMAKING FIRM.UNTIL NOW, A CLOSELY GUARDED WORLD. On the ground floor of the

immense Plan-les-Ouates complex, one of the four Rolex sites in Switzerland, which has been in full operation since 2005, the grey glass facade conceals a surprising world. A man dressed in white fireproof coveralls is melting 24 carat gold, copper and platinum in a crucible. A foundry!

Rolex is the only watch making company in the world to have installed a foundry within its own walls. The subtle alloy whose pouring we are watching through a glass panel yields a very special pink gold that holds its colour better than traditional pink gold.

深入守衛森嚴的勞力士廠， 窺探全球最出色的製錶公司 如何運作，勞力士在瑞士共 有四個生產基地，最新的一 個位於日內瓦，剛於去年啟 用。踏入位於底層的大門， 一堵灰色的玻璃牆隨即映入 眼簾，它的背後藏著一個奇 幻世界。穿上防火衣的工 人，正忙著處理坩鍋裡一種 由黃金、銅和白金所組成的 合金。這裡是個鑄造工場。 事實上，勞力士是全球唯一 擁有自己鑄造工場的鐘錶生 產商。

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In fact, it also looks better with the grey steel of the bicoloured watches. In the development of this new alloy, the company’s engineers made measurements on a nanometric scale (1 nm = a millionth of a millimetre), which allowed them to understand the process of the colour formation. From this molten metal, heated to 1,400 degrees centigrade and weighing some 70 kg, ingots will be formed in the shape of bars, tubes, coiled wire or flat bars, to make the cases and bracelets.

Is this foundry but the folly of a company whose yearly sales figure, although a closely guarded secret, is estimated at two billion Swiss francs and whose yearly watch production is estimated at more than 750,000 pieces? In truth, in the eyes of Rolex, this high-technology gem of a production site is entirely justified. To be sure, for standard materials, the manufacturer continues to obtain supplies from Swiss foundries that produce high-quality alloys. But when it comes to its own exclusive discoveries, Rolex is committed to developing them itself, without owing anything to anyone and without asking anything of anyone. Besides, by melting its own gold and other precious metals, it realises considerable savings in time and money! The material treated no longer needs to be sent to a supplier who then resends it, in a cycle that ends up being time-consuming and cumbersome. Rolex press attaché, Dominique Tadion, sums up the company strategy, “We rely on our own strength and resources. All the same, we pursue collaboration with our usual partners. This has the advantage of maintaining a healthy competition that facilitates progress.”

至於處理中的金屬，則是一種非常獨特的粉紅金； 與傳統的玫瑰金比較，這種新合金不但色澤更為持久， 與鋼灰色或雙色的錶身更是無比相襯。為了開發這種新 合金，勞力士的工程師費煞思量，甚至用上量度精度高 達毫微米(即百萬分一毫米)的儀器，以便充分瞭解色彩生 成的原理。工人每次會把重達70公斤的合金加熱至攝氏 1,400度，然後將之注入模具，鑄造出錶殼和錶帶的零件。 雖然真實數字保密，但對於一間全年銷售額估計達 二十億、手錶生產量估計超過750,000件的大公司來說， 建立這個鑄造工場是多此一舉嗎？事實上，在勞力士的眼 中，開設這個高科技工場是完全有必要的。當然，就一般 物料而言，製造商能在瑞士鑄造廠得到源源不絕的供應， 以製造高質素的合金。但論到獨家的發現，勞力士則選擇 一手包辦，全盤掌握生產過程。再者，把溶製黃金和貴金 屬的工序集中在自己廠房進行，可以省卻運送經處理材料 的時間和成本，可謂一舉多得。對於這項策略，勞力士的 傳訊經理Dominique Tadion總結說：「除了仰賴公司本身 的人才外，我們也一直與合作夥伴保持聯繫。他們為公司 的生產部門注入良性競爭，鞭策大家不斷進步。」

An in-house hairspring

自行研製的游絲

In the spirit of the company, independence is completely compatible with openness. One thrives in the presence of the other. The venture surrounding the hairspring, the essential regulating component of a mechanical watch, illustrates particularly well this approach dear to the management of Rolex. Early this year, Nicolas Hayek, president of the Swatch Group, revealed that his company, Patek Philippe and Rolex had participated together in the development of a new manufacturing process for the famous hairspring, patented by the Centre Suisse d’Electronique et de Microtechnique (CSEM), in Neuchâtel. The use of a composite material with a silicon base constitutes a major advance with regard to the traditional hairspring produced almost exclusively by Nivarox-FAR, a company of the Swatch Group. This new material is in fact unaffected by magnetic fields and resists shocks. Although Rolex was a participant in this collaborative venture, it asserts that it did not wait to develop its own revolutionary hairspring that has been used in its Daytona models since 2000. “The Parachrom hairspring made by Rolex, from a niobium and zirconium alloy, today, performs better than the one we developed in the CSEM project”, states Jacques Baur, who is in charge of R&D. Unwilling to depend on a monopoly for a component as important as the hairspring, Rolex launched its own research, without rejecting a fruitful collaboration with its competing partners. “With others and without others” could be the slogan of this unusual company, whose pride is sometimes mistaken for arrogance by some watchmakers who still, all the same, praise the prowess of the brand with the crown.

The pursuit of industrial independence is not just limited to controlling the entire chain of production, from the molten precious metal, to the machining and assembly of almost all the components that make up the watch, to the final control procedures. Rolex has pushed to the limit the enhancement of production methods. Independence is not a right. It has to be earned. The Rolex stock management is worth a look.

Automated stock management On the second floor below ground in the Plan-les-Ouates building, that has 11 storeys (five of which are below ground), we find the company “safe”. You can only enter after showing your credentials, or rather your registered eye. Electronic security, in the form of an iris recognition system, is in place. In reality, no one can enter, except the people in charge of maintaining the stock area. The entirely automated stock of the company is located here. Its treasures. Twelve metres high, 35 metres long, 25 metres wide. The environment is futuristic. Small machines in perpetual motion, the “the automatic retriever cranes”, locate, fetch and return to their place, and the parts required for the manufacture of the cases and bracelets, which are stored in more than 60,000 compartments. Thanks to a conveyor system, trays travel on rails throughout the entire building. Thus any employee can receive the parts he needs to perform his task at his work station in less than eight minutes. Railroad terminology has been adopted to describe this computer controlled system that boasts more than 1,500 motors, 5,000 sensors, four kilometres of belts and 60 tonnes of aluminium rails.

The carts pushed from workshop to workshop, come what may, have been forever banished! This new type of stock management has a triple advantage: the parts are all stored in their respective places; the risk or disappearance by theft or accident is reduced to a minimum; the circulation and flow are perfectly adapted to the needs.

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對勞力士來說，不假外求並不等於閉門造車，兩者甚至 是相輔相成的。機械錶必需的調節零件：游絲，正正體 現了勞力士這套獨特的管理哲學。早前，Swatch集團總裁 Nicolas Hayek宣佈旗下公司Patek Philippe與勞力士攜手合 作，開發出一種由納沙泰爾州瑞士電子及微科技中心取得 專利的著名游絲。傳統游絲的生產幾乎由Swatch集團旗下 Nivarox-FAR所獨佔，這次以矽為主要原料無疑是生產 的一大突破。這種全新的合成物料更不受磁場或震盪所影 響。然而，勞力士在參與這項計劃的同時，仍獨力創製出 另一款劃時代的游絲，用於Daytona 2000和後來的型號。 負責研發這款游絲的Jacques Baur更稱：「 對比於我們在 瑞士電子及微科技中心所研發的游絲，這款由鈮和鋯的合 金製成的勞力士Parachrom游絲表現更勝一籌。」勞力士 自行進行研究計劃，絕不願意把游絲這類關鍵性元件假手 於人。不過，勞力士也深諳平衡之道，遂能在自行開發新 技術的同時，繼續與商業對手保持夥伴關係。「和而不 同」四字，對於勞力士這家別樹一幟的公司而言，實在當 之無愧。雖然有些製錶匠會錯把它的名聲視為傲慢，他們 仍舊為這成就非凡的品牌加冕 。 除了力求獨力處理冶煉貴金屬、零件製造、鑲嵌、 出廠前檢查等一切製錶工序外，勞力士也不斷把生產方法 推陳出新，務求令獨立性更上層樓。 生產的獨立性並非 一朝一夕可以擁有，而是經過長年累月積聚得來。為此， 勞力士的零件管理系統絕對值得借鏡。

全自動零件管理系統

公司的「保險庫」設於日內瓦廠房大樓地庫第二層，裡面 細分為11層，五層位於地底。這裡設有先進的虹膜識別電 子保安系統，唯有出示證明——即已註冊的眼睛才能內 進。事實上，這裡只准維修人員入內，其他人均不得超越 雷池半步。 這個「保險庫」所存放的，是長、闊、高分 別達35米、25米及12米的全自動零件管理系統。在充滿未 來色彩的環境內，多台名為「自動存取車」的小型機器不 斷穿梭，負責在超過六萬個貯存格中存取製造錶殼和錶帶 零件。輸送系統的路軌貫通整幢大樓，可在短短八分鐘 內，把零件送往負責組裝的人員手上。說到這個運輸系 統，背後所涉及的技術也相當驚人：系統除屬全電腦控制 外，還用上逾1,500個馬達、5,000個傳感器、四公里長的 運輸帶和重達60噸的鋁製軌道。 隨著全自動零件管理系統的應用，用手推車把零件 送往不同生產部門的日子已成為過去。除了方便之外， 系統還有三大好處：一、每款零件都有獨立的貯存位置； 二、大大減低盜竊或意外的風險；三、零件的供應能完全 切合需求。

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A single reference model Less visible than the automated stock management, but at the heart of the production process, the three-dimensional model of the Rolex product, defined by the design engineers serves as an absolute reference. It contains the geometry of a part, the surface finishes, as well as all the materials necessary for its manufacture. The same information is available to all company employees. From this digital model (a constant reference) flow all the machining and control programmes, as well as information on the tools needed for the manufacture of the parts. To be sure, computer-aided design and computer aided manufacturing (CAD/CAM) have become commonplace in the industry, but their integration on such a large scale remains exceptional.

This large-scale implementation has led to Rolex being approached by aeronautic industry leaders such as Airbus.

Let’s take the example of a bracelet, composed of some 200 parts assembled one after the other. At any time, it is possible to measure precisely if these parts match exactly the specifications set in the reference model. As long as the indicator light on the computer is green, everything is all right. But if the indicator turns red, it means that a tolerance threshold has been exceeded. The employees intervene immediately to correct the error detected in the machining of a given part. Time is saved. Waste is reduced to a minimum. Reliability is ensured. The advantages of this system are obvious. A “self-service” tool, valid for a multitude of measuring operations, is available to all employees. When these staff members need to verify the quality of a component, they call up the appropriate control programme and they only need to check the conformity of the said part to the reference model.

automated polishing

相比於可用「壯觀」來形容的全自動零件管理系統，數碼 產品範本一點也不起眼，但卻是整個生產過程的靈魂。每 款勞力士產品，都附有一套由設計工程師所定義的數碼產 品範本，當中除產品的立體圖像外，更列出零件尺寸、 表面處理規格、所需的材料等資料。這套範本除供公司所 有員工參考外，更會用來開發各項生產／檢測程序及製造 零件所需的工具。當然，電腦輔助生產(CAM)在業界並非 什麼新猷，但像勞力士般大規模地採用電腦輔助生產，在 行內則算是非常罕見，難怪此舉令該公司聲名大噪，獲得 Airbus等航空界一級品牌的青睞。 就以由約200件零件組合而成的錶帶為例。採用數 碼產品範本後，生產線便可隨時把手上的零件與範本比 較，檢查零件是否符合規格──如電腦顯示為綠色，則一 切正常；如電腦顯示為紅色，則表示零件已經超出容差。 這時候，工作人員便會馬上予以糾正。由此可見，這套系 統具有節省時間、減少浪費、保證可靠性三大好處，難怪 能取得專利。此外，公司又為每名僱員提供一套「自助」 工具，可用於多項檢測工作。要檢查某個元件的質素，只 須套用合適的程序，與範本比較即可。

自動化打磨

The industrialisation is entirely innovative at the Plan-les-Ouates site. This process has, as its goal, to guarantee the aesthetic and technical quality of thousands of parts.

In the vast workshop where the bracelets are machined, very precise enormous machines process minuscule components. Gulliver and Lilliput cohabit happily. Will the human hand that fashions the object, progressively disappear from the Rolex universe? Yes, where machines can do better -- without a doubt. Thus, unique in watchmaking, a robot with six axes polishes certain watch components. Imitating the movements of a wrist, an articulated arm accomplishes its delicate operation before our eyes. The middle, the part of the watch case that houses the movement, is polished in two minutes. But this is only the next-to-the-last stage of polishing, when an awkward hand could deform the geometry of the piece. The final lustre will, of course, be achieved manually under the watchful gaze of an experienced eye! No machine can yet replace man in this final polishing operation. But tomorrow, who knows?

The tour ends in a research and analysis laboratory, still at Plan-les-Ouates. A scanning electronic microscope detects the smallest of foreign bodies that may have invaded the raw material and determines their nature. In the next area, wear tests are done on the clasps of the bracelets, and they are opened and closed more than 10,000 times. Elsewhere, an agingacceleration apparatus carries out several years of wear in two hours of testing. Rolex is not satisfied with keeping time. It manipulates time. In yet another area, the bracelets bathe in abrasive liquids that simulate perspiration and atmospheric pollution. Tracking down flaws wherever they may be hiding in order to improve the product, again and again, has become the daily bread of this manufacturer for whom perfection is never reached, but relentlessly pursued.

每件勞力士產品，零件都數以千計。為此，日內瓦的Planles-Ouates工場不斷革新生產程序，確保這些零件在美感、 技術兩方面均得到保證。 規模宏大的錶帶工場便設有多台巨型機器，專門用 來製造錶帶的精細部份。格利佛與小人國美滿共存，看來 勞力士快要淘汰各項人手生產工序吧？對於某些人手比不 上機械的工序而言，答案是肯定的。例如若干製錶零件的 打磨工序，便是由一個具有六條旋轉軸的機械人負責。此 外，廠方又為我們示範如何以機械臂來打磨錶殼：但見在 短短兩分鐘之內，這台能模擬手腕動作的機械臂已把錶殼 打磨得七七八八。當然，只有經驗豐富的技師才懂得什麼 叫「一絲不苟」，因此打磨工序的最終環節，現時仍以人 手進行──但誰能保證他們日後不被機械所取代？ 參觀活動的最後一站，是設於Plan-les-Ouates的研究 及分析實驗室。這裡設有極精密的電子顯微鏡，能探測 潛藏於原材料中的微小異物，從而評估材料的性質。此 外，實驗室也不斷進行損耗測試，如把錶帶扣開合超過 10,000次，甚至把錶放進老化機內數小時，以模擬手錶在使 用多年後的狀況。勞力士追求的不是與時並進，而是要駕 馭時間。在另一項老化測試中，實驗人員把錶帶放進有研 磨性的液體中，以模擬汗水和空氣污染物對錶帶的影響， 找出錶帶的弱點，使產品能不斷精益求精，更臻完美。

2006, a record year

登峰造極的零五年

Not far from the terraces where employees and visitors can enjoy superb landscape gardens, between the Alps and the Jura, Patrick Heiniger receives us for a few seconds. Wearing a wide yellow tie, the managing director of Rolex appears rather serene. “In terms of sales, 2006 was a record year”. Faithful to his legendary discretion, he will say no more. Unless there is a catastrophe on the planet, like an avian flu pandemic that interferes with all human activity, he knows that Rolex should continue in its path without too many concerns. A real locomotive of luxury watchmaking on all markets, the brand will not allow itself to rest on its laurels. Two major risks lie in wait for any empire, watchmaking or not: the certainty of having attained its goals and the belief that it can systematically do without others. As long as Rolex resists complacency in these two areas; all things are possible. k

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勞力士廠房的周圍是美侖美奐的花園，供訪客及員工享 用。置身於阿爾卑斯和侏羅兩峰間的怡人景色中，令人倍 感神清氣爽。勞力士董事Patrick Heinigers出來接待我們， 配戴黃色領帶的他顯得尤其隱重。「2005年，我們錄得破 紀錄的銷量。」──保持一貫謹慎的作風，他講的只有這 麼多。除非有禽流感那樣對人類造成沉重打擊的大災難出 現，否則Patrick深信勞力士該能一如以往的向前邁進。儘 管已手執高級鐘錶業的牛耳，勞力士仍矢志更上層樓。對 任何雄霸半邊天的生產商來說，成功涉及兩大問題：如何 確定已達致目標，以及如何透過制度令一切工序不假外求 ──只要勞力士能好好處理這兩個問題，未來的道路自會 暢通無阻、一片光明！k

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The finest sapphires in the world are a rich cornflower blue and come from the mountains of Kashmir, the disputed territory that lies on the India-Pakistan border. Physical inaccessibility and political strife has halted extraction of these gems for many years, but in recent years the mines have been opened again. GILLES CRAMPES / TCS accompanied a curious expedition to collect some sapphires for a Buddhist monastery.

