Fairest Of Them All
Watches and Wonders is back!
Dubai Watch Week’s hottest drops
LVMH brings the Miami heat
Art Matters
Richard Mille Art Prize picks a winner
Sacha Jafri goes stratospheric
Tabari Artspace’s eye for talent
Our Time
Jan Edöcs rocks for Doxa
Antoine Pin shares Bulgari’s secrets
Ricardo Guadalupe on Hublot’s fresh touch
The Good Life
Local flavours, spa havens and regionally-inspired fashion
CONSULTANCY
CONSULTANCY
BRAND MANAGEMENT & MARKETING
BRAND MANAGEMENT & MARKETING
DISTRIBUTION & RETAIL
DISTRIBUTION & RETAIL
FOLLOWING DOESN’T GET YOU THERE FIRST. ERLING HAALAND WEARS THE NAVITIMER.
There’s been something in the air recently, and it’s not just the unmistakeable magic that Ramadan always brings to our fair emirate and everywhere the Holy Month is celebrated. In fact, ever since Dubai Watch Week made its long-awaited biannual appearance at DIFC last November (see page 86 for everything you might have missed), there’s been a seemingly never-ending parade of artistic, cultural and watchmaking events. From the Miami sunshine of LVMH Watch Week (see page 52 for our top watch picks) to the astounding Art Dubai (can you spot yourself in our ZOOM social pictures on page 160?), the historic Dubai International Boat Show’s 30th edition (Gulf Craft’s Abeer AlShaali talks about the family business on page 60) and the culmination of the Louvre Abu Dhabi’s Art Here exhibition, the Richard Mille Art Prize (winner Nabla Yahya still can’t believe her achievement, on page 46) closer to home, this issue we have been totally inspired by the forces for creativity and fine craft present both in the region and further afield. Dubai-based artist and philanthropist Sacha Jafri took time to tell us all about his incredible career and charity work on page 32, while the newly-opened L’ÉCOLE School of Jewellery Arts put on its very first exhibition and on page 40 we speak to its curator and director of L’ÉCOLE Asia Pacific Olivier Segura to find out about why promoting community is just so important to this distinguished establishment. Looking ahead, this packed event season is about to culminate in the biggest salon of them all Watches and Wonders Geneva 2024.
The GMT GCC team will be there to attempt to make our way around all 54 brands participating (and a few outliers camping out in the city, too) to get the lowdown on the year’s upcoming releases (and destroying our feet and losing our voices in the process). But we couldn’t help sneaking in an interview before it all kicks off with Watches and Wonders CEO Matthieu Humair on page 66, to find out what to expect from this event that’s bigger, better and more bombastic than ever before.
Exhausted? So are we. So make sure to take time out from your busy schedule to check out our guide to the most exciting places to eat, drink, spa and shop to bring you through the Ramadan season and beyond, with our Lifestyle section on page 136 holding the secret to the Dubai good life. In GMT GCC’s pages you’ll also find our usual mix of horological novelties and insight, including interviews with Doxa and Hublot CEOs Jan Edöcs (102) and Ricardo Guadalupe (108), as well as an internationally insightful chat with Bulgari’s head of watchmaking Antoine Pin (118). But perhaps most exciting of all, we were permitted a sneak peek of Speake Marin’s new Openworked Tourbillon Ultra Violet, due to be released at Watches and Wonders and lucky for us gracing our front cover too, with a beautiful shoot by Alex Teuscher. Check out all the details in our cover story on page 14. It’s been a start to 2024 full of thrills, spills, excitement and surprises. And it seems like things are only going to get more thrilling from hereon in.
Enjoy and hopefully see you at Watches and Wonders 2024!
RACHEL
Drawing talent from an international pool of professionals, the following specialist watch industry writers and editors have made expert contributions to this edition of GMT GCC.
An entrepreneur at heart, the founder of GMT magazine and Editor-in-Chief of the Swiss and international editions is always brimming with new ideas. He nurtures an unbridled passion for watchmaking that he conveys to readers through his insightful articles.
MARIE DE PIMODAN
When she’s not out in the field meeting industry players, visiting a manufacture or discovering a new product, you’ll find this expert watch journalist at GMT Publishing, writing an article for the magazine or for WorldTempus
Ultrarunner, sports brand ambassador and founder of her own communications agency, Jola Chudy is a woman of many passions. With a special place in her heart reserved for fine watchmaking, Jola is a talented storyteller who is equally at ease surrounded by the world’s most beautiful watches as she is crossing inhospitable desert dunes on foot. In this edition, Jola finds out what stokes Doxa chief Jan Edöcs’s watchmaking fires.
ALEX TEUSCHER
Born in New York, Alex’s passion for photography stems from childhood and has been honed by a wide range of work , from celebrity portraits to high-end watches. He’s responsible for the stunning images of the Speake Marin Openworked Tourbillon Ultra Violet that graces our cover and cover story this issue – a vision in purple.
A writer and editor whose career has taken her to every continent on the planet as well as inside some of Swiss watchmaking’s most sacred spaces GMT GCC’s Editor Rachel is busy limbering up for 2024’s Watches and Wonders. Check out her interview with the Salon’s CEO Matthieu Humair, as well as her in-depth conversations with some of the Middle East’s most interesting characters this issue.
CAROLINE FISCHER
An editorial design enthusiast, freelance graphic designer Caroline revels in working on magazines and fine books. She loves to combine form and content, offering graphic designs that convey meaning. Case in point? This edition’s stunningly beautiful Greubel Forsey Portfolio.
With an account name like @perpetual.girl, how could one not be interested in the Instagram profiles she recommends? As passionate about social media as she is about the watches she discovers on a daily basis at GMT Publishing, Camille tells us which personalities to follow and why.
A vital and cherished member of the GMT team, editorial assistant Aisha’s easy laugh and jovial nature make each edition a pleasure to work on. She may not get a byline this issue, but her fingerprints are all over it!
From trade fairs to factories and vice versa, this freelance journalist has been living at the pace of the watch industry for some 20 years and remains as passionate as ever about what makes it tick, from development phases right the way through to the financial results it generates.
CAMILLE POUPION
Camille recently joined GMT’s Swiss editorial team to serve as the magazine’s editorial secretary, an ideal position for exploring watchmaking’s countless facets.
KUNLE AGBOOLA
GMT GCC’s design whizzkid
Kunle is responsible for the distinctive look and feel of GMT GCC, and no task is ever too much for him. No matter how far we push his patience on deadline, he never fails to get the job done. Check out our beautiful Arts features to see his work in action!
30 WATCHMAKER INSIGHT: Antonin Falk
102 DOXA’S MARITIME MAGIC WITH JAN EDÖCS 106 ICON: Cartier Tank
RICARDO
RACHEL SILVESTRI
At what time of year do violets bloom? As far as Speake Marin’s concerned, it’s April — at Watches and Wonders Geneva 2024, to be precise. Using the fair to announce the launch of its new purple pride and joy, the Openworked Tourbillon Ultra Violet, the Maison once more puts forward a dynamic and ultra-limited edition timepiece that simply begs to be contemplated in a feat of impeccable skill and boundless creativity. It's sometimes hard to believe that Speake Marin has only been around for a little over 20 years, because as a manufacturer it’s achieved a remarkably distinctive oeuvre in such a short time. Its story has been a game of two halves — neither of which were restricted by conventionality: founded by an English-born watchmaker in 2002, it was an immediate success among collectors and, in 2012, was acquired by French entrepreneur Mme Christelle Rosnoblet who continues as CEO and President to this day. Moving operations to atelier Le Cercle des Horlogers in the watchmaking heartland of La Chaux-de-Fonds in 2014, Speake Marin has retained complete independence and creative control ever since — its 11 in-house calibres and production of 600 timepieces per year standing testament to the expertise and inventiveness of its master watchmakers. An emphasis on bold, contemporary styles and impeccable crafting have led to the creation of instantly-recognisable collections including the stark, minimalistic strength of the Academic and the delicate undulation of the Stéphane Lacroix-designed
CASE: ‘Piccadilly’ design, grade five polished-brushed titanium,screw-down caseback, sapphire crystal glass with antireflective coating SIZE: 38mm and 42mm MOVEMENT: mechanical self-winding calibre SMA05, 60-second flying tourbillon, 72h power
reserve FUNCTIONS: hours, minutes, seconds, power reserve
DIAL: Multilayer satin-finished and rhodium plated dial, SuperLumiNova minute indices, hands and power reserve STRAP: Black rubber with grade 5 titanium pin buckle LIMITED TO FOUR 38MM PIECES AND FIVE 42MM PIECES
PRICE: CHF 79,500 (38mm, Dhs323,516 approx.), CHF 79,900 (42mm, Dhs325,144 approx.)
“The tourbillon set at 1:30 o’ clock, a signature of Speake Marin, is undoubtedly the eye-catcher of this piece, while the off-centre microrotor, power reserve indicator and barrel serve as three more cardinal points to balance this distinctive dial’s layout.”
Ripples line, while the originality of the Maison’s Haute Horlogerie creations offers a glimpse into the sheer daring of this young marque.
So what of the new Openworked Tourbillon Ultra Violet? Coming in both 42mm and 38mm versions, this Éric Giroud-envisioned self-winding beauty is a lesson in what can happen when ingenuity is allowed to run riot. No stranger to colour — Speake Marin has demonstrated a proclivity for neons before in its Dual Time lime, mint and pink timepieces — this time around, the Ultra Violet shows off more than just a pretty hue. Falling under the One & Two Openworked collection, its pop of periwinkle underlines the profound depths that this timepiece possesses: the three-dimensional display allows the wearer to engage with the watch on a deeper level, looking through the complex arrangement of bridges and openwork to appreciate a geometry and technical prowess reminiscent of a futuristic, ultra-violet tinged cityscape.
The tourbillon set at 1:30 o’ clock, a signature of Speake Marin, is undoubtedly the eye-catcher of this piece, while the off-centre micro-rotor, power reserve indicator and barrel serve as three more cardinal points to balance this distinctive dial’s layout. The light-filled in-house
automatic winding SMA05 calibre that powers this timepiece just begs to be inspected, its Côtes de Genève finish the icing on the technically-advanced cake. Offering a power reserve of 72 hours from a single barrel and operating at a frequency of 3Hz (21,600 vibrations per hour) this is a movement with serious horological oomph all wrapped up in a stylishly attractive package.
The signature Piccadilly case — which had a timely revamp in 2017 — is rendered in grade five titanium, making this timepiece supremely light and wearable. The recessed case band is chic and modern, a hallmark of the Maison, with the black rubber strap adding a utilitarian edge to the grace and harmony of the grooved crown and geometric lugs. Subtle luminescence is the final piece of the Ultra Violet puzzle, with the blue glow of Super-LumiNova on the power reserve arrow, minute track and distinctively heart-shaped hands, assuring legibility both day and night.
A love letter to the balance of skill and daring in horology, in the case of this heart-achingly exclusive montre, roses might be red but violets are most definitely purple. And as far as the romance of watchmaking goes — this one’s a keeper.
RACHEL SILVESTRI
After the disappointment of the Only Watch charity auction’s cancellation – and with no date rescheduled as yet – it’s about time we had some gavel-based excitement in our lives.
Enter the Christie’s Dubai Edit online auction, set to take place from 16 to 30 April. Expect thrills, spills and enviable timepieces galore. With Christie’s achieving a total of US$234 million in watch sales in 2023, the auctioneer is proving to be a favourite for handling the very highest-end of montres — including the Patek Philippe Sky Moon Tourbillon, which became the most expensive watch ever to be sold in an online auction in 2023’s Hong Kong online sale, eventually reaching US$5.8 million. What’ll happen in Dubai? Keep your eyes on the prizes, because it’s set to be a bumpy ride! christies.com
Visitors to Roger Dubuis’s Dubai Mall boutique have the chance to discover a mystery that just might see them sticking around for longer than expected.
Asecret room hidden within the outlet is now playing host to a heart-pumping racing experience set to rival its own ‘hyper horology’ in the excitement levels. No stranger to motorsport thanks to collaborations with industry greats such as Lamborghini and Pirelli, as well as its unwavering support of the Goodwood Festival of Speed, the watchmaker is bringing all the trackside fun
right into its boutique with cutting-edge simulator tech where you can experience head-tohead racing to your heart’s content. Whether you choose to sport an Excalibur Revuelto Flyback Chronograph — dedicated to the Lamborghini Squadra Corse — or an Excalibur Spider Pirelli in sleek black titanium, the choice is yours. Whatever makes you feel faster! rogerdubuis.com
What’s an anniversary without a little bit of bling? Mandarin Oriental Jumeira, Dubai is obviously clear on the need for some sparkle in the event of any significant celebration, partnering with heritage jeweller Garrard to make the most of its fifth anniversary. Adding a regal note to anything it touches, the British royal family’s favourite jeweller is marking the Mandarin Oriental’s celebration with the creation of a bespoke fan-shaped and sapphire-and-diamond-studded pendant in 18 carat white gold, with the first five guests who book the hotel’s opulent The Perfect Fifth suite package receiving one of these magnificent jewels.
“In music theory, the Perfect Fifth is the basis of all harmony — something we’re always striving towards at Mandarin Oriental Jumeira, Dubai,” said the hotel’s general manager Werner Anzinger.” By uniting two iconic brands, we are thrilled to be marking this significant milestone with a creative partner just as dedicated to crafting bespoke, beautiful compositions. We invite fans from near and far to discover the beauty and elegance of our fifth anniversary experiences.” mandarinoriental.com
Post-Dubai Watch Week, the region-specific launches just kept coming. Here’s GMT GCC’s pick of the locally-focussed timepieces
Carrera Qatar Limited Edition
Nereide GMT United Arab Emirates
A harmonious blend of Middle Eastern traditions and Venetian flair, this 39mm beauty boasts a sandy-toned mother of pearl mosaic dial, Eastern Arabic numerals on the rotating bezel and bags of style. This is a do-it-all timepiece that’s sporty and sleek, with enough character to make it a talking point for years to come — and at just 250 pieces being made, it’s one that’ll stay exclusive, too. Bellissimo. venezianico.com
Launched to commemorate the 20th Doha Jewellery and Watches Exhibition and sporting the distinctive al adam maroon of the Qatari flag, this timepiece wears its colours on its sleeve. Eastern Arabic numerals and a calligraphic rendering of ‘Qatar’ are applied on the smooth-as-satin dial, to a pleasingly 3D effect. With even the date window translated into Arabic, no detail has been spared — and this 41mm gem, at one of only 150, will be worn with no small amount of national pride. tagheuer.com
Reservoir x Popeye Camel Limited Edition
Not content with being GMT GCC’s cover star in our last issue, Reservoir are once again upping their Middle Eastern visibility with this humdinger of a collab for our beloved Ahmed Seddiqi & Sons. It seems that the cartoon strongman has been on his travels, as he mounts a trusty be-humped steed and heads out into the desert sands. But this watch won’t leave you high and
Classic Fusion Titanium Gradient Blue Oman
In a tribute to the unique shades of deep blue found off the coast of Oman, this Classic Fusion is set off wonderfully by its azure tones and the subtle Arabic calligraphy above the six o’ clock index. In a perfect usage of that iconic porthole shape to invoke the Sultanate’s maritime history, this new release commemorates the 10th anniversary of Hublot’s partnership with Omani retailer Mistal. A piece of blue heaven. hublot.com
dry — the 41.5mm stainless steel case houses a retrograde minute and jumping hour complication powered by a proprietary self-winding movement, a sapphire crystal caseback with a Popeye print, a truly inviting colour scheme and a charm that simply cannot be ignored. I yam what I yam? And that’s a watch and a half. reservoir-watch.com
It’s been a busy spring event season for GMT GCC, as the region’s foremost watch, jewellery and luxury lifestyle title lent its name to support two of the highlights of Dubai’s yearly calendar — the Dubai International Boat Show and Art Dubai. From life on the ocean wave to an appreciation of how art can spark important conversations, GMT GCC was there to see it all while proudly sponsoring these two ever-expanding mega-events. Be sure to check out all the most exciting moments from both these shows — and other regional events and exhibitions too — in our ZOOM section. Can you spot anyone you know? And keep your eyes peeled for yet more GMT GCC community collaborations coming soon — we’ll be seeing you around! gmtgcc.com artdubai.ae boatshowdubai.com
The big European jewellery brands have been busy opening new branches all over the region – all the more shop fronts to tempt you with…
Chopard’s president Caroline Scheufele was present at the February opening of a new Place Vendôme boutique — in partnership with renowned Qatari retailer Alfardan Jewellery, represented by Dana Al Fardan — in the heart of Qatar’s Lusail city. The warm and luxuriously-appointed outlet has all the hallmarks of a Chopard space, sure to welcome lovers of the heritage retailer’s jewellery and watches.
Not one but two reasons to celebrate for Bulgari, with new boutiques in both Saudi Arabia and Bahrain. The Roman Maison inaugurated a Marassi Galleria address at the end of February, followed by its Saudi outpost in the city’s central Al Olaya business district. Sunlight, marble and impressive architecture characterise both of the new openings, a stroll into Rome and Made in Italy luxe. It’s like a trip to the real deal — just without the plane fare.
When a file of clean, bright and minimalist watches crossed GMT GCC’s desk, we couldn’t help but sit up and take notice. Durable and versatile, their modern, young and infinitely usable look was an immediate hit with the team. And then, looking closer — what should we spot but Eastern Arabic numerals adorning the dial’s inner GMT indicator. It was love at first sight.
Meet Nuun Collection, a Kingdom of Bahrain-based watch brand just bursting with life and vitality. Scratching the region’s itch for of-themoment timepieces with a local feel, far from being a lip-service collab designed to please the Middle Eastern market from afar, this brand comes imbued with the outdoorsy spirit so unique to Arabia’s desert-dwellers that only a regional maker could produce.
Dedicated to functional aesthetics made for worry-free wear, Nuun’s timepieces are funky, chunky and designed for adventure
— as well as coming in at an irresistibly accessible price point. The Origen GMT collection is what really caught our eye, and not just because the name is delightfully familiar. With a Carbon X Tech case and a dirt-resistant Nanotech rubber strap, this is a timepiece with design and durability in buckets. Coming in Ocean Blue, Arctic White and Nature Green, this is a Choose Your Own Adventure-style watch just begging to be taken for a spin. Get behind the wheel while this brand is still flying under the radar — because it won’t be staying there much longer.
TECH SPECS
The Origen GMT collection
Case: carbon X Tech
Dimension: 40.5mm x 47mm
Strap: nanotech dirt-resist rubber
Glass: K1 crystal with an anti-reflective coat
Water Resistance: 10atm / 100m / 328ft
Movement: Swiss Ronda 505.24H
Buckle: 316L PVD steel
Markers: Arabic
Case Back: 316L PVD steel
Dial: GMT Arabic Markers
Hands: matte black
Lug Width: 17mm
From the big festivities for the launch of the Fifty Fathoms 70th Anniversary Act 3 in Cannes this September to the Michelin Guide Swiss Awards in October where the brand presented the Young Chef Award, Blancpain is on a roll!
After the success of the 2021 and 2022 models, Jaeger-LeCoultre launches two new Reverso Tribute Enamel timepieces, showcasing detailed replicas of Japanese woodblock prints. A delightful symphony of miniature painting, guillochage and Grand Feu enameling!
Looking for the market price of a vintage reference or the best deal for a Rolex Daytona 116500LN? With its database listing more than 500,000 references from 250 auction houses and 150 online dealers, the new EveryWatch AIbased information platform makes the perfect tool for professionals and watch enthusiasts alike.
A700sqm boutique, 11 bespoke spaces such as a sports bar, watchmaking atelier and patio: Richard Mille decided to think big for its new boutique in St. Martin, Singapore. At the heart of the concept was a desire to create a comfortable space for clients to feel right at home — and it succeeded.
One could not have imagined a finer tribute than that paid by Thierry Stern with this 30-piece limited series unveiled for his father’s 85th birthday.
Not only does the face of Patek Philippe’s current Honorary President (who was President of the Manufacture from 1993 to 2009) appear on the Grand Feu enamel dial of this Minute Repeater Alarm Reference 1938P001 special edition in platinum, but it also beats to the rhythm of a brand-new exclusive movement protected by four patents. This calibre, which orchestrates Philippe Stern’s favorite horological complication, will never be used again. Collectors take note!
In the space of just a few weeks, the symbol of French luxury has made making waves in several areas.
Firstly, in watchmaking, through an exceptional collaboration with Rexhep Rexhepi, a true horological virtuoso. Together, they have designed a high-flying double-sided limited series: the LVRR-01 chiming chronograph.
On the much-coveted rugby and soccer fields, the Louis Vuitton brand has become official supplier of both the 2023 Rugby World Cup trophy case and that of the Ballon d’Or. Lionel Messi, winner of this 2023 award for the world’s best player received the trophy wearing the new yellow gold Tambour watch.