IN THE MIDDLE

of the disputed region of Kashmir, long fought over by India and Pakistan lies a mine which has become a legend to connoisseurs of jewels: more than 4000 metres above sea level in the heights of the Himalayas, the Padder mine is renowned for having produced the most beautiful sapphires in the world. Largely run by the British during the days of the empire, the mine was abandoned when India gained independence, returning to activity only in the past four years. No journalist has entered the mine since its revival; access for this article was granted by an unlikely source: a Buddhist monk.

Sonam, a lama with the square jaw of a movie star, comes from the Karsha monastery, one of the biggest and oldest in the Zanskar valley. His monastery has entrusted to him the task of bringing back sapphires to be ceremonially placed within the base of a statuette of Buddha. In this Himalayan region, sapphires are widely believed to possess powerful virtues and exude positive energy. Lower down in the valley, the maharajahs regard these magnificent stones with distrust: to them, the bright jewels may bear a curse.

At the head of a traditional caravan of six yaks and fifteen Zanskari porters, Lama Sonam’s route towards the Kashmiri border will take him to 5300 metres above sea level, crossing several treacherous glaciers en route. After several days of high-altitude hiking, the caravan reaches the verdant Sumcham valley, overlooked by the Padder mine. One last climb brings us to the miners’ base camp. On a rocky peak which emerges from a sea of clouds, a few tents and a banner greet the improbable visitor: “Kashmir Sapphire Mines, Padder.” Four men surrounded by armed police greet the lama with questions about his having brought a Western journalist.

One of these, a bearded man in his thirties, is the geologist responsible for the area. After having scanned my credentials, he agrees to bring us further up to the site of the mine itself.

A few hundred metres onward on another slope, the legendary mine itself appears. Contrary to what I was expecting, the sight is pitiful. In a chaotic pile of rocks and dirt on the side of the mountain, about fifteen men are working with crowbars, shovels and picks, their faces creased and grimacing with the effort. The method seems almost pointless in these extreme conditions: at 4500 metres, every exertion is costly.

最漂亮的藍寶石，色彩儼如矢車菊。這種寶石來自喀什米爾山區，但由 於當地位處印巴邊境，長期飽受兩國的邊境衝突所煎熬，加上山路崎嶇 難行，令寶石開採業停閉多時，直至近年才重現生機。最近，GILLES CRAMPES/ TCS 便跟隨一支探險隊，深入這片不毛之地，為一所佛寺採 集藍寶石。 位於印度和巴基斯坦之間的喀什米爾，最為人熟悉的除了持續多年的邊界糾紛外，還 有令全球珠寶專家津津樂道的寶石礦：以生產頂級藍寶石而馳名的Padder礦場。在殖民 地時期，這個位於喜馬拉雅山脈、高逾海拔4,000米的礦場一直由英國人營運。後來印度 獨立，礦場荒廢多年，直至四年前才再度投入生產。自礦場復工以來，從沒有記者前來採 訪；而這次批准我們訪問的，竟是一位僧人──很難想像吧？ 批准我們訪問的僧人名叫Sonam，是Zanskar山谷中規模最大，同時是最古老的Karsha寺的喇嘛。這位輪廓硬朗得帶點星味的喇嘛，獲寺院委派他採集供奉用的藍寶石。在 喜馬拉雅山區，不少人認為藍寶石具有神奇力量，且會散發正能量。可是，山下的君侯卻 不以為然，甚至認為閃閃生輝的寶石，很可能藏有怨毒的咒詛。 Sonam每次採集藍寶石，都與15名當地搬運工人同行。他們一行人會坐在由六頭毛牛 拖動的傳統篷車，越過數個地勢險要的雪山，朝著海拔5,300公尺高的喀什米爾進發。在 高地行走數天後，篷車終於到達位於Padder礦場下的Sumcham谷。從這個青蔥翠綠的山 谷往上攀，便可抵達礦工的營地。我們站在佈滿岩石的山峰，打量著腳下的雲海、四周的 數個帳篷，以及一幅不知給誰看的橫額──「Kashmir Sapphire Mines, Padder」(喀什米 爾Padder藍寶石礦)之際，四人在荷槍實彈的警察簇擁下走來，不斷向帶著我這個西方記 者前來的Sonam查根問柢…… 其中一名大概30來歲，蓄有一把鬍鬚的，原來是負責這個礦場的地質學家Ahmed。他 把我的推薦書端詳了好一番之後，才答應帶我們深入礦場，看看其鮮為人知的一面。 我們往上再攀爬數百公尺，充滿傳奇色彩的喀什米爾藍寶石礦終於出現眼前。老實 說，礦場的情景令人好生失望：在一片亂石和沙塵之中，只有約15名工人正利用鐵橇、鏟 子和鋤頭來辛勤工作。雖然他們都因用力而弄得面容扭曲，但我仍不禁啞然失笑──在海

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In this Himalayan region, Buddhist monks believe sapphires to possess powerful virtues and exude positive energy. They also control the access to the mines.

The route towards the Kashmiri mines will take the caravan to 5300 metres above sea level, crossing several treacherous glaciers en route.

AHMED, THE geologist, leads me to some dislodged wooden beams in the foremost part of the trench and explains ,“This is trench number two, the

most promising. It was dug by the British, and these wooden supports are all that remain of the original structure. In 1947, four men had just discovered a rich lode; one of them went to let the overseer know. Everything fell in behind him, trapping the other three. They’re still down there now, their pockets stuffed with stones.” This last remark is accompanied by a smile, because just a few days ago Ahmed’s men unearthed a well-preserved part of the underground passage. An inside view of another tunnel, this one intact but long sterile, makes me immediately aware of the dangers of this trade: soil, rock and veins of ice mingle in the surrounding earth. Aside from the impact of mining itself, the heat generated by the miners’ lights and by human activity could cause the ice to melt, making the tunnel walls increasingly fragile and an eventual collapse inevitable.

The workers who so routinely defy death are all Kashmiri Muslims. Apparently delighted to have a foreign visitor, they show me the object of all their efforts: deposits of a sort of whitish clay called kaolinite which encloses the blue stones. A little splash of water reveals the shine of the blue gems. On our return to base camp, Ahmed the geologist opens a trunk filled with little white packets sealed with wax.

Each one contains the results of a day at the mines: a small fortune. A carefully updated register lists the mine’s production for each day: tens of grams.

Most of these will be collected by a police officer who must carry them 60 kilometres through Kashmir’s war zone, on foot and barely armed. Later, the villagers acknowledge in so many words that the militias claim a percentage of the stones in exchange for safe passage.

Despite a ceasefire this is still dangerous territory. The remaining stones are taken in a convoy of cars from Kishwar to the vaults of the stateowned Jammu and Kashmir company in Srinagar.

Ahmed then shows me a satellite map of the region. White dots indicate probable sources of precious stones in the surrounding mountains. Except for Padder, all are at vertiginous altitudes, in inaccessible places, or hidden under the eternal snow. “In the good hands of future generations!” beams Ahmed. That thought goes with us as we descend to Sunchan, surrounded by clouds in which the last rays of the setting sun dance and gleam.

The return trip to Zanskar, like the trip out, is made on foot and carrying heavy burdens. To confound any separatist guerillas who may have noted us on the way in, we travel back through another valley, equally exhausting. We go via the Hagsu pass, which has a surprise in store for me: the 100 metres before the pass are strewn with low-grade sapphires! Our porters are in the know, and even though these stones are poor in quality, a collecting contest immediately begins, punctuated by cries of joy and surprise. However, the high spirits quickly fade as we begin our descent over a longer and more treacherous glacier than any we’ve crossed before, leavimg us exhausted. The next two days of constant walking will be punctuated by narrowly escaped falls into crevasses, sliding falls down hundreds of metres of ice, and ceaseless kilometres of slow progress over unsteady rocks. 拔4,500公尺的惡劣環境下，做任何事都應該爭分奪秒，才能控制成本啊！選擇以這樣原 始的方式來生產，無論如何也講不過去。 Ahmed之後引領我們到礦坑入口的破木樑旁邊，告訴我們：「這是產量最高的二號礦 坑，當年由英國人發掘而成；而你們眼前的木樑，便是原本建築的僅餘部份。1947年， 四名礦工在坑內發現豐富的礦脈後，其中一人急忙走到坑外通知管工。剎那間，背後的礦 坑一下子坍塌下來，把其餘三人活埋。他們的屍首現時仍在礦坑內，衣袋大概仍塞滿了寶 石。」說到這裡，Ahmed的嘴角流露出一絲笑意，原因是他的下屬剛在數天前找到部份結 構仍然完整的地道。之後，我們又參觀了另一個礦坑。這個礦坑的結構雖然完整，但裡面 的藍寶石早已開採殆盡，只剩下泥土、岩石和冰雪。此情此境，令我猛然意識到：採礦是 多麼的危險！事實上，除採礦時產生的衝擊外，燈具的熱力、礦工的體溫和活動等，都會 令岩石和泥土間的冰雪融化，令地道的結構變得脆弱，大大增加坍塌的風險。 這些每天與死神搏鬥的礦工，全都是信奉回教的喀什米爾人。可能是少見外人的緣 故，他們都非常熱情，主動讓我欣賞他們的勞動成果：內藏藍寶石的白色黏土──高嶺 石。只需澆上少許清水，你便可看見寶石的閃爍光芒。回到營地後，Ahmed打開一個裝有 多個小袋的木箱，把當天的收穫放入其中一個袋中，並小心記下當天的產量。一般來說， 礦場每天可開採出數十克藍寶石。 大部份藍寶石都由警察負責運送。除了全程需步行60公里、途經喀什米爾的交戰區 外，該名警員更只可攜帶少量武器。後來，村民甚至借民兵要收取過路費之名，前來分一

SPARKLE P.99

The workers who so routinely defy death are all Kashmiri Muslims. They show here the object of all their efforts: deposits of a sort of whitish clay called kaolinite which encloses the blue stones. A carefully updated register lists the mine’s production for each day: tens of grams.

SPRING 2007 SPARKLE

SOME DAYS

later, the monks of Karsha hold the ceremony of charging the Buddha’s image. A Zanskari family man acquired the statuette in Leh district, in the Ladakh region. It is hollow inside, however, and the monks must make it a fit vessel for the Buddha’s spirit.

Amid the heavily scented smoke of Tibetan incense and the long melismas of the chanting monks, the abbot of the monastery begins to fill the statue’s base with tiny prayer scrolls, each one carefully rolled. There are 500 of these. Ground spices of many kinds join the scrolls inside the statue, along with quartz crystals, and finally a single sapphire wrapped in a twist of orange tissue paper. The ceremony continues with further prayers; it will take several days to complete.

This unusual and little-known use of sapphires has nothing in common with the international market for which the majority of Padder’s stones are destined. The jewellers and gem-cutters of Old Delhi are past masters at making every cut stone look its best.

Shepir, who lives in an old house in the heart of the narrow streets of Old Delhi, is considered to be one of the best lapidaries in India.

For the last fifty years or so, Shepir has been using the same tools his family have used for generations to cut gemstones such as sapphires: a simple saw and a grindstone. He explains that despite its hardness (the sapphire is second only to the diamond at 140 times less hard) sapphire is a very difficult stone to cut and only a few experts in all of India will work with them. The stones are naturally uneven in colour, so the lapidary must find the point in the stone where the blue is the deepest, then facet it precisely around that point so that a uniform colour will be reflected.

After a brief demonstration of his skills, the old man listens to the story of my journey. His blue eyes light up when he learns about the reopening of the Padder mine. Shepir leans towards me and whispers confidentially, “You’re very lucky to have gone there, young man, and what you’ve told me is great news. This could be the beginning of a new era: these marvellous stones which we thought were lost forever will get their chance to shine again!”

杯羹，可見即使在停火時期，該處仍屬危險地帶。餘下的寶石，則會搬上由Kishwar開來 的汽車，運往國營Jammu and Kashmir公司設於Srinagar的保險庫。 Ahmed又向我展示了一幅當地的衛星圖，當中的白點代表群山中可能蘊藏寶石的位 置。不過，在云云「藏寶地點」中，只有Padder較易到達；其餘的不是位於崇山峻嶺， 便是長年積雪。「那些就留給我們的子孫吧！」──當我們下山回到被夕陽染成金黃色的 Sunchan時，Ahmed這句說話仍在我腦際不斷迴響。 在返回Zanskar的路上，我們同樣是徒步而行；唯一不同的是，我們此行帶著豐富的 收穫上路。為了避過分離主義游擊隊的耳目，我們得繞道而走。途中，我們竟在Hagsu附 近一段長100公尺的路段，發現大大小小的低級藍寶石。儘管質素不高，但我們的搬運工 人看見滿地寶石後，仍不管一切衝前「奪寶」──結果當然是有人快樂有人愁。可是興奮 過後，我們馬上便要挑戰另一座更難走的雪山。隨後的兩天，我們繼續一邊趕路，一邊與 足以令我們粉身碎骨的裂谷和搖晃不定的岩石搏鬥。 數天後，Karsha的僧侶為一具佛像進行開光儀式。這具佛像購自Ladakh的Leh區，屬 於一名Zanskari人。佛像是中空的，正好讓僧侶們在儀式中，為佛像「注入靈魂」。 在西藏香發出的濃厚煙霧中，僧人開始小心翼翼地把500卷縮微經文、香料、石英， 以及一顆用橙色紙包好的藍寶石放入佛像，然後繼續祈禱──整個開光儀式，歷時長達數 天之久！ 當然，對於絕大部份購買Padder藍寶石的人士來說，上述用途可謂聞所未聞。在這班 遍佈世界各地的買家眼中，藍寶石的最佳歸宿，莫過於交由舊德里的工匠；只有借助他們 的卓越工藝，才能彰顯出寶石的最漂亮一面。 在舊德里的云云工匠中，最有名的莫過於居住在內街的Shepir。50年來，Shepir一直 沿用歷代相傳的工具──鋸和磨石來切割各類寶石。據Shepir指出，藍寶石的硬度雖僅次 於鑽石(硬度為鑽石的1/140)，但切割非常花工夫，甚至走遍印度，也只有寥寥數名專家有 能力處理。此外，天然的藍寶石，色彩並不均勻。因此，寶石切割師須首先找出藍寶石上 色澤最深的一點，然後以此為中心，決定其他切面的位置，從而令寶石看來色澤一致。 Shepir稍作示範後，便開始聽我們述說旅程的所見所聞。他一聽到Padder礦場重開的 消息，便立刻高興得雙眼發光，並俯身對我說：「有幸到那裡參觀，實在是你的福氣。謝 謝你告訴我這宗好消息。礦場重開，標誌著一個新時代的來臨：我們以為此生無法再見的 漂亮寶石，勢將再現光芒！」

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THE ART OF

PIAGET

PHOTOGRAPHY: THIERRY PAREL

Piaget workshops produce some remarkable necklaces. If you are lucky, you may have seen them being adorned by beautiful women. If you are someone who can afford it, you may have thought of gifting it to the woman you love. But, while you may be dazzled by its beauty, think of all the workman-

ship, the diligence, the love, the talent of master craftsmen and the experience of a gemmologist that has gone into transforming each piece from a sketch into a sublime reality. To under-

stand their work, let’s peek behind the curtain, into the artisan’s workshop, to know the secrets of Piaget’s inimitable approach to its art.

伯爵工場製造了好些非同凡響的項鏈。如果你有這 樣的運氣，或者已在美女的頸項上見過它們。如果你有這 樣的財力，甚至能把它贈予你心愛的女人。然而，凝視這些眩 目的珠寶時，我們往往會遺忘製作過程所需的努力、耐性和愛心。全憑工藝 大師的技巧和天賦、寶石匠豐富的經驗，一張草圖才能轉化成真正的珠寶傑 作。想了解他們的工作，現在就讓我們一窺這些工匠的作坊，探究伯爵獨一無二的珠 寶技術。

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01Every jewel starts as a sketch. The artist spends hours drawing until an astonish-

ing necklace emerges on the baize. The brush reveals its perspective and slowly the facets of the gemstones burst into light.

The gemmologist picks diamonds to make the piece. Capturing and magnifying the splendour of the gemstones demands authentic mastery of the art.

Behind the scenes, complex technical resources are applied to create the necklace.

For centuries, the jewellers have used the same tools to create their work of art To make the diamonds hang in the right place, they are set in platinum bezels welded together with infinite care and dexterity.

An invisible clasp, meticulously designed to be totally reliable, closes the loop.

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01每件珠寶都是以草圖為開始。藝術家花數小時在臺面呢上描摹，直至一條觸目的項鏈出現為

止。毛刷透視了寶石的各個面向，琢面慢慢找到了反射光線的最佳角度。 02然後寶石匠挑選所 需用的鑽石。唯有精通藝術的大師，才能捕捉和放大寶石的光華。 在舞臺背後，製作項鏈 還牽涉了複雜的技術資源。 04 世紀以來，珠寶匠利用相同的器具創製寶石。 05為了令鑽石固 定在適當的位置，工匠以極端的細心靈巧，把它們鑲嵌在焊接於一起的白金盤座上。 一個精 心設計、毫不顯眼的鉤環把項鏈兩端牢固地相扣。

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In a silent workshop, the master-craftsman fine-tunes his workmanship, pushing the technical boundaries with determined patience, until perfection is achieved. The proportions are compared with those of the original drawings before the jewel sparkles with irresistible glamour. k

07在寧靜的工場內，工藝大師調整自己的手藝，以決心和耐性將技術領域不斷擴展，發揮至極 致。將製成品大小與原先的草圖作對照，然後這件魅力十足的珠寶便大功告成。k

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a jewel

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First, an idea A sketch is drawn to serve as the foundation, on which the jewel will be designed. Most often, the creation is centred around the stone, which becomes the true star of the jewel.

Once the life-size drawing, reproducing colour, texture and density of the material in the minutest detail is formalised, it will then be used as the basis for all the subsequent stages. 創意為先 一張草圖的完成只是為即將誕生的珠寶打下基礎，而珠寶製作的真正 主角乃是寶石。 從數張描摹在透明紙上的水彩圖中精選其一，隨後的製作工序都離不 開這張圖稿。

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From wax to metal: the emergence of a jewel

從蠟模到金屬： 一件珠寶的誕生

For animal-design jewels, a mock-up is made in the form of a green wax sculpture.

以動物為主題的珠寶，首先需在綠臘上雕 出動物原型，然後在此基礎上制作出一個 模具。雕刻工匠把動物行動的靈巧敏捷和 勃勃生機表現得淋灕盡致。

Boring holes, the jeweller prepares the cavities in which the stones are to be placed and arranges the layout of the gems.

This wax mould, once cast in metal, becomes the skeleton of the piece.

The jeweller’s hand is essential at this stage as it imprints the artisan’s personality on the piece, creating its unique character.

珠寶匠則在這個模型上鑽出鑲嵌寶石的洞 眼，並勾勒出寶石的輪廓。 待綠臘模型被融制成金屬模具時，此模具 就是珠寶的骨架了。

The lapidary then chooses the stones and cuts them according to careful instructions.

珠寶匠輕施巧手為珠寶畫龍點晴，施展 鬼斧神工，賦予寶石獨一無二的氣質和 個性。

The master setter applies his artistry to fix the gem onto the jewel.

He studies the piece as a whole and then, one by one, sets the stones in each niche.

寶石的挑選和車工的確定則由寶石工 匠完成。

All these different stages have to be repeated for each element will be part of the final piece.

將寶石固定在珠寶上的工序則由技巧高超的 鑲嵌大師一手負責。鑲嵌大師仔細審視整件 作品，一一安排每顆寶石的鑲嵌位置。

The jewel is created with the panther crouching on the necklace with four rows of sapphire pearls.

珠寶成品的每一個組件都需要重複以上每 一步精細工序。 這款由四排藍寶石珠串構成的項鍊，在 眾多工匠的通力合作下，剛剛鑲上一隻 獵豹裝飾。

The work of an entire team Each of these different stages require several months’ work.

It is only possible through a team effort involving irreplaceable artisans from every branch of this noble trade, each of whom contributing according to a very precise order, to create the jewel. k 團隊合作的結晶 珠寶製作的過程繁複，有時需耗時幾個月才能完成。 每一件珠寶都是工匠們辛勤勞動的智慧結晶，每一道精益求精的工序都無可替代，每一位工匠都必須嚴格 按照既定程序全心投入。 k

SPARKLE P.00

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ice ice baby PHOTOGRAPHY: DAVIDE BUTSON-FIORI STYLING: BLUE CARREON/JULIE MAN SET DESIGN: HAYMOND YIP HAIR: TERRY NG (CHIN.G) ASSISTED BY MAN KIT (CHIN. G) MAKEUP: MEGUMI SEKINE

Watch: Franck Muller Long Island in diamond dial and case Necklace: Franck Muller Talisman Number pendant Dress: Fendi

this page Necklace, bracelet and rings: Franck Muller Talisman collection Watch: Franck Muller Conquistador Cortez in diamond dial and case Outfit: Versace Shoes: Louis Vuitton opposite page Ring: Franck Muller Curvex Link collection Watch: Franck Muller Master Square Outfit: YSL

opposite page Pendant: Franck Muller Talisman Heart pendant Watch: Franck Muller Long Island in diamond dial and case this page Watch: Franck Muller Conquistador in diamond dial and case Rings: Franck Muller Talisman Enamel collection Outfit: Fendi Shoes: Fendi

this page Watch: Patek Philippe Aquanaut Earrings: Roger Dubuis Ring: Garrard Eternity Bracelet: Garrard Crown collection Coat: Versace

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opposite page Watch: DeWitt Academia Seconde Retrograde Ring: Adler Necklace: Garrard Wings collection Bracelet: Garrard Crown collection Coat: Emporio Armani

Jeanette Lai photographed at new club Volisse lacus metus, suscipit eu, pharetra id, interdum sed, nisi. Se

ROLEX

eanette Lai photographed at new club Volisse lacus metus, suscipit eu, pharetra id, interdum sed,

架勞斯萊斯，我也不會每 天都駕駛它。的手錶是身 分的象

SPRING 2007 SPARKLE

this page Watch: Vacheron Constantin Patrimony Ring: Garrard Regal collection Earrings: Garrard Grace collection Dress: Celine opposite page Ring and earrings: Adler Necklace: Garrard, Knightrider Collection

opposite page Necklace and earrings: Chaumet Frisson Watch: Noa MD002 Bracelet: Asprey, Daisy collection Ring: Garrard Regal collection Dress: Dior

this page Watch: Stephen Webster Libertine Necklace: Garrard Yorick collection Pendant: Garrard Wings collection Rings: Garrad Regal collection Earrings: Adler Bag: Versace Outfit: YSL Shoes: Celine

Necklace: Roger Dubuis Rings: Garrard Regal collection

Cartier This page, top: Himalia Cartier necklace in 18k white gold and diamonds is inspired by the 1920s Art Deco style

Boucheron This Page, bottom: Cinna bracelet from Boucheron in white gold, set with round-cut diamonds.

Opposite page: Grain de Raisin Boucheron necklace with two strands of white marquise shaped gold beads and a strand of marquise cut diamond in between

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star gazing

PHOTOGRAPHY: JEON JOON HYOUNG EDITOR: KIM YOUNG GEUL

Chanel This page: Comète collection from Chanel with 0.49 ct diamond necklace and 1.68 ct hoopshaped diamond earrings that resemble shooting stars darting across the sky

Tiffany Opposite page, left: Star multidrop earrings from Tiffany & Co. in 0.94 ct diamonds set in platinum

Fred Opposite page, right: diamond studded and platinum star necklace by French joalliere, FRED; emerald encrusted diamond pendant from FRED’s Damiani collection

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Boucheron This page, bottom left: Hedgehog Ring from Boucheron ‘Animals’ collection in pink gold with black diamond snout and ruby eyes; Top: Boucheron Octopussy ring in white gold with five rows of diamonds; Opposite page bottom: Grenouille Ring from Boucheron in black gold, studded with rubies and emerald eyes

Van Cleef This page, bottom right: yellow diamond studded open-banded butterfly ring from Van Cleef and Arpels; Opposite page, top: Van Cleef & Arpels Dragonfly clip in white gold with blue sapphires and diamonds

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SPRING 2007 SPARKLE

Chaumet Top right: Attrape Moi Chaumet ring in white gold, pave diamonds and a diamond centre; Middle left: almond shaped Frise ring from Chaumet in white gold and diamonds

Fred Top left: Lucifer star ring from Fred in white gold studded with diamonds

Boucheron Middle right: an orbit of blue sapphires around a sparkling 3.6 ct blue stone Boucheron ring mimics the black hole

Van Cleef Bottom right: Foret ring with mystery set rubies and diamonds is a part of Van Cleef & Arpels ‘Exceptional Pieces’ collection

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Chanel

Right: Chanel ‘J12’ GMT 42 MM self-winding watch with black ceramic straps

Cartier

Left: Ballon Bleu Cartier watch in 18k yellow gold and steel, Roman numeral dial and blue sword shaped hands

Chaumet

Center: Dandy jumping hours limited edition watch from Chaumet in white gold, black sunray dial and box-calf and satin banded bracelet

ALL THAT

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GLITTERS What’s shining, shimmering and glamorous this year? Sparkle lifts the velvet curtain to unveil the latest collection from top-end jewellery brands from around the world.

Text: Priyanka Boghani and Ashley Lim 這一年有什麼在閃閃生輝呢？ Sparkle為你解開絲絨繩結，介紹頂級首飾品牌的最新珠寶系列。 SPRING 2007 SPARKLE P.00 -Priyanka Boghani, 翻譯：林景娜

Van cleef L’Atlantide from Van Cleef & Arpels

The deep-sea creatures lend their inspiration to the new L’Atlantide collection by Van Cleef & Arpels; a treasure of intriguing jewels in fascinating designs. Mimicking the sapphire blue water, white diamond waves, pearl ocean spray and aqua tourmaline lagoons, the designs also include sea nymph pins, pendants with gold coral branches, sailing ship clips and emerald seaweed fish brooches, bringing a fresh tide of youthful imagination. 在海洋生物神秘的住處，浮現出Van Cleef & Arpels’的全新L’Atlantide系列，掀起一波無可抗拒的寶石浪潮。擁有奇幻雅 緻的魚蟹、海馬和珊瑚設計，再飾滿不同切割的鑽石和彩色珠子，這些白合金耳環、項鏈、手鐲、戒指和古波斯人頭飾 帶來一股年輕的活力和想象。

Clockwise from top: Haliades bracelet; Collier Amentha necklace; Orseis bracelet; Oranda bracelet; Amphitrite clip

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Elisia by Bulgari

The Elisia collection marries the Bulgari tradition of coloured gems and elliptical motifs with a feminine name to bring a vision of pure sophistication and graceful beauty. Featuring a complete set of jewellery in white and yellow gold with enamel, coral, mother of pearl, coloured gems and diamonds its soft and sinious geometric shapes emphasize femininity. 結合傳統的橢圓曲線與女性化的名字，寶格麗推出全新的Elisia系列，將女性的純美和成熟呈現出來。活用白金與黃金、 琺瑯、珊瑚、珍珠母貝、彩色寶石和鑽石，加上蛋面與多面切割，新的珠寶系列清麗脫俗，儼如天賜。

bulgari Clockwise from top: White gold Contraire ring with peridot and topaz; pink tourmaline, diamonds and aqua green enamel necklace; yellow gold, diamonds and sapphire earrings, ring and necklace

Comete from Chanel

Beholding Chanel’s new Comete jewellery line is like gazing into an ebony sky twinkling away with infinite stars and swirls of comets. Set with dazzling diamonds, sapphires, pearls, onyx and cacholong, the brooches, pendants, watches, earrings, necklaces, bracelets and rings set in white gold, are bound to leave anyone star struck. 香奈兒全新的Comete系列，就像漆黑的夜空閃耀著旋轉的黑白慧星，顆顆都鑲滿鑽石，閃耀如星。飾滿白金、珍珠、薰 衣草紫色紫晶和海水藍寶的胸針、垂飾、手錶、耳環、項鏈、手鐲和指環晶瑩奪目，天上的星星都黯然失色。

CHANEL Clockwise from top: Montre Comete secret watch; Comete brooch; Collier Comete Sculptee necklace; Inset: Mini Comete brooch

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boucheron Fleurs Fatales from Boucheron

Picked from the gardens of exquisite jewellery, Boucheron’s Fleurs Fatales collection unveils a combination of mythology, metamorphosis and wild nature in a seductive selection of gems and subtle contours of gold. Bracelets, necklaces, earrings and rings shaped with intertwining diamonds form exotic flowers, some with tempting garnet blackberries, evoking all things enchanting.

自高級珠寶的精緻花園採摘下來，Boucheron的Fleurs Fatales系列挑選上乘的寶石和黃金，將魅惑的神話、演化和野生 生態重現。鑲滿鑽石的手鐲、項鍊、耳環和指環幻化成誘惑的花朵，神秘的黑莓間或糾結其間，觸動絲絲性感神經。

Clockwise from top: Viviana earrings and bracelet; Cuca Inda ring; Botane necklace

king fook Palmiero Collection by King Fook

King Fook’s new collection by designer Carlo Palmiero, is an ode to beautiful blossoms with motifs of poppy, bell flower and feather in white or rose gold, studded with black, white, blue or pink sapphire diamonds. The designs for its necklaces, earrings, pendants and rings, signifies the profound link between nature and femininity. 景福珠寶全新系列的朵朵鮮花在手指、頸項和耳垂綻放。設計師Palmiero以白色或玫瑰金色的罌粟花、吊鐘花和羽毛系 列，配以黑、白、藍鑽或粉紅藍寶石。於她而言，這個自然主題意味著「與自然及女性世界的深刻連結。」

Clockwise from top: Bell flower ring and necklace; Feather collection necklace; Poppy flower earrings and necklace

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Dragon by Dior

Dior Joaillerie unveils the exquisite new designs for its dazzling Dragon collection. Designed by Victorie de Castellane, the 13 one-of-a-kind pieces with the majestic dragon motifs bring protection and happiness and aptly symbolise the spirit of the Orient. Its pendants, earrings, rings, necklaces and brooches are set in white, yellow, pink gold and platinum and studded with diamonds and coloured gems. 由設計師Victorie de Castellane操刀，Dior Joallerie的全新Dragon系列美侖美奐。利用白合金、黃金、玫瑰金和白 金，配以彩色寶石，打造出13件獨一無二的華美首飾，包括珊瑚墜飾、耳環、戒指、項鏈和胸針。威武的飛龍 透過注目的噴火姿態揭示幸福和保障，巧妙地象徵著其帶東南亞色彩的系列精髓。

dior

Clockwise from top: Dragon du ciel pendant necklace; Dragon des mers earrings; Dragon de la lune ring; Dragon du ciel pendant with garnets and pink tourmalines; Dragon de la terre earrings

Tiffany Masters of Tiffany

Masters of Tiffany collection displays a stunning variety of work by its famed designers. Among these are Jean Schlumberger’s colourful enamel bracelet and brooch, Elsa Peretti and her sculptural ‘bone’ cuffs and pendants, Paloma Picasso’s cuffs, necklaces and rings and Frank Gehry’s curvaceous brooches, necklaces and bangles; all of which that master the art of allure.