Finally, Louis Vuitton returned to the world’s oldest sporting trophy, the America’s Cup, to which the brand has been closely linked since the creation of the Louis Vuitton Cup in 1983. It is now doing double duty by once again organising the Louis Vuitton Cup (heats) next summer, while also becoming the title partner of the Louis Vuitton 37th America’s Cup Barcelona. One can be pretty sure a watch will be dedicated to this competition!
Launched by the Convention Patronale de l’Industrie Horlogère Suisse (Swiss watch industry employers’ association), the new Watchmaking Federal Diploma of Higher Education designed for experienced professionals addresses industry needs by equipping future leaders with essential skills in team and workshop management. A key contribution to the industry’s sustainability!
There’s no stopping Tatler GMT:
In addition to achieving a quarterly print run of 487,000 copies throughout Asia in 2024, this joint venture continues to expand in the field of watchmaking events. Following the success of the Timeless trade show, which hosted the GPHG exhibition in Hong Kong and Macau, 2024 will see three new editions of Timeless in Hong Kong, Macau and Beijing.
The Geneva Watchmaking Schoool marks a new era with its cutting-edge campus in Plan-les-Ouates.
The 8,500sqm facility, provided by ForPro, positions the school at the heart of the watchmaking ecosystem, ready for September 2024. Our thoughts are with the family and friends of the school’s Director, Pierre Amstutz, who worked on the project and passed away suddenly in mid-November.
A new watchmaking experience in Geneva awaits:
Crafting a Swiss-made tourbillon timepiece from scratch with the help of the expert watchmakers and designers at Initium. This day-long experience comes complete with the creation of a bespoke dial, in tandem with a designer, at the price of CHF 18,550 (Dhs75,531 approx.).
What a variety! GMT and WorldTempus club members have seen an impressive range of options to suit every budget through the limited series we’ve created especially for them: an Alpina in snow white and fir green hues from their latest Alpiner Extreme Automatic collection (50 timepieces); a Montblanc 1858 Iced Sea diver’s watch with a one-of-a-kind dial (23 timepieces); as well as an audacious Singer Reimagined Flytrack in an exclusive Cocktail Timer version (12 one-of-akind timepieces).
For GMT’s 24th anniversary in 2024, we’ve imagined collabs with TAG Heuer and De Bethune as well as H. Moser & Cie. Guess the theme and join the club to discover them on: www.fine-watch-club.com
In addition to the club’s traditional Happy Hours, during which members congregate around a special guest, they are also invited to enjoy Manufacture visits (most recently Bulgari, Singer Reimagined…) or to watchmaking events under exclusive conditions. This was notably the case at the opening of the preview presentation of The Millennium Watch Book — Chronographs at Bonhams auction house which was celebrating its 10th anniversary in Geneva, or at the Fondation de la Haute Horlogerie, which also organised a talk on chronographs especially for our members. With GMT’s 24th anniversary in 2024, the programme is set to be full of surprises.
CAMILLE GUILLE
Two Instagram watch accounts to follow, recommended by @perpetual.girl
Akhras Collector
What’s to love? A lifelong watch enthusiast, Hassan began his collection 15 years ago at the same time as launching his ArabWatchGuide Instagram account. His goal is to contribute to building brands’ reputation in the Middle East by creating his content in Arabic and English.
Why follow? He shares all his favourites and gives his clear opinions. His first crush? A Patek Worldtimer he was able to acquire. We can follow his videos and his travels, which are real brand experiences that he shares with us through his account. When he went to a Sotheby’s sale, he was so taken with a specific model that he got a friend who was bidding to buy it. A true enthusiast who operates on a love-at-first-sight basis!
Pascal Ravessoud Vice-President, Fondation de la Haute Horlogerie
What’s to love? Pascal is Vice-President of the FHH. The foundation’s aim is to promote watchmaking culture to all audiences in a neutral way. One day, after a lecture he was giving, someone came up to him and told him that one of the FHH photo exhibitions had inspired him to create his own brand.
Why follow? As a teenager, he was into ‘Swatch mania’ and always up for chasing new timepieces in Paris or Milan along with his friends. His first crush for a mechanical watch was a Longines Lindbergh Chronograph when he was 20. He likes to post models for their design, their history and others because they are simply in step with his personal discoveries.
RACHEL SILVESTRI
Watchmaking’s next generation just seems to be getting younger and younger — all the way from the boardroom to the workshop. This is true enough of Antonin Falk, a talented young watchmaker whose name first came to prominence during his apprenticeship, when he was named Best Apprentice in France (Meilleur Apprentis de France, La Sorbonne) in 2016 at just 16 years old. The Savoy native now resides in Morteau, France and has been working for the Watch Connoisseur Project since before he finished his formal training, staying with the group ever since. We met with Antonin, now a baby-faced 24 years old, to hear how he came to the industry and to discover how life really is at luxury watchmaking’s coalface.
What are your earliest memories surrounding watches? Saturday outings. When I was young, my father used to take me to the jewellery stores in my hometown, where we would spend time together. Demonstrating his fascination with horology to me, seen as a grand and beautiful spectacle through his eyes, he began with the gradual acquisition of a small collection of Tissot watches, later adding a Chopard. Today, his watches have been sold, and he eagerly awaits my personal ‘creation’ as the ultimate object of desire. Through this fatherly initiation, bonds were gradually formed that later allowed me to undertake my first internship with a multi-brand watchmaker’s service centre. The spark was ignited, and this passion for horology has never left me.
Can you recall your first watch? What was the story behind it?
I was six years old. My parents gave me an analogue watch to help me become familiar with reading the hours and minutes using the dial and the hands. Nevertheless, I was also given a glimpse of the future with the inclusion of a rectangular digital window on the watch, visible at 6 o’clock, which allowed me to read the time at a glance. This watch, with no significant market value but equipped with a plastic strap, accompanied me on all my childhood adventures. I was fortunate to have my very own watch at such a young age.
Would you call yourself a watch collector?
No, I am not a collector. However, I occasionally purchase an item if I come across something truly unique and special. For instance, I have a Ditisheim movement with a balance wheel fitted with affixes, a completely revolutionary system in its time. I also have a pocket watch from Longines with a special regulator-assembly. It’s not so much about possession for me, but rather it’s about my interest in the technical discoveries and the broader history of horology.
Can you share the top three timepieces in your collection with us?
Not having a collection per se, the watches I cherish are related to my professional journey and are often referred to as ‘school watches’. This includes my retrograde watch with a jumping hour feature, as well as my automatic calibre watch. The latter operates with a differential that allows you to know the state of the power reserve to prevent the winding of the oscillating mass. This is referred to as automatic winding without an auto matic mainspring. Quite the thing.
What’s your favourite watch that you’ve ever owned? It could be special to you for any reason.
My next project. In general, ongoing designs, no matter what they may be, completely absorb and fascinate me.
Do you have a ‘grail watch’ – a timepiece you’ve get to get your hands on? Why do you lust after that watch in particular?
The Zenith Calibre 135 has always fascinated me. Ephrème Jobin, its designer, turned it into a chronometry masterpiece by daring to completely rethink the space and construction of this legendary movement. Reintroduced by the brand, some of the historical calibers have been restored and decorated through the work of Kari Voutilainen. Unfortunately, I can’t afford to buy one. If I were to buy a watch, a vintage Zenith 135 would still captivate me, or simply a Tudor, as a daily watch, as they offer some great models.
His art is collected by Hollywood royalty and heads of state, and now, with NASA’s help, his work recently became stratospheric. GMT GCC steps into the fantastical world of Sacha Jafri, the Dubai-based philanthropist painter with his feet still firmly here on Earth.
One of the loveliest things about Dubai is, from time to time, the city gifts you a full circle moment. Take this interview: when I first met Sacha Jafri 16 years ago as a fresh-faced recent arrival to Dubai, I was helping to organise his very first exhibition in the emirate, a 10-year retrospective of his work from 1997 to 2007. It was a rather dynamic affair, with paintings dotted around the ballroom, bar and nightclub of Grand Hyatt Dubai — a perfect match for the equally fresh-faced and hip young artist. Back then, the buzz around the Sacha was ear-splittingly loud, and it was clear that he was going places, but neither of us could have predicted that by the next time we met he would be one of the world’s best-known artists, and would have settled down in Dubai to boot.
Looking back, it shouldn’t have been such a surprise. The son of a Persian-Indian dad and a French-English mum, London-born Sacha’s cutglass accent bears the traces of his top-class education at the prestigious Eton College and Oxford University — so of course, of anywhere in the world that would welcome such a mix of cultures, Dubai was the place to receive him with open arms.
"I wasn’t painting because I wanted to, I was painting because I had a need. It was a necessity.”
Another thing that Dubai likes is dynamism — and that’s something that Sacha has in buckets. His stardust-sprinkled career has seen him hobnobbing not just with common-or-garden celebrities, but also with public figures of enormous global significance. His Highness Sheikh Mohammed bin Rashid Al Maktoum, VicePresident of the UAE and Ruler of Dubai, Barack Obama, Bill Gates and Sir Richard Branson all count Sacha Jafri pieces in their collections, as do stars such as George Clooney and Leonardo DiCaprio — in the world’s most exclusive spaces, Sacha’s voice both artistic and humanitarian looms loud. King Charles III, then the Prince of Wales, commissioned Sacha in 2009 to paint 19 portraits of the world’s most influential Muslims for his Mosaic Initiative, and the high-profile projects have just kept coming. Just this year, Sacha’s work went stratospheric — literally — as part of the Peregrine Mission One attempt to land on the Moon. He was intended
to be the first artist to officially place a piece of art on the Moon’s surface, and despite the mission ultimately failing to complete a landing, the attempt was still a truly spectacular feat.
So how did he make his name? Sacha’s big break came in the early 2000s when, as a hip young British artist, his Magical Realism style caught the attention of a thespian crowd thanks to actor and gallery owner Michael Caine. Kenneth Branagh, Roger Moore and even Simon Cowell came to view his exhibitions, but it was the sparking of a friendship with filmmaker Guy Richie — who happened to be red-hot property due to his run of hit movies and new marriage to the one and only Madonna — that really propelled Sacha’s work into the spotlight.
“She bought a few paintings, which was quite well publicised at the time, and from there it just kept rolling,” smiles Sacha. “I got quite into the sport world, and got a few big commissions
— for David Beckham, Sir Alex Ferguson, Roger Federer, Rafa Nadal… Those sort of guys. There was a bit of luck in the beginning, but it was also a case of looking at things differently, concentrating on people, connections, emotions and what I’m creating — what I’m putting out there. I trusted the process, and every now and then something magical would come.”
Indeed, it’s this ability to see things differently, not just in an artistic way but also in terms of business, that really sets Sacha apart. Rather than getting bogged down in the usual artistic route of signing up to a gallery and waiting for things to happen, Sacha carved his own path from the very beginning: “I found my own places to show my work, my own collectors. I did it in a very different and much harder way — but the benefits and the rewards are much richer because I’ve built real relationships that have longevity. I’m in control of my career. I can create something in whatever moment I want and I’m not stuck to anyone’s schedule. As someone for whom human connection is important, it’s not so business-like — it has personality, and it’s fantastic.”
The power of connection is indeed a huge theme for Sacha, both in his work and in his personal life. His focus has long since taken a humanitarian bent, raising more than US$140 million for worldwide charities throughout his career, with the money often going to organisations that support children including collaborations with Dubai Cares, UNICEF and UNESCO. Likewise, with his art having the power to reach the world’s most elusive people, his real-world experiences of visiting refugee camps and working with traumatised children in places such as Darfur carry all the more significance.
Sacha gained global fame outside the art world during the Covid pandemic with his work Journey of Humanity – the world’s largest painting and the third most expensive to ever be sold by a living artist, taking US$62 million at auction which was all donated to children’s charities, put him in the same league as Jeff Koons and David Hockney. And what’s most amazing? That if it weren’t for a particularly caring headteacher, none of this might have happened: “As a child, I really couldn’t make sense of the world in general — the only thing that did make sense was paint,” explains
Sacha. “I’d use it as a sort of therapy, I guess, to make sense of things. At school they felt they had a problem with me — the headmaster of Eton called my parents and asked them in to talk about it.
“He said: ‘We have a problem with Sacha — half the teachers think he’s a genius and half think he’s mad.’ But they came up with a plan. They built a portacabin next to the art school, filled with easels, canvases, paint and brushes and gave me a key and a padlock. They told me it was my private space to do as I liked, as long as I was at Chapel at 7am and at every one of my classes, for the rest of my time I had free rein.
“I used to stay painting in there all night, until three or four in the morning. And from there, I went from being at the bottom of the bottom class, to the middle, to the top, to getting into Oxford University and getting a first-class degree. But it was only through painting that everything made sense. Once I had that, I could do well academically too. And that’s what started my journey as a painter really — I wasn’t painting because I wanted to, I was painting because I had a need. It was a necessity.”
Nowadays, even at 47 years old and happily married with a young daughter, that spirit of needing to transmit his emotions still powers Sacha’s work. While we talk about some of his most spectacular and high-profile work — a collection of 50 paintings to celebrate the 50th anniversary of UNESCO that went on tour from the Burj Al Arab’s helipad to Mount Everest and the UNESCO headquarters in Paris is one that stands out, as do the six handpainted Rolls-Royces Sacha was invited to work on, the company’s only collaboration with an artist, which are now considered the most valuable cars the marque has ever produced — it’s his latest, deeply heartfelt pieces, that are really stoking his passion.
“My works are inspired by human emotion,” shares Sacha, “but it took me a while to realise that where my work is coming from, is when I get in that state of surrender. So I’m in a very deep meditative state. I go into a trance and I connect with something… Up there. It doesn’t happen very often, but when it does, something beautiful happens. What I’m tapping into is an emotion, and then I’m releasing that singular emotion. It goes on to the canvas as a ball, a nucleus of colour, and then that grows and by the end
there’s a narrative that develops out of that emotion. The end result is a very high power, high energy, full colour, layer-rich bomb-like explosion.
“So for my next collection, I’m going to pare that back and look at that the engagement of two human souls. It’s going to be a series of 12 paintings, each depicting an embrace, whether it’s a mother and daughter, a father and son, or a grandfather, granddaughter, grandmother, a husband and wife. It’s about two figures being held tight and connecting in that embrace. And I’m going to sort of strip everything out and just focus on the shape of that connection, what it looks like, how to express it, how you as the viewer can feel it. That’s what I’m excited about, what my head is full of — I can sort of see it. And that’s exciting.”
This year will bring another full circle moment for Sacha — this time around it’ll be his 25-year retrospective which will
exhibit at institutions all over the world. But from when we first met while working on his 10-year retrospective until now, notwithstanding the international moves, fame and global significance, not all that much has changed as far as Sacha goes. That same childlike energy and wonder is there, the same urgency to share a moment, a thought, a connection. Perhaps the sense of chaos has dropped away, his urgency and hunger being tempered by calm and maturity — with a few more lines on the face telling the tale. But the twinkle in his eye remains the same. Despite having moved in celebrity circles since the very beginning of his stellar career, it’s clear that what Sacha really values has always persisted: connection. And whether it’s with a Hollywood powerhouse, a world leader, or a child in a desolate camp who’s lost everything — Sacha wants to touch all their hearts, just the same.
Tell us about your first encounter with watchmaking…
My first love, when I was about eight years old, was a Swatch that my grandmother bought me — a black one with a big face. It might have been simple, but it was a big deal to me, and my mum has kept hold of it for 40 years! Then when I was 12, the Casio was the cool thing to have. There was that sense of ‘look at me, I’ve got the right watch.’ But then I got into sports, which made it difficult to wear a watch, and I kind of lost interest until I was around 35 years old, when I was introduced to four watch brands that I love — Richard Mille, Patek Philippe, Audemars Piguet and Vacheron Constantin.
What are the top qualities you look for in a watch?
They should be subtle and beautifully crafted. They should be a work of art. They shouldn’t be something that says ‘look at my watch, look how much money I’ve got on my wrist.’ They've become a little bit of a financial status symbol, but for me, that’s not what watches are about. I think they need to be a bit more subtle. They need to be about artistry and beauty.
Are there any younger, more independent brands that you’re a fan of?
Definitely MB&F — I met Max Büsser and he’s really quite cool. He’s very passionate and he’s got the right vibe. I think that making watches is perhaps like being an artist — it’s got to come from the right place, and if it doesn’t then it’s just bull.
What’s your favourite watch in your collection?
I was very lucky to meet Ashish and Pawan Ishwar, beautiful souls and the founders of the For Humanity charity based in Dubai, which makes highly exclusive watches with one of Switzerland’s top watchmakers and gives a portion of the proceeds to help the Al Jalila Foundation. When I was doing the NASA Moon project, they made a one-off watch for me which is my favourite watch in the world and is the most beautifully crafted, understated timepiece.
Are you a collector or more of a casual appreciator?
I’m not one of those guys who has 20 Richard Milles and 10 Audemars Piguets — but I have five nice watches that I love and I adore them. They are very beautiful things.
We talk gems, generosity and jet-setting with the director L’ECOLE School of Jewellery Arts, Asia Pacific and the curator of L’ECOLE Dubai’s first exhibition, Garden of Emeralds.
With the opening of L’ECOLE School of Jewellery Arts’s first Middle Eastern outpost in Dubai’s Design District, a whole world of opportunities to learn about and experience jewels from a different perspective arose in the region. Established 10 years ago in Paris, and operating with the support of renowned jewellery and watchmaking Maison Van Cleef & Arpels, the school’s courses and talks have become indispensable for those wanting to know more about what goes into the creation of highend jewellery.
But it’s L’ECOLE’s exhibitions that have become legendary — free to the public and incorporating jewels
and gemstones that would otherwise be locked behind very secure closed doors, these deep dives into subjects ranging from ancient Chinese metallurgy to the advent of the Art Nouveau movement and its effect on jewels have been conceptualised and realised by L’ECOLE. But when it came to deciding on a theme for the new Dubai campus’s inaugural exhibition, the task fell to Olivier Segura, the Hong Kong-based director of L’ECOLE Asia Pacific. Choosing to focus on emeralds in all their aspects, this precious exhibit is now open to Dubai’s curious public. Here we talk to Olivier about the significance of this exhibition — and what else we can expect from L’ECOLE Dubai…
Garden of Emeralds — it’s your personal labour of love, and the inaugural exhibition from the L’ÉCOLE School of Jewellery Arts campus in Dubai. Where and how did this exhibition’s story begin?
Garden of Emeralds is the result of the work and commitment of an entire team dedicated to this project, from the scenography to the catalogue through all the stages of creation and design. As a gemmologist, I proposed the theme of precious stones for L’ÉCOLE exhibitions a long time ago. The first of the Discover the Gemstones series had the theme of rubies and sapphires, and was presented in 2019 in Hong Kong. This new episode on the theme of emeralds took several years to culminate in the exhibition currently presented at the Dubai campus. I wanted to present emerald in its different aspects: scientific, historical and artistic, as well as the specific know-how developed to get the best out of this stone.
Why was this exhibition the right choice for the Dubai campus? They’re a perennial source of fascination for all the big jewellery Maisons, but why choose emeralds in particular for this opening?
Emerald and the colour green — linked to the Islamic culture — seemed to us to be a perfect fit for the Middle East. This exhibition is a world premiere, and we really wanted to conceive something specific for this region and Dubai in particular, as it is the first milestone of L’ÉCOLE Middle East as a permanent campus.
Are there any pieces in the exhibition with particularly strong connections to the Middle East?
The colour green, and therefore emerald as a precious green gemstone, is of course extremely important in the Middle East, because it is symbolic of religion. Several jewellery pieces on display belong to local collectors and their colour and themes are therefore entirely in resonance with the Middle East. We are particularly happy and proud to be able to present them to the public for the first time in the region.
Why are exhibitions such as Garden of Emeralds important to L’ÉCOLE and its mission? How does it help to form connections with the community and its learning?
Exhibitions are at the core of L’ÉCOLE’s missions, as it helps to spread jewellery culture to a large audience — they are all free of charge. Garden of Emeralds gives the right message about L’ÉCOLE, it is a one-of-a-kind exhibition that shows the journey of a precious stone from its crystallisation to the design and making of
a jewel. The scientific, geological, historical and cultural perspectives that are developed in this exhibition are as important as the creativity and artistic point of view.
How has the exhibition been received by the community? So far the reactions are very positive! From visitors of every age, including children who are fascinated by the history, and story, behind some of the pieces. Especially the first one, the ‘Goliath’, a specimen of 33 kilos that was discovered in a mine in Zambia 10 years ago. More than 100 crystals are encrusted. The ‘Goliath’ is like a statement for this exhibition.
Do you have any other exhibitions on the horizon for the Dubai campus? Anything in the works that you can let us in on? How often can we expect to see new exhibits coming to L’ÉCOLE Dubai?