Tiffany全新的珠寶系列展示出著名設計師的驚世傑作。由Jean Schlumberger的彩色琺瑯手鐲、Elsa Peretti 雕塑般的骨 袖手鐲和垂飾，到Paloma Picasso的手鐲、項鏈和介指，還有Frank Gehry充滿曲線美的胸針、項鏈和手鐲，Masters of Tiffany Designs系列閃耀著極其華美的花火。

Clockwise from top: Tube bangles by Gehry, fluted amethyst necklace by Picasso; Humming Bird brooch by Schlum; Torque ring and bangle by Gehry; bracelet by Schlum

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Delices de Cartier

More than just a spring fling, Cartier celebrates the season with its Delices de Cartier collection; a beautiful bouquet of precious stones blossoming into floral necklaces, rings, tiaras and earrings. The mandarin garnets, rubies, diamonds, pink sapphires, lavender amethysts and aquamarine burst into colour with sweet emotion. k 春日明媚，卡地亞推出全新的Delices de Cartier系列。鑲上珍貴寶石的項鏈、柑橘指環、古波斯人頭飾和耳環彷如繁花 盛放，美不勝收；再配以沙弗來石榴石、紅寶石、鑽石、粉紅藍寶、薰衣草紫色紫晶和海水藍寶，豐富的色彩和情感潺 潺流瀉。k

cartier Clockwise from top: diamond, pink quartz, tourmaline; pink sapphire and amethyst rings; coloured stone tiara; green beryl, peridots, morganites and amethyst necklace

DREA MWA

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By Charles Edmund While luxury watchmaking has continued to fascinate us with its exquisite creations, it is nonetheless true that creative imagination in the industry comes in short supply. This perhaps explains the emergence of recent fashion for tourbillons.

Fortunately, genuine watchmakers are not influenced by trends; instead they originate trends. Combining technological advancement, new materials, design and movements, the craftsmen take this complex engineering to newer heights. While the latest tradeshows reflect the progress made in the watchmaking industry, our own selection of masterpieces, offers a glimpse into this mechanical revolution.

雖然奢華鐘錶業的傑 作往往教人嘆為觀 止，但這項工業確有 創作力枯竭的時候。 這正好解釋了最近掀 起的陀飛輪熱潮。 幸然，真正的製錶匠 不會靜觀潮流取向， 反而會運用個人創 意，開創潮流的先 河。最新的鐘錶貿易 展顯示這行業正經歷 重大的技術改革。各 個層面都有明顯改 進——機芯、物料採 用、設計以至報時方 式——凡此種種都在 挑戰一切先入為主的 意念。以下的例子正 是佐證。

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sparklewatches39 Audemars Piguet presents each year an exceptional piece, focusing on innovation and the art of watchmaking.

2006 was no exception with the ‘Cabinet 5’.

It is no secret that the ‘escapement’ is a watch’s essential component as it maintains and counts the oscillations of the balancespring. In order to achieve the best possible chronometric precision, watchmakers expend a lot of time in reducing power losses to a minimum on the one hand, and guaranteeing optimum secure operation on the other, to counter shocks and position changes. While in the past, others have focused with varying degrees of success on solving this problem, the Swiss anchor escapement found in the majority of watches today, is the key to perfection.

In 1791, Robert Robin invented a new type of escapement that combined the advantages of the detached escapement. However, despite being an ingenious principle, it was not successful because certain details of its geometry rendered it too sensitive to shocks. With their commitment to innovation, the specialists at Audemars Piguet set about exploring all avenues, including a complete review of methods already exhausted. They finally fixed upon the Robin escapement to develop a new direct-impulse escapement system, which has a higher yield than the ‘anchor escapement’. Derived from Robin’s invention, this new

system is notably different in that it is completely insensitive to shocks, thanks to a new safety finger that prevents all accidental displacement of the fork.

This escapement also has the advantage of requiring no lubrication, making maintenance easier and preventing the build-up of a greasy paste once the oil has evaporated. Moreover, in this escapement only one impulse corresponds to two vibrations, which results in less disturbance in the adjustment and very high efficiency. Also, it uses direct impulse, whereby energy is directly transmitted from the escapement to the balance without the intermediary of an anchor, reducing energy loss.

This provides a very high yield.

For example, in a Swiss anchor escapement, the escapement absorbs 65% of the energy.

The system developed by

自八大天王系列在1999年發行以來，愛彼錶每年均會推 出一款強調革新和製錶藝術的非凡手錶。2006年也不例 外：第五號腕錶——以950白金製造、限量發行20隻— —在千禧系列橢圓形錶殼中，特別配置了直線型萬年曆 及毋需上潤滑油的高效率擒縱系統。 眾所周知，擒縱系統乃腕錶的主要構成部分， 它維持並且計算平衡擺輪的振動。為了達到最佳的計 時精確性，鐘錶匠花費大量時間，務求將所消耗的能 量減至最低，同時保持最理想的安全運作，抵消衝擊 和位置轉變的影響。儘管在過去，其他種種嘗試確曾 達至不同程度的成功，如今大多腕錶都選擇裝置瑞士 的錨形擒縱系統。 1791年，身為國王鐘錶匠的羅賓(Robert Robin)發明了一個全新的擒縱器，結合了分離式擒縱器 高效率，以及錨形擒縱器運作安全這兩項優點。然而， 其幾何設計令它對震動過於敏感，加上製造困難，所須 的精確程度亦非當時的技術能做到，這項原理精妙的擒 縱器最終不被採用。 力求創新的愛彼錶專家尋求一切途徑，甚至詳細 探討那些被淘汰的方法。他們最終決定以羅賓的擒縱器 為基礎，發展一個效能比錨形擒縱器更高的直接傳動擒 縱系統。這個新系統由羅賓的擒縱器衍生，與後者的顯 著差別是它對震動毫不敏感——因為全新的安全別針防

Audemars Piguet absorbs only 48%, which represents a significant gain in efficiency compared with a classic movement.

This ‘Cabinet 5’ watch has the new oval hand-wound 2899 calibre comprised of 323 parts. In addition to the new escapement, it has an original perpetual calendar with a linear display. The watch has a power reserve of 7 days or 168 hours, which is also displayed on the dial thanks to a large-sized double spring barrel. Finally, this new calibre has an unprecedented subtlety in the regulating mechanism as the two hairsprings are placed above each other but offset by 180°. This flat offset doublehairspring system is used to replace the terminal curve that is always very delicate to construct. This arrangement automatically compensates for the balancing defects of the hairsprings. k

Cabinet No 5 by Audemars Piguet

止了擒縱叉一切的意外移位。 這個擒縱器的另一優點是毋需潤滑，故此簡化了 保養工作，亦防止潤滑油蒸發後留下油漬。再者，單一 一次的傳動便相應於兩次振動，因而減低了干擾，大幅 提高效率。它所使用的直接傳動——能量直接由擒縱系 統傳送到擺輪，而毋須以錨為中介——亦減低了能量消 耗。所以，擒縱器的效率相當高。舉例說，瑞士的錨形 擒縱系統消耗了本身的65%能量，而愛彼錶發展的系統 僅消耗48%，對比之下其效率較傳統機芯大為提升。最 後，它有高度的抗震性和持久的穩定性（已運作超過五 年），因而能提供更好的測時術。 第五號腕錶的橢圓形手動上鍊機芯2899 calibre由 323個元件組成。除了全新的擒縱器外，還配備了獨創 的直線型萬年曆。日期以指針顯示在時分錶盤外圈。月 份顯示窗安置於12時正的位置，而星期的縮寫則在同一 條垂直軸線上的另一端，即6時正的位置。時分錶盤的 時標12與1之間則是閏年顯示窗。另外，手錶的時間即 使在萬年曆運作期間仍能逆調，故此使用簡單。手錶的 動力儲存為7天（或168小時），同樣顯示在配備大型雙 游絲發條盒的錶盤上。最後，這個新的機芯具有史無前 例地精確的調節機制，它的兩條游絲一上一下成180°。 這個平面、互補的雙游絲系統取代了製造困難的末端曲 線。這個結構還可以自動補償游絲的失衡問題。k

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Robert Greubel and Stephen Forsey, two young watchmakers working in La Chaux-de-Fonds, have developed a double tourbillon with one of its carriages inclined at 30 degrees. Inside a large cage, with a diameter of around 15 mm turning in four-minute cycles, is a second smaller carriage (inclined at 30 degrees in relation to the first carriage) revolving in 60 seconds. It contains the escapement, free sprung balance system with flat hairspring and Phillips terminal curve. The weight of the two carriages which comprise 128 elements is a mere 1.17 grammes.

The invention’s main characteristic, the 30-degree inclination of the small carriage rotation axis, in relation to the rotational speeds of the two tourbillon carriages, enables the balance wheel to oscillate permanently in all positions.

The compensation of the differences in rate due to the earth’s gravitational pull is no longer limited to the vertical position. It should be noted that the choice of 30 degrees for the angle between the two turning carriages ensures a better chronometric performance in a watch with a height of 15.76 mm, which is highly acceptable for this type of complication. Furthermore, the larger carriage’s rapid

rotational speed of four minutes gives ideal mobility to the balance wheel by avoiding prolonged exposure to the earth’s gravitational pull in less favourable positions of the watch. Greubel and Forsey attempted to make the product prove them wrong by applying a simple test. They tried to place the balance wheel in a horizontal position, but it was simply impossible to do so!

The Double Tourbillon 30° is driven by twin barrels geared in line, one of which is equipped with a slipping ring so as to avoid any defect caused by excess tension on the mechanisms during winding. It has a power reserve

of at least three days, that is, 72 hours.

Finally, the choice of progressive conical gearing, composed of a wheel and a pinion with profiled teeth specifically made for the Double Tourbillon 30° enables improved power transmission far superior to classical solutions. The architecture of this movement within a diameter of 36.4 mm is entirely dedicated to the presentation of the Double Tourbillon 30°.

Its unconventional construction uses two plates that organise the gear-trains and bridges in discreet fashion, leaving space for the revolutions of imposing carriages. k

Double Tourbillon by Greubel and Forsey

Robert Greubel和Stephen Forsey是兩位在拉紹德封工 作的年輕製錶師，他們發明了雙體陀飛輪，其中一個陀 飛輪的支架作30º傾斜。大支架的直徑為15mm，每4分 鐘旋轉一周；小支架（與第一個支架成30º傾斜）則每 60秒旋轉一次。它由擒縱裝置、無卡度游絲擺輪及飛利 浦游絲末端曲線組合而成。兩個支架由128個元件組成， 重量僅得1.17克。 此項發明的最大特點——小支架旋轉軸30º傾斜 與兩個陀飛輪支架的旋轉速度容讓擺輪在任何位置都能 振動。彌補因地球重力造成的速度差異不再限於垂直位 置。值得注意的是，兩個旋轉支架作30º的傾斜能令手 錶有更佳的計時表現，所造成15.76 mm的高度差距相 對於這種的複雜性而言絕對令人滿意。再者，快速轉動

（每4分鐘旋轉一周）的大支架為擺輪提供最佳的機動 性，避免手錶在處於不理想位置時會長期承受地球的重 力。Greubel和Forsey曾企圖以簡單測試否定自己的設 計，他們嘗試將擺輪置於水平位置，然而這根本是不可 能辦到的！ 雙體陀飛輪30º由兩個搭上齒輪的發條盒驅動，其 中一個配備了滑動游絲，以避免上鏈時過大的拉力會對 裝置構成破壞。它有最少3天（即72小時）的動力儲存。 最後，專為雙體陀飛輪30º而設、由大小齒輪組成的漸 進圓錐形傳動裝置，其能量傳送較傳統方式大為改善。 這個直徑為36.4 mm的機芯構造完全呈獻給雙體陀飛輪 30º。其非凡設計利用兩塊金屬板謹慎地組織起齒輪串和 夾板橋，讓令人注目的支架有足夠的空間旋轉。k

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Seven years ago, Maximilian Büsser, general manager of Harry Winston Rare Timepieces created Opus as part of a plan orchestrated to encourage young and relatively unknown watchmakers to design unprecedented timepieces to be released in a limited series by Harry Winston. This leg-up strategy resulted in some very fine creations, especially the Opus V, a fantastic piece that made heads turn.

The Opus V is work of 31-year-old watchmaker, Félix Baumgartner, who has been working in Geneva since 1995. From an exceptionally talented watchmaking family, Baumgartner has ‘invented’ a different way of representing the passage of time. When you voice your marvel at this audacious piece, he humbly replies: ‘As the grandson and son of watchmakers, I could hardly do the same thing as my predecessors.’ True to his word, his creation is certainly unique!

This Opus V timepiece marks two firsts in the world of watchmaking. Firstly, it has a three-dimensional rotating time display. It entails three little blocks, arranged in satellites, on a three-dimensional system each bearing four hour figures.

This means that there are only three hours visible on the dial.

Thus there are two rotational axes to display the 12 hours: the first, in the centre, enables each hour figure to pass in

front of the minute counter, bringing a retrograding hand moving across a 120° counter; the second rotational axis displays the four figures as a function of the rotation of the first. This explanation may seem complicated but it is actually very simple when you see it and you ask yourself why this technique had not been adopted before. The second world first is a service indicator graduated from 0 to 5 years located under the case. This indicator enables the wearer to know when he should take his watch to a specialist for service. The subtlety of this

indicator is that it only counts the time when the watch is worn.

In this movement everything relies on ball bearings. The one that enables the first rotation, and on which the retrograding minutes hand is fixed, is a real technical feat.

It combines two difficulties: a diameter well above the average used in watchmaking and an infinitely small thickness.

As the retrograding hand has to travel a long distance 120° to return to zero, it is returned by a traction spring that is both extremely fine and robust. What could be simpler? k

Opus V Satellite Time

by HARRY WINSTON

七年前，Harry Winston Rare Timepieces的總經理 Maximilian Büsser精心創製Opus系列，目的是鼓勵年 輕而尚未成名的製錶師設計出非凡的作品，並由Harry Winston限量發行。這個策略造就了一些優秀作品，尤 其是令人注目的極佳之作 —— Opus V。 Opus V由年僅31歲、自1995年在日內瓦工作的 製錶師Félix Baumgartner設計。身為製錶家族的一分 子，Baumgartner「發明」了獨特的時間顯示方式。當 你對這革新作品嘖嘖稱奇的時候，他卻謙遜地答道： 「身為製錶匠的兒孫，我不能跟他們做一模一樣的東 西。」如他所言，這作品絕對是獨一無二！ Opus V在全球製錶業界創下兩項第一。首先是 立體走動時間顯示。它包含三個小方塊，各自刻有四個 小時數字，並且在立體系統內如衛星般排列。錶盤上只 會顯示三個小時數字，因此須以雙旋轉軸顯示十二個小

時：第一個旋轉軸在中心位置，容讓每個小時數字轉動 至分鐘計時器面前，並且令逆跳式分針在120°的刻度轉 動；第二個旋轉軸配合第一旋轉顯示四個小時數字。說 明聽起來似乎複雜，親眼看見時卻覺得十分簡單，令人 不禁疑問這個方法何以不早被採用。另一項第一是錶背 顯示的0至5保養時限。它讓配戴者知道何時應該拿手錶 給專家維修。這個提示器的精妙之處，是它僅計算手錶 的配戴時間。 手錶的機芯完全依賴滾珠軸承，它確保了上述 的第一旋轉，而逆跳式分針亦固定其上，堪稱一大技 術成就。它結合了兩大困難：一個遠超製錶業平均採 用的機芯直徑，以及一個超薄的厚度。由於逆跳式分 針要經過一段長距離（120°）才能歸零，因此飛返時 採用了一個極其纖幼而強韌的牽引彈簧。事問還有更 簡單的方法嗎？ k

STONE COLD

FABULOUS PHOTOGRAPHY: YI HYUN GU EDITOR: HAN HYE JIN

sparklewatches39 Tiffany Opposite page: ‘Atlas’ cocktail watch from Tiffany & Co. is set in 18K white gold with a braided bracelet and rows of diamonds circling its Roman numeral dial

Chanel This page: The exquisite ‘J12’ Joalliere 38 MM automatic watch from Chanel in white gold and black high-tech ceramic strap with baguette cut rubies and diamonds

Van Cleef This Page: A homage to beauty and free spirit, the Lady Arpels Papillon watch from Van Cleef and Arpels has a mother-of-pearl butterfly engraved on a white dial and surrounded by a row of diamonds

Harry Winston Opposite page: Harry Winston premium collection watch with diamond studded strap and pave dial in white gold, combining elegance and precision

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Bulgari This page: Celebrating pure femininity, Bulgari’s Astrale watch with motifs of concentric circles and a heavy sprinkling of coloured precious stones takes its inspiration from constellations and planetary movements

Chaumet Opposite page, left: White gold, diamond paved Liens de Chaumet watch with black lacquered sunray dial and diamond paved ‘X’ shaped links with black satin strap reflects a tuxedo look Opposite page, right: Diamond paved white gold Dandy watch with silver opal dial, diamond paved bayadere stripes and box-calf satin strap symbolising Chaumet’s 1920 advert visual

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ol]ngha]`ranpkne]h

zenith

ahead of the times

The hottest watches from the LVMH Group make their way to Hong Kong

F

rom TAG Heuer and Dior to Chaumet and Zenith, the LVMH Group is bringing the best of luxury timepieces to Asia.