We will organise two exhibitions per year. The next one will be about gold and will start at the end of April. Stay tuned…
“L’ÉCOLE is not only in charge of transmitting knowledge and opening the doors of the closed environment of jewellery; since 2018 it has been engaged in the creation of new knowledge thanks to a new research department.”
Let’s talk a little about you personally — when and how did you find your way into the business of stones? What is it about this world that particularly fascinates you?
Since my childhood, I have always picked up stones along my way — to the great despair of my parents who found them in all my pockets and whom I forced to carry them during our walks and trips. I therefore naturally oriented my studies towards geology and gemmology. Understanding the world around us and more particularly the wonder of the Earth fascinates me. Meeting people and travelling are also an important part of my interest in gems.
“Exhibitions are at the core of L’ÉCOLE’s missions, as it helps to spread jewellery culture to a large audience.”
How did you come to collaborate with, and later work with, L’ÉCOLE?
As director of the French Gemmology Laboratory, I was part of the L’ECOLE scientific council, to support its development and reflection on the question of gems. I participated in several programmes and gave several conferences. It’s therefore quite natural that I joined the school’s team to pursue its formidable development and all the projects linked to gems and
gemmology. The possibility of creating projects that are aimed at all audiences and all ages is unique in the world of jewellery. L’ÉCOLE is not only in charge of transmitting knowledge and opening the doors of the closed environment of jewellery; since 2018 it has been engaged in the creation of new knowledge thanks to a new research department.
You’re the director of L’ÉCOLE Asia Pacific — where do you call home? Where can we find you most of the time?
In fact I have several ‘homes’: with my parents of course, in the south of France where I grew up, but also in Paris where I continued my higher university education. In Bangkok where I lived and developed my love of gems, and finally in Hong Kong where thanks to the school and the entire team I can continue the beautiful mission of generosity and sharing of knowledge. With all these places, the best place to find me must certainly be at the airport! I
love these places of exchange and energy, where dreams from elsewhere meet reality.
Why was it important for L’ÉCOLE to open a Middle Eastern outpost, and why Dubai? Can you let us in on the process of the campus’s creation and opening? What is your vision for the future of this school?
The Middle East, and Dubai in particular, is developing very fast in so many fields. It is a very exciting period of time. We organised two nomadic schools in D3 in 2017 and 2019. Both were huge successes. It is the right time for us to open a permanent campus in this region where everything is possible. My vision for the future of L’ÉCOLE in the Middle East is based on two things: to keep the spirit of generosity of L’ÉCOLE since its creation in Paris 10 years ago, with a specific strategy for the Middle East based on local relevance and embedded in the cultural landscape.
RACHEL SILVESTRI
She’s the real deal. GMT GCC catches up with Richard Mille Art Prize winner Nabla Yahya to talk imposter syndrome, the importance of political discourse in art and how, sometimes, the quiet ones can be the ones to watch.
When we catch 30-year-old artist Nabla Yahya just a few days after she was announced as the recipient of the prestigious Richard Mille Art Prize, she’s already back to her ‘day job’ at the Jameel Arts Centre in Dubai. In fact, it seems as though despite having attended a glamorous ceremony in her honour at the Louvre Abu Dhabi, the fact that she took the ultimate prize at the culmination of the world-famous institution’s yearly Art Here exhibition really hasn’t sunk in.
“I’m still pretty stunned,” she smiles, her wide-eyed expression explaining just as much as her words. “I don’t think I’ve processed it. It happened very quickly and then the next day I went to work I haven’t really had a moment to sit with it! But everyone’s so happy and I’m just really grateful.”
It’s understandable why Nabla’s having a hard time taking the full scale of this achievement on board indeed, any artist would. Being selected as one of the seven artists to have their work displayed at Louvre Abu Dhabi in the regionallyfocused Art Here was enough to take her by surprise in the
first place, so scooping the final title along with more than Dhs200,000 in prize money was the icing on a very big and prestigious cake. So how did this Abu Dhabi-born contemporary artist get here?
It’s been a long and difficult road for Nabla. In a story that will be familiar to many long-term UAE residents, she’s a classic Third Culture Kid and has experienced all the identity crises and access struggles that can come with it: “I was born in Abu Dhabi, I grew up between Jeddah and Dubai, my father is from Kashmir and my mother is from Kerala. Her father moved here in ’68,” she explains. “It was so meaningful, and emotional, to win such a prize in Abu Dhabi where I was born.”
Nabla studied architecture at university in London and stayed in the city for six years before moving back to the UAE because she couldn’t find stable work to sponsor her visa. But it was an encounter with 2019 Turner Prize-winning Jordanian contemporary artist Lawrence Abu Hamdan that really turned things around.
“I always tell people that he saved my life,” says a clearly emotional Nabla. “Literally and figuratively! I owe a lot to him. I had been following his work for a while and when I found out he was in the UAE I approached him to ask if he needed an assistant so that’s how it started in 2019. I had absolutely no confidence whatsoever and was completely broken, very depressed, but Lawrence is such a generous person and trusted me with his work. It was then that I began to believe that I was capable of doing things.
“A few months later, an anonymous person nominated me for the SEAF programme — the Salama bint Hamdan Emerging Artists Fellowship — which each year chooses 15 young artists to support. Alongside that I continued making art for Lawrence and he is by far the most important mentor I’ve ever had, I wouldn’t be here without that experience.”
So where is ‘here’? Nabla’s prize-winning piece, SoftBank, focuses on the untold stories of the workers who did the backbreaking labour of digging the Suez Canal. A multi-layered
installation, the piece features pictures of those mostly forgotten labourers, suspended from a replica of the French-built conveyor dredger that was developed to shift silt from the canal while it was under construction. A similar replica was displayed at the 1867 Paris Expo, as a symbol of French ingenuity and might. But the workers who did the majority of the earth moving — far more than could be achieved with the machine — weren’t mentioned at all. Nabla’s work aims to shed light on those forgotten stories, and where better to do it than in the heart of that symbol of French imperialism, the Louvre, in its Abu Dhabi outpost.
However, after being encouraged to submit her application to Art Here and the Richard Mille Art Prize, a humble Nabla didn’t imagine she’d even be shortlisted — “I have so much imposter syndrome! I really don’t know if I’ve done enough to have someone write about me.” — let alone win the competition outright. But
it shouldn’t come as too much of a surprise, as her deeply political and socially conscious work was always going to capture the imagination in a region where human rights are a hot topic.
“I’m deeply interested in politics, history, philosophy and critical analysis, trying to look at the world and make sense of that,” says Nabla. “I would like my artistic practice to evolve into a form of resistance and protest. The art that really speaks to me is the art that makes me think or helps me see something in a different light. That’s also why I had been following Lawrence’s work for so long, because it’s very political. It’s about sharing knowledge, making certain things more visible and cutting through some of the propaganda — that’s what I think an artist is meant to do. I mean, I also appreciate art when it’s beautiful and that’s all it is, but I really think that for me, it means so much more to me than just making something beautiful. My background, with my
dad being from Kashmir, me being Muslim, growing up here, I couldn’t help but be aware of injustice from a very young age, although I viewed it from a very privileged level. What I’m trying to say, I suppose, is that I cannot look away.”
So what does Nabla’s family make of her new-found success? Her mum proudly accompanied Nabla to the Richard Mille prizegiving ceremony while her dad, who worked for most of his life for Citibank, had his eye on a different type of prize…
“When we came back from the ceremony, the first thing my dad asked was: ‘Did you ask the Richard Mille team for a watch?’” laughs Nabla. “The prize meant so much to me because, considering my dad’s background and that he’s completely self-made, and how hard he worked to give his children what he himself dreamt of, the emotions took over and I gave him my trophy. It’s in his study now, and he’s so happy!”
“I would like my artistic practice to evolve into a form of resistance and protest. The art that really speaks to me makes me think or helps me see something in a different light.”
Nabla Yahya Richard Mille Art Prize winner
What are your first memories of watches and watchmaking?
It was around 2010 at Art Dubai and one of their sponsors was Van Cleef & Arpels. At the entrance they’d put on an exhibition of very beautiful pieces of jewellery and watches, and one of their watchmakers was there building a watch live. They were talking through the intricate mechanics of the watch and I really appreciated the whimsy. There was a Pont des Amoureux watch: twice a day, the two figures would meet at the middle of a bridge then move apart again. I loved that.
What is it about fine watchmaking that interests you?
I’ve always been really interested in analogue machinery. Classic photography, but also automatons and early robotics. That’s why I wanted to make my SoftBank work interactive without an electric motor, powered by the viewer themselves, like an automatic watch. I find it so much more poetic when the viewer is involved.
How do you feel about winning such a prestigious prize from renowned watch Maison Richard Mille?
I’m so grateful to them — I would never have imagined something like this, but it makes me optimistic. I decided I’d be an artist at 14 years of age and I spent so many years waiting for that dream to come true. I never would have dreamed that I’d get such an opportunity if it wasn’t for Richard Mille.
So now she’s an internationally-recognised artist, what’s the next step for the shy and unassuming Nabla? Not your usual ultra-confident artiste, Nabla may come across as reserved, but every word she says reverberates with depth and meaning. She’ll use her prize money as a kind of scholarship to fund further education — “Otherwise I wouldn’t be able to afford to go to university at this point in my life — as a non-resident Indian I’m not eligible for any scholarships,” she explains — with her sights set on grad school in the United States. So how will the change of artistic climate for her politically charged works affect her process? Not too much, says Nabla.
“The notion of freedom of speech is a myth, it doesn’t really exist anywhere,” she adds. “There are people in Germany losing their jobs just for calling for ceasefire in Gaza. I don’t view any government
as ideal, and I try not to censor myself. This work in particular is based on a historical precedent, but I was hoping that people would draw parallels with our contemporary life under capitalism and how exploitative labour practices continue today. Capitalist hegemony dictates the way we live our lives, and our role is reduced to that of consumers. I just wanted to talk about something in the past in order to make people see that nothing has changed. I think we all think we’ve progressed and have figured out ways to be less cruel. But maybe we haven’t grown as a species. Why is that? And what can we do differently?”
As far as this member of the species is concerned, she’s definitely growing — and flourishing. We’ll be watching closely to see where this incredibly incisive artist takes her work next.
Under the Floridian sunshine, LVMH kicked off 2024 with a sparkling selection of new timepieces for its fifth nomadic Watch Week. And there’s even more to come…
Miami is always tons of fun — ever since Will Smith crooned the beach city’s name in his hit 1997 record, it’s stood as a byword for high times and hot nightlife. And it was the perfect choice of location for LVMH’s 2024 Watch Week, considering that the United States still holds on to its place as the biggest consumer of luxury watches in the world — the latest figures show that the US is now worth more to the watch industry than both the Hong Kong and Chinese markets combined. What better way to show off the group’s latest TAG Heuer, Hublot, Bulgari and Zenith wares than by launching them in a city where the idea is to have a good time, all the time.
It was also an opportunity for LVMH to introduce its two newest acquisitions — Daniel Roth and Gérald Genta, two historic Maisons that have been relaunched within La Fabrique du Temps Louis Vuitton — to its biggest market, and the rest of the
world beyond. The occasion also served to officially introduce 28-year-old LVMH heir Frédéric Arnault — watch execs seem more and more like policemen, they just keep getting younger — as the new CEO of LVMH Watches, moving on from his former role of CEO of TAG Heuer.
“LVMH Watch Week is a major rendezvous for our Maisons, an opportunity for us to kick off the year by welcoming our clients and our partners,” said Arnault during the week. “This now annual event highlights the exceptional creativity of our teams and brings our guests a custom-tailored experience as they discover our new creations, each emblematic of unique watchmaking savoir-faire and vision.”
Here, GMT GCC counts down the week’s biggest and most bombastic launches, as perfect for a refined stay at a private villa — such as the one LVMH Watch Week took place in — as a wicked night out on Ocean Drive. Bienvenidos a Miami.
Steel and salmon — it’s a fire and ice combination that shows a whole new side to the dynamic Bulgari Octo Finissimo. Having set a very appropriate eight records in its time, its slimness is of course its most remarkable feature, but the innate chic of this design simply cannot be overlooked, proving the perfect canvas for a celebration of Italian style. The Tuscan Copper of this particular timepiece’s name refers to the metallic dial designed to reflect the palette of a Mannerist painting — the high renaissance style of the mid-16th century that was characterised by richness, realism and warmth of colour. It’s a beautiful tribute to classic Italian elegance, a sweet slice of la vita bella.
A new Carrera is always cause for celebration, with this perpetual sporty favourite inevitably drawing a crowd of admirers. But this time around it wasn’t just the new teal colour scheme and irresistible slickness of this staple that demanded attention, but the addition of a tourbillon at six o’ clock. Refusing to rest on its laurels after celebrating the Carrera’s 60th anniversary in 2023, TAG Heuer leaned even further into the model’s racing heritage with this sporty shade of aqua green, further building on the launch of the Chronograph and Chronograph Tourbillon in blue last year. At a masterful 42mm, this oversized montre made onlookers green with envy — let’s see what else this ever-innovating Maison has in store.
With a spin of the wheel of fortune, Hublot has come up trumps with this dial-free masterpiece — and after five years in development, it’s a real winner. The MP stands for Manufacture Piece, and is the 10th in the Maison’s series of most mind-bending, rule-breaking timepieces. Reading the time on four rolling wheels — hours, minutes, seconds and power reserve — a titanium case ensures this chunky gem feels light on the wrist, a necessity with its longest side measuring up at 54mm. Automatic winding with the movement powered by two linear weights that move on an axis and an inclined tourbillon, this is a watch that’s truly playing by its own rules. The most distinctive launch of the week, Hublot once again stole the show.
Balanced, minimal and infinitely legible — El Primero’s triple calendar chronograph has been one of Zenith’s bestloved configurations for more than 50 years. In this new iteration, the combo of high-performance high-frequency chronograph, triple calendar and moon phase is proving to be just as attractive as this classic design has ever been. The wealth of information and functions this watch provides is ingeniously laid out, providing an uncluttered and intuitive read. And the 38mm steel case is compact with a vintage feel, based on the exact blueprint and proportions of its 1969 predecessor. The ‘panda’ design with white opaline and black counters has to be the most striking version of this timepiece — available in multiple colours — that, while inspired by the past, is very much a future classic.
RACHEL SILVESTRI
As Tabari Artspace turns 20, GMT GCC meets this forward-facing DIFC gallery’s director, Harriet Bardsley, to see how it helped to shape the present and future of the regional art scene.
The Dubai of 20 years ago was very different from today — just as full of energy and dynamism as the city we currently know and love, it was nonetheless merely a fledgling in many aspects. Its culinary scene was still developing, tourism was finding its feet, live music was yet to reach a peak and art was mostly confined to a few grassroots galleries in Bastakiya.
This was the environment that Maliha Tabari, founder of her namesake Artspace, launched her own gallery into — then known as Artspace Dubai, based on the ninth floor of the Fairmont Dubai on Sheikh Zayed Road, it was an instant success.
Its purpose was twofold: to place young Gulf artists on the global stage, and to preserve the crafts and stories that the MENA region had been continually production, but up until that point had remained hidden. And over the course of two decades, the
venture has achieved all that and more. Moving to the buzzing DIFC complex in 2006 was a natural progression to continue the gallery’s international vision, placing it in the centre of Dubai’s business district. Rebranding in 2018, Tabari Artspace now holds a central role as a promoter of all the Middle East has to offer in terms of art — and it’s the artists who sit at the heart of everything the gallery does.
“Our guiding philosophy has always been to collaborate with artists who demonstrate potential, passion and a dedication to authentic expression,” says Harriet Bardsley, Tabari Artspace’s director. “We seek out individuals whose work not only possesses technical and conceptual uniqueness but also deeply resonates with our values. It’s no wonder, then, that these artists have garnered international acclaim.
“In today’s globalised world, characterised by hybrid identities and diasporic communities, the artists we champion serve as visual storytellers, capturing the essence of our contemporary zeitgeist. Their works offer a lens through which audiences worldwide can explore diverse subjectivities, making their art relevant and impactful on a global scale.”
Indeed, the impact of Tabari Artspace has been immense — and not just due to the artists that have graced its DIFC walls and floors. The vision of Maliha Tabari and her team has been key, including pioneering the use of immersive environments to display art in new and exciting ways, setting it apart from its regional peers.
“When creating immersive environments to showcase our artists, we prioritise an artist-led approach,” says Harriet.
“Our goal is to amplify the artist's vision and construct an environment that enriches the viewer's engagement with their work. We believe that the conventional white cube space may not always provide the most conducive setting for experiencing and appreciating art.
“We work closely with each artist to curate their work in a manner that authentically represents their artistic expression. For example, in Hashel Al Lamki’s Senu Lato exhibition, we replaced the tiles in the space with a tactile pastel carpet. It was fascinating to see the audience automatically take off their shoes and interact with the art, some even lying down or sitting before his work for extended periods of time. In Postmordial Soup by Zaid Al Najjar, Talal Al Najjar and Miramar Al Nayyar, we created an immersive cocoon-like space using
audio and visual cues to evoke a sense of being in the womb, reflecting the artists’ contemplations on the sanctuary of origin. Additionally, for Art Dubai 2024, we commissioned a group of powerful women artists from the region — including Chafa Ghaddar, Tagreed Darghouth, Hana Almilli, Miramar Al Nayyar, Aya Haidar, Maitha Abdalla and Almaha Jaralla — to construct an immersive environment in response to a set of keywords exploring the intertwined concepts of the body and the land.”
So where does this unique space sit in both regional and international artistic contexts? While maintaining its UAE roots, Tabari Artspace opened its first international branch in London’s upmarket Cromwell Place in 2015, and there are plans for a European artist’s residency programme to launch this year. In addition to being a guiding light in terms of bright ideas and new approaches in its physical form, Tabari Artspace is also a place for the individuals who collectively make up the regional industry to come together as part of a wider group.
“Community lies at the heart of our gallery, and it fills me with pride to see people come together in our gallery space — forging friendships, exchanging ideas, and witnessing emerging artists connect with collectors,” says Harriet. “It's truly gratifying to
facilitate discussions grounded in regional art. This summer we are thrilled to expand our community and dialogue as we launch our residency programme in Italy, offering our artists the opportunity to open their studio doors in a whole new context.
“We’ve witnessed the local art scene evolve into a comprehensive ecosystem, encompassing key components from artist studios to a robust collector base and cultural institutions. This transformation has been a gradual process that began in the late 1990s, and Tabari Artspace has been an integral part of this journey from the outset. It's incredibly rewarding to see the next generation of artists evolving and responding to the rapidly changing world, embracing new technologies such as CGI, as exemplified by Talal Al Najjar.”
Forming such a key part in the development and maturing of the MENA art scene, it’s unsurprising that Tabari Artspace has touched and helped along the careers of countless regional artists and art professionals. And that includes Harriet herself, who moved to the Middle East in 2011 to become part of Tabari Artspace, and has stuck around ever since.
“I made the decision to relocate to the Gulf over a decade ago, fuelled by a strong belief in the region’s untapped potential and vision for the future,” says
“When creating immersive environments to showcase our artists, we prioritise an artist-led approach... Our goal is to amplify the artist's vision and construct an environment that enriches the viewer's engagement with their work.”
Harriet Bardsley Director, Tabari Artspace
Harriet. “With a profound passion for art as both a collector and a professional, I had a deep-seated dream of immersing myself in the rapidly evolving regional art scene. Being part of this environment allowed me to witness first-hand the rich complexities and diverse talents of artists spanning generations across the MENA region — from their studios to the acquisition of their works — and to grow alongside them in my role as the gallery’s director.
“One issue that I observed and subsequently prioritised is the documentation of MENA art. When I first arrived, I noticed a lack of comprehensive cataloguing and meaningful discourse surrounding MENA exhibitions. Real art criticism and reflection were scarce. Over the years, we have focused on rectifying this gap, whether through visually capturing shows, commissioning academic texts, or working closely with our communications director, Laura Beaney, who collaborates directly with our artists to capture their narratives. We aim to ensure that future generations can engage with the art emanating from our region in a nuanced and meaningful way.”
When Tabari Artspace was founded, Dubai may not have been the regional art powerhouse that it is today. But thanks to this gallery’s persistent belief in and promotion of regional art on both a local and international scale, the scene has so much to look forward to — as well as a rich list of achievements to look back upon. Work from the artists that Tabari has championed now sits in the collections of the British Museum, the Centre Pompidou, the Guggenheim Abu Dhabi and the Barjeel Art Foundation. So where next? Only time will tell. But one thing’s for certain — the future of Middle Eastern art is sure to be hanging on Tabari Artspace’s walls. Let’s see what the next 20 years holds.
RACHEL SILVESTRI
We meet a key figure in one of the UAE’s most successful heritage brands, luxury yacht manufacturer and shipyard Gulf Craft, to talk about what puts the heart and soul into this internationally-minded family business.