CEO for the group’s North Asia branch Jean Marc Lacave believe Zenith watches are a perfect match to the Asian culture.

“Asia is the apotheosis of my company’s creed. It is in part modern with a cutting edge culture, and a forward thinking people who live vibrant and exciting lives.” On the other hand, Lacave also thinks there’s a great respect for tradition and customs.

This unique balance of the past and the present is exactly what Zenith represents. It encompasses modern technology with traditional craftsmanship to create timepieces that are at once intricate and esthetically pleasing.

Buyers are not merely looking for a watch. Rather, Lacave said “Customers encompass the genuine collector, the real connoisseur who fully appreciates the artistry, skill, craftsmanship and rarity of the micro-engineering in a timepiece that intrinsically defies time itself.”

This is the reason for Zenith’s popularity. Famed for the El Primero, the watchmaker is the pioneer of three of the most outstanding mechanical movements in modern luxury watch industry. The intricate Zenith mechanism can be found in each of the timepieces.

The timeless classic designs of Zenith watches are complemented by its innovative technology to make these watches a highly soughed after object of desire and a staple in any serious watch collection.

PORTRAIT: JeAn MARc LAcAve, ceO Of LvMH WATcH & JeWeLLeRy GROuP, nORTH AsIA; Defy XTReMe OPen, GOLD & TITAnIuM; AcADeMy TOuRBILLOn HMs; sTAR OPen seA PRecIOus DIAMOnDs, WHITe GOLD

由

LVMH集團引進，ZENITH為香港顧客呈獻其時 款手錶。 從TAGHeuer和Dior到Chaumet和ZENITH，LVMH集 團一直致力將奢華鐘錶的上佳之選引進亞洲。 LVMH鐘錶珠寶北亞執行總裁Jean Marc Lacave先生 深信ZENITH錶跟亞洲文化十分匹配。 「亞洲是本集團理念的最佳體現。它擁有主導的現 代文化、高瞻遠矚的人才，以及多姿多彩的生活。」 與此同時，Mr. Lacave認為亞洲人十分尊重自己的傳統 和風俗。 這種過去與現在的高度諧和同樣體現於ZENITH錶 上。它創製的手錶糅合了現代科技和傳統工藝，精細 之餘亦極富美感。 客人並非單單在尋覓一枚手錶。Mr. Lacave表示： 「顧客當中有真正的收藏家和鑑賞家，他們欣賞手錶 的藝術性，製錶技巧和工藝，以及微妙機械運作，這 些能夠超越時間的特質。」 這正是Z E N I T H 錶大受歡迎的原因。Z E N I T H 以 El Primero機芯享負盛名，其製錶匠開創了當代名錶業內 三個最優秀的機械機芯。這些複雜細密的機械裝置可於 每隻ZENITH腕錶內找到。 永恆的經典設計，配合嶄新的科技，ZENITH錶無 疑是魅惑眾人的恩物，手錶收藏家的必然選擇。

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Present

Only a handful of exceptional watches pass through the ages unscathed. They go on to become a reflection of their times, the epitome of a br and, but above all, bear witness to the watch maker ’s art. Through their tale nt, watchmakers have accomplished the feat of transforming a number of rare timepieces into veritable icons. There are not m any. Ten to be precise. 時代的反映、品 是 們 它 ， 來 下 存 保 地 代 代 世 世 能 錶 手 的 出 只有少數傑 錶匠憑藉他們的 鐘 。 術 藝 的 業 錶 製 了 證 見 們 它 是 的 要 重 最 牌的寫照， 們為數不多，剛 它 。 誌 標 的 實 其 副 名 成 化 轉 錶 手 的 貴 珍 足 天賦，將彌 好十隻。

TEXT: CHARLES EDMUND

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polo

An undeniable icon, and perhaps the youngest of them all, the Polo, made by Piaget is symbolic of the brand’s transformation. The Piaget family firm in La Côte-aux-Fées, near Val-de-Travers, had focused its talents on the production of mechanical movements – and accordingly, won many awards for its extra-flat movements. But as the advent of quartz watches weakened for many firms towards the end of 70s, a new source of future growth had to be found.

While aficionados of fine watchmaking remained attached to mechanical watches, it was nonetheless necessary to attract a wider clientele. Hence Piaget’s resolute move into jewellery watches.

The vast creative experience of the brands specialists enabled the firm to launch the Polo in the early 80s. A round watch, unique for its integration of bracelet and case, it was worn by famous celebrities and international jet-setters. Personifying splendour, glamour, elegance and fashion, the watch was made from the finest of materials. Its unique dial, being highly audacious for its time, largely contributed to its success.

Polo was soon released in a women’s version. Sculpted in solid yellow or white gold, it was fitted with a quartz movement or an extra-flat mechanical movement, developed specifically by Piaget. Even though a timeless piece, it still need to be adapted to suit contemporary tastes. Thus in 2001, the Polo underwent a ‘facelift’ that retained its original identity while modernising the watch, notably its dial. Entirely manufactured in the firm’s workshops, the Polo is emblematic of the renaissance seen by luxury Swiss watchmaking following the serious crisis it encountered in the mid 70s. 作為一個公認的——大概也是最年輕的——品牌標誌，伯爵推出的Polo系列象徵著品牌的轉化。伯爵錶廠位於特拉瓦谷附近的La Côte-aux-Fées，專門製作機芯，其 超薄機械錶芯更贏得不少獎項。在1970年代末，石英錶的出現令許多錶行生意受挫，同時亦帶來了新的發展動向。雖然製錶業仍舊鍾情於機械錶，他們卻必須想辦法 吸引更多顧客。伯爵因此轉向珠寶腕錶。 憑藉專家豐富的經驗和創意，Polo系列終於在1980年代初問世。這款以獨特的錶鏈和錶殼整合見稱的圓鍋形手錶深得演藝界和名流人物的歡心。腕錶由最精巧的 物料製造而成，象徵著顯赫和魅力、高雅與時尚；其無與倫比、大膽創新的錶盤設計更是當時的成功關鍵。 Polo很快就發行了女裝錶款。由純黃金或白合金雕製而成，它同時適用於石英錶或伯爵特製的超薄機械錶芯。儘管腕錶本身意味著永恆，它們仍須配合當代的品 味。因此在2001年，Polo進行了一個「改裝」過程，一方面保留其特性，同時尤其針對錶盤注入了現代元素。整個過程——包括以珍貴金屬製造錶鏈和錶殼——都在 錶廠的工作坊完成。在瑞士的名錶製造業內，Polo至今仍標誌著1970年代行業危機後的復興。

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The early model, from the beginning of the 80’s. A round watch unique for its integration of bracelet and case.

Present

In 2001, the Polo underwent a ‘facelift’ that retained its original identity while modernising the watch, notably the dial.

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O S R E V e R

A born entrepreneur, César de Trey was always looking for ways to satisfy the needs of his customers. One day in 1930, he found himself at a polo match in India, which was still under British rule.

The most virile of sports, polo requires obvious physical skills as well as solid equipment to withstand the tough treatment meted out. In those days, wristwatches did not have these qualities – and yet the need was obvious. But how to protect a watch against the constant shocks sustained during a polo match?

César de Trey had a flash of inspiration: you need only turn over the watchcase.

Back in Europe, he contacted Jacques-David LeCoultre, director of the factory of the same name in Le Sentier (Switzerland) with whom he had already worked extensively. Undertaking to execute the concept, LeCoultre turned to the Parisian engineer, René-Alfred Chauvot.

The creation of the Reverso was an extraordinary technical breakthrough for its time and the swivel movement rapidly became the focus of intense interest. It soon became an icon of the Art Deco movement, constantly arousing the fascination of watch aficionados of the exceptionally creative period between the two World Wars, and has not lost any of its original freshness since.

Over time, Jaeger-Lecoultre has been designed in every form possible. It has been enlarged, pared down to adorn a woman’s wrist, decorated, engraved, set with gems, refined with complications such as a minute repeater, tourbillon, date, chronograph and dual time zones and also used its two sides to present a ‘double dial’ called the Duetto for women. Yet, throughout all these years, the Reverso has remained totally loyal to its principles and the designers working at the Le Sentier plant have pursued an approach driven by intelligence and subtlety to lead the evolution of this watch.

作為一個天生的企業家，César de Trey一直努力想辦法滿足客人的需要。1930 年，他到訪尚在英國統治下的印度觀賞馬球比賽。 馬球是一項相當劇烈的運動，需要強健的體魄和堅韌的配備才能承受其中的衝擊。當時的腕錶並不具備這些條件，然而這個需求卻顯而易見。到底腕錶怎樣才能 夠承受馬球球賽中的不斷衝擊呢？César de Trey 閃過一個念頭：你只須把錶殼翻轉過來。 回到歐洲後，他聯絡Jacques-DavidLeCoultre，即瑞士勒桑捷同名錶廠的主管。那時他們已有過不少合作機會。LeCoultre答應將概念實踐出來，並轉向巴黎工程 師René-Alfred Chauvot求助。 Jaeger-Lecoultre是當時技術上的一大突破，其可翻轉的錶殼設計迅速引起四周的濃厚興趣。後來它成為裝飾藝術的標誌，卻沒有失去其原創的新鮮感，反而 一再令傑出製錶業，以及兩次世界大戰間創意時期的鐘錶愛好者著迷。 這些年來，Reverso在設計上作出了不同的嘗試——曾經增大兩倍，也試過削減大小以配合女士的手腕；它曾被裝飾、雕刻、鑲上寶石及提高複雜性，例如加上三 問錶 、陀飛輪 、日子、計時器和雙時區等。此外，它曾被裝上第二個錶芯，利用其兩面為女士設計出名為Duetto的雙面腕錶。Reverso多年來一直忠於原則，在勒桑 捷錶廠的設計師憑藉智慧，巧妙地引領手錶演化，同時保留了它原初的成功要素。

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How to protect a watch against the constant shocks sustained during a polo match? In the 30’s, the reverso solved this problem.

Present

Today, the watch has been produced in every form possible. It has been enlarged and also been pared down to adorn a woman’s wrist.

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HAPPY DIAMONDS

Although it dates only from the 1970s, the Happy Diamonds has acquired a level of fame that its creator could never have imagined. It was while walking in the Black Forest that Ronald Kurowski, designer at Chopard, was struck by the beauty of a waterfall. The cascading water threw up thousands of water droplets, reflecting the daylightlike diamonds dancing in space, and sparkling with all the colours of the rainbow. It was this vision that inspired his basic idea for the watch. But for diamonds to sparkle with all their brilliance, they had to be liberated from their 'claws' and allowed to move freely.

While the idea may have seemed obvious, putting it into practice was another thing. It was only after several attempts that the idea of leaving the diamonds free to move about the dial in tandem with the movements of the wearer’s wrist came to fruition. Like all great ideas, the solution was surprisingly simple: the free diamonds were caught between two crystals. But this raised considerable technical difficulties especially to prevent the diamonds, the hardest of stones, from damaging the sapphire crystal. After many tests, specialists at the Meyrin plant found the solution: each diamond was coated with a thin film of gold, barely visible to the eye, so that only the gold would be in contact with the crystal. Experiments also showed that if the initially flat base of the little gold socket was rounded, the diamonds became much more mobile as they rotated around the dial.

Upon seeing the first creation, Karin Scheufele exclaimed, '‘Diamonds are happiest when they are free’. And so the watch was baptised Happy Diamonds. Since then, this watch has continued to enjoy great popularity. In 1976 it was awarded the Golden Rose in Baden-Baden. Its crowning glory came the following year, when it was the highlight of the Basel world watch and jewellery trade show. From that moment on, orders for this watch have increased steadily. 雖然僅始於1970年，快樂鑽石獲得的聲望無疑超出了設計者的意料。當蕭邦錶設計師Ronald Kurowski在黑森林中漫步，他被美麗的瀑布所吸引。瀑布飛濺出的千顆水 珠在陽光的照射下閃著彩虹般的色彩，彷如鑽石在飛舞。此情此境成為手錶設計的靈感來源：將鑽石從制肘中釋放開來，讓它們自由活動，閃燿著本身的光輝。 這個意念聽起來似乎簡單明白，但要實際表達出來卻絕不容易。經過幾番嘗試後，這個讓鑽石隨著穿戴者的手腕活動，一前一後地在錶盤上自由移動的構想終於 能夠呈現。一如所有美妙構思，解決的辦法出奇地簡單：將自由移動的鑽石封閉在兩塊水晶之間。然而這又帶來一定技術上的困難，舉例說，要防止鑽石——最堅硬 的石頭——破壞了藍寶石水晶。經過多次測試，梅漢的工廠想出了解決辦法：在每顆鑽石上塗上一層勉強能夠看見的薄金，這樣便只有黃金直接與水晶接觸。實驗同 樣顯示環繞了平坦的黃金托座後，鑽石在錶盤上的滑動變得更為容易。 看過首個設計後，Karin Scheufele 說道：「鑽石在自由的時候最為快樂。」因此這款手錶被命名為快樂鑽石，自此更大受歡迎。它在1976獲得貝登金玫瑰大 獎，在第二年的封冠儀式更成為巴塞爾世界鐘錶珠寶展覽的焦點。由那時開始，該腕錶的訂單便不斷增加。

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Dating from the 1970s, the Happy Diamonds has acquired a level of fame that its creator could never have imagined.

Present

Each diamond is coated with a thin film of gold, barely visible to the eye, so that only the gold would be in contact with the crystal.

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The Rolex Oyster dates from 1926, when the brand developed the first watch genuinely water-resistant, air-tight and dust-proof.

Present

With the Oyster, Rolex set the example, and the entire Swiss watchmaking industry followed suit.

Oyster

Another watchmaking legend is the Rolex Oyster. It is the fruit of the exceptional imagination of the founder of this Genevan brand, Hans Wilsdorf, a Bavarian who established the company in London in 1905 before moving to Switzerland. The Rolex Oyster dates from 1926, when Wilsdorf developed the first watch that was genuinely water-resistant, air-tight and dust-proof. He called it the Oyster. With a case comparable to a safe, the Oyster remained in perfect working order on the wrist of a young British swimmer after more than fifteen hours crossing the English Channel. The exploit caused a sensation.

Wilsdorf, riding the crest of the wave, took an advertisement on the front page of the Daily Mail declaring the success of his waterproof watch, marking the ‘triumphant march of the Rolex Oyster around the world’.

While water-resistance issues had been solved, a more efficient movement required to be developed for this new timepiece. In 1931, Rolex invented the ‘Perpetual’ rotor automatic winding mechanism that did away with the daily gesture of hand-winding a watch. This technical and cultural revolution was to radically change our habits. With this new system, simply moving the wrist enabled the watch to wind itself. Water-resistance, of course, was an important step leading to the culmination of this technological feat, for an automatic movement will only work with extreme regularity in a waterproof case. Rolex set the example, and the entire Swiss watchmaking industry followed suit. 勞力士蠔式系列是製錶業的另一傳奇。它是這個日內瓦品牌創辦人漢斯．威爾斯多夫的非凡想象成果。在移居瑞士前，這名巴伐利亞人在1905年於倫敦成立了公司。 1926年，他發明了首隻防水、防塵及不透氣的腕錶，並稱之為「蠔」。蠔式錶的錶殼可以媲美保險箱。一名年輕的英國人戴著腕錶在英吉利海峽游了超過十五小時 後，腕錶的運作依然完全正常。這項成就引起轟動。處於事業巔峰的威爾斯多夫在《每日郵報》的頭版登出廣告，宣佈這隻防水腕錶的成功，亦標誌著勞力士蠔式系 列的環球勝利。 解決了耐水性的問題後，這款新腕錶還需要發展更高效率的機芯。1931年，勞力士發明了「恆動」自動上鍊裝置。這技術上和文化上的革新徹底改變了我們以往 每日為手錶上鍊的習慣。有了這個新裝置後，只須移動手腕便能為手錶上鍊。理所當然，耐水性是發展這個技術成就的關鍵所在，因為唯有在防水的錶殼內，自動機 芯方能極度規律地運作。勞力士開創先河，成為整個瑞士製錶業的典範。

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Introduced in 1932, this round watch is the perfect example of rarefied simplicity from the factory nestled at the tip of Lake Leman.

Present

Over the years, the Calatrava has been produced in more than 25 versions and is worn today on the wrists of both men and women.

A V A R CALAT

For connoisseurs, the name Patek Philippe immediately evokes great complications and classic elegance. Qualifying for the latter, the Genevan brand counts among its models an icon: the Calatrava. Introduced in 1932, this round watch with its highly refined design is the perfect example of rarefied simplicity from its factory nestled at the tip of Lake Leman. A true standard-bearer, the Calatrava is named after the decorative cross borrowed from the old Spanish ‘Order of Chivalry’ and used by Patek Philippe to embellish the crowns of its timepieces.

The Calatrava’s ‘officer’ case has a history. During the First World War, officers found pocket watches impractical for obvious reasons. Large pocket watches were therefore pared down so they could be worn on the wrist. This reduction was carried out by Patek Philippe in accordance with the firm’s professional standards, ensuring that the timepiece’s proportions reflected discreet and timeless elegance. Thus the wristwatch case was designed as a true work of art.

Over the years, the Calatrava has been produced in more than 25 versions and is worn today on the wrists of both men and women. Indeed, while originally intended for men, the brand has been enormously successful with women. Several gem-set versions have also helped carry forward the impact of this model through successive generations.

對鑑賞家而言，百達翡麗此一名字意味著高度的複雜性和古典雅緻。論到後者，這個日內瓦品牌選用了一個標誌：十字架。自1932年問世，這款由康士坦士湖一端工 廠製造、設計精密的圓鍋形手錶是精緻簡約的最佳體現。百達翡麗借用了十字架——古西班牙騎士的代表標誌——以裝飾其手錶的錶冠，Calatrava因而得名。 Calatrava 的軍官錶殼有其來歷：在第一次世界大戰期間，軍官發現鉈錶很不實用，它們因而被簡化成腕錶。這次簡化由百達翡麗操刀，他依循製造商一貫的專業 水準，確保鐘錶的比例在簡化後仍保留其簡樸和永恆雅緻。故此，腕錶的錶殼設計如同一件真正的藝術品。 這些年來，Calatrava推出了超過25種款式，如今無論男女都把它戴在手腕上。的確，儘管它本來以男性為對象，最終卻深得女士們的喜愛，其中幾個鑲鑽系列更 將款式的影響力傳揚下去。

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CHOW TAI FOOK

GLOWING HEART Chow Tai Fook dazzles with world’s largest heart-shaped colour FOREVERMARK diamond

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hen beauties collide, extraordinary splendor is inevitable. Chow Tai Fook teams up with the gorgeous Karen Mok to create the new FOREVERMARK collection, featuring the world’s largest heart-shaped fancy colour FOREVERMARK diamond.

The exclusive collection was revealed at the Chow Tai Fook Diamond Fantasy in Dun Huang jewellery show at apm. Muse to the collection Karen Mok as well as top models Lu Yan, Lisa S. and Ana R. dazzled in the breathtaking gems.

The commanding size of the sparkling heart-shaped gem, a striking 11.15 carats, is the prima donna of a stunning necklace. Cut and polished from a 61.75-carat rough diamond, four months of intensive craftsmanship and master techniques prove to be time well spent.

Also showcased were the four charms of the FOREVERMARK collection. Inspired by Karen Mok, each series of the collection encompasses one of the four charms– Emotional Me, Mysterious Me, Unique Me and Eternal Me. Chow Tai Fook also revealed the highly anticipated photo campaigned featuring the jeweller’s image ambassador Karen Mok. Mobilizing the country’s most influential and talented photographer Feng Hai and world famous model Lu Yan as image consultant, the shoot took place in Dun Huang, the cultural gem of China.

The million-dollar production combines the beauty of Karen Mok and shimmering gems weighing in at more than 200 carats. Inspired by the musicals of legendary soprano Maria Callas, over 30 medieval costumes were sourced from Europe and New York to perfect the photographs.

Perfecting the FOREVERMARK diamond from DeBeers, Chow Tai Fook has been working relentlessly to ensure only the highest quality gems are used to magnify the stunning designs of its jewellery. Each FOREVERMARK diamond is individually inspected to ensure the highest clarity, colour and natural brilliance.

A certificate to declare its authenticity, a guarantee no artificial colours are added to create the sparkle of the gem, accompanies every FOREVERMARK diamond.

A diamond company dedicated in ethical treatment of miners, each FOREVERMARK diamond is harvested with a single-minded commitment to ethics. Each holds a promise to not only radiate for the wearer but to also ensure a chance of prosperity for miners.

A gem beautiful inside and out, Chow Tai Fook’s interpretation of FOREVERMARK diamonds possess an explosive magnificence that is truly matchless.

FROM LEFT THE WORLD’S LARGEST HEART-SHAPED COLOUR FOREVERMARK DIAMOND WEIGHTS A STUNNING 11.15 CARATS; IMAGE AMBASSADOR KAREN MOK AND MODEL ANA R. EXERT GLAMOUR AND ELEGANCE IN THE FOREVERMARK COLLECTION

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⣏䤷ℐ䎫㚨⣏䘬FOREVERMARK⌘姀⽫⼊⼑搥 攫Ṗ䘣⟜ 䓙␐⣏䤷䱦⽫姕妰炻ℐ䎫㚨⣏䘬⽫⼊⼑搥䵣 㓦䔘⼑ˤ 䔞伶Ṣ忯ᶲ伶䈑炻冒傥㽨䘤↢ᶵᶨ㧋䘬⃱刺ˤ ␐⣏䤷冯徟Ṣ䘬卓㔯哂㓄ㇳ⎰ἄ炻∝墥↢ℐ㕘䘬 FOREVERMARK䲣↿炻⏰䌣ℐ䎫㚨⣏䘬FOREVERMARK ⌘姀⽫⼊⼑搥ˤ ␐⣏䤷⛐奨⠀ŢűŮ⓮⟜冱彎˪␐⣏䤷搥徟㔎䃴˫搥 梦䚃㚫炻嬻忁ᾳ䌐ᶨ䃉Ḵ䘬䲣↿Ṗ䚠ˤ䲣↿䘬曰デ⤛ 䤆忋⎴⎵㧉⏪䅽ˣLisa S.␴Ana R.惵夗徟Ṣ⮞䞛炻⣏㓦 ⃱刺ˤ 忁柮11.15⌉䘬攫侨⽫⼊⮞䞛ㆸ䁢ᶨ㡅≽Ṣ枭捰䘬 ⤛ᷣ奺ˤ䓙61.75⌉䘬⍇䞛↯√ㇻ䢐侴ㆸ炻ġ 忁柮伶搥 嫱㖶⚃ᾳ㚰ẍἮ䘬䱦䳘ⶍ喅␴㈨埻᷎㰺㚱䘥屣ˤ FOREVERMARK䲣↿䘬⚃䧖徟Ṣ櫭≃⎴㗪⯽䎦⣏䛦 䛤⇵ˤ曰デἮ冒卓㔯哂炻䲣↿⏰䎦↢⚃䧖⤛⿏櫭≃炻 ⊭㊔ˬデ⿏䛇ㆹ˭ˣˬ䤆䦀䛇ㆹ˭ˣˬ䌐䈡䛇ㆹ˭⍲ ˬ㯠⿮䛇ㆹ˭ˤ ␐⣏䤷⎹奨䛦⯽䣢椾梦⼊尉ẋ妨Ṣ卓㔯哂䘬⭋⁛ 䄏ˤ忁廗䄏䇯⛐ᷕ⚳㔯⊾䐘⮞㔎䃴⍾㘗炻㚜怨⼿ᷕ⚳ 㚨℟⼙枧≃ᷳ叿⎵㓅⼙ⷓ楖㴟㑵↨炻⚳晃叿⎵㧉䈡⃺ ⏪䅽㑼ả⼊尉㊯⮶ˤ 㗗㫉墥ἄㆸ㛔忦䘦叔㷗⃫炻⮯卓㔯哂䘬伶ン冯ℙ慵 Ḵ䘦⣂⌉䘬攫侨⮞䞛⬴伶栗䎦ˤ㉵㓅曰デ䓙ᶾ䲨䳽ⓙ 䐒渿Ṇ⌉㉱㕗㇨┇䘤炻㚜⽆㫸㳚⍲䲸䲬㊹怠30⣂⣿㚵 墅ẍ⟹忈⬴伶䘬ᷕ⎌忈✳ˤ 冯De Beers普⛀㓄ㇳ⎰ἄㇻ忈⬴伶䘬FOREVERMARK ⌘姀搥䞛炻␐⣏䤷➭㊩㊹怠㚨ᶲḀ䘬⮞䞛⍣⏰䎦椾梦 䘬樂导姕妰ˤ㭷ᶨ柮FOREVERMARK⌘姀搥䞛悥䴻忶 䳘⽫槿嫱炻䡢ᾅ搥䞛㑩㚱㚨⃒岒䘬㶐⹎ˣ柷刚␴冒䃞 ⃱慯ˤ 㭷柮FOREVERMARK搥䞛⛯旬㚱嫱㚠ẍ嫱㖶℞䛇⮎ ⿏炻ᶵ⏓ảỽṢⶍ刚䳈ẍầ忈⮞䞛⃱厗ˤ ␐⣏䤷ℐ⽫Ⰽ埴⮵搥䞛䣎ⶍ䘬ΐ䎮炻䡢ᾅ㭷柮 FOREVERMARK搥䞛悥䫎⎰⓮㤕忻⽟炻ᶵ╖嬻惵㇜侭⣏ 㓦⃱刺炻⎴㧋Ṏℤ栏䣎ⶍ䘬ḳ㤕⇵⠫ˤ ᶨ柮ℏ⢾伶ᾙ⁁䘬⮞䞛炻␐⣏䤷⏰䌣䘬 FOREVERMARK搥梦䡢⮎䅋䆎⤒䚖ˣ䃉冯ΐ㭼ˤ

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R E M ITI V NA

The Second World War had witnessed extraordinary progress in aviation. In less than ten years, the industry went from biplanes to jet aircraft. Given this phenomenal progress in aeronautics, pilots needed a proper wrist instrument – prompting Breitling to produce the Navitimer in 1952. A chronograph, this watch was nothing less than an ‘aeroplane computer’, incorporating a circular slide-rule for making all the necessary air navigation calculations. This timepiece was so revolutionary at the time that is was soon adopted by the Aircraft Owners and Pilots Association, the world’s largest pilot organisation.

The shape of this timepiece has not changed; nor has its design, which has been only slightly modified to bring it into line with modern tastes. It goes without saying, however, that over time many features have been added. Slightly larger than the original watch, its bracelet is totally integrated with the case. The Navitimer also comes with an in-flight return function, which is used to launch successive timings without having to zero the chronometer.

Breitling incorporated another movement into the watch: a geographic function aptly named ‘Hours of the World’. Around ten percent larger than the original model, this version uses a highly visible hand to indicate the hours of another location in the world on a 24-hour scale, thus taking into account daytime and night-time.

The main discernable feature of this watch has always been its famous circular slide-rule used for navigational purposes. With the advent of GPS, this instrument is of course rarely used by modern pilots, whether amateur or professional. Nonetheless, the Navitimer is still the essential timepiece among aviation watches. Indeed, if you come across a professional pilot, take a quick glance at his wrist. Chances are, you’ll see the famous chronograph on his wrist. 第二次世界大戰見證了航空業的非凡發展：在十年間，這個工業由雙翼飛機發展至噴射機。隨著航空業的發展，飛行員需要更精確的手腕儀表，這促使百年靈在 1952年製造Navitimer航空錶。作為一個計時器，這款手錶全然是個「飛行電腦」，附有一個滑動飛行尺以進行一切所需的航空計算。這款手錶在當時極具革命性， 很快便被全球最大的飛行組織「飛行所有者及飛行員協會」所採用。 腕錶的外形保留不變，設計亦只是稍作修改，以迎合現代品味。然而隨著時代變遷，腕錶理所當然地加進了不少新元素。腕錶的大小略為增加，錶鏈和錶殼完全 整合為一。Navitimer更設有飛返指針功能，使用者無須把計時針歸零，便可進行連續計時。百年靈為腕錶裝上另一機芯，加上一個名符其實的「世界時間」地理功 能。比原來的型號大十分一，這款手錶利用清晰的指針，以24小時制顯示另一地方的時間，因此避免了日間和夜間時間的混淆。 這款手錶最明顯的特徵是其作航空用途的著名環形滑動飛行尺。在全球位置測定系統出現以後，現代飛行員(無論是業餘還是專業)自然甚少會再使用這個儀表。雖然如 此，Navitimer在航空錶業的地位依然舉足輕重。要是你碰見一個專業的飛行員，儘管看看他的手腕吧：你將有半數機會看見這個著名的手腕計時儀表呢。

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1952, given the progress in aeronautics, pilots needed a good wrist instrument – prompting Breitling to produce the Navitimer.

Present

The main discernable feature of this watch has always been its famous circular slide-rule used for navigational purposes.

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PASPALEY

PEARLY PERFECTION

World’s leading pearl jeweler Paspaley arrives in Hong Kong with magnificent South Sea gems

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ending its luster to Hong Kong, pearling veteran Paspaley brings nature’s little wonders to the city. Once available only in its native Australia, Paspaley has brought its beautiful pearls to Dubai and now Hong Kong. The new shop, located at The Galleria in Central, will showcase Paspaley’s artistic use of pearls to create beautiful jewelry. The company, with over 70 years of experience creating the delicate drops, is the world’s leading South Sea pearl farmer. Nurtured in the pristine waters of northern Australia, its exceptional luster, orient and impressive size defines Paspaley pearls. The jewelry house launches two collections each year, adorning the most stylish women around the world in beautiful pearls.

The pearls cultured in farms by Paspaley are guaranteed to project only natural shine and luster. Each South Sea pearl is the result of intense craftsmanship and extreme patience. A certificate guaranteeing natural colors and luster accompanies each Paspaley pearl. Only the pearls of the best quality can be made into rings and colliers.

The jeweler’s latest creation of pearl and diamond accessories combines these South Sea sensations with European passion. The Dolce collection features a range of pendants, rings, earrings and a dramatic yet elegant collier.

The collection of gems will please everyone from the minimalist to the glamour girl.

A selection from striking pearl and diamond drops to delicate and dainty settings are available for every occasion and mood. Set in yellow or white gold, there is a dazzling piece fit for every woman.

The house’s other collections include Stellar and Embrace the Sea, both beautiful manifestations of nature’s gifts, are equally stunning. There’s no better way to experience these wonders of the sea than the Paspaley way.

PICTURES: THE STUNNING DISPLAY OF PASPALEY SOUTH SEA PEARLS IN THE FORM MATCHING NECKLACE AND BRACELET IS A BEAUTIFUL TESTAMENT TO THE DEDICATION TO PERFECTION AND CRAFTSMANSHIP FROM THE RENOWNED PEARL JEWELLER.