When GMT GCC met Abeer Alshaali at the bustling 30th Dubai International Boat Show, it was all hands on deck as far as historic and world-leading Dubai-based shipbuilder Gulf Craft was concerned. A veteran of the Middle East’s most important boat show, the whole team was ready for action: the ‘Legacy in Motion’ presentation of the award-winning Majesty 111 and Nomad 101 vessels were full of buzz, while the recent sale of the first hull of the new Majesty 160 superyacht, its build due to be completed in 2026, stood as a prime example of this ever-growing family business’s dedication to excellence.
After all, when it comes to Dubai International Boat Show — and the shipbuilding industry in general — Gulf Craft is in no way wet behind the ears. Starting up in 1982, the business has grown alongside its home city of Dubai, and in just as spectacular a fashion. But it hasn’t all been plain sailing. GMT GCC sat down with Gulf Craft’s deputy managing director Abeer to find out more about the legacy her family’s business is leaving in its wake.
GMT GCC: You come from a seafaring family — what are your earliest memories of boats and being on the water?
Abeer Alshaali: In the earliest photo we have of me on a boat, I wasn’t even walking! I was clutching on to the side of a boat that was out on ‘the hard’ — not in the water — holding on to it and propped up, trying to stand. My father’s a boater as was my grandfather, who captained a boat from the UAE down to Africa at the age of 19. So when I say that I come from that background, I think you’ll know what I mean. I can’t say exactly when I became aware of boats — it’s just always been there.
You were raised between your home country of the UAE and the United States — how did growing up in multiple countries and cultures shape you?
When I was quite young my father [Gulf Craft founder and chairman Mohammed Alshaali] was the UAE ambassador to the United Nations, so we were living in New York, and then in 1992 he became the UAE ambassador to the USA, so we moved to Washington. I think that now they call it being a Third Culture Kid — you grow up in one place but you’re not really part of the culture, and then you go ‘home’ but you’re not really from there
either. But you can twist it and say that actually, I’m getting the best of both worlds. It gives you an adaptability and an agility. I can speak several languages, I’ve always attended international schools and I had an IB education, and it really opened my perspective on how the world works and taught me so much about different cultures. And it helps in the business that I’m in, that’s so international, because it gives you a softer touch. When someone doesn’t understand something, you’re better able to communicate and put your point across.
Is this international-mindedness part of Gulf Craft’s success?
The United Arab Emirates has a rich culture and heritage of boating, but it’s not an industrial nation in terms of manufacturing. That has forced us to become vertically integrated; I can sit in a meeting and I’ve got managers from Greece, Australia, the UK, France, India, the US, really from all around the world. So it’s not just about our clientele, but even our own staff. We purchase materials and equipment from all around the world, we import it into the UAE, we build here, and then we re-export it out. So we are constantly part of an international landscape, both on the front end and on the back end of the business.
At its crux, Gulf Craft is a family business. After graduating from Rice University in Texas and starting your career in banking in the UAE, how did you come to join the team?
When my youngest began kindergarten, my father said to me:
“Now you don’t have any little ones at home [Abeer is mother to four children, two girls and two boys] can you come into the business with me?” Some parts are incredibly enjoyable and other parts are challenging, and you have to learn how to strike that balance of when it’s about business and when it’s about family.
You don’t want every family lunch turning into a business meeting, and we are generally pretty good about that. It’s not just my father and I — there are uncles, brothers, cousins… And what ends up happening is you become a magnet for all the kids in the family who are looking for internships, and we love that! We talk about Gulf Craft being a family, and I don’t just mean my immediate family. On our staff we have husbands and wives, brothers, mothers and daughters, and people like to bring their own families in. It’s pretty amazing. It creates an environment that’s welcoming, friendly and open across the board.
Abeer Alshaali
Are you a watch collector, or more of a casual appreciator?
I do love a nice watch, but I’m not a big watch connoisseur and, I'll be honest with you, ever since I started wearing a smartwatch I've more or less stopped wearing everything else I own! But I do love a well-made watch. I'm very impressed by the craft, it's amazing to see how those things are built.
What was your very first watch like?
It must have been a Swatch or something, when I was very young, but my first really nice watch was a Chopard Happy Diamonds, with seven diamonds inside the dial. I love it, it’s a little bit special because it has more diamonds than the usual models.
Do you have a ‘grail watch’ — a timepiece you’d love to get your hands on?
Not really! If I come across a really nice watch I can appreciate the beauty of it, but I don’t really stay up at night thinking about it. I don’t save money to buy a watch, let’s put it that way!
“Now we have around 1,400 employees and there are so many of them that have been in the company for upwards of 20 or 30 years. We’ve had people spend their whole working lives with us.”
What were the origins of Gulf Craft? How did it begin?
It came out of a desire to bring proper boats to the region. Prior to Gulf craft setting up, you would either be able to get a traditional wooden dhow, which were bigger and not meant for cruising, or you’d have to buy an imported boat. And if you can imagine, in the 1970s, importing a boat into this region was quite complicated and very costly. And so it started out from this idea with my father, his brothers, his friends, having a discussion about it, talking to different people that were working within the industry, then working together to establish this boat building business. The first boat that they built didn’t make it. The second boat they built didn’t make it. But eventually they learned how to make boats and the proper company was established in 1982. It took a few years for them to get their footing, and in the first 10 years they didn’t make a cent. But my father still had his government job, as did his partner, and they were basically paying employee salaries out of their government salaries until the company continued to grow organically. They started with small boats, run arounds, sports, fishing and things like that, and it just conti-
nued to grow and grow. They established in Ajman originally, and then in 2001 they opened in the Maldives, and there was always a push coming from the clientele to keep growing. Now we have around 1,400 employees and there are so many of them that have been in the company for upwards of 20 or 30 years. We’ve already had people spend their whole working life with us and then retire after 35 years, and which was great.
Sustainability is a huge theme throughout all industries in the modern world, maritime included — how is Gulf Craft responding to this challenge?
I think it’s important to be environmentally aware. People sometimes focus on the boats, which is great, but you have to keep in mind that it’s also a factory and you have to look across the entire range. How am I designing my factory? How am I designing my build process to minimise waste? How am I designing my factory to be more efficient and reduce the use of fuel? So what I’m doing at the factory level is one thing. And then you look at the boats themselves, and what we can do, engineering wise, to make sure
that we are designing more sustainably. In some of our boats we can now run the ‘hotel load’, which is the air conditioning, the refrigeration and so on, completely off the energy created from the sun. We are using more ecological materials within our interiors, and not using limited resources like natural marble. It’s not just about propulsion — that’s a small part of it, and there’s so much else that you can do. Generally speaking, our boats are composite which is already more ecologically friendly than the steel and aluminium boats that corrode and rust in the water. They’re lighter and require less fuel.
Despite having been established for so long, in which ways is Gulf Craft still growing?
It does continue to expand. Growth is many directional, you can grow by expanding your production facilities or by expanding your market, or in expanding your offering in terms of services and refit and charter. There’s so many different avenues. I think we’re still seeing a tremendous growth potential in the company, and we look forward to rolling out in all those different directions.
He’s the CEO of the watch salon that breathed new life into the concept of an horological exhibition. With Watches and Wonders back — bigger and better than ever — GMT GCC gets into the fine details with the man behind the plan, Matthieu Humair.
There’s no two ways about it — the world of horology is, by definition, exclusive. Limited in numbers, high in price and complex in nature, it’s almost as though the mystique of the world of watchmaking is deliberate. But that doesn’t stop watch fans everywhere — yes, even those without the big bucks needed to invest in the top-flight timepieces that are the stuff of dreams — wanting to get closer to the heart of the industry.
When home-turf watchmaking showcases such as the nowdefunct Baselworld began to falter it would have been easy for the big Swiss exhibits to disappear altogether, the dinosaurs of watchmaking giving way to the young and agile regional
and group-specific fairs such as Dubai Watch Week and LVMH Watch Week — which arguably take a tighter focus and have a more manageable size. But the hunger for a Swiss show never abated, and with the rebirth of the Salon International de la Haute Horlogerie as Watches and Wonders in 2022, the proof was in the pudding. However, it was clear that things still needed to change — and at last year’s salon, came the biggest change of all. For the first time, the general public made their way through Palexpo’s hallowed halls. One year on, and with Watches and Wonders 2024 poised for opening, GMT GCC caught up with the fair’s CEO Matthieu Humair to talk lessons learned and how the fair helps secure the future of watchmaking.
We are heading into the second edition of Watches & Wonders Geneva that invites members of the public into its hallowed halls — what did you learn from last year, and what changes can we expect this year?
In 2023, Watches and Wonders Geneva opened its doors for two days to the general public with its 12,000 tickets sold out before the weekend even started. We noticed a major interest from the younger generation, with 25 per cent of tickets sold to people under 25. This upcoming edition will mark a major move ahead as we open to the general public over three days for the first time. Innovation and the young generation will be at the centre of this ambitious programme, whether at the Salon — with a brand new LAB and a series of exclusive conferences in the Auditorium — and at In The City with the new Watchmaking Village which will host workshops, watchmaking experiences and a whole host of educational activities.
Speaking to some of the brands after last year’s event, they expressed that they’d been underprepared for the volume of
the response from the general public, and would be working towards accommodating more visitors and more ‘hands-on’ sessions in their stands — have you been involved with aiding brands in preparing for this year? What sort of measures are they taking?
Absolutely, given the very positive response from the general public, we have decided to adapt our programme and develop the experiential aspect even further. For the first time, visitors will have the opportunity to attend product presentations on-site. Some representatives of the Maisons will welcome groups of 10 to 15 people to present their latest creations and interact with watchmakers. The exhibiting brands have prepared innovative activations to offer unique and immersive experiences, ready to be discovered in their booths.
What plans are in place for the Watchmaking Village? What can we expect to see?
Given the very positive feedback of last year’s first edition we have decided to reinforce the In The City initiative with a newly-
designed programme. The main highlight for 2024 is the new Watchmaking Village at the heart of the City of Geneva which will welcome educational and cultural activities in line with watchmaking as well as our guided tours. It’s free and open to all. The objective is to reach out to the young generation, create new passion and share the beauty of our industry with them. The Thursday night will remain the peak moment, with a celebration on the riverside, live music and street performances. The heart of Geneva will be ticking loud to the rhythm of a watch movement!
What else is happening that’s new for 2024?
We will have 54 prestigious Maisons taking part of this upcoming edition, along with seven newcomers. A record number. The programme will be very immersive with lots of new activations at the Salon — with a striking photo exhibition, Timekeepers by Luc Debraine and a series of talks in the Auditorium — and In The City with free access to a complete and vast offering. Our goal is to offer the visitors an unforgettable and personalised experience in the world of watchmaking that can only be lived at Watches and Wonders Geneva.
“Watches and Wonders has the power to bring people together, to interact, to meet the entire industry and the watchmakers.”
“The main highlight for 2024 is the new Watchmaking Village at the heart of the City of Geneva which will welcome educational and cultural activities in line with watchmaking as well as our guided tours. It’s free and open to all.”
While Watches and Wonders continues to fill the gap left by the cessation of both the SIHH and Baselworld, other global salons seem to continue to grow in both scale and sophistication — Dubai Watch Week and the Doha Jewellery and Watch Exhibition included. What sets Watches and Wonders apart from the rest of the pack?
Watches and Wonders is the largest watchmaking event ever organised in Geneva. It is also the momentum for the industry where all the novelties are launched. A time for the public to discover the latest creations that are unveiled in Geneva during that week. A time for the most important players of the watchmaking industry to speak as one. More globally, the estimated reach of such an event is over 700 million people, which gives you an idea of the magnitude.
For you personally, how does it feel when you finally see the year’s preparations come to fruition during that very special week in April? Is it a week that you can relax and enjoy, or do you breathe a sigh of relief when it’s all over?
The most exciting time is right now, as we can measure the effort and all the hard work that has been put together throughout the year by all the key players, stakeholders, teams and partners. Watches and Wonders is a big teamwork and a time of celebration whether at the Salon or In The City. I enjoy every single moment of this beautiful week while always remaining focused on every single detail of this huge operation.
What about Watches and Wonders are you most looking forward to? What is usually a personal highlight for you? Watches and Wonders has the power to bring people together, to interact, to meet the entire industry and the watchmakers. Watches are about emotions and dreams. Every year, we welcome schools and young students to discover this beautiful industry. It is always very special for me to learn that some of these young visitors would like to become a watchmaker or start their career in the watchmaking industry after their visits to Watches and Wonders Geneva. This happens every year.
Watches & Wonders has always had a strong online presence, which was a necessary innovation for its pandemic-era launch. Does the online aspect continue to be important to the Salon? How has it grown and what aspects are new for this year?
Digital is a complete component of our physical events. Our hybrid concept has been designed to constantly be able to adapt to the changing context, by combining a physical salon with digital solutions that meet market expectations. For 2024, we have developed new features for the general public in order to offer unforgettable experiences. Interactions and physical gatherings remain essential, but with Watches and Wonders, wherever you are, you can enjoy the Geneva watchmaking momentum. I’d like for all watch lovers, including kids, to take the time from 13 to 15 of April to experience Watches and Wonders Geneva and learn about the beautiful know-how and crafts the watchmaking industry has. Get ready!.
With the unveiling of Dubai’s ultra-luxury waterfront destination, OMNIYAT is sharing its vision for the future –and it couldn’t be more spectacular.
In a completely reimagined approach to urban living, OMNIYAT is transforming Dubai’s Marasi Bay into an exclusive, ultra-luxury waterfront destination in the heart of the city. With a vision to curate an incomparable ecosystem for those who seek to elevate their lifestyles and experiences, the destination embodies the brand’s philosophy of empowering lifestyles by merging ultra-luxury with curated living.
With a collection of architectural masterpieces complemented by exclusive experiences coveted by global citizens the world over, Marasi Bay embodies OMNIYAT’s artistry and elevated lifestyle curation from single properties to a sophisticated and entirely exclusive enclave. GMT GCC takes a closer look at these enviable addresses, and the unique touches that make them so desirable.
OMNIYAT has brought Marasi Bay to centre stage in the world of hospitality with its introduction of Dorchester Collection’s first hotel in the region and their 10th worldwide: The Lana, Dorchester Collection, Dubai. Anchored in the heart of this waterfront haven, the 225-roomand-suite hotel is connected to 39 highly exclusive luxury residences, ensuring both residents and guests alike can experience the legendary hospitality that the iconic operator brings to every destination.
As Dorchester Collection’s most anticipated new opening, The Lana, Dorchester Collection, Dubai has already welcomed its first dining and overnight guests, inviting them to experience refined luxury in an architectural statement designed by Foster + Partners. The hotel’s sophisticated interiors are designed by the famed Pari-
sian duo Gilles & Boissier, blending traditional and contemporary touches inspired by the spirit of Dubai. It also features a carefully curated section of more than 50 art pieces by local and global artists, and four of eight new dining concepts crafted with three of the world’s most celebrated chefs: Jara by Martin Berasategui, Riviera by Jean Imbert, High Society by Jean Imbert and BonBon Café by Angelo Musa.
Bringing a pioneering new era of dining to Downtown Dubai, underpinned by Dorchester Collection’s heartfelt hospitality, The Lana represents an ultimate expression of trusted hospitality and bespoke living that will contribute to Marasi Bay’s transformation into an acclaimed, ultra-luxury destination. The hotel also promises to open the UAE’s very first Dior Spa very soon.
Inspired by the success of The Lana, Dorchester Collection, Dubai, OMNIYAT recently unveiled its sister properties: VELA, Dorchester Collection, Dubai and VELA VIENTO, Dorchester Collection, Dubai. The two architectural masterpieces embody the same design as The Lana and are connected by the Marasi Bay Waterfront Promenade. VELA and VELA VIENTO are part of a trifecta that brings to life an urban waterfront living experience previously unseen in Dubai.
The ultra-luxury properties feature floor-to-ceiling windows, expansive wraparound terraces and private pools overlooking majestic views, as well as unique, exclusive offerings that include VELA’s five-bedroom Sky Palace and VELA VIENTO’s Celestial Penthouses, as well as the Skybridge Duplexes with unique ‘hanging’ dining rooms. Each of these masterpieces embraces the spirit and freedom of waterfront living with masterful designs and the added ease of exceptional five-star service and amenities — all executed with undeniable glamour.
OMNIYAT’s Marasi Bay Marina is shaping up to be an address worthy of global acclaim, enabling the creation of an inspiring destination, led by a vision to redefine and elevate the experience of ultra-luxury living.
Breitling’s Aerospace B70 Orbiter lifts us higher, celebrating the anniversary of a truly lofty achievement.
or one of watchmaking’s most historic brands, what’s most remarkable about Breitling is its ability to always keep looking and pushing forward. Instead of wallowing in its heritage, Breitling celebrates it, honours it, and then turns to face the future.
This year is no different — it’s a double celebration, marking 140 years since the Maison was founded in 1884, as well as being the 25th anniversary of the world’s first non-stop circumnavigation of the globe in a balloon, a remarkable feat achieved in the Breitling Orbiter 3 in 1999.
Naturally, this is cause for a special way of marking the occasion — enter the Breitling Aerospace B70 Orbiter. With its bright orange colour scheme echoing the livery of the original Orbiter balloon and coming with a titanium bracelet or black rubber strap, this is as hardy and durable a timepiece as to be expected from this adventure-loving watchmaker. But the main point of interest lies within the case, visible through the transparent caseback: an original segment of the history-making Breitling Orbiter 3 balloon.
“Since the birth of aviation, Breitling has been there for all those who looked to the sky and
TECH SPECS
Breitling Aerospace B70 Orbiter
Calibre: Breitling Manufacture Caliber B70
Power reserve: Approx. 2 years battery life
Functions: Chronograph, countdown timer, GMT, alarm, digital calendar
Case material: Titanium
Diameter: 43mm
Water resistance: Up to 10 bar
Strap: Titanium bracelet or black rubber strap
dared to dream” said Breitling CEO Georges Kern at the launch of the timepiece. “As we honour the pioneering spirit of the Orbiter 3 mission, we reaffirm our commitment to being at the forefront of aviation’s future. The skies have no limit, and neither do we.”
Indeed, the spirit of Breitling has always had one eye on the sky, with the Maison’s interest in flight gathering pace in the 1930s with the introduction of its Huit Aviation division, developing military-standard chronographs and cockpit instruments. The Navitimer chronograph with its computational slide rule — perfectly suited to commercial airline crews — went on earn Breitling the reputation of being ‘the official supplier to the world of aviation’, and the brand’s Professional line still serves pilots in the most extreme conditions to date.
Someone with personal experience of the aeronautical capabilities of Breitling’s timepieces is Swiss explorer, psychiatrist and environmentalist Bertrand Piccard who, along with English balloonist Brian Jones, piloted the Orbiter 3 to a safe landing in the Egyptian desert. Having worn a series of Breitling Professional watches during his daring escapades from then until today — including the Emergency model which includes a distress beacon and the multifunctional Aerospace one of his biggest achievements remains the landmark Breitling-sponsored circumnavigation.
“Twenty-five years is a generation, but those 20 days were so intense, I remember every aspect of the flight like it was yesterday,” said Piccard. “It was not only about flying around the world; it was about showing that we can achieve much more than we think. Now,
as then, we need to be able to dream big. To get out of our comfort zone. To be disruptive. When you apply this thinking to any topic, you can change the world.”
So what features does the Aerospace B70 Orbiter have to offer — and are they enough to change the world? Perhaps we won’t go quite that far, but it’s still a most interesting, attractive and multifunctional timepiece. In addition to the piece of the historic aircraft embedded in the caseback, its commemorative inscription and the Breitling Orbiter 3 mission logo on the dial at three o’ clock, its features go beyond the commemorative. The new COSC-certified Breitling Manufacture Caliber B70, a thermo-compensated SuperQuartz analogue and digital combo, powers the watch – resulting in a digital display coupled with
an analogue movement that’s 10 times more accurate than a standard quartz. With features including a 1/100th of a second chronograph with split-time and flyback functions, a countdown timer, a second timezone, two alarms, a lap function and a perpetual calendar, this is a do-it-all timepiece ideally suited for life on the edge.
With the timepiece being released exactly 25 years to the day that the Breitling Orbiter 3 touched down on the soft desert dunes after completing its non-stop circumnavigation, it’s a sweetly nostalgic touch to the story of this commemorative watch. But make no mistake, nothing about the Aerospace B70 Orbiter is backwards-looking — quite the opposite. Once again with its eye to the heavens, Breitling is launching yet another vehicle for adventure. We have lift-off.
RACHEL SILVESTRI
GMT GCC meets the Damiani Group’s charismatic chief, part of the sibling trio that runs this impressive family-owned jewellery empire, to talk Italian design, living in Dubai and what the Maison’s 100th anniversary holds in store…
As renowned Italian jewellery house Damiani casually completes a century of creation, it’s business as usual for the group’s Dubai-based president Guido Damiani. A family company in the truest sense, Guido is the third generation of Damianis to head up the empire, and arguably the most successful yet.