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䓴 䳂 䍵 䎈 䎈 ⮞ ⓮ Pa s p a l e y ⮯ 厗 屜 䘬 ⋿ 㴟 ⮞䞛ⷞ⇘楁㷗䍵䎈⣏ⷓőŢŴűŢŭŦź㈲冒䃞䓴 䘬⣯伶ⷞ忚楁㷗炻ẍ℞⃱厗䄏侨❶ⶪˤ 㛔Ἦ⎒⛐㽛㳚↢ⓖ炻⤪ṲPaspaley⶚㈲䍵䎈⃰⼴⺽ℍ 㜄㊄␴楁㷗ˤ⹏句㕤ᷕ䑘The Galleria䘬㕘⸿嬻⣏⭞ᶨ 䜡Paspaley⾶㧋㈲䍵䎈∝墥ㆸ伶渿䘬椾梦ˤ 㑩㚱崭忶ĸı⸜䎈⮞墥ἄ䘬䴻槿炻Paspaley㗗ᶾ䓴䳂 ⋿㴟䍵䎈梲㬾⓮ˤẍ㽛㳚⊿悐㶭㶐䘬㯜➡做炻℞䍵䎈 䘬⃱㽌␴⣏⮷悥㤝℞↢䛦ˤ㭷⸜䎈⮞⓮悥㍐↢ℑᾳ䲣 ↿炻ẍ℞厗伶䍵䎈惵夗ᶾ䓴⎬⛘䘬㗪⯂⤛⿏ˤ Paspaley⛐彚⟜梲㬾䘬䍵䎈ᾅ嫱ⷞ㚱冒䃞⃱㽌ˤ㭷 柮⋿㴟䍵䎈悥㗗ⶍ喅␴侸⿏䘬伶㺧ㆸ㝄炻᷎ᶼ惵㚱娵 ⎗㚠ẍ䡢ᾅ℞冒䃞刚⼑␴⃱㽌ˤ⎒㚱ᶲἛ䘬䍵䎈ㇵ㚫 䓐ẍ墥ㆸㆺ㊯␴䎈捰ˤ ℐ㕘∝墥䘬䍵䎈␴搥䞛椾梦䁢⋿㴟デ奢㲐ℍ㫸㳚䘬 䅙ねˤDolce collection㑩㚱ᶵ⎴㫦⺷䘬✪梦ˣㆺ㊯ˣ 俛䑘炻怬㚱娯⻝侴檀晭䘬䎈捰ˤ ᶵ婾㗗㉥尉㳦ㆾ㗗檀晭⤛⬑炻忁ᾳ䲣↿䘬⮞䞛悥傥 妠≽Ἀ⽫ˤẍ䱦怠↢Ἦ䘬䍵䎈␴搥䞛⮷⽫墥ㆸ椾梦炻 怑⎰⛐ᶵ⎴䘬⟜⎰␴⽫⠫惵㇜ˤ搚ᶲ湫慹ㆾ䘥⎰慹炻 忁ṃ䁓䚖䘬椾梦傥彶⎰㭷ỵ⤛ṽˤ ℞Ṿ䲣↿怬⊭㊔Stellar␴Embrace the Sea炻㭷ẞ悥 㑩㚱⣑岄䘬≽Ṣ伶ンˤ德忶őŢŴűŢŭŦź⍣橼槿忁䧖⣯伶㬋 㗗㚨Ἓ䘬 㱽ˤ

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The Portuguese experienced a degree of success in the 1930s, and was continuously produced, even in small series.

Present

But it was not until 1993 that it came into its own when the brand celebrated its 125th anniversary.

E S PORTUGUE

Vasco da Gama, the first navigator to round the Cape of Good Hope, ushered in a new era in navigation in 1498. In addition to having discovered a new route, he brought prosperity to his home country, Portugal. The Portuguese now had access to a direct route to enter the highly lucrative trade in spices and exotic goods. Even though Portugal’s power was much diminished by the 1930s, two Portuguese watch merchants knocked on the door of IWC in Schaffhausen. They wanted a wristwatch to be created with a case in fine steel and with the same qualities as a marine chronometer, an essential instrument for all navigators. At this time, this type of product was only available as a pocket watch.

The Schaffhausen firm’s watchmakers applied themselves to the task and the calibre 74, with its movement mounted on a bridge, was modified from its original pocket-watch form to become a wristwatch. It should be said that the result ran completely counter to the fashion of the day. However, IWC persisted and eventually this model became one of the references in fine watchmaking. While the watch experienced a degree of success in the 1930s, and was continuously produced even in small series, it was not until 1993 that it came into its original version when the brand celebrated its 125th anniversary.

1498年，首個環繞好望角的航海家華士古．達伽馬開創了一個新的航海時代。除了發現一條新路線外，他亦為祖國葡萄牙帶來繁榮。葡萄牙人現在可以直接進入貿易 市場，出售利潤豐厚的香料和奇特貨品。儘管葡萄牙的勢力在1930年代已被大大削弱，兩個葡萄牙鐘錶商人卻走到沙夫豪森的IWC，希望錶廠能製造一隻性能媲美航 海計時表——對航海家而言必不可少的儀器——的精鋼腕錶。當時只有鉈錶能符合這個要求。 沙夫豪森的鐘錶匠致力完成這項任務，將機芯架在夾板上的calibre74由原本的鉈錶改良成腕錶。雖然該款式與當時的潮流背道而馳，IWC的堅持最終令這個型號 成為傑出錶業的一個參照。在1930年代，該款腕錶獲得了一定的成就，並得以繼續生產(儘管為數不多)。但要直至1993年，當品牌慶祝其125周年紀念時，它才真正 得到應有的肯定。

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TIFFANY & CO.

BRILLIANT BLUE

Tiffany & Co. dazzles connoisseurs and luxury seekers yet again with its 2008 Blue Book Collection

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or sparkle and high shine, Tiffany & Co. is often the first jeweler to come to mind. The house impresses fans with more splendid jewellery with each of its new collections. This year is no exception. Tiffany debuted its 2008 Blue Book Collection in New York to an enchanted audience. Unleashing the brilliance of the collection, the one of a kind Tiffany jewels encompass some of the most outstanding pieces from Tiffany to date.

The 2008 Blue Book Collection includes some heavyweight gems as well as sleek modern interpretations of what Tiffany does best: diamonds.

The Tiffany Novo is a fire spitting 25.27-carat cushion cut fancy intense yellow diamond in a dramatic ring setting. An oval-shape diamond ring at 14.79 carats as well as a diamond necklace with 74 round and pear-shaped diamonds and an 8.44-carat diamond create a look of polished perfection.

Other blitz of shine from the collection includes a range of dynamic and fluid designs. Strands of round and rose cut diamonds and lengthy fringe pendants and chandelier earrings provide maximum sparkle. The collection also includes tiered necklaces and a shimmering scroll bracelet with 1,440 bead set diamonds, all equally enchanting and breathtaking.

A top jeweler at integrating a kaleidoscope of juicy gems, a rainbow of gems was used to create cocktail rings and brooches, including Jean Schlumberger’s Jasmine necklace in amethysts.

Innovative craftsmanship inspired some rare designs in this year’s collection. The plique-a-jour, a translucent enamel dragonfly brooch adorned with sapphires and emeralds and the pate-de-verre– created with the 3,000-year old Egyptian glass shaping technique, displays the brilliance of gems like never before.

An ever refreshing elegance and simplicity, Tiffany’s designs pair the world’s most exclusive gems with the delicate and attuned craftsmanship to create one of a kind pieces that will become eternal classics.

PICTURES: DRAGONFLY AND ORCHARD BROOCHES COME VIVIDLY TO LIFE WITH THE USE OF ANCIENT EGYPTIAN GLASS SHAPING TECHNIQUE.

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iffany & Co.㍐↢2008 Blue Book Collection炻ℵ 㫉⁦Ὰᶨ䛦揹岆⭞␴徥㯪⤊厗䘬Ṣ⢓ˤ 婾⇘攫侨㖶Ṗ炻⼰⣂Ṣ㚫晐⌛゛崟Tiffany & Co.ˤ 㭷ᾳ㕘䲣↿㍐↢䘬䎈⮞悥㚜䅋䆎炻Ẍ䎈⮞徟⣏攳䛤 䓴ˤṲ⸜Ṏᶵἳ⢾ˤ Tiffany⛐䲸䲬椾㫉⎹ッ⤥侭⯽䣢2008 Blue Book Collection炻忁ṃ䌐ᶨ䃉Ḵ䘬䎈⮞㚜⊭⏓ŕŪŧŧŢůź㚨⃒䥨 䘬椾梦ĭġ䚉⯽䎈⮞䘬櫭≃厗⼑ˤ 2008 Blue Book Collection⊭㊔慵慷䳂⮞䞛⍲ġTiffanyᶲ Ἓ伶搥䘬㗪⯂㺼両ˤ Tiffany Novoẍ䌐䈡ㇳ㱽搚⳴⅞刟䘬25.27K⠲⼊↯√ 湫搥ˤ14.79K䘬㨊⚻搥ㆺˣ㑩㚱74柮⚻⼊⍲㡐⼊搥䞛 ␴8.44K⌉ᷣ搥䞛䘬搥䞛枭捰⛯㗗椾梦䘬⬴伶⯽䎦ˤ 䲣↿怬㚱℞Ṿ㳩≽⣂嬲䘬姕妰炻㎖㿹↢⎎ᶨ忻屜渿 ⃱厗炻䍓䐘⼊↯√䘬⚻⼊搥䞛ˣ㳩喯䉨䘬✪⡄俛䑘␴ ⎲⡄⣏㓦⃱⼑ˤ㬌⢾怬㚱Ⰼ䔲⺷枭捰␴搚ᶲIJĭĵĵı柮攫 䆵伶搥ㇳ捰炻㫦⺷⎴㧋婀べ徟Ṣˤ 枪䳂䎈⮞⋈圵␴⋫嬲叔⊾䘬⮞䞛炻㈲⬫Ᾱ墥ㆸ刚⼑ 严䳃䘬ㆺ㊯ĭġ⎲⡄␴傠憅炻䔞ᷕ⊭㊔Jean Schlumberger䓐 䳓㯜㘞墥ㆸ䘬励匱剙枭捰ˤ ⭴∝シ䘬ⶍ喅䁢㛔⸜⹎䘬䲣↿ⷞἮ㚜⣂䦨㚱姕妰ˤ 掌䨢䏢䐗ȹȹ⋲德㖶䘬䏢䐗団嚺傠憅梦㺧啵⮞䞛ˣ䵈 ⮞䞛␴⼑刚䍣䐫ȹȹẍᶱ⋫⸜㬟⎚䘬䍣䐫⟹忈㈨埻∝ 墥炻嬻柮柮⮞䞛⣏㓦䔘⼑ˤ ⻟婧晭䶣䯉䲬䘬姕妰炻Tiffanyẍ曰ⶏ䱦䳘䘬ㇳ喅 ⮯䍵屜⮞䞛廱⊾ㆸ䌐ᶨ䃉Ḵ䘬椾梦炻嬻⬫Ᾱㆸ䁢㯠 ⿮䴻℠䘬ἄ⑩ˤ

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Louis Cartier designed this watch in 1917.

His inspiration came from the form of those strange war machines from WWI, the tanks.

Present

Like all icons, the Tank has evolved. In 1989 Cartier launched the ‘American Tank’. The ‘French Tank’ appeared in 1996.

TANK

The famous watch from Cartier bears a decidedly curious name. When Louis Cartier designed it in 1917, his inspiration clearly came from those strange war machines that first appeared during the First World War – tanks. With its attachments integrated with the case, this watch was both a square and a rectangle. It was based on a rare stroke of stylistic genius, consisting of hiding the attachment points under the Tank’s flat vertical stretchers with their sharp edges. Created in the middle of the war, the first Tank prototype was offered to General John Pershing, commander of the American expeditionary force in Europe.

This watch’s strength at the time was its move away from contemporary tastes for convolutions to impose an exceedingly formal rigour. The risk of going against tastes of the day more than paid off, as the watch enjoyed immediate success. Its success only grew in the following years with the quest for purity of line and stylistic simplicity.

Like all icons, the Tank has evolved. In 1989 Cartier launched the ‘American Tank’. This new piece was obviously inspired by the waisted model from which it borrowed its curved case. This watch plays with geometry, alternating between cutting and soft edges, straight lines and curves, rounded and sharp angles. The ‘French Tank’ appeared in 1996: with its curved case integral with the bracelet, it is clearly a member of the Tank family. It is like a jewel designed with no break in line, volume or material between the watch and the bracelet. Concave stretchers evoking the shape of parentheses soften the Art Deco geometry of the original to create a new watch. Its bracelet with crenellated edges seems to evoke the tracks of its namesake war vehicle. Finally, the ‘Tank Divan’ appeared in 2002. In keeping with its name, the watch is lying down, granting time space by rotating by 90 degrees the rectangle of its form to stylise a divan. Set with gems or in precious metal, it has rejuvenated this collection.

這款著名手錶擁有一個奇特的名字。路易．卡地亞在1917年設計這款手錶，靈感明顯地來自第一次世界大戰初次出現的奇怪戰爭機械：坦克。由於錶帶與錶殼渾然一 體，手錶既是方形又是長方形。它源於這個設計天才的奇想——將連接點藏於坦克平坦的垂直兩側及尖刻的邊緣之下。首隻坦克腕錶原型在戰爭期間完成，並且贈與 了美國遠征軍的歐洲司令官John Pershing。 腕錶的獨特之處是它一反當時流行的迴旋風格而轉向硬朗簡約。這次冒險嘗試絕對值回票價，腕錶推出以後隨即大受歡迎。在其後幾年間，線條及風格上的簡化 令腕錶的受歡迎程度持續上升。 就像所有成功品牌一樣，坦克腕錶繼續改進。卡地亞在1989年發行「美國坦克」。這個款式明顯受有腰身型號的啟發，採用了其弧形錶殼。它把玩幾何學，交替 於鋒利與柔和的邊界、直線與曲線，圓角與銳角之間。「法國坦克」於1996年推出：彎曲錶殼與錶帶整合，明顯帶有坦克家族的色彩。彷如一件線條、大小或物料都 連貫的珠寶設計一樣，錶殼和錶帶連為一體。彷似括號的弧形錶殼柔化了原來裝飾藝術(Art Deco)的幾何設計，成為另一個新錶款。鋸齒狀錶鏈令人想起坦克履帶的情 景。最後，Tank Divan在2002年問世。一如其名，手錶把玩時間和空間，把其長方形錶殼90度旋轉，橫向地作沙發狀。以名貴金屬製造或鑲上寶石後，這個系列就更 歷久常新。

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LOFFREDO

CATCHY CORALS Loffredo is making a colorful statement with its attention-grabbing designs

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he distinctive color of coral is at once captivating and difficult to resist. The unique hues of coral in the hands of jeweler François Loffredo becomes alive and vibrant, adding distinctive style to the beautiful wonders of nature. With a mix of natural materials like onyx and jade, the pieces put a refreshing spin on the coral.

Loffredo has a distinctive way of manipulating precious materials. The designer’s innovative techniques and artistic talent lead to the creation of a new kind of beauty.

Pairing coral with gold, diamonds and other precious materials, Loffredo heightens the distinctive qualities of coral.

The electrifying designs are at once dramatic and understated; the beauty of the coral is highlighted with subtle sparks from precious gems and metals. The daring designs also pair coral in an unconventional way with jade and black onyx to create an unfamiliar glamour. In true Italian sentiment, Loffredo jewellery is at once innovative without loosing elegance.

The vivid colors of the coral are beautifully represented in the daring designs.

The Free Size collection is designed with comfort in mind. Pieces of coral are strung together and adorned with diamond details. The bracelets and necklaces can stretch and expand to embrace the silhouette of the wearer.

Through an unwavering dedication to technological development, the house has been able to revamp the look of the coral. The Tennis collection employs a precise and delicate technique of setting diamonds into stones.

Polished rounds of coral are clustered together to create simple shapes. Each piece of coral is adorned with a diamond cast in the centre. This dynamic use of gems has been transformed into rings, earrings and bracelets for a classy and original look.

Loffredo also creates ONE-OF-A-KIND pieces for those seeking ultimate individuality.

These pieces possess astonishing beauty for both wearing and keepsake. Each piece is individually crafted with single-minded attention to details. The result is spectacular pieces matchless in beauty and craftsmanship.

Available only at the most exclusive shopping areas like Place Vendome in Paris, Fifth Avenue in New York and now in Hong Kong, discerning jewel lovers of city can get up close and personal with the gems of Loffredo.