The Damiani story began with grandfather Enrico, who opened up his jewellery business in the sleepy Piemontese goldsmithing city of Valenza Po in 1924 — strategically located at the centre of the triangle formed by Milan, Genoa and Turin. An uncommonly talented goldsmith, Enrico’s fame soon spread to the region’s upper crust and before long northern Italy’s great families were turning to him for their unique pieces. When his son
Damiano, born in 1934, came of age, he set about modernising his father’s business by expanding manufacturing capabilities and commercial reach, gaining visibility due to revolutionary ideas such as producing catalogues of the Maison’s collections and giving price guarantees.
The third generation of Damianis entered the business in the early 1990s — Damiano’s children Silvia, Giorgio and Guido had learned the family trade since childhood, and so were prepared to keep it going after their father’s unfortunate and untimely death in 1996. With Silvia already in charge of the purchasing of pearls and the company’s communications, Giorgio heading up exports and Guido having worked in Tel Aviv with diamond graders from the world’s biggest jewellery houses before becoming Damiani’s Italian sales
manager in 1994, the trio would have to take the helm of the company earlier than expected and in tragic circumstances — but their strength as a family first and foremost was never in doubt.
In the 2000s Damiani’s fame spread internationally. Listed on the Milan Stock Exchange as one of the most prestigious ‘Made in Italy’ companies in 2007, under the stewardship of vice-presidents Silvia and Giorgio and president Guido, Damiani has become the household name it is today. A century of achievements, tragedies, and the ultimate triumph of family values over adversity has seen this smalltown Italian success story go global. GMT GCC met with Guido Damiani to hear more about his family’s incredible journey, and what we can expect from the next 100 years of Damiani creation.
“Here at Damiani, we push the boundaries of traditional jewellery design by innovating our craftsmanship in unique and experimental ways.”
Damiani turns 100 this year — it’s a milestone most Maisons never reach. How will the company mark this serendipitous occasion?
We have several key and exciting initiatives to mark this important occasion. It’s an emotional year for us. The celebrations will officially start in March in Milan, with a special exhibition that will tell our history, and will showcase some special jewels, especially crafted to mark our anniversary: all high jewellery pieces, with special stones that we have carefully researched and selected, to offer something really special to the public. The exhibition will be hosted by Gallerie d’Italia, one of the most prestigious museums in Milan based in Piazza della Scala, and it will be open to the public from 19 March to 28 April, so we encourage all your readers to visit it if they come to Milan. Following the exhibition, there will be an exclusive gala dinner in
Milan, with many international friends of the brand and celebrities. But this is just the beginning! Throughout the years we are planning local celebration events and exhibitions in our key markets. Let’s say it will be a really busy year, but we will cherish every moment of it and we will make sure it’s remembered for a long time.
As President, you’re a custodian for a business steeped in tradition but defined by its modernity; how do you see your role as guardian of Damiani’s unique brand proposition?
As my siblings and I always say, Damiani is not simply the name of our brand: it is first of all our last name, that of our father and our grandfather, and most importanly, our children’s last name. This carries a big responsibility, because it means that we have legacy and values to protect. Among other things, Damiani stands for family,
Italian-ness, quality and authenticity. My role is to protect these values, while further expanding the brand worldwide and evolving, to make sure that Damiani stays relevant forever, without compromising our integrity.
Growing up immersed in the family business has given you a unique and irreplaceable perspective on jewellery and the industry from an insider perspective. How do you think the industry has changed in the century since Damiani was founded?
The industry has witnessed notable changes when it comes to consumer preferences as well as companies’ structures. From a consumer perspective, clients now prefer more and more branded jewels, compared to unbranded jewels. It was not like that in the past. Consumers now understand that renowned brands are more reli-
able and more desirable. Behind a brand there is a system of values, as well as an implicit guarantee of quality. For fashion and clothing, this shift happened long ago. With jewels, we are experiencing it now. I also notice that more and more men now buy jewels for themselves. Women are still our main consumers, but the men’s jewellery trend is increasing fast.
On a company level, we have assisted in the creation of huge conglomerates with massive investment power. Nevertheless, we are a private group, one of the few international jewellery brands still owned by the founding family and we are proud of it. We are doing great things, and we plan to expand more and more, without compromising our integrity.
Which personally are your favourite collections and why?
Each Damiani collection holds a special place in my heart, with each one crafted with passion and skill. Every collection exemplifies Dami-
ani’s timeless elegance and craftsmanship, and reflects our commitment to providing only the highest quality jewellery with impeccable aesthetics and design that resonates with our client’s values and aspirations. Surely I can mention our iconic collections, which carry a long history: Margherita and Belle Epoque, inspired by the original designs of my grandfather, or the Mimosa collection… But I cannot forget to mention the new Belle Epoque Reel: rings and pendants present a central mechanism that rotates on itself and comes to life. It’s so playful and fresh, something that younger customers, both male and female, are appreciating a lot.
Italy and Italian design has such strong connotations around the world. What are some of your favourite Italian craft traditions as expressed through Damiani’s pieces? Surely the craft traditions that lay behind our master goldsmiths are my favourite! We were born and raised in Valenza, a small Italian city
that is specialised in the art of goldsmithing and that is the most important high jewellery in the world. Now all the major jewel conglomerates are moving their production facilities to Valenza, but Damiani, as a brand and as a family, was born there. We have been raised surrounded by the beauty of this art, this is why I can say that this art and this business is in our DNA. Our manufacture is still in Valenza, the production is supervised by my brother Giorgio. It’s important for us to protect this territory and the goldsmith’s art, in fact many years ago we founded the Damiani Academy: a school, within our facilities, with special free courses for people who wants to master this particular form of craftsmanship.
Where do Damiani craftspeople and artisans look to for inspiration?
They draw inspiration from history, nature, architecture and visual arts, and directly from the women who wear our designs. We incorporate timelessness in our pieces, showcasing the beauty of the contemporary mixed with elements from vibrant traditions of times past. We always try to incorporate a striking and strong visual flair that’s unique and completely breathtaking.
In terms of aesthetic, which collection has been the most experimental? Here at Damiani, we push the boundaries of traditional jewellery design by innovating our craftsmanship in unique and experimental ways. One collection that I have already mentioned is Belle Epoque Reel, with its rotating mechanism, which is the core element of rings and necklaces. I think this central mechanism is something pretty interesting and innovative. In terms of construction, I believe that the Mimosa collection is also really innovative: the precious stones are set, just like the Mimosa flower, to create a precious sense of ‘apparent chaos’, a design that magnifies the jewel’s three-dimensionality and enhances its dazzling brightness. From apparent chaos to meticulous order: there is an accurate study of proportions and balance in these pieces.
A sustainable and ethical sourcing journey has become increasingly important in the world of fine jewellery — how does Damiani share this side of the brand with its audience and what are some of the key steps it takes to ensure its credentials as an ethical brand are upheld? Damiani is committed to ethical and sustainable practices. We strive to ensure
responsible sourcing of materials, promoting awareness about ethical jewellery practices. For example, we carefully select our suppliers from a small group of companies that respect the Kimberley Process, an international initiative aimed at ensuring that the profits obtained from the diamond trade do not contribute to financing civil wars. We have also established a system of guarantees to ensure that industry operators continue to certify the origin of diamonds throughout the supply chain with a declaration of conformity. But there is more, we fight the exploitation of child labour and demand that our suppliers never involve children to procure the raw materials used in the creation and production of jewels. And all our suppliers have to agree with our Conduct Code.
Your customer base in the Middle East comprises many discerning men and women; what do your clients here look for when buying jewellery?
Discerning clients in the Middle East appreciate the combination of timeless elegance and contemporary flair in our jewellery. They often look for pieces that make a statement while reflecting their sophisticated individual style. The cultural significance of jewellery is also essential, with a
preference for designs that hold sentimental value and complement traditional attire.
What do you and your family enjoy doing when not working together?
We live in different cities; I’m in Dubai, my sister Silvia lives in Lugano, Switzerland, my brother Giorgio lives in Valenza. We are always connected for work, but whenever possible, we find time to meet and reunite our families. Then, each of us has our own special ways to spend free time. Something that we have in common: we love to travel, discover new realities… Our work helps us a lot in this sense! Damiani is a global brand, so we get to visit all our markets and get close to other people’s cultures. We enjoy mixing work and fun, and that’s the best part of our job!
How do you find inspiration for the brand yourself? What are some of your passions outside jewellery?
Inspiration comes from everything: travels, art, music or simply watching other people living their lives, especially women… I’m a keen observer, I think it’s fundamental in this business
Why have you chosen to make Dubai a home for you and your young family? What is it about the emirate that first attracted you, and kept you here?
Dubai’s diverse culture, dynamic environment and great, friendly people attracted me to the country. I find that Dubai is a heaven that blends cultural tradition and commitment to innovation and it’s a safe place, which is important when you have kids. Like the beach and the sun. Moreover, it’s a strategic location that connects me with our partners and clients more quickly and efficiently.
What growth opportunities do you see for your business in the region?
There are many potential growth opportunities for Damiani in the Middle East. People here appreciate quality, art, culture and authenticity. Damiani is all this and much more! We have many exciting expansion plans for the area this year, with many new store openings planned soon: we are going to open new stores in Kuwait, in Qatar, in Bahrain, in Saudi Arabia and in the UAE as well in the next few months. You’ll be seeing us very soon!
TEXT: BRICE LECHEVALIER
PHOTOS: SÉBASTIEN AUBORD
88 TRENDS
The success trilogy
94 EDITORS’ PICKS
Twelve sweet treats from Dubai
96 INTERVIEWS
What’s different about this watch event?
Awhole dossier on Dubai Watch Week? It has to be seen to be believed. Held for the sixth time in the heart of the Dubai International Financial Centre, the annual happening is not only incomparable and unique, but has also established itself as the world’s second-largest watchmaking event behind Watches and Wonders Geneva. Each new addition draws more exhibitors spread over a larger area as well as more from more countries the world over. It reflects not only the region’s commercial dynamism, but also Dubai’s global ambitions in terms of economic attractiveness, along with the accompanying pragmatism demonstrated in recent years. Dubai Watch Week’s prowess also lies in its ability to maintain the same warm and friendly atmosphere as in its early days, when it presented 14 brands in a few showcases in the Opera Gallery. Exhibitors and visitors alike are unanimously won over by the family spirit preserved by the organizers (the Seddiqi family, the largest retailer in the United Arab Emirates) and embodied in the show’ s ergonomic layout. Resembling an amphitheater with a central pavilion and a dozen pop-up areas, all surrounded by terraces, boutiques, galleries and restaurants, Dubai Watch Week combines its cultural and educational dimension (embedded in its DNA) with a lifestyle experience that most brands and their clients are looking for. So much so that some tour operators are now offering it as a destination! With over 50 brands this time (along with as many CEOs) and 23,000 visitors from every continent, the week generated some fabulous stories. Our team had six people on hand to capture them. Here are a few, with many more to be discovered on our WorldTempus website.
BRICE LECHEVALIER
True to its initial spirit, which positioned it as a platform for exchanges that has inspired many of its watchmaking counterparts, DWW offered a generous schedule of events with a succession of workshops, debates and presentations held daily in the Collectors’ Lounge, Creative Hub and Forums. Discussions continued under the shade of the palm trees in the numerous relaxation areas available, ideal for further encounters and providing even more networking opportunities. At the end of each day, cocktails, collectors’ dinners and parties extended this virtuous circle amid Dubai’s bright lights, mild autumn weather and dynamic atmosphere. From small-scale artisans to the global giant with the crown logo, the 50 exhibitors invited by Seddiqi & Sons (the key retailer behind DWW) put on a stunning show featuring three different styles.
Why go local when you can go global? A good quarter of DWW’s exhibitors used their participation in this flagship event as a springboard for global launches. Among the most sought-after independent brands, H. Moser & Cie. chose DWW to unveil its magnificent new Streamliner Small Seconds collection, featuring a diameter synonymous with a broader clientele. On a different note, Frederique Constant (FC) was one of the few brands to launch two world firsts, highlighting the breadth of its range on the occasion of its 35th anniversary: the Tourbillon Perpetual Calendar Manufacture in the Highlife collection, as well as a Highlife tandem with its ambassador The Avener. The producer and DJ was on hand for the occasion (his video interview is available on WorldTempus), taking to the decks to make the FC evening one of the week’s most memorable. Watch lovers were also delighted by the diversity of brands and the models they unveiled on site, notably including Armin Strom, ArtyA, Breitling, Ferdinand Berthoud, Greubel Forsey, Oris and Ulysse Nardin.
The influence and importance of DWW and its organiser are also demonstrated by the number of brands that have created a special series for its market, whether Hublot with 50 ladies’ and men’s pairs of Classic Fusion watches in the colors of a local artist; or Carl F. Bucherer, which has designed two one-of-a-kind Haute Horlogerie models. In most instances, these involved a few dozen timepieces with dials featuring distinctive motifs, as in the case of Speake Marin or Reservoir; or 10 monochrome examples in the case of Bovet or De Bethune. In instances where a brand’s history has long been linked to that of the Seddiqi family, the launch benefits from special staging in which Mohammed Seddiqi is personally involved as Sales Director. Witness Doxa, which was first imported 50 years ago by previous generations; or Gerald Charles, as the Seddiqis were personally acquainted acquainted with father of the young CEO Federico Ziviani, who relaunched the brand in 2020. Generally speaking, a sense of family and entrepreneurship are values highly prized by the Seddiqis, whose third-generation representative Hind Seddiqi is indeed at the head of DWW.
Outside the central pavilion, where some 40 brands were to be found at small, uniform booths, some of the big names had chosen to exhibit their own worlds in much larger spaces. Here, visitors were guided through the brand and its products along with corresponding explanations, often organised by theme: the first Haute Horlogerie exhibition for Chanel, Daytona for Rolex, sport for Tudor, innovation for Audemars Piguet, Freak for Ulysse Nardin, the art of living for Chopard and Girard-Perregaux, along with the main collections for Bulgari and Hublot. To mark its first participation, Van Cleef & Arpels had built the most impressive booth at DWW to house its concept of a travelling exhibition recreating a miniature Paris and its famous Pont des Amoureux (Love Lock Bridge). Christie’s, meanwhile, exhibited 150 watches from its promising Oak Collection sale. Above and beyond the impact in terms of image, hosting guests in their own pavilion enabled them to promote closer ties by offering refreshments and a chance to linger. The Audemars Piguet stand was undoubtedly the most appealing of all and regularly drew long queues at its entrance, with a peak of 2,600 visits on day two of DWW.
DWW’s current dilemma lies in the limitations of its current location, which is now jam-packed yet so very pleasant. Would further growth mean moving, at the risk of losing its precious conviviality?
CAMILLE POUPION
To celebrate its partnership with Ahmed Seddiqi & Sons, Doxa unveils a limited series and for the first time introduces a magnificent dial in natural mother-of-pearl whose blue tinge recalls the ocean depths. This edition picks up the aesthetic codes of the iconic SUB 300T diver’s model, while featuring a slimmer design. Impeccably elegant even twenty thousand leagues under the sea.
This 18th Manufacture calibre embodies the Maison’s technical and aesthetic expertise. Its cushion-shaped steel case is inspired by the curves of the first highspeed trains of the 1920s and 30s. Its reworked design features tauter lines, while its Grand Feu enamel dial reinterprets the brand’s famous signature fumé gradient in a handcrafted, artistic style.
Speake Marin enriches its Ripples collection with this new variation that invites wearers to a peaceful getaway, nestled in the heart of a bustling metropolis.
The ‘La City’ case, a reference to London’s financial district and emblematic of the Ripples collection, is in this instance complemented by a metallic green dial, a nod to the capital’s famous Sky Garden.
Chronometer-certified and bearing the ‘Poinçon de Genève’ quality hallmark, this limited series chimes the passing hours on its Chopard-patented monobloc sapphire crystal gong. Its 40mm case in ethical white gold frames a grey-green solid gold dial adorned with a hand-guilloché honeycomb motif.
A veritable visual feast, the Lili Candy White Gold takes us on a whirlwind of colours with sweet and tangy notes. Beauregard’s Lili Candy White Gold features a diamond-set dial and a host of precious stones, all nestled in a white gold case enriched with 500 palladium. A delectably elegant timepiece!
A true watchmaking jewel, this new creation is adorned in yellow gold with a delicate guilloché pattern. In the grand tradition of secret watches, its guilloché white mother-of-pearl dial is revealed by simultaneously pressing the gold motifs. The bracelet’s supple, handassembled links resemble a finely woven fabric, recalling the world of couture so dear to the Maison. Definitely enough to arouse curiosity!
Green takes centre stage on the Côtes de Genèvedecorated dial of this creation, as much for the richness of its meanings in Eastern culture as for the natural elegance it exudes. The unique interpretation of time, with a digital display and a triple linear calendar, endows this manually-wound timepiece with its singular character.
Awarded the Chronometry Prize at GPHG 2023, the Chronomètre FB 3SPC celebrates its first anniversary in a 42mm white gold case, housing a black and anthracite movement and enhanced with gilded hands. The brand once again demonstrates its continuing quest for excellence in timekeeping.
Issued in a 12-piece edition, this 45 mm anthracite-grey chronograph captivates the gaze with its blue accents adorning the hour-markers and subdials. Inspired by the colors of Dubai, it features a dial offering a stunning window into its inner workings, as well as a blue sapphire caseback depicting the famous Dubai skyline. A veritable travel invitation!
Carl F. Bucherer presents a one-of-a-kind timepiece whose design is inspired by the ultra-modern lifestyle of Dubai. The Manero Tourbillon Double Peripheral ‘Green Paradise‘ is presented in full colour with a sunburst dial in deep green conveying powerful cultural resonance in the Middle East. The sparkling show continues with 40 baguette-cut tsavorites, sapphires and rubies on the bezel.
The mesmerising dial of the new Oris Propilot x Calibre 400 Laser immerses the observer into magnificent shades of blue, yet not a single drop of pigment has been used. The Maison has tested an innovative lasering technique, used for the first time in watchmaking, to achieve this color gradient created by reflected light and aimed at reproducing the wonders of nature. Truly stunning!
Breitling updates the Avenger and promises to make it invincible. This new 44mm chronograph draws its strength from the Manufacture Breitling Caliber 01 and features a new design focused on lightness and robustness. With its green dial, steel rotating bezel and new square pushers, it flaunts a bold look combined with peerless strength.
BRICE LECHEVALIER
Among all the events held around the world as part of the watch industry calendar, Dubai Watch Week has found a tone of its own. We asked seven CEOs what sets it apart from other watch shows.
President Watch and Fine Jewellery Chanel
How do you think Dubai Watch Week differs from other watchmaking events?
“With its unique spirit celebrating the views, vision and trends of today’s and tomorrow’s international watch industry, DWW has become a major influential event in the watchmaking calendar and we are particularly proud to be invited to participate for the first time.
“As far as we’re concerned, DWW was a special time involving presentations, contacts and exchanges revolving around our singular approach to watchmaking, which goes beyond the creation of time-measuring instruments to focus instead on magnifying allure and style. The DWW will be an opportunity to discover or rediscover our latest creations, including Calibre 5, a Fine Watchmaking movement stemming from collaboration between the Chanel Watchmaking Design Studio headed by Arnaud Chastaingt and the Chanel Watch Manufacture; as well as our Artistic Crafts collections, which passionately express the creativity and excellence of Chanel Fine Watchmaking.”
François Moreau CEO and Founder Reservoir
How do you think Dubai Watch Week differs from other watchmaking events?
“I’m delighted to be back at Dubai Watch Week, which is undeniably one of the world’s leading watch fairs. It’s a key event thanks to its regional and increasingly international reach, reflecting the image of Dubai, which has considerably developed its position in the world of watchmaking, making it one of today’s key hubs.
Remarkably well thought-out and organised, this show turns the spotlight firmly on the major Maisons, while leaving particularly welldesigned spaces for independent brands, enabling us and the team to meet the market in a relaxed yet highly professional atmosphere. The event attracts considerable numbers of discerning visitors, demonstrating that the region’s watch enthusiasts are becoming increasingly sophisticated connoisseurs of timepieces and complications.
Our only regret is that there are only 24 hours in a day — and that this show only takes place every two years…”
Niels Eggerding CEO Frederique Constant
How do you think Dubai Watch Week differs from other watchmaking events?
“Dubai Watch Week is globally significant and uniquely hosted by the Seddiqi family, our local distributor. Their key role in distribution and expansive retail network reflect their watch industry passion. The show unites brands, retailers, distributors, journalists and collectors from around the world. Set in the vibrant city of Dubai at this specific moment in the year, it boasts an unmatched atmosphere and offers a unique opportunity for meaningful interactions. Our presence at Dubai Watch Week is a source of great excitement for us.”
Claude Greisler Owner and Director Armin Strom
How do you think Dubai Watch Week differs from other watchmaking events?
With Dubai Watch Week’s focus on know-how transfer, it has a spirit and an energy that distinguish it from our industry’s other events. The exhibitions are always excellent but the real excitement comes from the panels, the Master Classes, as well as the amazing networking opportunities. The DWW also offers Armin Strom — with its focus on the ‘Science of Movement’ — an ideal platform for the launch of great new products, like our Tribute 1 Fumé. The chance to interact with a particularly well-informed international audience — including collectors, the media and even our competitors — is priceless.”
CEO Audemars Piguet
How do you think Dubai Watch Week differs from other watchmaking events?
“The Seddiqi family has done a great deal for the watch industry as a whole and Dubai Watch Week is a perfect example of this contribution. It’s always a pleasure to attend and has become an essential fixture in the watchmaking year.”
Benjamin Arabov CEO Jacob & Co.
How do you think Dubai Watch Week differs from other watchmaking events?
“Dubai is definitely a major, strategic market for us. We have recently reopened our redesigned boutique in The Dubai Mall. Our double-digit growth, our relentless cre ativity and our drive to innovate all find a very focused and affectionate audience here. Dubai Watch Week is a great platform for us to showcase our brand identity and our exciting new launches. The unique setup, the venue and the programme give us ample room and time for shar ing with dedicated watch lovers and collectors. We love to engage with the large crowd of people who want to know us better. We like to get up close and personal.”
With the launch of the SUB 300β Seddiqi Edition 2023 dive watch late last year, DOXA secured its place as an essential for regional lovers of maritime timepieces. GMT GCC shoots the breeze with the brand’s CEO Jan Edöcs to learn more about these temptingly accessible wristpieces.
It’s a fitting tribute to the cultural heritage of Dubai — once principally known as a pearl-diving hub, DOXA’s choice to launch its first natural mother-of-pearlfaced timepiece in tribute to the city speaks volumes about the Maison’s deep understanding of the region. As the second SUBβ that the brand has released — the first came out in Geneva last September — it’s an exciting addition to the DOXA repertoire, especially considering the timepiece’s slimline profile that loses none of the original SUB 300’s technical prowess and hardy charm. With DOXA principally known as a specialist in diving watches, this is sure to be a favourite of watersports fanatics in Dubai and beyond. Here, GMT GCC catches up with DOXA’s CEO Jan Edöcs to find out all about the brand’s history, heritage and innovation.
GMT GCC: DOXA’s diving heritage is richly storied and for connoisseurs of this category, a DOXA presents an accessible opportunity to own a representation of horological and diving history. Why do you think diving watches in particular retain such allure to watch lovers?
Jan Edocs: Diving watches captivate watch enthusiasts due to their rich history intertwined with underwater exploration. These timepieces not only boast technical prowess, such as water resistance, but also combine rugged aesthetics with everyday wearability. The association with adventure and exploration, coupled with a sense of exclusivity through limited editions, adds an ‘explorer’ and ‘modern adventurer’ allure. Diving watches symbolise our human connection to maritime heritage, making them more than mere timekeeping devices. The stories and traditions they carry, along with their collectible nature, contribute to their timeless appeal, offering enthusiasts a tangible link to horological and diving history.
In 1967, the DOXA Sub became the first diving watch to be made readily available to the general public and a love affair was born — what about DOXA has endured through the subsequent decades, and why is the brand enjoying such renewed popularity?
DOXA’s enduring appeal lies in its pioneering role, being the first to offer truly ‘mainstream’ professional diving watch in 1967. The radical innovations it introduced at the time quickly made it the benchmark for professionals, too. Water-resistant to 30 ATM (equivalent to 300 meters, just over 984 feet), it was the first to have a unidirectionally rotating bezel with dive time and depth indications for ascending back to the surface without decompression stops. The brand’s commitment to quality, durability and innovative design has stood the test of time. The iconic DOXA SUB, with its distinctive orange dial, has become a symbol of reliability and adventure. In recent years, a resurgence in vin-
tage aesthetics has catapulted DOXA into new popularity. The brand’s ability to blend its historic significance with contemporary trends has attracted a new generation of watch enthusiasts, creating a timeless legacy that continues to capture hearts across the decades.
As a custodian for a brand with a great heritage, how do you ensure a faithful balance between modernity, relevance and authenticity to the roots?
DOXA has always believed in gradually, carefully improving and expanding on its diving watches. Maintaining a faithful balance between modernity, relevance and authenticity to the roots involves a delicate approach. Firstly, it’s essential to respect the brand’s historical identity, preserving key elements that define its heritage. Simultaneously, integrating modern technologies and design trends ensures relevance in today’s market. Collaborations or limited editions can provide a contemporary twist — such as the limited edition for our partner in Dubai Seddiqi & Sons, featuring for the first time a mother-of-pearl dial — while staying true to the brand’s essence. Engaging with the brand’s community and listening to customer feedback helps gauge evolving preferences, aiding in the creation of products that resonate with a modern audience. The unveiling this year of the SUB 300β is a good example of our mindset. Transparency about the brand’s heritage and commitment to quality
fosters authenticity, building trust with customers who value both tradition and innovation. Regularly revisiting and revitalising classic designs keeps the brand fresh while upholding its timeless appeal.
How are you speaking to a new generation of watch buyers?
Engaging the new generation involves leveraging digital platforms and social media to create a dynamic online presence. Utilising partnerships with credible figures in the diving and brand’s history space, such as the Swiss Army or Clive Cussler’s family, helps increase credibility and visibility among younger audiences who are always looking for real stories and to know more about the history of DOXA. Limited editions, collaborations and interactive online experiences cater to the desire for authenticity. Embracing e-commerce and ensuring a seamless online shopping experience caters to the preferences of techsavvy younger clientele as well. Additionally, transparent storytelling about the brand’s heritage and craftsmanship fosters a connection with the authenticity that newer generations often seek. A good example is the latest special edition, the SUB 300β with a navy blue mother-of-pearl dial that we recently created in collaboration with Seddiqi & Sons in Dubai. We can now introduce this type of product, special and different, because we remain faithful to the DOXA codes while at the same time cultivating an evolution that is necessary and vital for the brand.
TECH SPECS
SUB 300β Seddiqi Edition 2023
Reference
830.10.211.10-SE4
Limited Edition: 50 pieces
Movement
Swiss mechanical automatic movement, 3 hands
Power reserve: 38 hours
Frequency: 28,800 vibrations per hour (4 Hz)
Case
316L stainless steel case
Diameter: 42.50mm x 44.50mm
Height: 11.95 mm
Crystal: Flat sapphire crystal with anti-reflective coating
Screw-down crown
Water resistance: 30 ATM, equivalent to 300 metres
Dial
Natural mother-of-pearl, tinted blue
Hour, minute and second hands, highlighted with Super-LumiNova luminescent material
Painted minute track, white
Display
Hours, minutes, seconds/date
Strap
Two bracelets included: 316L stainless steel ‘Beads of Rice’ bracelet and white FKM rubber strap
Folding clasp with ratcheting with wetsuit extension
Price
Dhs11,750
As CEO, what have been your most significant contributions to the DOXA story?
I would humbly but proudly highlight that my most significant contribution to the DOXA story has been having the courage to exclusively focus on the SUB concept four years ago and bringing it back into the spotlight, embracing its fantastic heritage. We meticulously restructured our collections, evolving the SUB concept while remaining true to what has defined DOXA’s reputation. This decision wouldn’t have been possible without the unwavering support of the Swiss Jenny family, longstanding owners of the brand.
Concentrating solely on the SUB required courage and audacity, but I believed it was the right direction, and DOXA’s current position validates that conviction. Our reconnection with great global partners such as the Seddiqi family in Dubai gives us the right signal. We’re so happy to be working with them again. They’re the best in the region and we’re working together to take the brand to a new unexpected level, revitalising the brand and contributing to its magnificent growth today.
Why do you think your customers find the idea of adventure so interesting?
In today’s fast-paced world, customers are drawn to the idea of adventure as it offers an escape from routine, a chance to embrace the unknown, and a break from the digital monotony. Adventure represents a pursuit of self-discovery, pushing boundaries and creating lasting memories. It provides a tangible and
fulfilling experience in contrast to virtual engagements. Moreover, the modern customer seeks authenticity and thrives on unique, memorable moments, making the concept of adventure inherently appealing. In a world inundated with technology, the allure of genuine, real-world experiences resonates strongly, driving the enduring fascination with adventure among our clients and aficionados.
How is innovation encouraged and developed at DOXA, and how do you as CEO ensure experimentation and evolution?
At DOXA, innovation is actively encouraged and nurtured through a multi-faceted approach. We foster a culture that values creativity, open communication and cross-functional collaboration. Regular brainstorming sessions and idea-sharing forums empower our team members to contribute innovative concepts. As CEO, I ensure experimentation and evolution by dedicating resources to research and development, allowing for the exploration of cutting-edge technologies and design concepts.
We prioritise continuous learning and skill development, encouraging employees to stay abreast of industry trends. Additionally, strategic partnerships with tech innovators and design experts provide fresh perspectives and insights. By promoting a risk-tolerant environment, we inspire our team to push boundaries and challenge the status quo. This commitment to fostering innovation positions DOXA at the forefront of the industry, driving continuous improvement and ensuring our products remain at the forefront of our market segment.
MARIE DE PIMODAN
It’s known for its many nationalities, from French to Chinese to American. The Tank is also appreciated in many forms. A wealth of faces and styles for this protean watch creation offering a timeless expression of Cartier’s stylistic vocabulary.
The story of the Tank began in 1917 under the impetus of Louis Cartier. As history would later confirm, the man was a visionary who had already demonstrated his talent. A few years earlier, in 1904, he had brought to life the Santos watch, arguably the first modern wristwatch. Around 1906, he experimented with other shapes, inventing the Tortue watch and the Tonneau model. Then in 1912 came the turn of the Baignoire watch with its perfect oval shape. These daring iterations made their mark on the history of watchmaking design and found their way through the 20th century with undiminished panache.
The Tank holds a special place in the realm of ‘form’ (speciallyshaped) watches. So what inspired it? The story goes that Louis Cartier discovered illustrations of British tanks in the aftermath of the Battle of the Somme, one of the most violent battles of World
War I. Extrapolating the silhouette of the vehicle, whose central body is flanked by two immense caterpillar tracks, Louis Cartier came up with the ingenious idea of sketching this watch, whose elongated case sides offer an ideal solution for the strap lugs. And all this with the elegance and refinement characteristic of the Paris-based Maison, whose watchmaking codes became a style signature: Roman numerals, railway-type minutes track, blued steel open-tipped hands and a cabochon-cut gemstone adding a jewellery touch to the crown.
In just over a century, the Tank has appeared in many guises. The original Tank in 1917, the Tank Cintrée in 1921, the Tank Chinoise or the Tank Louis Cartier in 1922… All these models were subsequently revisited through an exploration of new silhouettes such as the Tank à Guichets (1928), the Tank Basculante (1932), the Tank Asymétrique (1936) and other variations in shape and colour. A multitude of facets for a watch that has won over countless personalities through the decades.
Among the Tank’s most fervent admirers was Andy Warhol, who gave it much more than the famous ‘15 minutes of fame’. The king of pop art was by no means alone in collecting this singular watch. Muhammad Ali was also a keen admirer of Tank models, which he “considered the very embodiment of elegance,” according to Michel Aliaga, Director of Transmission of Cartier History and Heritage.
The Tank has also graced the wrists of Clark Gable, Alain Delon, Yves Montand, Ingrid Bergman, Catherine Deneuve and Rami Malek, to name but a few. One thing’s for sure: the enduring style of the Tank has stood the test of time and has never been out of fashion. More than 100 years after its birth, the Tank’s aura remains intact. In the spring of 2023, Cartier set the ball rolling by unveiling several Tank models adorned with coloured lacquered dials. The summer saw the return of the Tank Américaine, escorted by diamonds set on its sides, before the autumn unveiling of a Tank Cintrée watch in a 150-piece limited edition in the Rééditions de Cartier line. This platinum marvel, with a waisted case elegantly matching the curves of the wrist, beats to the rhythm of a handwound movement and features a winding crown with a cabochoncut ruby. A subtle play of finishes on the elongated case sides confirms the extreme refinement of this timepiece, paying tribute to Cartier’s stylistic heritage, within which the Tank continues to occupy a place of honour.
BRICE LECHEVALIER
At his Shanghai event with artist Samuel Ross on 20th October, Hublot’s CEO sat down with us for a frank, free-ranging interview.
You’ve just launched the Big Bang Tourbillon SR_A by Samuel Ross. Do you envisage other types of collaboration with the artist?
Yes indeed and in two different ways, because he’s very talented and brings a fresh touch. We’d actually been working together for four years when he won the Hublot Design Prize. When Samuel Ross showed us his first designs for the new limited series with its honeycomb structure, I was immediately hooked. The only exchanges involving small adjustments took place with the technical department, such as on thickness issues. The idea now is to incorporate his DNA into a more commercial collection, as we want to make the next models he creates more accessible. He shares with us his eye for products, as well as for exhibition concepts and pop-up stores in which he integrates his universe with ours. His mentor was Virgil Abloh and he belongs to the same highly creative, multidisciplinary vein. His vision is used by Apple, Nike and Acqua Di Parma alike. He brings a lot to the table.
Hublot has around 15 ambassadors. How much of its sales do they generate?
By ambassadors we mean those with whom we conduct advertising campaigns for our watches, such as Kylian Mbappé, Usain Bolt, Novak Djokovic and Takashi Murakami. What I can say is that limited series linked to ambassadors account for between 10 and 15 per cent of sales. Above and beyond the financial aspect, ambassadors like Samuel Ross enable us to create resolutely different watches and raise our Maison’s profile in their respective worlds. Hublot is a young brand compared to Breguet or Patek Philippe, who have been creating extraordinary watches for decades. It wouldn’t make sense to imitate them; we really need to differentiate ourselves and offer watches that can’t be found elsewhere. Bearing this in mind, the collab with Samuel Ross opens up new horizons that our designers alone could never imagine. We think outside the box and create distinctive products, even if it means being divisive. Our ambassadors bring us awareness and raise us to the level of the aforemen-
“We think outside the box and create distinctive products, even if it means being divisive.”
tioned big names. Hublot is also a true Manufacturebased brand, with its own movements, complications and materials. Hublot innovates and does so in its own way, by offering models with a difference.
How does your brand stand out from the crowd?
First and foremost, it’s materials that set us apart. Hublot was the first luxury brand to introduce rubber to its collections in 1980 — through straps as well as case inserts — and the whole industry followed suit. Hublot also generalised the use of ceramics because we were the first to succeed in offering so many vivid colors, notably red, which many considered impossible to obtain. This year, we presented a limited series in aluminum recycled from Nespresso capsules, designed to support circularity with a Swiss company. It was cited as an example in the Deloitte Swiss Watch Industry Study. We invest a great deal in R&D and explore many areas, from new materials in collaboration with EPFL, to subjects such as the Antikythera machine, mankind’s first mechanical calculating instrument, in collaboration with the University of Geneva. We have also developed underwater robots for excavations and are working on a very ambitious planetarium. In the R&D department, the team works on a
multitude of projects, some of which come to fruition meaning our efforts are rewarded, others not.
Hublot also takes part in Dubai Watch Week. Is this a very important market?
Yes, but the situation there is different because we work here with our partner Seddiqi, the absolute benchmark for retailers in the region. The Middle East accounts for 10 per cent of our sales and the Hublot boutique in Dubai Mall is by far the number one in the world. During Dubai Watch Week we presented a limited series designed with a local artist. In all, Hublot has 138 boutiques worldwide, half of them in its own name, and it’s in western Europe that sales remain the most significant.
What do you see as the main advantage of belonging to a group like LVMH?
The LVMH group enables us to obtain the best locations in the cities where we want to establish a presence, such as with the Hublot tower in Tokyo’s Ginza district, or our New York boutique on Fifth Avenue next to Louis Vuitton as well as the Place Vendôme in Paris. A lineup of prestigious addresses that we would hardly have been able to negotiate without LVMH behind us.
BRICE LECHEVALIER
The launch of the 8th Fundamental Invention testifies to Greubel Forsey’s lightning-fast acceleration on the eve of its 20th anniversary. The Atelier is proving its ability to innovate over the long term, even at a sustained pace. The unprecedented Tourbillon Cardan features three new ways of pushing the boundaries of precision timekeeping: a 16-second revolution of the tourbillon; a 30° angle; two mobile rings, linked by two 90° axes (reminiscent of gimbals) tilting backwards and forwards in 48 seconds to guide the high-speed tourbillon. Original architecture and exceptional chronometry combine with exceptional finishing to satisfy the most demanding collectors. At the same time, the brand currently led by Antonio Calce is opening up to a new circle of enthusiasts with a passion for contemporary Haute Horlogerie and looking for more accessible, exclusive timepieces as exemplified by the titanium Balancier 3 in the Convexe collection.
Since its creation in 2004, Greubel Forsey has conceived, patented and developed eight fundamental inventions that have made tremendous contributions to fine watchmaking. All its models adhere to five principles: invention and innovation; hand-finishing and hand watchmaking; performance and reliability; architecture and design; rarity and exclusivity.
In order to reveal the tourbillon in all its splendour and avoid covering it with a fixed upper bridge, the Atelier has created a unique patented system with two arched cardan rings. Without adopting the traditional construction, the 8th Fundamental Invention creates a new type of flying tourbillon. A seemingly complex construction but with a very small number of components, it offers an open, airy aesthetic. Greubel Forsey plans to produce just 55 iterations of this calibre over the next five years.
The architecture of the Balancier 3 highlights its three bridges: on the barrel, on the large balance wheel and on either side by attaching to the seconds counter and to the base of the hours and minutes hands. With their re-entrant angles and curved profile, all benefit from Greubel Forsey’s signature hand finishes: mirror-polished surfaces, polished beveling and hand-polished screws.
Powered by an in-house caliber endowing it with a dynamic and modern style along with impeccable timekeeping precision, the Balancier 3 becomes the most accessible Greubel Forsey model. Their experts have designed a streamlined architecture that enhances the finishing and technical essence of the timepiece, with its fast-rotating barrels and large balance wheel.
RACHEL SILVESTRI
Bulgari’s head of watchmaking Antoine Pin tells GMT GCC all about the challenges and triumphs of the Italian Maison’s crosscultural nature — and how working as an international team is what really counts.
Bulgari is a melting pot. Even the brand’s overarching identity as an iconic Roman jeweller, while unquestionably true, still manages to come ever so slightly unstuck when looking into the past of its founder, the Greekborn Sotirios Voulgaris — Sotirio Bulgari being the ‘Italianised’ version of his name. And while its motifs may be pure Eternal City — Roman coins feature in the Monete jewellery collection, while the ancient mosaic tile of the Caracalla Baths inspired Divas’ Dream — travel and the influence of other cultures is also evidently part of what makes Bulgari, Bulgari. Case in point: the wildly Instagrammable travels of the Maison’s jewellery executive creative director Lucia Silvestri, and the runaway success of Bulgari Hotels & Resorts the world over, with three more set to open in the next two years.
This cross-cultural theme continues in Bulgari’s watchmaking division, and it’s only natural — many of the brand’s timepieces are jewelled by Italian artisans, while the movements are purely Swiss. So how does this exchange of skills and cultures play out in the modern world?
“The notion of ‘DNA’, which is a little overused, is nonetheless what’s at play here,” says Antoine Pin, Bulgari’s head of watchmaking. “We are a fusion of multiple inspirations: our watchmakers, the alchemy of David Roth and Gérald Genta, the design perspective from our ‘forefathers’: Sotirio with his entrepreneurship and the style of the Bulgari brothers Gianni, Nicola and Paolo. They have made the modern Bulgari what it is today.”
On the plus side, this confluence of cultures means that the manufacture doesn’t get bogged
down with a single, introverted perspective. The duality of Swiss manufacture and Italian design keeps Bulgari’s creations flowing in surprising and dynamic directions. But how difficult is it to channel and control these roaring rapids of clashing work cultures and differing perceptions?
“From cross-cultural interactions you get the best or the worst,” smiles Antoine, wryly. “We are very aware and very much understand that we are a different animal: we are a jeweller making watches, an Italian brand making a Swiss product. We are what the Ancient Greeks called a metic, a foreigner settling down in another country. So when we ask ourselves about our identity, we are like anyone else who moves around: we ask where am I? Who am I? Am I the result of my new culture or am I still buried in my old culture? And of course, I’m a mixture. So
then, consciously and assertively, we have to own this diversity of inspirations and the fact that there is work to do to get the best of both worlds.”
So how does this clash get managed to ensure that Bulgari’s watchmaking — which is expanding exponentially — continues on the right path? It’s an issue that has to be addressed right at the very top.
“We have worked on this as an executive committee, using the help of an outside consultancy to help us accept this process,” says Antoine. “It’s understanding that everybody has their assets and to focus on capitalising on those. It’s something that we are openly and actively questioning: Is the Italian agility creating a mess? Is the Swiss rigour becoming boring? And we are also part of a French group, so we are talking about reconciling three very strong cultural perspectives. But we have the
capacity to merge, fuse and really build this melting pot to create a new identity as the Bulgari watch manufacture. And today we are confident and mature enough to be able to talk about ourselves in this way.”