PICTURES: LOFFREDO’S FREE SIZE (LEFT) AND TENNIS COLLECTION (RIGHT) ARE ENCHANTING INTERPRETATIONS OF CORALS COMBINED WITH OTHER PRECIOUS MATERIALS

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offredo⇑䓐䞂䚖姕妰⭋䣢℞≽Ṣ刚⼑䍲䐂䌐䈡 䘬柷刚⎹ἮἧṢッᶵ慳ㇳˣ䃉㱽㈿㉺ˤ䎈⮞⋈ François Loffredo䱦⽫晽䏊炻岎Ḱ忁冒䃞伶䈑㚜 䌐䈡䘬桐㟤炻Ẍ⬫䘬柷刚㚜㳣㻹歖㖶ˤ㶟⎰⣑䃞䈑㕁 ⤪侉侈␴䷆䐒䐁炻椾梦䁢䍲䐂ⷞἮ俛䚖ᶨ㕘䘬デ奢ˤ Loffredo嗽䎮䍵屜䈑㕁䘬ㇳ㱽⇍℟ᶨ㟤ˤ䱭⎰∝シ ㈨埻␴喅埻⣑岎炻姕妰ⷓ䁢伶渿ⷞἮ㕘䘬娖慳ˤẍ湫 慹ˣ搥䞛␴℞Ṿ䍵屜䈑㕁惵夗䍲䐂炻Loffredo䨩栗↢䍲 䐂䌐ᶨ䃉Ḵ䘬䈡岒ˤ 樂刟䘬姕妰Ỷ婧侴⃭㺧䅙ねˤ⮞䞛␴⎵屜慹Ⱄ䘬⽖ ⃱䨩栗↢䍲䐂䘬伶ンˤ⣏入䘬姕妰ẍ侉侈␴湹䐒䐁惵 夗䍲䐂炻∝墥↢冯⇍ᶵ⎴䘬⃱刺ˤLoffredo椾梦㑩㚱䛇 㬋䘬シ⣏⇑ね㆟炻∝㕘ᷳ检Ṏᶵ⣙檀屜ˤ⣏入姕妰Ẍ 䍲䐂䘬柷刚㟑㟑⤪䓇ˣ㚜℟伶デˤ Free Size䲣↿⯌℞⻟婧冺怑炻⮯䍲䐂ᷚ崟᷎梦ᶲ搥 䞛ˤㇳ揚␴枭捰傥Ỡ攟㒜⯽ẍ層㚵惵㇜侭䘬廒⹻ˤ ⶍ⟜ᶨ䚜农≃䘤⯽㈨埻炻徸傥㓡忈䍲䐂䘬朊尴ˤ Tennis䲣↿⇑䓐䱦䳘㸾䡢䘬㈨埻㈲搥䞛搚⳴⛐⮞䞛 ᷳᶲˤ ⮯ㇻ䢐⼴䘬䍲䐂ᷚㆸ䯉╖⼊䉨炻㭷ᶨẞ䍲䐂䘬ᷕ⽫ 悥梦㚱搥䞛ˤㄹ啱⮞䞛䘬曰㳣忳䓐炻ㆺ㊯ˣ俛䑘␴ㇳ 揚䚳ᶲἮ㚜⇍䶣∝㕘ˤ 憅⮵恋ṃ徥㯪冒ᷣᾳ⿏䘬栏⭊炻Loffredo⎴㧋∝墥 䌐ᶨ䃉Ḵ䘬椾梦ˤġ 忁ṃⶏ⤒⣑ⶍ䘬椾梦怑⎰惵㇜᷎䔁 䁢䲨⾝ˤ椾梦ℐ悐⛯䁢ᾳ⇍ㇻ忈炻墥ἄᶨ䴚ᶵ劇炻⛐ 伶デ␴ㇳ喅ᶲ悥䃉冯ΐ㭼ˤ Loffredo↢ⓖ㕤㚨檀䳂䘬岤䈑⋨炻⤪⶜湶䘬↉䘣⺋ ⟜⍲䲸䲬䫔Ḽ⣏忻炻⤪Ṳ㚜㬋⺷䘣映楁㷗炻嬻⑩␛䌐 ⇘䘬椾梦徟奒幓橼槿Loffredo⮞䞛䘬伶ンˤ

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R TE S A SPEEDM

The Omega Speedmaster is the only watch to have survived NASA’s two-year extreme-testing programme. The American space agency, looking for a chronograph that would suit its astronauts on their space missions, turned to the watch market. The Omega was selected. Ever since man landed on the moon on 21 July 1969, it remains the only watch worn on the lunar surface.

Well before the term ‘space race’ was coined, the brand established in Bienne was renowned for being air pilots’ watch. Indeed, it had equipped the British Flying Corps in 1917 and the Royal Air Force in the Second World War. Omega logically continued to develop chronographs. Thus the first Speedmaster was introduced in 1957. Originally, the idea had been to produce a sturdy and sporty chronograph that was easy and clear to read. It was to be equipped with an anti-shock and anti-magnetic movement housed in a robust steel case that was water-resistant to 60 metres.

Since NASA first selected the Speedmaster, the watch has participated in all its space missions. While the ultimate triumph was its journey to the moon in July 1969, it had another moment of glory in 1975 during the first outer-space rendez-vous between the Soviet Soyouz vessel and the US Apollo spacecraft. This meeting between two spacecraft at the height of the Cold War revealed that Soviet cosmonauts, too, were wearing Speedmasters. Even though Omega had offered the watches to the cosmonauts to ensure that they would be on time for their outer-space rendez-vous with the Americans, it was only 14 years later that the Bienne brand learnt that the Russian space agency, NPO Energija, had subsequently adopted the Speedmaster as standard onboard equipment. They met their needs in total anonymity by placing their orders through the Soviet government.

Just as space exploration has evolved considerably, the Speedmaster has also been totally revised by incorporating the latest developments in mechanical watchmaking. Just the same, its highly specific design has not changed and it remains instantly recognisable among famous watches. Indeed, it would be ill-advised to change a watch that has been so popular. 歐米茄超霸系列是唯一一款能夠通過美國太空總署兩年嚴格測試的手錶。美國太空總署當時正為太空人找尋一個能夠進行太空任務的計時器，最後他們轉向鐘錶市 場，並且揀選了歐米茄。人類自1969年7月21日踏足月球至今，超霸手錶仍舊是唯一一隻登月的手錶。 在尚未有「太空競賽」一詞以先，這個起源於比爾的品牌以其航空錶聞名——1917年的英國皇家航空隊及第二次世界大戰的英國皇家空軍均以它為配備。歐米茄順理 成章地繼續發展計時器，於是超霸手錶於1957年正式面世。他們原初的意念是要製造一隻耐用、顯示清晰的運動型計時器，配以防震及防磁機芯，把它裝在60米防水 的鋼造耐用外殼內。 自被美國太空總署揀選後，超霸系列便參與了一切所屬的太空任務。隨了1969年登月的創舉外，1975年美國阿波羅宇宙飛船及蘇聯聯合號宇宙飛船的首次外太空會 合亦再一次提升它的聲譽。這兩艘太空船在冷戰期間的對接顯示前蘇聯的太空人同樣佩戴超霸手錶。當時歐米茄向蘇聯太空人提供手錶，確保他們能準時在外太空與 美國人會合。但事實上，這個比爾品牌在14年後才知道蘇聯NPO Energija太空中心其後選定超霸手錶為統一的航天配備。他們不留名地透過蘇聯政府訂購該款手錶。 正如太空探索不斷進步，超霸手錶亦一再改良以迎合機械製錶業的最新發展。其非常獨特的設計並沒有隨時間而轉變，至今它在著名的手錶中依然能突圍而出。 確實，放棄這個流行錶款將會是個相當輕率的決定。

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The Omega Speedmaster is the only watch to have survived NASA’s testing programme. It’s the only watch worn on the lunar surface.

Present

Today, the Speedmaster has been totally revised by incorporating the latest developments in mechanical watchmaking.

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MIKIMOTO

GRACEFUL DANCERS

Mikimoto’s latest collection is the prefect surprise for the discerning woman this Christmas

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t is only natural the best pearls in the world translates into some of the greatest jewellery that encompasses grace and charm. Mikimoto pearl jewellery exerts timeless elegance and the latest collection is no different. Just in time for the Christmas season, the all-new Dancing Lines collection is the most heartfelt collection yet from Mikimoto.

Inspired by the dynamic movements of lines, the collection includes a range of straight, curvy, circular and knotted masterpieces. The simple silhouette exerts a range of equally dynamic emotions; from happiness and sadness to excitement and tranquility. The pearly jewels stand out like a prima donna performing on centre stage.

The pearls, surrounded by the brilliance of diamonds, create a symphony of luster and sparkle. Each piece, be it earrings or pendants, exerts beauty and energy with its fluid movements.

The Dancing Lines collection includes four versions of the unique Mikimoto spirit, representing the multi-facet inner beauty of each Mikimoto woman. Exquisite assortments of elements are shaped into the enchanting creations of the collection.

Each piece is an interpretation of nature’s gifts at its finest. Diamonds, pink sapphires, silver-lipped pearls, black-lipped pearls, Akoya pearls and rare baby pearls are used to paint this masterpiece of a collection. All pieces are created with a focus on enhancing the luster and shine of the Mikimoto pearl.

Aside from its breathtaking beauty, the Dancing Lines collection is also designed for comfort. Pendants are made to hang comfortable around the neckline, rings are designed to complement the natural silhouette of the hand and earrings are fashioned to flow gracefully around the face.

The cheerful character of Mikimoto’s Dancing Lines is the perfect counterpart to the heighten spirits of the Christmas season.

PICTURES: THE EARRINGS, NECKLACE AND RING FROM MIKIMOTO’S ALL NEW DANCING LINES COLLECTION IS AN ELEGANT INTERPRETATION OF THE GRACEFUL FLUIDITY OF LINES THROUGH THE USE OF PRECIOUS PEARLS AND DIAMONDS.

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忁ᾳ俾娽炻⽉㛐㛔䘬㚨㕘䲣↿䁢Ἀ䓇␥ᷕ䘬 慵天⤛ṢⷞἮ⇵㇨㛒㚱䘬樂╄ˤ ᶾᶲ㚨⃒岒䘬䍵䎈傥⊾ㆸ⃒晭徟Ṣ䘬䎈⮞‹ ἄˤ⽉㛐㛔䍵䎈䎈⮞㑩㚱⿮ᷭ䘬晭䶣炻℞㚨㕘䲣↿Ṏ ᶵἳ⢾ˤ ⽉㛐㛔崽⛐俾娽㗪䭨㍐↢㚨䩑⽫䘬ℐ㕘Dancing Lines䲣↿ˤ ⍿䶂㡅嬲⊾⣂䪗䘬⼊ン┇䘤炻䲣↿䘬椾梦傥⏰䎦 䚜ˣ㚚ˣ䑘⍲ㇻ䳸䉨ˤ䯉╖䘬廒⹻婀䘤嬲⸣䃉ⷠ䘬ね 䵺炻䃉婾㗗〭ケˣㄪ ˣ冰⤖ㆾ⬱⮏烊䍵䎈䎈⮞⯙⼟ ⤪⣑⎶⛐ᷕ⽫准冢⣏⯽㫴┱ˤ 䍵䎈塓搥䞛䘬⃱厗⚵丆炻ℑ侭⋼⣷↢Ṗ㽌侴攫侨䘬 Ṍ枧㚚ˤ䃉婾㗗俛䑘怬㗗✪梦炻㭷ᶨẞ‹ἄ悥ẍ曰㳣 䘬⦧ン㔋䘤↢伶デ␴㳣≃ˤ Dancing Lines䲣↿喲⏓⽉㛐㛔䘬⚃䧖䌐㚱䱦䤆炻 ⍵㗈㭷ᾳ⽉㛐㛔⤛Ṣ⣂朊䘬ℏ⛐伶ンˤ⃫䳈䘬䳘䶣惵 ㏕塓∝墥ㆸ䲣↿䘬徟Ṣ‹ἄˤ 㭷ᶨẞ椾梦悥㗗⣏冒䃞㇨岄䘬⍂䥖ˤ搥䞛ˣ䰱䲭 ⮞ˣ戨⒯䍵䎈ˣ湹⒯䍵䎈炻㴟㯜䍵䎈⍲℞Ṿ份㚱䍵䎈 䁢椾梦㶣ᶲ徟Ṣ刚⼑ˤ㭷ᶨẞ悥ẍ䨩栗⽉㛐㛔䍵䎈䘬 Ṗ渿⃱㽌䁢ᷕ⽫ˤ 昌Ḯ䞂䚖䘬伶ン⢾炻Dancing Lines䲣↿䘬姕妰⎴ 㧋⻟婧冺怑ˤ✪梦層㚵⛐柠枭ᶲ炻ṳ㊯惵⎰ㇳ悐䘬廒 ⹻炻俛䑘⇯檀晭⛘㳩㾱⛐共漸ˤ ⽉㛐㛔䘬Dancing Lines䲣↿⮯俾娽䘬㯋㯃⬴伶⛘ ⯽䎦↢Ἦˤ

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royal oak

In 1972, Audemars Piguet enjoyed a well-earned reputation as a maker of fine technical watches. Located in La Vallée de Joux, the company was firmly rooted in the watchmaking tradition. However, anxious to strengthen their identity, they took a risk and decided to defy the design trends. Thus the brand’s specialists came up with the first upscale stainless steel sports watch; a timepiece that would demonstrate its technical expertise and mastery of style. It took some audacity to carry this off. The octagonal bezel form was the very first of its kind and Royal Oak’s stainless steel worked like a precious metal.

The case was no less innovative, as the crystal and caseback were pinned together with eight screws, and the bracelet was integrated with the watch.

When first presented to the public in Basel in 1972, the Royal Oak’s success was immediate despite the watchmaking sector’s initial scepticism when confronted with the watch’s creative audacity. Its success has never waned since. Today the Royal Oak has become a legend, notably since Le Brassusbased brand signed an agreement with the Alinghi team. A sports watch defying all superlatives, it has been produced in numerous versions with the finest materials. While it has evolved over the years, the Royal Oak has retained all the characteristics that ensured its initial success.

The name Royal Oak is derived from British history. On 6th September 1651, Charles II, the future King of England, escaped Cromwell’s troops by hiding in the branches of an oak tree where he spent the night. Later called Royal Oak, this tree became the starting point from where the King set out to regain the throne. For England, it is a symbol of protection, security and power. In memory of this event, the British fleet named four of its ships HMS Royal Oak between 1769 and 1914, linking it permanently with the watch. One of these ships was known for its oak hull reinforced with steel plates and octagonal cannon ports. k 1972年，愛彼錶以其傑出的鐘錶技術享負盛名。錶廠發源於Vallée de Joux，在製錶業內歷史悠久。然而，為了鞏固其地位，他們冒險抵抗當時的設計趨勢，發行一 隻能顯示其專業技術和主導潮流地位的手錶。品牌的專家因此設計了首隻高檔的不 鋼運動手錶。這個嘗試需要無比的膽量才能完成。手錶的錶面為八角形，在外形 上可謂十分新穎；至於物料的使用上同樣革新，皇家橡樹系列以貴重金屬的方式打造不 鋼；錶殼方面亦毫不遜色，八顆螺釘把水晶和錶背鎖在一起，錶鏈與手錶渾 然一體。 儘管製錶業原初對該錶款的大膽嘗試有所保留，皇家橡樹系列自1972年在巴塞爾面世後即大受歡迎，其成功更是歷久不衰。皇家橡樹至今已經成為傳奇，尤其當這 布拉蘇絲的品牌與Alinghi船隊簽定協議後更為如是。皇家橡樹精益求精，曾以各種名貴物料製成無數款式的手錶。雖然問世已久，它仍保留一切造就其成功的元素。 皇家橡樹的名字起源於英國歷史。1651年9月6日，流亡中的英皇查理二世曾於一棵橡樹內藏身一晚，以躲避克倫威爾軍隊的追捕。這棵橡樹成為英皇重掌君權的 起點，後被稱為「皇家橡樹」；對英國人而言，它象徵著保護、安全和權力。為記念此一事件，英國艦隊在1769年至1914年期間，將其四艘戰艦命名為「HMS皇家 橡樹」。其中一艘戰艦以其鋼板船殼和八角形砲眼見稱，這正是皇家橡樹與手錶的關聯所在。 k

tsaP

In 1972, Audemars Piguet‘s specialists created the first upscale stainless steel sports watch.

Present

While it has evolved over the years, the Royal Oak has retained all the characteristics that ensured its initial success.

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Yo u d o n ’ t j u s t w e a r a Patek Philippe.

Yo u b e g i n a n enduring love affair.

Ladies’ Gondolo Gemma Ref. 4981 G by Patek Philippe.