Indeed, Bulgari has shown that finally, after more than 100 years of watchmaking history, it’s found the confidence to talk about itself with the Bulgari: Beyond Time book, made in partnership with international publisher Assouline. Tracing the story of Bulgari from its very first watch in 1918 to its recognition as a jeweller and watchmaker of note in the present day, it’s the first official history of the Maison — and not before time.
“I suppose the question you could ask is, how come we didn’t do this before?” laughs Antoine. “And as for why now? We have reached a certain maturity as a manufacture, and it’s clear that we should acknowledge that it took us a while to become a true manufacture. You can’t just purchase a few suppliers and a few factories and automatically become a proper manufacture, integrated with one culture, perspective and identity. It did take us maybe 10 or 15 years to absorb the culture of Gérald Genta and Daniel Roth, and turn it into something else.”
Speaking of culture — how does Bulgari’s transnational experience and European heritage apply to its Middle Eastern clientele? According to Antoine, who calls Dubai “the Rome of modern times, the crossroads where everybody meets,” the links between the Italian Maison and Arabian civilisation are as close as brothers.
“When it comes to the Middle East, we are very lucky that we come from a similar Mediterranean culture,” says Antoine. “We have 3,000 years of common history. Even the architecture, the true Mediterranean identity is similar — and as such, there is a natural understanding and communication. So of course, the path is easier to the Middle Eastern clientele in comparison to dealing with American, Chinese or Japanese clients.
“We cross paths all the time — the Mediterranean sea is a crossroads. I tend to think that we have been a bit complacent in not going the extra mile to move towards the market. Don’t get me wrong — it’s not that we haven’t made an effort. But I think we can do
even more to get to the local clientele and expose ourselves in the best way, explaining what our roots are. Roman, which came from Greek, which came from Egyptian… Then using opportunities such as Dubai Watch Week to develop a platform for exchange.”
Bulgari’s representation at Dubai Watch Week last November was one of the most-talked-about of the whole exhibition with the sheer number of new releases mind-boggling, especially considering that January’s LVMH Watch Week and April’s Watches and Wonders Geneva were also looming on the horizon, and spoke for some of the most exciting techniques on display. The Divas’ Dream Peacock Marquetry collection showcased a feather setting technique that was sought-after in Renaissance Italy and brought back to prominence by Bulgari in the 1970s. And the feminine-focussed releases spoke volumes about a Middle Eastern appreciation for skill, design and unabashed glamour.
“We gave priority to Dubai Watch Week for those products — taking into consideration the exceptional
platform that the Middle East can be,” says Antoine. “Dubai is a centre for cross-cultural exchange, where people from all over the world meet, it’s exactly what Rome was about 2000 years ago. Don’t forget, some of Rome’s emperors were of Middle Eastern origin. And that’s how open it was then, and how open Dubai is now. You don’t necessarily need confrontation, it’s a space that’s safe and where everybody respects each other. It’s only 50 years old — and that’s a miracle. It highlights what human genius can make, and that’s why I love this city. For me, it’s a business model that’s based on exchange and cross-cultural values — and it works.
What’s interesting is that, with this set of parameters, Antoine could have been talking about his own little empire — Bulgari’s watch division. In an increasingly globalised world, the value and challenge of cultural difference isn’t to be taken lightly. And as a truly international watchmaker, Bulgari is up to that challenge, wherever its legions of fans should be.
CHRISTOPHE ROULET
The thinnest, the smallest but also the most complex Bulgari calibres crafted in Le Sentier have made the Maison an inescapable player in the field of haute horlogerie.
n 2000, when Bulgari took over the Roth & Genta factory in Le Sentier, visitors discovered a modest watchmaking workshop founded by two geniuses of the profession, yet known only to insiders. Now almost 25 years later, the original building, which dates from the beginning of the last century, is flanked by a new wing featuring contemporary architecture. It forms a true Manufacture de Haute Horlogerie in the noblest sense of the term, representing the keystone of Bulgari’s time-measuring instrument strategy.
The Italian Maison’s first jewellery watches, highly stylised and diamond-studded art deco pieces, date back to 1918, followed by the now-essential Serpenti Tubogas in 1948 and by the famous Bulgari Bulgari launched in 1975. But it was at the turn of the 21st
century that watchmaking really took shape within the group, with big changes paving the way for even bigger achievements.
The takeover of Roth & Genta marked the beginning of a vertical integration process for watchmaking activities, aimed at slowly but surely propelling Bulgari into the big league. In the space of 10 years, the company became a fully integrated Manufacture with three sites and 400 employees spread between Neuchâtel for aftersales service and casing-up; Saignelégier (Jura) for watch components; as well as Le Sentier, in the Vallée de Joux, for Haute Horlogerie movements and components. The latter term is well-deserved as, over the years, Bulgari has consistently asserted its expertise in areas where nobody would have expected it, namely in creating calibres of exceptional size and complexity.
Over the years, Bulgari has consistently asserted its expertise in areas where nobody would have expected it.
The assembly of striking watches requires manual dexterity and a musical ear to adjust the sound of the gongs to exactly the right notes.
It is precisely in Le Sentier that these horological gems become reality, on a site that employs around a hundred people covering every stage of production, from research and development to final assembly. It all begins with the machining of components: plates, bridges, cams, gears, pinions, flat springs… All of which are manually chamfered and decorated before being delivered for final assembly.
It is in the various workshops that the magic happens, giving birth to movements that have garnered widespread plaudits, accompanied by awards such as the best-in-show ‘Aiguille d’Or’ won by the Octo Finissimo Perpetual Calendar model at the 2021 Grand Prix d’Horlogerie de Genève.
At the heart of the Manufacture in Le Sentier, alongside the Grandes Complications workshop, which produces the BVL 150 caliber, the smallest tourbillon movement on the market measuring 22 x 18mm and 3.65mm thick, along with the workshop dedicated to ‘classic’ movements, specialised in extra-thin calibres that hold eight world records, is the workshop devoted to striking watches. Here we meet the four master watchmakers who assemble Bulgari’s ‘musical’ timepieces, a task that can take up to six months for the most complex models like the Octo Roma Grande Sonnerie Perpetual Calendar with four hammers and 1,200 components. This painstaking process is all a question of know-how, skill, patience and a musical ear to turn these watches into little marvels that will sing The Sound of Music to their future owners.
BRICE LECHEVALIER
S302
CASE: scratch-resistant DLC-treated steel, patented Trip-Tick construction, aluminum bezel, sapphire crystal, solid back, water-resistant to 300m SIZE: 40mm MOVEMENT: mechanical self-winding (Caliber BE-932AV, 50h power reserve)
FUNCTIONS: hours, minutes, seconds, date, GMT
DIAL: Super-LumiNova hands, numerals and hour-markers
BRACELET/STRAPS: steel, rubber or leather PRICE: €4,350 (Dhs17,230 approx.)
Complete with a new shareholder, new CEO and new executive team, the allterrain brand from England’s green and pleasant land begins a new chapter in its history. The exploration theme cherished by CEO Davide Cerrato (who took up his post in May 2023) is once again front and centre in the Bremont universe, with the Supermarine collection benefiting from the first new designs. These include the new S302, transformed into a more colourful, contemporary and legible model. For the first time, the unidirectional 24-hour aluminum bezel appears in a twotone version, featuring an elegant pairing of blue and green complemented by white numerals surrounding an ocean-blue dial. It is also available with a black ceramic bezel framing a black dial. In both cases, the dual-time hand stands out in white and orange. Another first for this diver’s watch is an integrated rubber strap, alongside a vintage leather or steel model. What’s next? Find out during Watches and Wonders.
THE EDITORIAL TEAM WAS IMPRESSED BY The flawless legibility, as well as the gentle harmony of colours and proportions.
CAMILLE POUPION
PRX Automatic Chronograph
CASE: steel, water-resistant to 100m SIZE: 42mm
MOVEMENT: mechanical self-winding, 60h power
reserve FUNCTIONS: hours, minutes, seconds, chronograph, date DIAL: Blue dial, black subdials and gold inner bezel ring BRACELET: steel, folding clasp PRICE: CHF 1,888 (Dhs7,686 approx)
1888 was the year Carl Friedrich Bucherer and his wife Luise opened their first boutique in Lucerne. It’s also the number of timepieces composing the PRX Automatic Chronograph limited series stemming from the latest collaboration between Bucherer and Tissot. This watch features the iconic design of its 1970s PRX predecessor, enhanced by a bewitching blue dial striking a warm contrast with the yellow gold bezel. Guaranteeing its reliability and precision, its beating heart is the Valjoux A05.H31 movement powering the three subdials positioned at three, six and nine o’clock. This 42mm model is fitted with a steel bracelet and radiates a classic, contemporary look with a touch of extravagance.
THE EDITORIAL TEAM WAS IMPRESSED BY The pizzazz of the blue dial contrasting with the bezel and three subdials.
MARIE DE PIMODAN
Lionne Dentelles
CASE: steel, sapphire caseback, water-resistant to 30m SIZE: 35mm MOVEMENT: mechanical hand-wound, entirely skeletonised and engraved (Peseux Caliber 7001, 42h power reserve) FUNCTIONS: hours, minutes
STRAP/BRACELET: technological satin or Alcantara/Milanese mesh, steel pin buckle
PRICE: CHF 3,600 (Dhs14,657)
La Lionne is the name of a small river that has its source in L’Abbaye, birthplace of 18th century watchmaker Claude Meylan as well as home to the Maison still bearing his name — and meanders serenely through the Vallée de Joux. It’s only natural that the brand should borrow its name to designate one of its collections, which deploys its horological charms through fine mechanical lacework featuring a particularly feminine appearance. The Lionne collection interprets the art of skeletonisation through three new colours. When attired in pink or a delicate lilac shade, the movement makes a striking contrast with the ‘Marie-Antoinette grey’ flange bearing Roman hours numerals, while the royal blue version is paired with a refined white flange. These are bold colour combinations for veritable mechanical sculptures that come to life in a 35mm case.
THE EDITORIAL TEAM WAS IMPRESSED BY The bold colourways giving a contemporary twist to the tradition of skeletonised watchmaking.
Scientigraf Chrono
CASE: steel with polished and satin-brushed finishes, water-resistant to 50m
DIAMETER: 41mm MOVEMENT: mechanical selfwinding FUNCTIONS: 30-minute chronograph at 9 o’clock, running seconds at 3 o’clock, central chronograph seconds hand
DIAL: curved with a black gradient, triangular hour-markers with vintage ivory-toned or orange luminescence, snailed counters
BRACELET: steel, folding clasp
PRICE: on request
The famous Scientigraf, a model launched in 1961, is reinvented in a chronograph version featuring a particularly ingenious touch. Keen to adapt its models to our increasingly connected daily lives, the brand has integrated a ‘Faraday cage’ into the case of the new Scientigraf Chrono. The concept is based on the idea of absorbing electromagnetic waves — watchmakers’ enemy number one — by using a soft iron structure to protect the movement’s accuracy. In short, connected speakers, tablets and laptops are no longer detrimental to our precious timepieces. Aesthetically speaking, this model retains a beautiful vintage look, with two exquisitely finished counters standing out against the black dial, along with the triangle element featured on the hour-markers as well as on the tips of the hour and counter hands.
THE EDITORIAL TEAM WAS IMPRESSED BY The retro look contrasting with the level of technical sophistication employed to make this model immune to electromagnetic waves.
CAMILLE POUPION
Classic Tourbillon Meteorite Manufacture
CASE: polished platinum, water-resistant to 30m DIAMETER: 39mm
MOVEMENT: self-winding, 38h power reserve FUNCTIONS: hours, minutes, 60-second tourbillon DIAL: grey meteorite finish, diamond cut hourmarkers STRAP: black alligator leather, folding clasp LIMITED EDITION OF 35
PRICE: CHF 42,995 (Dhs175,030 approx.)
Thirty-five years of expertise, creation and innovation dedicated to offering ‘Swiss made’ watchmaking at a fair price correspond to a landmark well worth celebrating! To do so in style, the brand has embarked on a highly sophisticated endeavour with the creation of the Classic Tourbillon Meteorite Manufacture in an exclusive limited series. In a first for the brand, the movement is entirely hand-finished and the Tourbillon Manufacture FC-980, which is also celebrating its 15th anniversary, perfectly executes its mechanical choreography at six o’clock and is framed for the first time by a splendid platinum case. The icing on the cake is that this creation is available in an array of 35 timepieces that are each unique to the very special production process of its meteorite dial.
A fine testimony to boldness and savoir-faire. Wishing a very happy birthday to Frederique Constant!
THE EDITORIAL TEAM WAS IMPRESSED BY
The entirely manual finishing of all movement components and the nobility of the materials used in the Classic Tourbillon Meteorite Manufacture.
MARIE DE PIMODAN
Endeavour Chinese Calendar Limited Edition
CASE: 5N red gold, sapphire caseback, water-resistant to 30m
DIAMETER: 40 mm MOVEMENT: self-winding Caliber HMC 210, 72h power reserve FUNCTIONS: hours, minutes, small seconds, Chinese embolismic years and months, retrograde display of Chinese months, retrograde display of lunar days and moon phases, Gregorian date DIAL: fumé midnight blue with sunray pattern STRAP: hand-sewn brown alligator leather, red gold folding clasp 100-PIECE LIMITED EDITION
PRICE: CHF 68,000 (Dhs276,883 approx.)
As always at H. Moser & Cie., the design is pared down to the essentials. Yet behind the apparent simplicity of the pebble-like pink gold case and the extreme legibility of the indications on the sunburst fumé dial, lies a highly complex mechanism. Developed in collaboration with Agenhor, the calibre powering the Endeavour Chinese Calendar Limited Edition achieves the feat of combining the Chinese lunisolar calendar and the Gregorian calendar — which takes only the sun into account — to which H. Moser & Cie. adds the display of the moon phases and the 12 signs of the zodiac associated with each Chinese year. A watch brimming with symbolism that, at the crossroads of cultures, orchestrates the successful rendezvous of sun and moon while respecting the minimalist elegance characteristic of the Maison’s creations.
THE EDITORIAL TEAM WAS IMPRESSED BY
The beautiful tribute paid to traditional Chinese culture thanks to a technical feat reconciling sun and moon by synchronising these two types of calendar.
BRICE LECHEVALIER
A gifted young man who has enjoyed early success, English multidisciplinary artist and designer Samuel Ross crossed Hublot’s path when he won the Hublot Design Prize in 2019. This explosive encounter gave rise to a watch that took three years of development to shape the iconic Big Bang according to the designer’s own aesthetic codes. His sculptural, organic vision inspired by nature led Hublot to completely modify the case and bezel, crown, dial and the bracelet in microblasted titanium with refined finishes. The dominant monochrome look extends to the tourbillon bridge, while the honeycomb motif continues on the supple rubber strap, which transforms the overall look by changing colour to suit the wearer: white, black or apple green. This artistic collaboration perfectly reflects the DNA of this enfant terrible as well as the brand, who have jointly created a magnificent limited series.
THE EDITORIAL TEAM WAS IMPRESSED BY
The highly sculptural and sophisticated silhouette blending artistic and futuristic inspiration.
Big Bang Tourbillon SR_A by Samuel Ross
CASE: brushed and polished microblasted titanium, sapphire crystal, solid caseback, water-resistant to 30m DIAMETER: 44mm
MOVEMENT: mechanical self-winding (Caliber HUB6035, 72h power reserve), micro-rotor, 264 components, skeleton tourbillon
FUNCTIONS: hours, minutes DIAL: honeycomb-structured titanium
STRAP: supple rubber strap in white, black and apple green, titanium folding clasp 50-PIECE LIMITED SERIES
PRICE: CHF 120,000 (Dhs488,668 approx.)
BRICE LECHEVALIER
Leica ZM 11
CASE: steel or titanium, open caseback, water-resistant to 100m SIZE: 41mm MOVEMENT: mechanical self-winding (Caliber LA-3001, 60h power reserve) FUNCTIONS: hours, minutes, seconds, date DIAL: structured with a colour gradient, luminescent hands and hour-markers
BRACELET/STRAPS: interchangeable, titanium, rubber or fabric, folding clasp 250-PIECE LIMITED SERIES (titanium)
PRICE: CHF 6,800 (steel, Dhs 27,688 approx.), CHF 8,150 (titanium, Dhs33,185 approx.)
The legendary Leica’s watchmaking adventure began a few years ago and is distinguished by watches with a personality as distinctive as that of its cameras, recognisable at first glance. For this third Leica ZM 11 collection, the brand offers three dial variations in warm black, blue or red, issued in a black and red titanium limited edition. The rigorously disciplined design is highlighted by the subtle shimmer of the skillfully structured dial, varying according to the play of light and shade. The choice and originality of the design are further enhanced by the patented interchangeable wristband system, reminiscent of a lens release button, enabling this new model to be paired with a titanium and steel bracelet, or with a vulcanized or fabric strap. True to its reputation for quality, Leica has chosen Chronode to develop its self-winding calibre featuring a level of accuracy on par with its finely brushed, polished and sandblasted finishes. Leica’s photographic history is nurtured by a century and a half of expertise and the history of its watches is clearly following in its footsteps.
THE EDITORIAL TEAM WAS IMPRESSED BY
The personality of a two-layer dial brought to life by its shimmering gradient.
BRICE LECHEVALIER
Tambour
CASE: two-tone steel-gold, satin-brushed 18K yellow or pink gold, open caseback, waterresistant to 50m SIZE: 40mm MOVEMENT: mechanical self-winding (Caliber LFT023, 50h power reserve), micro-rotor in 22K pink gold
FUNCTIONS: hours, minutes, small seconds
DIAL: white gold hands, numerals and hourmarkers with Super-LumiNova® coating
STRAP: steel and pink gold, or yellow or pink gold, with invisible triple-blade folding clasp
PRICE: CHF 28,000 (Dhs114,017 approx.)
This year, Louis Vuitton customers, collectors and watch industry observers witnessed a paradigm shift for the monogrammed brand. Under the impetus of its genuinely passionate and insatiably enterprising CEO Jean Arnault, Louis Vuitton has chosen to focus on Haute Horlogerie and artistic crafts. This strategic shift is notably illustrated by the relaunch of the Daniel Roth and Gerald Genta brands, both owned by the Maison. The Tambour collection, presented in steel before summer, is available in gold featuring yellow, red and two-tone autumn colours. An integrated bracelet endowed with exceptional finishing and comfort, a larger dial and slimmed-down case, a bespoke movement in collaboration with the Cercle des Horlogers, as well as a multitude of details both front and back speak volumes about the ambitions of Louis Vuitton, which has chosen the Geneva Chronometer Observatory to certify its precision.
THE EDITORIAL TEAM WAS IMPRESSED BY
The sense of harmony created by the fluidity of the case, the sculptural lines of its flared surface and their extension in the shapes of the bracelet.
MARIE DE PIMODAN
Weekend GMT Ice Blue
CASE: steel, open caseback, water-resistant to 50m SIZE: 39mm MOVEMENT: mechanical self-winding (Perrelet Caliber P-401, 42h power reserve) FUNCTIONS: hours, minutes, seconds, GMT, date DIAL: domed ice-blue satin-brushed finish with sunburst pattern
STRAP/BRACELET: midnight-blue calfskin or steel PRICE: from CHF 1,780 (Dhs7,247 approx.)
Here’s a triply suitable watch at the start of winter. The first reason is its name, a nod to this well-deserved and very welcome break in our overpacked diaries. The second is its complication, a dual-time display representing a permanent travel invitation. The third reason? The glacier blue chosen by Perrelet to dress up its new Weekend GMT Ice Blue. In chromotherapy, this colour is said to soothe stress and inspire serenity. Lit up by a sunburst finish, the domed glacier blue dial lends a fresh touch to this 39mm steel model powered by an in-house self-winding movement and paired with a midnight blue leather strap or steel bracelet for a sporty-chic look.
THE EDITORIAL TEAM WAS IMPRESSED BY
The perfect balance between the classic design of the 39mm case and the choice of a fashionable colour, ideal for appealing to a younger, gender-neutral clientele.
CAMILLE POUPION
Engines roar on the starting grid as the flag goes up and the rev counter hand quivers. No, we’re not talking about watching a motor race, but rather the emblematic snailed black ‘panda-style’ counters contrasting with the brushed yellow gold-plated dial of the new Carrera Chronograph. The racing icon is thus reinvented, marking a splendid conclusion to the 60th anniversary of the Carrera collection, whose timeless essence it preserves. Its classic 39mm round case is equipped with the TH20-00 in-house chronograph movement, while its perfectly integrated lugs enhance the accompanying black leather strap. This timepiece pays tribute to the spirit of the typical 1960s Carrera, celebrating its aesthetics with a modern twist.
THE EDITORIAL TEAM WAS IMPRESSED BY The beautifully integrated lugs and the choice of yellow gold for a vintage look.
TAG Heuer Carrera Chronograph
CASE: satin-finished and polished solid yellow gold, sapphire caseback, water-resistant to 100m DIAMETER: 39mm MOVEMENT: automatic chronograph, Caliber TH20-00, 80h power reserve FUNCTIONS: hours, minutes, seconds, 1/4-second chronograph, 30-minute counter, 12-hour counter, date DIAL: gold-plated, vertical satin-brushed finish STRAP: black leather PRICE: CHF 21,000 (Dhs85,502 approx.)
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Luxury Maisons both near and far are paying tribute to the Holy Month with drops of clothing, jewellery and accessories to keep you in modest style. GMT GCC rounds up the best of these capsule collections to carry you through Ramadan and beyond.
1 POMELLATO’S EASTERN PROMISE
The Milanese jeweller has us completely awed with this beyond stunning collection of trinkets. Diamond-studded Cuban links sit pretty beside looping oversized chains and medallionlike pendants. But it’s the Maison’s unconventionally-cut Nudo jewels, gobstopper-sized and vivid in shades of azure and aqua, which really take centre stage. Perfect paired with plain, sandy tones, they’re an instant classic.
pomellato.com
2 TIMELESS ELEGANCE FROM DIAMIND
For beauty with a conscience this Ramadan, Diamind continues to put ethical diamonds front and centre — as well as chic and minimalistic design. With lab-grown diamonds the only type used in the brand’s jewels, you can be confident of its origin however you plan to wear it. GMT GCC’s particular favourite is the Diamond V ring which, with its swooping curves and sparkles, resembles the nostalgic form of a crescent moon — It couldn’t be any more Ramadan-appropriate.
officialdiamind.com
3 MESSIKA’S COSMIC MOVES
Taking its classic codes and amping things up a notch with this Ramadan collection, Messika’s So Move model gets an XXL makeover. The tactile diamondpavé halo surrounding the central stone is still key, and this time around with a bangle that simply begs to be touched. At a time of year with our eyes to the Ramadan skies, this star-strewn range is sure to sparkle.
1 GO MAXIMALIST WITH RIANNA + NINA
Who said modesty has to be subtle? Max out your style statement with the voluminous and colourful designs of Berlin-based design duo Rianna + Nina’s Ramadan capsule collection. A combination of global styles and fabrics, Moroccan silks, sequins, Japanese kimonos and other sustainably treasurehunted materials come together to form this feast for the eyes. Just try not to twirl and watch those skirts fly.
riannaandnina.com
2 PUREST LUXE FROM ELISABETTA FRANCHI
Softest satin, tone-on-tone sequins and flattering, figure-skimming tailoring are the order of the month at Elisabetta Franchi, in this glamorous and contemporary interpretation of cultural style. Black, ivory, chartreuse and lilac form the palette that inspired the Italian-born designer — along with the innate style of her regional muses: “Designing and presenting a capsule collection tailored for the Middle Eastern woman and especially for the Holy month of Ramadan was a journey of pure inspiration,” says designer Elisabetta Franchi. “I felt closely connected to the cultural traditions of this spiritual time.”
elisabettafranchi.com
3 LEEM PUMPS UP THE VOLUME
With bold, graphic prints set off with pops of neon goodness, the hotlyanticipated Leem Ramadan collection delivered as hoped. The Saudi-based contemporary modestwear Maison has been delivering on the style front since 2018, and this year’s delectable range of kaftans will spruce up any iftar or suhoor. The only problem will be picking which one to wear first.
leem.com
4 PRADA’S DESERT-INSPIRED HARMONY
Taking its cues from the tranquillity of the UAE’s sands and the quiet of the season, Prada’s Ramadan and Eid 2024 selection of ready-to-wear and accessories make the most of pastel hues and the interplay between volume and weightless fabrics. Fine cashmere and lightweight silk mohair await in the men’s collection, while a new interpretation of the Prada Galleria bag in Saffiano leather with glittering studs or printed florals is the highlight for the ladies.
prada.com
5 PEARLS OF WISDOM FROM ONORI
Invoking every atom of its UAE heritage, this newly-launched Dubai-based fashion House is looking to the city’s maritime history for inspiration this Ramadan with an accessory that’s sure to turn heads: “Pearls hold a special significance in the UAE, representing tradition, beauty, and luxury. says Sharifa Al Sharif Al Hashemi, founder of Onori. “Our Pearl Bags pay homage to this cherished heritage while offering a modern twist that is perfect for Eid celebrations.” onorithelabel.com
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From dresses and tunics to kaftans paired with palazzo pants, this colourful capsule from Max Mara is a breath of fresh air. With the focus on effortless elegance, it’s a relaxed selection that expresses a playful feel with lush florals, subtle jewels and hand-embroidery. A pyjama-style two-piece can see you through the day in comfort or be dressed up with heels for nighttime socialising, while the beautiful brightness of the collection’s colour scheme will help you to seize the joy of this special season.
maxmara.com
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When you’re fasting, every meal has to be worth it. Discover these traditional-style spots for dining excellence you’ll want to return to again and again.
1 NINIVE: DESERT DRAMA
Drenched in moonlight and the glow of candles, this whisper-quiet and atmospheric setting for nightly iftar and a-la-carte suhoor is just the spot to while away the evening hours in cosy good company. Shisha and backgammon provide the entertainment, while a menu of Ramadan classics is on the menu, including tender lamb ouzi with oriental rice and succulent Moroccan chicken kedra with almond and chickpeas. Your very own venture into the desert, in both comfort and style — this is a Holy Month must. Ninive, Bab Al Shams Desert Resort, Dubai, ninivebabalshams.ae
Poetry readings, traditional music, calligraphy – The Majlis by Mandarin Oriental isn’t just a dining spot, it’s a full-on cultural experience. This bespoke space serves nightly iftar and suhoor in a heritage-rich environment, perfect for really getting into the spirit of the Holy Month. A highlight is the performance of Through Her Words by award-winning Emirati poet Dr Afra Atiq, a poetic journey that’s further brought to life through the contemporary art installations that help to set the scene for intimate family gatherings. Indoor and outdoor seating offer differing ambiences, while atmospheric oud and tablah music complete this hub of storytelling, artistic expression and culture.
The Majlis at Mandarin Oriental, Mandarin Oriental Jumeira, Dubai, mandarinoriental.com/dubai
3 ABU DHABI EDITION: LOCAL FLAVOUR
This collaboration between the Abu Dhabi EDITION Hotel, the NOWHERE café and Emirati chef Sheikha Hesa AlKhalifa is a real treat for fans of fusion cuisine and modern classics. Especially for Ramadan, celebrate tradition, innovation and community through Sheikha Hesa’s iftar set menu, its regional flavours imbued with passion and heritage. The self-taught culinary virtuoso presents an outstanding chicken machboos risotto alongside temptingly yielding lamb ouzi and barley harees for a sophisticated take on home-cooked goodness.
Market at EDITION, Abu Dhabi EDITION, theabudhabiedition.com
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From electro-magnetic field therapies for pain reduction to the latest in anti-ageing technology, put your future in the hands of these wellness wonders.
1 SEDONA: ELECTRIC AVENUE
Gone are the days when we thought of spa and complimentary therapies as simply being a beauty boost, as more and more of us turn to holistic techniques to help with the fundamentals of our wellbeing. Bringing practices previously reserved for spa and clinic settings into our everyday lives, Sedona’s pulsating electro-magnetic field (PEMF) technologies are suitable for home use and have numerous benefits that can have a profound effect on our health and wellness. One of the most noteworthy benefits of PEMF technology is its significant effect on pain and inflammation, reducing and alleviating chronic pain from conditions such as arthritis, fibromyalgia and back pain. As we all become more aware of the ill-effects of long-term pharmacological pain management, PEMS is an opportunity for long-term pan relief using technology that may even mitigate the causes of chronic pain. Also serving to stimulate cellular repair and stimulate oxygenation of the tissues, PEMF can heal injuries and reduce recovery times, and help in the repair of bones, muscles and scarring. sedonawellness.ae
3 LIFESPAN: MAX DETOX
Ever heard of PFAs? These so-called ‘forever chemicals’ are prevalent in the modern world, seeping out of everything from clothes and cookware to furniture and food packaging, and once they get into our bodies and bloodstreams, they’re there to stay. Enter: Lifespan Sports Medicine Centre Clinic. In concert with expert endocrinology and regenerative medicine consultations, the clinic is launching the region’s first comprehensive ‘forever chemicals’ detoxification programme, using Extracorporeal Blood Oxygenation and Ozonation (EBOO) technology. Using a filtration process designed to cleanse the blood of microscopic debris, heavy metals, fungus and environmental toxins, the process also ozonates the blood in stages and the entire process only takes about 45 minutes. Three procedures, each one week apart, and repeating twice per year, should be enough to keep your blood in tip-top detoxed condition. We feel better already.. lifespansportsmed.com
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LA PRAIRIE: LIVE LONG AND PROSPER
In a first-of-its-kind in Dubai, renowned Swiss wellness centre Clinique La Prairie has teamed up with the One&Only One Za’abeel to create the Longevity Hub by Clinique La Prairie, a space dedicated to boosting longevity and vitality with cutting-edge techniques and treatments. Personalised wellness journeys are the name of the game, with three storeys of transformative health science, the latest in aesthetics and tailored wellness practices at your fingertips. Kicking off in the Longevity Index Lounge, guests are invited to experience a unique diagnostic process which assesses every aspect of your internal and external health. Problems and imbalances can then be targeted by of-the-moment therapies including neuro wave stimulation, cryotherapy, far infrared and IV drip infusions, all designed to heal and rejuvenate. Minimally invasive cosmetic procedures such as Botox and PRP injections are also on offer, while the clinic’s signature therapies offer a potent combination of Clinique La Prairie’s proven therapies. Get the real Swiss clinic treatment without even having to pack your passport – just pop down to the One&Only One Za’abeel and it’s all yours. cliniquelaprairie.com/longevity-hub-dubai
4 ANANTARA: IT’S ALL GREEK
Taking the concept of a wellness staycation to the next level, the newly-opened Anantara Santorini Abu Dhabi Retreat is a sky-blue-and-white gem on the Emirati coastline. With just 22 rooms and suites, and with no children permitted, this is boutique resort living at its best — and of course, where there’s Anantara, there’s spa. In addition to the luxe, pampering treatments we know and love — including a signature Arabian massage and rejuvenating Moroccan bath experience — there’s the inclusion of cryotherapy immersion therapy. Plunge into the icy waters to stimulate your nerve receptors and help with healing, pain relief and a reduction in inflammation. We’re sure that the retreat’s plush surroundings will help you get over the shock — and reap the benefits.
anantara.com/santorini-abu-dhabi
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It was an extra-long weekend of all the best the maritime industry has to offer, as the Dubai International Boat Show took place from 28 February to 3 March — and celebrated a very important milestone to boot. This 30th edition of the globally-renowned fair took over the Dubai Harbour and was chock-full of excitement for the visitors who flocked from far and wide, bringing together more than 1,000 brands and over 200 crafts from 55 countries. Highlights included the unveiling of renderings of Tanoka’s upcoming 70-metre superyacht Milano, the announcement of the new Gulf Craft Group which will consolidate the branches of UAE yacht builder and shipyard Gulf Craft, and the debut of 50-metre custom wooden yacht Afra by Bush & Noble — the world’s largest wooden superyacht. The crowds were also treated to the buzz of Hypercar Avenue as well as the Nikki Beach Resort Lounge and VIP Lounges, which catered to all the show’s most prestigious guests. On land as well as on water, this was an event to remember. Here’s to the next 30 years.
1. His Excellency Saeed Mohammed Hareb, Secretary General of Dubai Sports Council, and Senior Advisor to the Dubai Boat Show, addresses gathered guests.
2. Yousuf Lootah, Acting CEO of Corporate Strategy and Performance Sector, Dubai Department of Economy and Tourism, shares his expertise at DIBS.
3. Haute hangout The Captain’s Club.
4. DIBS was bigger and better than ever.
5. Left to right:Nouman Al Hakim, Brett Noble, Abeer AlShaali, H.E. Saeed Hareb, Abdulla Binhabtoor, Asma Al Sharif and Trixie LohMirmand
6. Visitors were spoilt for choice.
7. Dubai police impressed with new vessels.
8. Yacht brands released their latest wares.
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Proving that Middle Eastern design talent can more than hold its own among its international peers, this very special year for the Doha Jewellery & Watch Exhibition was an epic demonstration of the region’s soft power. The 20th anniversary of this unique event stretched out over a full week, with more than 500 watch and jewellery brands from 10 countries all represented at the Doha Exhibition and Convention Centre, and with a special focus on Qatari jewellers.
Celebrity guests Irina Shayk and Thierry Henry rubbed shoulders with watchmaking royalty such as Felix Baumgartner and Martin Frei, while His Excellency Sheikh Mohammed bin Abdulrahman bin Jassim Al Thani, the Qatari Prime Minister and Minister of Foreign Affairs was present to oversee the event’s opening ceremony along with HE Sheikh Khalifa Bin Hamad Al Thani, Minster of Interior and HE Mr. Saad Bin Ali Al Kharji, Chairman of Qatar Tourism.
1. Dignitaries including HE Sheikh Khalifa Bin Hamad Al Thani, Minster of Interior and HE Mr. Saad Bin Ali Al Kharji, Chairman of Qatar Tourism, accompanied His Excellency Sheikh Mohammed Al Thani at the exhibition’s opening ceremony.
2. Lebanese TV presenter Raya Abirached wore Bulgari for the sparkling occasion.
3. Miss Universe 2023 Sheynnis Palacios inspected the exhibition’s many jewels and trinkets.
4. Brazilian supermodel Irina Shayk and ex-France international footballer and broadcaster Thierry Henry were the exhibition’s guests of honour.
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It was a week of the finer things in life, with the world of watchmaking descending on DIFC to experience superlative dining and shopping as well as the very best that horology has to offer from 16 to 20 November 2023. And while rain descended on the event as well — an unprecedented downpour and subsequent flooding briefly shut the fair down — after a quick-fire clean-up operation it was like it had never happened. Launch after region-specific launch showcased the com-
mitment of brands both local and international to tailoring their offers to suit the market. And it was all overseen by the impeccable organisation of Ahmed Seddiqi & Sons, the region’s leading light in watch retail. From Van Cleef & Arpels’s breathtaking Poetry of Time exhibition to the touching Dufour family watchmaking discussion, there’s no wonder that Dubai Watch Week is the (sometimes secret) favourite fair of so many horological titans.
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A parade of the world’s biggest and best beauty brands descended on Riyadh’s International Convention & Exhibition Centre from 11-13 February, bringing together more than 340 exhibitors from 35 countries. Prince Turki bin Mohammed bin Nasser bin Abdulaziz Al Saud opened the fair, the biggest yet, building on the success of the last edition in 2022. “As we open the 4th edition of Beautyworld Saudi Arabia, this year’s event is geared up to
become the biggest and boldest yet. With increased participation from international pavilions and exhibitors, and an inspirational range of new features for our expected 10,000 visitors to enjoy, the growth and diversity of offering across all sectors is testament to the size of the opportunity for the industry in the region right now, and into the future,” said Bilal Al-Baramawi, CEO of exhibition organizers 1st Arabia Exhibitions and Conferences.
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In a spectacular celebration of the achievements, insights and potential of the global Black community, Dubai’s Address Sky View played host to the Global Black Impact Summit. An international confluence of Black people of influence, the summit took place on 27 February and featured such varied speakers as Clarence Seedorf, chairman of the Black Impact Foundation, The Hon. Jason Hayward JP,
MP, Minister of Economy and Labour for the Bermudan Government, American actor, producer and director Novi Brown and Amadou Gallo Fall, the president of the Basketball Africa League — who won the summit’s Impact Award. The event was rounded off by a glamorous gala dinner, where further awards recognising the exceptional contributions of Black individuals to their fields were bestowed.
1. Clarence Seedorf, chairman of the Black Impact Foundation, Dutch professional football manager and former football player, opened the proceedings with a speech.
2. Chuck West (centre), President and CEO of OCTET Productions and former American University basketball star was in attendance.
3. Mako Nyakotyo (left), Operations Executive - DMCC Coffee Centre and David Pappoe Jnr (centre), President, African Energy Chamber Ghana and Chief Executive Officer, Energas West Africa Limited.
4. NJ Ayuk, Vice-Chair, Black Impact Foundation.
5. Pravini Baboera (second left), Co-founder of 7th Gen Creatives, Decolonial Community Organizer, Creative Producer, with other Summit attendees.
6. Dr. Betty Uribe (centre), Former Managing Director, JPMorgan Chase, Author and United Nations Ambassador for Peace & Human Rights.
7. Joel Nzali (left), Co Founding Partner - Board President, Batsela Holding Group with Clarence Seedorf and Dr. Ehsan Natour (right), Internationally Renowned Heart Surgeon, Author and Social Entrepreneur.
8. Amadou Gallo Fall President, Basketball Africa League.
9. Olakunle Williams, Chief Executive Officer, Tetracore Enegry Group
10. Eddie Kadi, comedian and TV personality, and Barbro Ciakudia, Senior Manager : Business Development and CSR
11. Dr Betty Uribe addresses attendees of the Global Black Impact Summit
Dubai was transformed into an artistic wonderland over the weekend of 1 to 3 March, as Art Dubai’s immersive programmes wowed the emirate and beyond. As the Middle East’s leading art fair, this much-anticipated date was everything hoped for and more — the fair’s 17th edition was bigger than ever and delivered on its promise to platform art from the Global South, also providing a fertile ground for the discussion of the Middle East’s most pressing issues. CanadianKorean artist Krista Kim’s immersive light installation Heart Space proved a (literal) highlight, while the A.R.M. Holding Children’s Programme — led by artist Sahil Naik — lit the artistic flame inside the fair’s younger visitors. All in all, a cultural event to be reckoned with — we can’t wait for the next one.
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1. The queen that reigns supreme
Dubbed the ‘Queen of Arab pop’, Nancy Ajram has dominated the region’s music scene for decades and she’s only 40 years old. By the age of 15 she had a recording contract with EMI, and her star has been on the rise ever since, with the announcement in 2020 that she was the most-streamed female Arab vocalist, outstripping even the beloved Fairuz. The Beirut-born singer, TV star and businesswoman has served as a judge on both Arab Idol and The Voice Kids, and has released various albums aimed at children alongside her other music. In 2022 she released the first Arabic language song, Sah Sah, to enter the Billboard Dance/Electronic Songs chart continuing to push boundaries even in her career’s third decade.
2. A heart as big as her stardom
A philanthropist and humanitarian, charity is a priority for Nancy. As a mother of three girls, her activities often focus on women and children’s charities and she became UNICEF’s first female regional ambassador for the Middle East and North Africa in 2009. She also passes on her message of peace and caring through her music: her song Risala lil Aalam (A Message to the World) from children’s album Shakhbat Shakhabit was inspired by a desire to help underprivileged youth.
3. Larger than life passion
In February last year, Nancy announced that she’d joined historic New York jeweller Tiffany & Co. as a brand ambassador the first Arab to take on such a role. This Ramadan, Nancy and Tiffany released a new short film entitled With Love, We Fly intended to celebrate the season and promote the iconic Jean Schlumberger creation, the Bird on a Rock. “Bird on a Rock is more than a magnificent piece of jewellery for me, it serves as a connection to love,” said Nancy at the launch of the film. She was also pictured sporting the Tiffany HardWear watch in a fetching shade of green a perfectly regionally-appropriate choice for Arabic music’s darling.
One of the most significant benefits of PEMF therapy is its ability to reduce pain and inflammation. It does so by influencing the electrical charges of the cells, which leads to decreased production of inflammatory mediators and an increase in anti-inflammatory compounds. This action can help alleviate chronic pain, including conditions like arthritis, fibromyalgia, and back pain, providing a nonpharmacological pain management solution. By reducing inflammation, PEMF therapy also helps in mitigating the root cause of many pain conditions, offering long-term relief.
PEMF therapy stimulates cellular repair and regeneration by promoting the production of Adenosine Triphosphate (ATP), the molecule that stores and transfers energy within cells. This energy boost supports cellular metabolism, helping cells repair themselves more effectively and speed up the regeneration process. This aspect of PEMF therapy is particularly beneficial for healing injured tissues, reducing recovery times from wounds, and aiding in the repair of bones and muscles.
PEMF therapy enhances blood circulation through vasodilation, which is the widening of blood vessels. This improvement in circulation allows for better oxygen and nutrient delivery to tissues, facilitating the healing process. This also helps in the removal of waste products from the cells, which is crucial for detoxification and reducing swelling in injured areas. Enhanced circulation also supports better oxygenation of tissues, which is essential for overall cellular function and vitality.
